Mario Adnet – More Jobim Jazz (Adventure Music – 2011)

Review written by: Raul da Gama -

Of all the musicians who have contributed to keeping the repertoire of great Brazilian composers alive, Mario Adnet may be making the greatest contribution here. Like trombonist Roswell Rudd, soprano saxophonist Steve Lacy and pianist Misha Mengleberg who gone to great lengths to keep the music of the great pianist and composer Herbie Nichols’ and (to a certain extent) Thelonious Monk’s repertoire alive, the guitarist Adnet has created some of the finest repertory albums of Brazilian music. His work to preserve and spread the music of Moacir Santos, ranks among the finest albums of Brazilian music to have been released as is his album of Baden Powell music and of course his Jobim Jazz album. To these he has now added More Jobim Jazz, another exquisite album produced by the Adventure label of Richard Zirinsky Jr. and Mike Marshall.

Mario Adnet may well be one of the finest living orchestrators in contemporary musical idioms outside what is still catalogued as classical music. He combines the skill of Gil Evans in his use of woodwinds and brass, with a stylish use of strings and percussion and although he has not written much for truly large ensembles he is easily the peer of the Duke, or at least the Duke Ellington of small and medium sized Brazilian ensembles. His elegant taste and his marvelous sense of colours and shades puts him in a secure place where the only other reigning musicians are The Duke, Gil Evans and George Russell. He has a sensibility that makes him to small ensembles what Respighi is to the large world of classical music. Such is his extraordinarily sharp ear for timbre and for the tonal spectrum of the instruments in the brass, woodwinds and certainly strings as well and it seems only a matter of time before he uses the larger family of strings—violins, violoncellos and multiple basses.

On More Jobim Jazz Adnet seems to have tapped into the soul of Jobim, just as he did before. Here, however he is more assured than ever before. This is evident from the sure-footed manner in which he has paced the music, using tempi that are marginally quicker than the Master himself. “Wave” is a wonderful example. On lesser-known Jobim charts such as “Samba de Maria Luiza” “Marina Del Ray” he uses sixteenth notes to colour his harmonies with the most subtle hues. And in “Deus e o Diabo Do Sol” his masterful use of color and nuanced shades turns the melodic narrative into something of a masterful and visually exciting medieval battle. This he repeats in his re-creation of Gershwin’s “Rhapsody in Blue” as he introduces Jobim’s beautiful “Samba do Avião”. The superb work of the trombones has much to do with this and it bodes well for the earthy energy of new Brazilian masters of the instrument, Everson Moraes and Vittor Santos.

Mario Adnet says he discovered the link between Gerry Mulligan’s Tentet and Quartet from 1953. If he goes on listening to the cool surfing sounds of the 50s West Coast, heaven knows what he will come up with next!

Track Listing: 1. Takatanga; 2. Mojave; 3. Boto (Porpoise); 4. Bonita; 5. Antigua; 6. O Homem (The Man); 7. Ai Quem Me Dera (I Wish); 8. O Barbinha Branca (The Little White Bearded Man); 9. Samba de Maria Luiza (Maria Luiza’s Samba); 10. Wave; 11. Marina Del Ray; 12. Deau e o Diabo Na Terra Do Sol (God and the Devil in the Land of the Sun); 13. Samba do Avião (Song of the Jet) (intro: Rhapsody in Blue by George Gershwin).

Personnel: Andrea Ernest Dias: flute (4, 6, 8, 10, 11, 13); Joana Adnet: clarinet (2, 8, 9 – 11, 13); Zé Canuto: alto saxophone (1, 3 – 9, 11, 12); Marcelo Martins: tenor saxophone (1 – 5, 8 – 13); Henrique Band: baritone saxophone (1, 3, 4, 6, 7, 9, 10, 12, 13); Philip Doyle: French horn (1, 3, 5, 6, 10 – 13); Jessé Sadoc: trumpet (1, 2, 3, 5, 6, 12), flugelhorn (2, 10); Aquiles Moraes: trumpet (9), flugelhorn (11, 13); Everson Moraes: trombone (1 – 3, 5, 6, 8, 10 – 13); Vittor Santos: trombone (6, 9, 10 – 13); Mario Adnet: acoustic guitar (1 – 6, 10, 11, 13); Antonia Adnet: acoustic guitar (7 – 9); Ricardo Silveira: electric guitar: 4, 5, 8, 10, 12); Marcos Nimrichter: piano (1, 2, 4 – 10, 12, 13), accordion (3, 7, 8); Jorge Helder: acoustic bass (1 – 10, 12, 13); Jurim Moreira: drums (1 – 3, 6, 12); Raphael Barata: drums (4, 5, 7 – 10, 13), Armando Marçal: percussion (1 – 3, 6, 12).

Related links: Mario Adnet on the web: www.marioadnet.com

Jovino Santos Neto Quinteto – Corrente (Adventure Music – 2011)

Review written by: Raul da Gama -

From the first notes of the lilting, swaggering Afro-Caribbean melody of “Corrente” it is clear that Jovino Santos Neto is on his surreptitious way to making his Quinteto album, Corrente one of his most memorable to date. From there on, whether he is rendering a baião, a choro, marcha, samba or xoté, it is clear that his mastery of crossing rhythms as they collide with the idiom of jazz is sublime. The magical and beguiling polyrhythms of “Two Friends, True Friends” is a classic example of this, as is the mystical “Zagaia”. And then there is the masterful cross-rhythms of “Matraca,” a chart that owes much to the maddeningly ingenious music of Hermeto Pascoal, an early mentor of Santos Neto.

