North Americans might be able to place Seu Jorge's face from his recent on-screen appearances, as the steely Knockout Ned in "City of God" and the singing sailor Pele dos Santos in "The Life Aquatic with Steve Zissou," interpreting David Bowie tunes in Portuguese. But Jorge, who grew up in the favelas of Rio, has garnered a sizable Brazilian following after heading a popular funk-pop-samba band, Farofa Carioca. He hopes to break out of cameo status in the States with his new, largely acoustic album, "Cru," and an international tour. In this intimate setting, Jorge's drowsy, inclement voice tries on various styles and attitudes -- samba, bossa nova, Serge Gainsbourg, even Elvis -- as it moves from forlorn to winsome, like a cloud passing over the sun. A man of many muses and moods.
For The Record
Los Angeles Times Tuesday September 13, 2005 Home Edition Main News Part A Page 2 National Desk 1 inches; 50 words Type of Material: Correction
Theater of the New Ear -- An item in the Fall Arts Preview in Sunday's Calendar section said that Theater of the New Ear at Royce Hall would include an as-yet-unnamed play Wednesday through Friday. In fact, the play had been selected. It is "Anomalisa," by the pseudonymous Francis Fregoli.
Knitting Factory Hollywood, Sept. 27.
Slaving away at the easel, in a small, cold studio, the artist creates -- alone. At least that's the romantic fantasy. "Pioneering Modern Painting: Cezanne and Pissarro, 1865-1885" seeks to dispel that myth by illustrating the decades-long collaboration between the painters. Trading advice and sharing techniques, Paul and Camille even painted the same view of the Oise River Valley in France, standing side by side. Compare the work of (and connect the dots between) the older Impressionist (Pissarro) and the younger Postimpressionist (Cezanne) beginning Oct. 20.
Los Angeles County Museum of Art, Oct. 20-Jan. 16. For details, www.lacma.org.
Beyond the honky-tonk
The redneck woman is all jacked up, and that's good news for fans of the brand of country music that Illinois upstart Gretchen Wilson repopularized with a bang last year. "Redneck Woman," of course, was her debut album, a collection that became an empowering statement for the marginalized class she celebrated in the title -- and sold a few million copies in the bargain. All eyes in Nashville nation will be on her new one, "All Jacked Up," looking to see if she can maintain her momentum while advancing her agenda beyond the trailer parks and roadhouses.
"All Jacked Up" (Epic), due in stores Sept. 27.
His own drum
Drawing from Native American art, Byzantine icons, Peruvian textiles, Paleolithic figures, Zen Buddhism and everything else that caught his fancy, artist Lee Mullican created a distinctive body of abstract art that dances to its own rhythm and shimmers with spiritual power. He was a founder of the Dynaton movement, a West Coast version of Surrealism, and a pillar of L.A.'s art scene until his death in 1998. But "Lee Mullican: An Abundant Harvest of Sun," at the Los Angeles County Museum of Art, will be the first major survey of his work in more than 20 years. It will offer 75 paintings, sculptures and drawings made in the late 1940s, '50s and '60s.
Los Angeles County Museum of Art, Nov. 10-Feb. 20. For details, www.lacma.org.
Producer Muggs gave Cypress Hill its stoned, sinister sound, while the GZA, the Wu-Tang Clan's most revered and mystical lyricist, provided the group with a sage perspective. The two have collaborated on a number of projects in the last several years, and their new joint album marks a rare rap release in which the producer handles the entire album and the rapper approaches the project like a game of chess, matching wits with the soundscapes. It's sure to be a cerebral ride courtesy of two of rap's most respected, if unheralded, masters.
"GZA vs. Muggs: Grandmasters" (Angeles/Fontana/Universal Records), due in stores Oct. 25.
Robert Wilson's abstract, radiant production of Wagner's medieval religious epic "Parsifal," which opens with what feels like a real-time sunrise and turns the Holy Grail into a glowing bagel chip, had its own stormy dawn 14 years ago in Hamburg, Germany. The audience booed a dreary conductor. A stick-figure Parsifal fought the staging and his avant-garde costume. Still, the production glistened, as if lighted by magical forces. And when Los Angeles Opera takes it over in November, the company will have a sympathetic conductor, Kent Nagano, and a tenor in the title role who happens to run the place. That singer, Placido Domingo, is, moreover, on a Wagner-Wilson roll. He has just made a career-capping "Tristan and Isolde" recording and is also appearing in Wilson's "Ring" production in Paris this fall.
Dorothy Chandler Pavilion, seven performances between Nov. 26 and Dec. 17. More at www.laopera.com.
A centralized Edge