This Brazilian singer/songwriter has come a long way since his early funk-pop days. On this album, he takes his music into an almost pure jazz direction—even the samba-inflected moments, like the beautiful "Samba Azul" (Blue Samba,which features the great Alcione on vocals), the sound seems more at home in Chicago or New York than in the streets of Rio. In tunes like "Awunism" or "Balendoah", Motta goes into a scat-rich East Coast style post-bop mode rich which include Coltrane-inspired saxophone solos laid out by Andres Perez. Skip “7 O Musical Medley (7 The Medley Musical),” a three-part suite that attempts to tell, Broadway-style, the comings and goings of the nighttime in the streets of an unnamed town. "A Charada"(The Charade) is a welcome take into ’80s American jazz, while the scat-rich "Guezagui" closes the album in a highbrow R & B mode.