Jovino Santos Neto, more than any Brazilian musician, with the possible exceptions of Egberto Gismonti, Nana Vasconcelos, Sergio Santos—vastly different artists from each other as they are from Santos Neto—yet who revel in the deep roots of African, native as much as they do on European sources. These artists are in the forefront of a neo-Brazilian revolution that is setting the world on fire. Jovino Santos Neto gives notice of this with the sublime ingenuity of his composition “Vivendo no Presente”, which is as much raucous melding of native and African flavours, with its berimbau and pandeiro mixing with pianism that is technically proficient in the European sense of the phrase.

Despite his masterly piano virtuosity, Santos Neto remains a grassroots Brazilian musician. His approach to music is very much polyrhythmic rather than polyphonic and although he layers Harvey Wainapel’s saxophone and his own flute, or melodica or his piano and Ben Thomas’ vibraphone using multiple counterpoint, it is the bass lines of his compositions that drive the melodies. Thus he is able to accommodate the dancing polyrhythms of his own piano, vibes and of course the drums of Mark Ivester and the percussion of Jeff Busch in the grander scheme of things; making rhythm the stellar concepts of his music.

In the fine choro, “Pra Casa” Santos Neto pits his melodica against multiple layers of clarinets and here the roles of polyphony and polyrhythms are reversed. Yet the angularity and elemental saudade of his song is superbly crafted, with gutbucket tones and exquisite Afro-Brazilian rhythms. The visual extravagance of “Sea and Sky” highlights Santos Neto’s penchant for creating large canvases on which he daubs bright colours and hues, crossing them with thick bass lines hidden in the melody so to create the illusion of multiple textures underscored by percussion and melodica. The forlorn loops and tottering gamboling of the clarinet on “A Fonte” foretell of impending bloom—a colourful symphonic sojourn led by the woodwinds of Wainapel into a mysterious soundscape painted over by the palette of the bass and the hypnotic lines of Santos Neto’s piano that increases the drama and kinetic energy of the piece with its dense Brahms-like textures and timbres.

Somehow the final “word” is that the soul is now in a place from where it will eventually emerge joyfully. But that is a story that the next album from Jovino Santos Neto must tell.

Track Listing: 1. Corrente (Current); 2. Vivendo no Presente (Living in the Present); 3. Two Friends, 4. True Friends; 5. Matraca (Rattle); 6. Outras Praias (Other Beaches); 7. Zagaia (Spear); 8. Pra Casa (Homeward); 9. Sea and Sky; 10. A Fonte (The Source).

Personnel: Jovino Santos Neto: piano, Rhodes, flute, melodica, hand claps; Harvey Wainapel: clarinets, saxophones; Chuck Deardorf: acoustic, electric basses; Mark Ivester: drums; Jeff Busch: percussion; Ben Thomas: vibraphone (2, 4, 6, 8); Lena Simon: vocals (3); Caroline Corcoran: vocals (3).

Related links: Jovino Santos Neto on the web: www.jovisan.net

Grupo Falso Baiano – Simplicidade (Massaroca Records – 2011)

Review written by: Wilbert Sostre -

Unlike Bossa Nova, a widely recognized style in the US, Brazilian choro is relatively unknown outside Brazil. The members of Falso Baiano with their refined and gorgeous sound are trying to change that.

Falso Baiano is a choro ensemble based in the United States. Their new release Simplicidade: Live at Yoshi’s was recorded live at Yoshi’s Club in Oakland, California in July 5, 2010, and captures vividly the richness and beauty of choro music. The album starts with the more familiar samba rhythms of Nelson Cavaquinho “Caminhando”, followed by the melancholic, delicate sound of the choro “Simplicidade”.

Jovino Santos Neto joins the group, playing piano and flute on three of his compositions. The classically tinged piano intro on “Feira Livre”, where Neto cleverly quotes lines from the ballet The Nutcracker, quickly turns into a contagious baião, a music style from the north of Brasil. Santos Neto masterfully plays the flute on “Kenny É Você” and engages in a superb dialogue with Zack Pitt-Smith on the soprano saxophone. Neto goes back to the piano on his beautiful composition “Rosa Cigana”.

Neto also plays the piano on Pixinguinha’s “Cheguei”, on the sublime interpretation of Jacob de Bandolim “Doce de Côco” and the accordion on Sivuca “Forró na Penha”.

The release also includes special guest Brian Rice on percussion in “Cheguei”, “Feira Livre”, Kenny É Você” and “Forró na Penha.”

Track Listing: 1. Caminhando; 2. Simplicidade; 3. Cheguei; 4. Feira Livre; 5. Kenny É Você; 6. Rosa Cigana; 7. Bem Brasil; 8. Deixa o Breque; 9. Doce de Côco; 10. Forró na Penha.

Personnel: Zack Pitt-Smith – saxophones, flute; Jesse Appelman – mandolin; Brian Moran – guitar; Ami Molinelli – percussion. Special guests: Jovino Santos Neto – piano, flute; Brian Rice – percussion

Related links: Grupo Falso Baiano on the web: www.grupofalsobaiano.com

Free Download: Hamilton de Holanda – Brasilianos 3

For a limited time you can download for FREE the new CD Brasilianos 3 by the Hamilton de Holanda Quintet.

The composer and mandolin player released his new album with his acclaimed quintet.

Hamilton de Holanda (10 strings mandolin and tenor guitar), André Vasconcellos (acoustic bass), Gabriel Grossi (harmonica), Marcio Bahia(drums), Daniel Santiago (guitar). and executive producer Marcos Portinari.

“This album could be called ‘New CHORO’. Or maybe ‘poetry of the sound’, even ‘Cinematograph’. The songs tell stories that do not need words to be spoken and lived. When the compositions are made, sometimes the scenario is the reason. At other times, melodies, rhythms and harmonies together are the simple reason to be transformed into a new song. Like friends that bump into each other along the way.

