Nation Beat’s marriage of Americana—from second-line backbeats to Hank Williams—with the funky folklore of northeast Brazil is inspirational. Loping, sensual percussion rhythms, searing bowed-string melodies, sweetly soaring slide guitar, and heart-tugging vocals are the band’s stock in trade. Brazil and the U.S. both feature hybrid, Afro-European music cultures and musical ideas transfer easily from one context to the other. That’s why Nation Beat’s blends and segues flow so smoothly and satisfyingly. “Nagô Nagô” is part Allman Brothers, part Little Feet, and all thumping Brazilian maracatu. “De Repente No Repente” starts out like an old-time guitar ballad with a Brazilian twist, and winds up as transcultural country boogie. And Williams’s “I’m So Lonesome I could Cry” gets a brilliant treatment that touches on all the band’s strong suits.
Drummer and percussionist Scott Kettner is the mastermind behind this delightful foray into Brasiliamericana. Since recording their first CD, Nation Beat has recruited Brazilian vocalist Liliana Araújo, whose rich, earthy voice brings a powerful shot of soulful authenticity to each of these 15 tracks. Two percussionists, a bassman, a fine fiddler, and a versatile guitarist complete the group, and that would be quite enough. But on Legends of the Preacher, the band joins forces with Frank London and the adventurously eclectic Klezmatics, adding the lyricism and transcendent melancholy of klezmer brass, violin, and even some Yiddish vocals to the mix. Why does an old world, Jewish wedding vibe work with all this new world, Afro-Christian culture? Couldn’t tell you, but it does. Threaded through these songs are the adventures of preacher, who ultimately meets a sad end. But after a journey like this, you just know he’s going to heaven.
"I'm So Lonesome I Could Cry"
Nation Beat’s marriage of Americana—from second-line backbeats to Hank Williams—with the funky folklore of northeast Brazil is inspirational. Loping, sensual percussion rhythms, searing bowed-string melodies, sweetly soaring slide guitar, and heart-tugging vocals are the band’s stock in trade. Brazil and the U.S. both feature hybrid, Afro-European music cultures and musical ideas transfer easily from one context to the other. That’s why Nation Beat’s blends and segues flow so smoothly and satisfyingly. “Nagô Nagô” is part Allman Brothers, part Little Feet, and all thumping Brazilian maracatu. “De Repente No Repente” starts out like an old-time guitar ballad with a Brazilian twist, and winds up as transcultural country boogie. And Williams’s “I’m So Lonesome I could Cry” gets a brilliant treatment that touches on all the band’s strong suits. 