Grupo Falso Baiano – Simplicidade (Massaroca Records – 2011)
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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
Conversation with Guitarist Brian Moran
October 25, 2011 by danavas
Filed under Interviews
Grupo Falso Baiano is a choro group that offers a window into the history and diverse culture of Brazil. Choro is one of Brazil’s earliest popular musics, dating back to the late 1800s, and, similar to jazz, it reflects the melding of African rhythms with a melodic and harmonic structure closely resembling Baroque Classical music. G.F.B.’s exploration of choro spans nearly 100 years, including everything from the traditional to more contemporary versions and jazz influenced reinterpretations. In addition to performing and touring, Grupo Falso Baiano has worked in collaboration with the Pasadena Pops, Around the World Music Program, Young Audiences of Northern CA, and Youth in Arts, to bring choro and Brazilian music to students throughout California.
Grupo Falso Baiano takes its name from the famous Geraldo Pereira song “Falsa Baiana,” made famous by Joao Gilberto, among others. A “falsa baiana” (or falso baiano) is a fake Bahian: one who claims to come from the state of Bahia, named after its famous bay. Hence the play on words as it applies to Grupo Falso Baiano: since we hail from the San Francisco Bay Area, we are Bahians of North America, but are “fake Brazilians”. “We picked the name to honestly reflect our love and respect for the music we play. Our take on choro is to preserve the traditional sounds and instruments while incorporating our own influences and heritage.”
Grupo Falso Baiano is: Zack Pitt-Smith, reeds, Brian Moran, 7 string guitar, Jesse Appelman, mandolin (bandolim), and Ami Molinelli, percussion.
A Conversation with Guitarist Brian Moran
By Danilo Navas
LJN: Hello Brian, welcome to the pages of Latin Jazz Network. It’s a pleasure talking to you. Let’s get started with this interview by asking you about Grupo Falso Baiano’s newest recording (the second one) entitled “Simplicidade: Live at Yoshi’s.” But before, let’s go back to the beginnings of Grupo Falso Baiano. It started in the San Francisco Bay Area as a trio in 2003. It became a quartet in 2006. Your first CD Viajando Choro e Jazz came out in 2008. None of you are Brazilian. Why Choro music? What sparked your interest and made you take that direction?
BM: It’s hard to explain why and how someone gets bitten by the choro bug. For us – as musicians – I think it’s the special way that melody, harmony and rhythm come together in the form of choro. There’s nothing unique in traditional choro that isn’t found in jazz harmony, melody and rhythm, but the way it all comes together, with the particular instruments, and particular way of playing, is what makes it so addictive. Coming from a jazz background, my interest had a lot to do with the rootsy, acoustic quality – and the lack of a drum kit or bassist. It was fascinating to hear something that swung so hard that had no bass (only 7 string guitar), and instead of a drum kit, a single pandeiro (tambourine like instrument).
LJN: Your take on Choro music has a distinctive American flavor: Brazilian music with a Jazz accent…
BM: For us, it was simple: out of respect for the tradition, and those who grew up with it all their lives and play choro professionally in Brazil, we weren’t about to try to pass ourselves off as Brazilians, or try to emulate the Brazilian way at the expense of expressing ourselves – which is going to happen anyway. So sure, we transcribe Brazilian recordings, travel to Brazil and play with Brazilians and all of that, but in the end, any sincere musician is going to leave a part of them self in the music they play, so we recognized that and made it a plus.
LJN: Let’s talk about your collaboration with Jovino Santos Neto for this Live recording. Jovino is certainly one of the greatest Brazilian artists living in America.
BM: No doubt. I’m surprised how many people aren’t aware of him. He was Hermeto Pascoal’s right hand man for 20 years. And many jazz musicians forget about Hermeto. Miles Davis collaborated with him on Live Evil, and called him, “…the most impressive musician in the world”. To be in Hermeto’s band alone is no small feat. Jovino is an incredible spirit and inspiration, and an honor to work with.