Music is also image, smells, and memories. Saudade. Joy, sadness. Love. It can be improvised, can be serious, if it is funny it`s also well worth it, after all humor is good for health. Another thing that also does well is play with friends, and that’s good!

The titles give an idea of inspiration. At the same time, if I close my eyes and I forget what it is, a new image is projected. Who listens, creates its own history with the nuances of dynamics, timbre, rhythm, like life itself is.

And the references, ah, they are always around us. Choro, samba, jazz, classical music. Tom Jobim, Heitor Villa-Lobos, Pixinguinha. Hermeto Pascoal, Egberto Gismonti. Carlos Drummond de Andrade. Oscar Niemeyer, Lucio Costa and Candido Portinari. Milton Nascimento, who gave an appearance in a magical way and definitive in “War and Peace I.”

Music can be sophisticated and accessible at the same time. For that, needs to keep it simple in its essence. It must be as simple as a hug.

Hamilton de Holanda – 10 strings mandolin
André Vasconcellos – acoustic bass
Gabriel Grossi – harmonica
Daniel Santiago – acoustic guitar
Marcio Bahia – drums

Produced by Hamilton de Holanda and Marcos Portinari

Peter Schärli Trio w Ithamara Koorax – O Grande Amor (TCB Music)

Brazilian vocalist Ithamara Koorax and the Swiss trio of pianist Hans-Peter Pfammatter, Trumpeter Peter Schärli and bassist Thomas Dűrst work together to transcend any barriers of culture and physical distance. Switzerland, where the core of this group is from is not the first area one thinks about when considering Latin Jazz!

These musicians are finely tuned with each other, particularly in the title cut, but why, oh why did they choose to leave out percussion, with the exception of piano? It creates a strange and gaping hole in the otherwise beautiful arrangements. A number of years ago LP and other music companies would produce training recordings where all players were top-notch and percussion was purposely left out, thereby allowing students to learn by playing along with the records. It was a training exercise. Unfortunately, to me that is what much of this otherwise tasteful and creative recording sounds like. To eliminate such important voices from Brazilian music in particular is like trying to play a chord with one finger.

Happily, Koorax has a very rich, earthy quality to her voice, allowing a sense of grounding to anchor the arrangements and the tight lock of the rhythm section is solid enough to lessen the size of the previously mentioned gaping hole in the sound.

Granted, this reviewer is a professional percussionist. In order to ensure the missing sound was not merely a personal bias, I played the recording without comment for a non-musician friend. She found the music to be pretty…but also felt something was missing although she wasn’t sure what.

Despite that perplexing reflection, this is an interesting project that expresses a love of Brazilian style Latin Jazz. Tender piano begins the first offering, Fotographia, before the velvety voice of Koorax enters. Her interpretation is moving, mature and sweet. There seems to be just a tiny bit more reverb effect on her voice than I am comfortable with. I wanted to hear her voice without any echo at all. Her vocal timbre is a nice match with the deep, spacious and rich tones of Schärli’s trumpet. Each musician’s phrasing envelops the other’s, evoking a haunting emotional power to this beloved Jobim composition.

In Sandalia Dela the trumpet carries the tune with a crisp, clear sound that contrasts the previous cut. As the vocals and rhythm section enter, the trumpet does a fantastic job of mimicking a cuica voice. Yes, I miss hearing an actual cuica here, but I thought this was a fun and playful choice. Mixing trumpet and vocals is not always easy and beautiful, but here it works. Hans-Peter Pfammatter delivers a fun piano solo in this arrangement that rides over a slightly dirty bass. I feel it would benefit this version to bring the vocals out over the instruments a little, yet it is a fun and energetic piece that all four musicians deliver well.

Septembro has a better balance between the levels of vocals and trumpet work, resulting in a more attractive blend. This allows a fuller appreciation of Koorax and Schärli’s intelligent and heartfelt interplay. Pfammatter delivers a lovely use of dynamics in the piano work in this piece.

Pfammatter composed the next cut, Wedileto, where the pitch skills and vocal control of Koorax are highlighted as she enters in concert with the trumpet. The vocals and trumpet use the same tones, an unusual choice.

The title cut, O Grande Amor, is a Jobim/Moraes tune which is beloved and has been covered by many artists around the globe. Here it is given a beautiful treatment with skillfully interpreted vocals by Koorax, strengthened even more by attentive piano accompaniment. With muted trumpet by Schärli and a cleaner, steady bottom bassline held up by Thomas Dűrst, this is the most elegant, lyrical piece on the recording.

The samba Deixa breaks the soulful mood with a lively, relaxed version of the Baden Powell/Vinicius de Moraes composition. It contains thoughtful trumpet work – but loses quite a bit of potential from the lack of percussion, despite the good lock of bass and piano. This is another tune where vocal and trumpet play with the same tones simultaneously.

Entering with vocals and bowed bass, Para Machucar Meu Coraçao brings in a haunting flavor before it moves into a steady, pretty version of this classic. The mix is improved in this cut, with the vocals and trumpet not competing as much when appearing together in the composition. The trumpet solo contains very thoughtful phrases, with the piano solo picking up on those and carrying it forward.

The final piece, Zum Zum begins with wild, outspoken sounds and at last works in some percussion from bass and piano as the musicians explore other parts of their instruments, hitting the soundboards and strings to create percussion. Overtones are allowed to ring freely, filling in space before the bass and piano fall into steady rhythm. Koorax’s delightful vocals fall in and pulling the tune together actually drive the piece forward while the trumpet lines soar above the rhythm and vocals.

Despite the glaring omittance of percussion, this CD has many outstanding moments and is an interesting project, especially for fans of the beauty of Koorax’s voice and phrasing.

