Ruíz and DeLuna are dusting off hidden gems and holding them up to the light, letting us see how much brilliance was there all along.
Sunnyside Records
Catina DeLuna – vocals; Otmaro Ruíz – piano, accordina & synths; Larry Koonse – guitar; Edwin Livingston – bass (except track 9); Edu Ribeiro – drums; Derek Oles – bass (track 9); Special Guests: Bob Sheppard – saxophone, clarinet & alto flute; Gregory Beyer – percussion & mallet instruments; Bruno Mangueira – acoustic guitar (tracks 4 & 5); Carol Robbins – harp; Jimmy Branly – udu clay pot (track 6); Fabio Cadore – guest vocals (track 5)
How do you even hear about a project like this?
You won’t hear it on the radio or find it in the new releases bin at Target. And unless you’re already deep into Brazilian jazz, it’s probably not showing up in your feed. But here it is: Lado B Brazilian Project 2, the new album from pianist Otmaro Ruíz and vocalist Catina DeLuna—a follow-up to their 2016 release that earned a GRAMMY nomination despite no major-label backing or industry buzz.
Like the first Lado B project, Ruíz and DeLuna reach for songs that don’t get covered much. Even the classics get a twist. On Jobim’s Águas de Março (“Waters of March”), Ruíz flips the simple harmony and adds Bob Sheppard’s flute and Jimmy Branly’s udu clay pot—a Nigerian percussion instrument. His piano solo lingers in all the right ways. You don’t want it to end.
For many American listeners, Brazilian music is forever tied to the golden age of bossa nova and samba—Jobim, João Gilberto, and Luis Bonfá. Songs like ‘The Girl from Ipanema’ are so deeply woven into the culture that even after countless listens, they’re hard to turn away from. That era reshaped how people around the world listened to music. Ruíz and DeLuna honor that legacy while also digging deeper—into lesser-known songs tucked away on classic records, pieces that carry just as much feeling.
DeLuna, originally from São Paulo, grew up immersed in Brazilian song, learning from family and friends. Her voice is warm and rounded—closer to a contralto than a soprano. After moving to Los Angeles, she was introduced to Venezuelan pianist Otmaro Ruíz by drummer Peter Erskine. Together, they built a tight ensemble featuring guitarist Larry Koonse, bassist Edwin Livingston, woodwind player Bob Sheppard, and Brazilian drumming powerhouse Edu Ribeiro, with tasteful cameos from harpist Carol Robbins, percussionist Gregory Beyer, and others.
The album opens with Jobim’s ‘Passarim,’ a song DeLuna grew up hearing at home. Ruíz’s arrangement leans into the tune’s melancholy, with fluttering background vocals and his own elegant piano work—lyrical and full of subtle jazz phrasing. The lyrics compare the destruction of the rainforest to the fragility of love.
Chico Buarque wrote ‘Mar e Lua’ after reading a newspaper story about two women in a small Brazilian town who fell in love and ultimately took their own lives—unable to withstand societal pressure. Ruíz’s bittersweet arrangement, with flute and harp, perfectly complements DeLuna’s sensitive vocal.
There’s fun to be had, too—Dorival Caymmi’s cheeky ‘Requebre Que Eu Dou Um Doce’ gets a sprightly choro-style arrangement, full of intricate melodies and rhythmic bounce. That playful spirit runs through DeLuna’s nimble vocals just as much as Sheppard’s darting clarinet, both circling around Bruno Mangueira’s crisp acoustic guitar. The whole track has a wink to it, which suits the lyrics—promising candy in exchange for a killer dance move.
Caymmi’s ‘Vatapá’ closes the album with more good humor. It’s a recipe song—literally walking through the steps for making a beloved Afro-Brazilian dish made with cornmeal and seafood. DeLuna and Ruíz keep it simple: just voice and piano, but they’re so in sync, it’s like watching two master chefs in the kitchen. Timing is everything. Don’t burn the cornmeal, don’t overdo the shrimp. They get it just right—light, flavorful, and full of charm. And like a perfect vatapá, when it’s done right, you can’t help but want more—more of that shrimp, and more from this duo.
Peter Erskine may have put it best: “Lado B’s Brazilian Project 2 may well be the freshest-sounding music I’ve heard in years… the sense of discovery… like the music was somehow made for your ears alone.” And it does feel personal—like someone handing you a handwritten mixtape of Brazilian songs they adore and want you to love too.
Ruíz and DeLuna are dusting off hidden gems and holding them up to the light, letting us see how much brilliance was there all along. Lado B Brazilian Project 2 is sharing something beautiful. And that makes it a joy to return to, again and again.