Track Listing:

1. Fotografia
2. Sandalia Dela
3. Setembro
4. Wedileto
5. O Grande Amor
6. Deixa
7. Para Machucar Meu Coraçao
8. Zum Zum

Personnel:

Ithamara Koorax, vocals
Hans-Peter Pfammatter, piano
Thomas Dűrst, bass
Peter Schärli, trumpet

Produced by TCB Music and Peter Schärli

Related links:

Peter Schärli on the web: www.schaerlimusic.ch/en/
Ithamara Koorax on the web: www.koorax.com/

Claudio Roditi – Bons Amigos (Resonance Records – 2011)

Most fans, even aficionados of contemporary music, still only vaguely know the great trumpeter Claudio Roditi as the “Brazilian who joined Arturo Sandoval in Dizzy Gillespie’s United Nations Orchestra”. It is a pity that Roditi’s musical reputation rests on so narrow a spectrum in his enormous musical career. Few know, for instance, that Roditi was one of the first Brazilian musicians to relocate in the United States of America: in 1970 as a matter of fact. Since then he has criss-crossed America playing with the likes of Tito Puente, Mario Bauzá, Ray Barretto and Dizzy Gillespie. In Brazil he played with Jose Gonzalez and a host of others. He has played in every idiom of music: from bebop to rumba, samba and was nominated for his first Grammy in 1995 for his quintessential solo album Symphonic Bossa Nova with the Royal Philharmonic Orchestra conducted by Ettore Stratta.

In recent years, Roditi has come into his own again in intimate settings that he has created with fellow Brazilians, percussionist Duduka Da Fonseca, bassist Leonardo Cioglia among others. And his work literally shines in deep bronze colors and shades. Roditi has a singular voice as melodious and spare as that of Lee Morgan and Clifford Brown, both of whom he once cited as reasons for his coming to the US. However, Roditi has forged a path of his own, melting the sensuous nature of Brazilian music into an idiom aglow with the infinite ache of saudade and alive with bebop. So stunning and inimitable is his sound that he seems to set fire to a room in which his music is heard and much of this comes in fact from the exquisite recordings he has made with George Klabin and Resonance Records.

His third album is Bons Amigos that takes its name from a gorgeous melody created by another fine Brazilian musician, Toninho Horta. Once again Roditi soars and this time, it seems, into the proverbial azure so much so that he creates a blues of his own. It is the warmth of his tone, which can be both heartbreaking and joyous at the same time, that seems to emanate from so deep within his musical soul that it brings with it a gravitas that creates splashes of color and shade of mauve and brown and gold as well as indigo and deep blue. His silken timbre is gracefully resonant and infinitely bold and his notes rise and fall like cascading waves. He is—in a word—unique. Roditi has also picked his repertoire here with such studied majesty that the charts sound positively regal even as they are quite accessible to even the casual fan.

“O Sonho,” with its brisk “maracatu-like” rhythmic attack makes a stunning beginning for the album that rises to greater heights as it progresses. Roditi’s latest drummer, the brilliant Mauricio Zottarelli gives notice here that he is a force to reckon with as he shades the piece with earthy tones and polyrhythms. Elsewhere—on “Fantasia” for instance—Zottarelli shows how sensitive he can be. Roditi is also joined by the Brazilian guitarist, Romero Lubambo, one of the finest and oddly, one of the most neglected geniuses of modern guitar. Lubambo shows his ingenuity throughout, especially on “Amandamada” where he appears almost vocal-like on electric guitar. Nicaraguan pianist, Donald Vega is another member of Roditi’s stellar cast here and wastes no time in showing how much in the pocket he is, especially on the trumpeter’s original, “Levitation”.
Then there are the two outstanding pieces on the album: the first is “Ligia,” a heartbreaking ballad featuring Roditi on vocals. With a voice so full of longing and remarkable phrasing, Roditi negotiates a marvelous piece. And then there is “Piccolo Samba” played on the piccolo trumpet, a rather difficult instrument that Roditi has appeared to have come to terms—even mastered in his own way. This chart also features a fine solo from the Italian bassist, Marco Panascia.

This album must surely cement Claudio Roditi’s reputation as a modern master of brass and win him both accolades and awards if true aficionados in this otherwise dismaying industry are paying close attention.

Track Listing:

1. O Sonho
2. Para Nada
3. Bossa de Mank
4. Ceu e Mar
5. Bons Amigos
6. Ligia
7. Levitation
8. Fantasia
9. Amandamada
10. Piccolo Samba.

Personnel:

Claudio Roditi: trumpet, flugelhorn, piccolo trumpet, vocal (6); Romero Lubambo: electric and acoustic guitars; Donald Vega: piano; Marco Panascia: bass; Mauricio Zottarelli: drums.

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Claudio Roditi on the web: www.resonancerecords.org/claudioroditi

Review written by: Raul da Gama

Duduka da Fonseca Trio Plays Toninho Horta (Zoho Music – 2011)

One of the main reasons why Brazilian music has been preserved and, more importantly, kept alive through the generations has been the readiness of newer generations of musicians to create repertory albums in homage to that country’s master musicians. Over the years there have been a slew of beautiful tributes to classical masters such as Heitor Villa Lobos, from João Carlos Assis Brasil’s legendary album A Floresta do Amazonas with Ney Matogrosso and Wagner Tiso, (Kuarup Discos) to the myriad ones to contemporary maestros from Ana Caram’s The Other Side of Jobim (Chesky), the stunning albums by Mario Adnet honoring Moacir Santos and Baden Powell (Adventure Music). To add to that ever-growing list comes an exquisite album paying tribute to one of the lesser-known, but equally masterful composer and guitarist, Toninho Horta, from one of Brazil’s greatest drummers of his generation, Duduka Da Fonseca.

Plays Toninho Horta marks the arrival of Da Fonseca as a masterful interpreter of fine repertoire and inasmuch, as he has made Horta’s music his own, something of a “composer” as well. Da Fonseca is clearly one of the finest rhythm colorists around. He is one of several musicians who followed in the footsteps of fellow-Brazilians, Santos, Claudio Roditi and Nilson Matta in locating themselves in the United States. In bringing their artistry abroad, these musicians have become virtual ambassadors for Brazilian musical culture in that country. As is the case with this great cultural collision samba and maracatu are now virtually germane to the ever-expanding rhythmic patterns of modern music.

But Horta’s music also brings a certain elegance and graceful to the art of song as well. This is recognizable no matter whether Portuguese is spoken and or understood where his music is played. Da Fonseca proves this with his skillful handling of the repertoire here. Much of this has to do with the beautiful understatement with which he plays, whether he is driving the rhythm forward as he accompanies pianist David Feldman and bassist Wirti, or in his solos. As an accompanist, Da Fonseca creates fabulous whorls of color and shade with his melange of rolls, tickles and bombs on the drums which are offset by the joyous splashes and tinkles on his many cymbals. The Brazilian backbeat constantly reminds the body that it must keep on swerving, swaying and pirouetting to Horta’s sensuous, delicious melodies. Da Fonseca’s solos are few and when Feldman and Wirti quiet down to let him take one, he flies, unfettered as if he and his drums are floating on great gusts of wind. Bassist and pianist bring him down only to take off themselves in what is a continuous display of sublime artistry that never seems to end.

Wirti also shines as he opens con arco, the hushed, aching lyricism of “Moonstone,” a piece that is one of Horta’s most beautiful torch songs. This song also calls to mind the mastery of Toninho Horta as a melodist. Few musicians are as capable as he is of such sweet assaults on the soul. “Francisca,” “Waiting for Angela” and “Luisa” are other reminders of Horta’s genius that rank him among the sublime creators of song—with men such as Jobim and Santos themselves as well as with Americans like Green and Sour, who created such unforgettable charts as “Body and Soul”. Such is the beauty of Horta’s music and the world would have been the poorer had not Duduka Da Fonseca and his Trio brought its beauty to us with this memorable album.

Track Listing:

1. Aqui, Oh!
2. Bicycle Ride
3. Moonstone
4. Francisca
5. Aquelas Coisas Todas
6. De Ton Pra Tom
7. Waiting For Angela
8. Luisa
9. Retrato do Gato

Personnel:

David Feldman: piano; Guto Wirti: bass; Duduka Da Fonseca: drums.

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Duduka Da Fonseca on the web: www.dudukadafonseca.net

Review written by: Raul da Gama

Hendrik Meurkens – Live at Bird’s Eye (Zoho Music – 2011)

Hendrik Meurkens is, most certainly, one of the greatest musical adventurers from Europe. The harmonica wunderkind who also happens to be a fine vibraphone player seems to have almost singlehandedly rediscovered Brazil decades after Stan Getz and Joe Henderson did almost five decades ago. In doing so Meurkens along with the grandmaster of the harmonica, Toots Thielemans, has cast a refreshing light on Brazilian music, focussing on the angularity and aching beauty longing of its beloved choro. Not only has he brought a new instrument (the harmonica) to the traditional song form (the choro), he has recast the form in instrumental music by playing his instrument of choice as if he were “singing” the lyric lines of choro. And, as if this were not enough, he has added the vibraphone to choro as well. On this instrument as well he seems to dig into the depth of his soul as he creates dazzling harmonies around the melodies he plays.

Naturally, the breathless excitement of Brazil comes through in every aspect on Meurkens’ fourth Zoho release, Live at Bird’s Eye in Basel, Switzerland. Meurkens may not know it, but he has a penchant for the spectacular. This is evident from his sweeping, almost epic take on João Donato’s “Amazonas.” With his majestic runs and arpeggios on the vibraphone, Meurkens fills the heart and the mind with the breathtaking prospect of the world’s greatest, most mysterious and beautiful jungle. As a result, in one fell swoop he traverses a great landscape by creating an exquisite sound scape, urging his ensemble of pianist Misha Tsiganov, bassist Gustavo Amarante and drummer Adriano Santos to rediscover not just a memorable song, but a wonder of the world. Again, Meurkens pays an unforgettable tribute to Donato—this time on harmonica—in “Minha Saudade.” This is where Meurkens’ vocal side comes to the fore as he soars into the proverbial clouds with his “vocal” gymnastics on the harmonica.

But it is on his own composition—a choro, in fact—where Meurkens ingenuity on the harmonica shines. The composer is absolutely majestic as he is elementally sad and joyful on “Lingua de Mosquito.” Here his “vocalastics” on the harmonica are combined with his sense of aching beauty as he recreates a choro that even without vocals, recalls the great vocal choro of the likes of Nana Caymmi.

And what would a concert by Meurkens be without his classic, “Sambatropolis”? The quartet delivers this with refreshing style and aplomb, so that it sounds different from when Meurkens burst on the scene with it almost a decade ago. Moreover here, as elsewhere on this ever so memorable album, pianist Tsiganov gives a fine account of himself as he negotiates the rhythm of Brazil along with the young masters that Meurkens has brought along to Europe—bassist Gustavo Amarante and drummer Adriano Santos—in what is clearly one of the most exciting albums of 2011.

Track Listing:

1. Amazonas
2. Estate
3. Sambatropolis
4. Dindi
5. Lingua De Mosquito
6. Nôa Nôa
7. Body and Soul
8. Minha Saudade
9. Você Vai Ver.

Personnel:

Hendrik Meurkens: harmonica, vibraphone; Misha Tsiganov: piano; Gustavo Amarante: bass; Adriano Santos: drums, pandeiro (5).

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Hendrik Meurkens on the web: www.hendrikmeurkens.com

Review written by: Raul da Gama

Gilson Schachnik and Mauricio Zottarelli – Mozik (2011)

It is amazing how it sometimes takes a foreign adventure to find one’s appreciation for the culture of home territory. Whereas the love of fusion, jazz and rock music originating in the United States is embraced with verve in the Southern Hemisphere, likewise I have never run into a native jazz musician in the Northern Hemisphere who isn’t fascinated by the rhythms of African influenced Brazilian music, particularly the region of Bahia. Keyboardist Gilson Schachnik and drummer Mauricio Zottarelli, both born in Brazil, admittedly were never steeped in the traditional cultural rhythms and instruments unique to their birthright. They did not know each other before meeting at Boston’s Berklee College of Music, where both have achieved associate professor positions. Growing up deeply influenced by a strong background in hard rock and fusion jazz, they each found themselves expected to be natural experts in samba and bossa nova by their peers and professors at Berklee. The resulting examination Schachnik and Zottarelli took of Brazilian music, seen through the lenses of their mutual backgrounds in such an entirely different musical art form resulted in winning a faculty grant from Berklee to produce MOZIK, a project for a quintet of very diverse international musicians who all are now based in the United States.

Web’s Samba, a composition by Schachnik reveals unrestrained influences from the music of his youth and the study of Brazilian influenced jazz. Although I don’t like to compare groups, I was happy to find the same sense of artful fusion I enjoyed in the heyday of Azymuth… a favorite band of mine from my own youth. Having found a way back to the music of South America, the composition includes rhythms from the musically lush Bahia, including Candombe and other Yoruban influenced sounds. The drums are indeed influenced by hard rock, and I thought them a little heavy for this composition in the beginning of the piece, although I grew fond of the heaviness by the end. The flute, deftly handled by Russian flautist Yulia Musayelyan has a rough, unrestrained edginess to it. The bass is the glue of the piece and confidently laid down by Fernando Huergo of Argentina.

A Felicidade, a Jobim composition is given a new treatment with breaks tightly led by Musayelyan’s cutting, percussive flute work and very nice guitar solos by Brazilian Gustavo Assis-Brasil. It is true, no bossa nova or soft samba recording can leave out a few gorgeous Jobim tunes, but here the arrangements take on new influences and turn this classic standard into a different expression. A Felicidade dances out percussively, freely interpreted and brand-new! Herbie Hancock’s Eye of the Hurricane saunters in with Schachnik’s melancholy, expressive piano work. It is a well blended piece carried by Assis-Brasil’s pretty guitar work and Zottarelli’s brushes and nice cymbal work. The flute has moved into a supportive position in this arrangement, well executed and still maintaining the tone previously admired in the first cut.

O Amor em Paz -another tribute to Jobim- is also an updated treatment invested with each instrumentalist’s verve, with the rock history of Schachnik and Zottarelli most apparent. I enjoyed the crossover between the classic interpretation of this popular Jobim piece and the youthful drive and color of the rock/fusion influences.
A pulsing samba version of the beloved Monk tune Pannonica has solid bass work by Huergo, which in turn supports fluid piano work by Schachnik. Rightfully, the flute lays out on this piece. I would have liked to have the volume, but not the energy of the drum kit pulled back a little during the bass solo. Still, this is a very tasteful treatment of Pannonica.

Zelia brings the flute back in to the forefront. An original by Schachnik, it enters with a flourish and settles into some nice guitar work, supported by the keyboard’s violin sounds. If the players get the opportunity, real violins would add a vibrant richness to this fun composition. Zelia is a fiercely happy piece that also breathes. I hope to hear more compositions by this pianist. I hope he can use actual violins.

The third tribute to Jobim’s music is the classic beauty Desafinado, again worked into an extravagant, fun arrangement. It is a true percussionist’s piece. An ideal meter was put into place, making this version impossible to sit still to. Again, the flute is not overtly sweet, although that is traditionally what is heard when used as a voicing in this tune. Instead, it has a dark quality that suits the interpretation very well.

Canto das Tres Raças, a Duarte/Pinheiro tune brings the project to a tasteful and solid conclusion. A percussionist’s delight, with Musayelyan’s rich flute dancing over the top, it is a relaxed yet energetic samba that incorporates the breadth of the blending of diversity from all players’ backgrounds. It contains a lovely, extended piano solo supported by the drum kit, but evolving into a hand percussion and vocal samba that leads out the end of the piece. It is a fitting finale to this recording project.

Track Listing:

1. Web’s Samba
2. A Felicidade
3. O Amor Em Paz
4. Eye of the Hurricane
5. Pannonica
6. Zelia
7. Desafinado
8. Canto das Tres Raças

Personnel:

Keyboards: Gilson Schachnik
Flute: Yulia Musayelyan
Guitar: Gustavo Assis-Brasil
Bass: Fernando Huergo
Drums: Mauricio Zottarelli

Sample track:

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Related links:

Gilson Schachnik on the web: www.gilsonmusic.com
Mauricio Zottarelli on the web: www.mzdrums.com

Conversation with Brazilian artist Antonio Adolfo – Chora Baião

Antonio Adolfo grew up in a musical family in Rio de Janeiro (his mother was a violinist in the Brazilian Symphony Orchestra), and began his studies at the age of seven. At seventeen he was already a professional musician. His teachers include Eumir Deodato and the great Nadia Boulanger in Paris. During the 60′s he led his own trio and toured with singers Elis Regina and Milton Nascimento. Adolfo wrote tunes that gained great success and have been recorded by such artists as Sérgio Mendes, Stevie Wonder, Herb Alpert, Earl Klugh, Dionne Warwick, and others. He won International Song Contests on two occasions. As a musician and arranger he has worked with some of the most representative Brazilian names, besides having released more than 25 albums under his name. In 1985 Mr. Adolfo created his own school in Rio, Brazil. His most recent studio recording, Chora Baião, follows in the footsteps of his previous CDs, Lá e Cá/Here and There (released in 2010), and the 2007 live recording Antonio Adolfo e Carol Saboya Ao Vivo/ Live. Antonio Adolfo is currently conducting a music school in Hollywood, FL (USA) where, along with other instructors, he teaches Brazilian Music, Jazz, and Pop.

A Conversation with Pianist, Composer, Educator Antonio Adolfo

By Danilo Navas

Hello Antonio, it’s my pleasure talking to you in light of the release of your new recording entitled Chora Baião. Our readers will be delighted with your insightful answers and commentaries to my questions. Let’s start the conversation.

LJN: Choro and Baião are among the most popular two-beat Brazilian music styles. Choro originated in Rio, Baião in the northeast of Brazil. What are the commonalities and differences between them (if any)? Where do they cross? Where do they separate?

AA: Both are two-beat musical styles, both have African influences as, in general, other Brazilian two-beat styles have, but Choro carries more influences from the traditional European dances, such as Polka, Mazurkas, etc., Baião carries the Moorish-flavored musical atmosphere of the Iberian Peninsula. As you know Brazil was colonized by the Portuguese, whose music, as well as the one from Spain has lots of the characteristics from the Moors culture, who at certain moment in history, invaded and left their influence in the Iberian Peninsula’s countries, such as Spain and Portugal. And when Baião started to be developed in Brazil it incorporated some typical modalism that could be considered as influences from that Iberian music. The typical musical scale found in Baião shows an hybridism of both, tonal and modal (Lydian flat seven and mixolydian scales) – I think it is not necessary to go so deep in that analysis. Anyway, Choro’s scale carries more of the influences from classical music with its tonal system. What also occurs is that, in Brazil, Choro, Baião, Samba and their derivatives can be found in the Brazilian Maracatu that somewhat synthesizes all of them. Maracatu combines the African culture and the Roman Catholic religion adopted by the rich farmers from the period of Brazil’s colonization by the Portuguese, when the African slaves were brought to work for them. Nowadays, however, Brazilian Jazz musicians adopted all those styles and that mixture to their interpretations. Sometimes you go from one style to another without even noticing how much they can fuse themselves.

LJN: Is there an instrument (or more than one) that we can identify with those two music styles?

AA: Traditionally the two styles used different instrumentation. For example, Choro could use guitars, flute, piano, violin and other common instruments found in the classical music instrumentation. Pandeiro (Brazilian tambourine) was not yet used at that time, which we call Belle Epoque, but later when African descendants started to join the typical Choro groups, then pandeiro was totally absorbed by such groups. Baião used the typical Trio Nordestino (Northeastern Trio) formed by accordion, zabumba (a flat bass drum) and triangle. Sometimes you could find the “pifano” flute -a small hand made wood flute. Very characteristical for the Baião was also the melancholic chants sung by the “cantadores” with their sad melodies, combining the different scales used in Baião. It is interesting to notice here that, in both styles, despite some sadness found in the melodies, both (Baião, Choro and, even, Samba) are very rhythmic and danceable. Maybe that is one of Brazilian Music characteristics as well. Some (and more) of the explained can be found on my book Brazilian Music Workshop (Advance Music)

LJN: Carlos Althier de Souza Lemos Escobar (better known as Guinga) and Francisco Buarque de Hollanda (better known as Chico Buarque) are two giants of Brazilian music. What made you choose their musical works as inspiration for your new CD Chora Baião?

AA: As you say, they truly are two giants, but unfortunately not cultivated by Jazz oriented musicians due to several musical factors, as, for example, the harmonic styles found in their music are not the ones generally found in Jazz typical chords and/or chord sequences, I would even say that to build a Jazz solo based on, for example, some Guinga’s (or Chico’s) tunes can be a real challenge, since he (them) go through very different sequences of chords if compared to the II ­ V ­ I, or, even, through the modal ways adopted by Jazz music till nowadays. And even when they use typical harmonic sequences found in Jazz, they use different bass lines, which by itself create different colors. So, I thought it would be interesting to build that bridge that I’ve tried on the new CD and, then, bringing different colors to Brazilian Jazz than the ones normally used, for example, colors found in the music of another giant (Antonio Carlos Jobim) and few others. To achieve that goal it required a deep work and I went through all their songbooks searching which songs (among more than 300) I would feel more affinity and, therefore, could combine with my musical style. Then, I’ve decided recording three of my songs as well.

		CD: Chora Baião Artist: Antonio Adolfo Label: AAM Music Country: USA/Brazil Track: Dá O Pé, Loro (Hey Parrot! Give Me Your Foot) Author: Guinga Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

LJN: What can you tell us about the modern revival of Choro music?

AA: Its revival started to come to scene during the 80′s, by musicians in Brazil. First by Choro musicians, mainly in Rio and, then, by Jazz oriented ones. And I can include myself among these, since the recording of my album “Os Pianeiros” (1981), where I payed tribute to the great Ernesto Nazareth, one of the most important Brazilian composers of all times, and the subsequent ones: “João Pernambuco – 100 Anos”, a tribute to the guitarist and great Brazilian Choro composer and “Chiquinha Com Jazz” (another very important and influential Brazilian composer and conductor). Nowadays you can see a countless number of great musicians writing and playing very nice Choros and, among them, people like Guinga that, in my opinion, could be considered the one that reinvented that style.

LJN: Is there any difference between Choro and Chorinho?

AA: Chorinho is an affectionate form of calling Choro. In addition, we could say that Choro embodies several subgenres and similar styles as, for example, maxixe, lundu, polka (Brazilian Polka), tango brasileiro, etc, and even waltzes (Valsa Brasileira).

LJN: Let’s talk about the songs that you included on Chora Baião, starting with your own compositions, which by the way, fit perfectly and embody the spirit of this new project.

AA: There is a brand new one, “Chora, Baião” (Cry, Baião). I had written that song two years ago and it was in the “waiting list” to be recorded. And this was the perfect time to do that. There is another one that I’ve created for a composition class, when I was studying with master Guerra-Peixe, in Brazil, in 1975, “Chicote” (Whip), It was included in my 1977 “Feito em casa’ album, but as I’ve been playing that song in some shows and Concerts, it started to take different forms and for the new album I thought it fitted perfectly. Besides the type of chords used I have inserted a section with 24 measures, sort of Blues form but with typical Baião chord sequences, and one that I’ve written totally inspired by the songs of Chico and Guinga, “Chorosa Blues”, a piano solo, that I’ve decided to play just once for the track, simply the tune. In the album it has 1:24 length.

Note from the Editor: more information about Chora Baião at: www.antonioadolfo.info

LJN: Let’s talk about the musicians that joined you on this recording.

AA: Oh yeah, these are the guys, all GREAT musicians: Leo Amuedo (guitarist), born in Uruguay, worked in Holland for sometime and then went to Brazil to join Brazilian composer and singer Ivan Lins’ group. Leo is an incredible musician and peforms very inspired solos during the whole album. Jorge Helder, actually playing with Chico Buarque, represents what a bass player has to be: besides, his harmony knowledge, Jorge has a sense of the whole in a musical group, comes up with nice suggestions, he is very precise and well tuned: a real great bass player! Rafael Barata is one of the best Brazilian drummers I’ve ever met. He reminds me of Edson Machado, the inventor of playing samba using the cymbals ­that was in the 60′s. Back to Rafael, I am very impressed by his musicianship, his precision and, besides all that, he makes me feel very comfortable to express myself musically. Marcos Suzano, one of the most influential and precise percussionists from Brazil. The way he approaches and plays the pandeiro (Brazilian tambourine) has completely changed the function and possibilities of that instrument in popular music, not just Choro, but any style. He can play any style of music on pandeiro. Besides that, his musicianship adds much to any group of musicians. The way he chooses the percussion instruments to fit every song. I loved the experience of having him in the album. And, there is also Carol in two songs, singing “Você, você”, by Guinga and Chico, and vocalizes on “A Ostra e o Vento” (The Oyster and the Wind). Carol is great and I feel always very gifted having her with me in my recent albums. The most recent ones: Antonio Adolfo – Lá e Cá/Here and There, and Antonio Adolfo and Carol Saboya – Ao Vivo/Live are examples of the nice combination of our styles.

LJN: You credit Oscar Peterson as one of your major jazz influences. Being myself from Canada, I had to ask you how this came to be.

AA: When I started to listen to Jazz, Oscar Peterson became one of my favorites and biggest influences. He was (is) GREAT!!! I was very impressed by his musicianship and his way of playing Jazz. It is hard to describe.

LJN: Can you tell us about your intensive educational work (in both countries, Brazil and United States)?

AA: Since I’ve studied with all my masters, including Brazilian Guerra-Peixe, my dear French teacher Nadia Boulanger and all others, I could notice the importance of transmitting our musical knowledge to others. Besides that, teaching is another way for you to keep practicing. You have to be ready to answer to any question, you have to practice chords in any key, etc., and you learn a lot from the students. So, since 1975 I became a music teacher and, in 1985, created my school in Rio, Centro Musical Antonio Adolfo, which is very active, with a big number of nice teachers and students. Actually, besides, the school in Rio, which is more under the direction of my two daughters Carol and Luisa ­I go to Rio and work at the school four or five times a year. ­ I am also conducting an experimental school in Hollywood , FL (USA), Antonio Adolfo School Of Music, where I teach music, mainly Brazilian music for adults and children. It has been a nice experience as well. Once in a while I go to other places to teach Brazilian music clinics as well.

LJN: I quote the following from an online source: “…the legendary Brazilian composer Antonio Adolfo, the first Brazilian musician to play the Fender Rhodes”. What can you tell us about this?

AA: Yes, that was in 1969, when I created my group Antonio Adolfo e a Brazuca, a sort of Sergio Mendes’ influenced band. ­Sergio had recorded my song “Sa Marina” (Pretty World) in that year and I was a big fan of him and his group. The Fender Rhodes was a new possibility in terms of sound for pianists and I wanted to try that. I still like its sound, but, to tell the truth, for the music I’ve been playing lately, I prefer the acoustic piano.

LJN: Besides promoting your new CD Chora Baião, and continuing your dedicated educational work, what’s next for Antonio Adolfo? Any project(s) that you’re already planning to pursue? Any project(s) you still haven’t been able to acomplish?

AA: I enjoy what I’ve been doing. I enjoy recording (my albums and being guest of other artists as well), performing (I’ve been performing mostly in Brazil, but also in the US). There are no projects right now, since I am dedicating much time to my new “baby”, the CD “Chora Baião” and cannot forget my students as well. Of course, ideas always come to my mind all the time, so, at anytime a new project can become reality.

LJN: Congratulations on another magnificent project. Latin Jazz Network wishes you all the best on this and future endeavors. Is there anything else you would like to add to close this conversation?

AA: Thank you. I’ve enjoyed your questions. It has been a pleasure answering to them.

Related links:

Antonio Adolfo – Chora Baião: www.antonioadolfo.info
Centro Musical Antonio Adolfo – Brazil: www.antonioadolfo.mus.br
Antonio Adolfo School Of Music – USA: www.antonioadolfo.net

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