LJN: How did this collaboration with Jovino happen?
BM: Jovino was a fixture at the California Brazil Camp for many years. We all met him there and got to know him over the years. As a result, we had him perform on our first record “Viajando: Choro e Jazz” in 2008. Around the time of the 2010 Yoshi’s concert, he was teaching at Jazz Camp West with our percussionist Ami Molinelli. So after the camp, we threw together a quick afternoon rehearsal and had him perform with us at the concert 2 days later.
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CD: Simplicidade: Live at Yoshi’s Track: Feira Livre 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. |
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Based in the San Francisco Bay Area, Grupo Falso Baiano teams up with Brazilian master Jovino Santos Neto on this delightful Live in concert new release. A great follow-up to Viajando Choro e Jazz (their first recording), Simplicidade: Live at Yoshi’s showcases Grupo Falso Baiano’s original take on the classical Brazilian style, incorporating three compositions by special guest, Santos Neto. They have carved themselves a niche in an increasingly competitive musical environment with extraordinary results. Percussionist Brian Rice is also featured as a special guest.
LJN: Let’s talk about the compositions you included in “Simplicidade”.
BM: Aside from Jovino’s 3 compositions (Feira Livre, Rosa Cigana and Kenny É Você), they are all covers. It’s a mix of traditional choro tunes (Caminhando, Cheguei, Doce de Coco, Simplicidade), and a few lesser known tunes (Bem Brasil, Deixe o Breque) and a “forró” (Forró na Penha). Something we always do in shows and on records is to play tunes from different eras in choro, as well as material that isn’t considered pure choro (like the forró).
* Forró is a kind of Northeastern Brazilian dance that developed from European styles of folk music such as “Chula” and “Xotis” (term that originated the derivate “xote”), as well as a word used to denote the different genres of music which accompanies the dance. Both are much in evidence during the annual Festa Junina (June Festival), a part of Brazilian traditional culture which celebrates some Catholic saints. The most celebrated day of the festival is known as São João. (From Wikipedia)
* Choro, traditionally called chorinho (“little cry” or “little lament”), is a Brazilian popular music instrumental style. Its origins are in 19th century Rio de Janeiro. In spite of the name, the style often has a fast and happy rhythm, characterized by virtuosity, improvisation, subtile modulations and full of syncopation and counterpoint. Choro is considered the first urban popular music typical of Brazil. (From Wikipedia)
LJN: How has Grupo Falso Baiano and its music been received by the public? by your peers? how difficult has been to find a niche market in such a competitive environment?
BM: It’s been very well received. I think the public appreciates how different it sounds to their ears. When we do Latin festivals (like on the Latin Stage at the San Jose Jazz Fest), we often get sandwiched between big “latin jazz” groups, with piano, drum kit and congas, horn sections, etc etc. With all that volume and energy, our smaller tighter sound stands out, and I think people really enjoy the contrast. We’ve all dedicated a lot of time to this – learning to speak Portuguese, traveling and/or living in Brazil, studying and performing with Brazilian masters of these forms. So I think there’s a lot of appreciation among our peers. And as for finding a niche, it’s been a blessing. Frankly, with so few band performing choro (though that’s changing!), it’s much easier to book our group than say, another jazz quartet, of which there are many, and a limited audience.
LJN: So, we can say you have had a full immmersion in Brazilian music.
BM: I think we’re all just following our passion for the music, and down the rabbit hole we go! Everything has been a natural extension of that. You realize quickly that language can be a barrier, and through the desire to obtain as much knowledge as possible, it becomes evident that you need to speak the language. Then once you’re speaking, the next step seems to be to follow the river to the source, and go to Brazil. Being there, and seeing how the musicians perform the music, both formally and informally is invaluable and is something we try to bring back with us and present in our shows and workshops. For us, it’s all about channelling our love and respect for the music through our own experiences and musical personalities.
LJN: Congratulations Brian, “Simplicidade” is a terrific recording. Latin Jazz Network wishes you all the best on your coming projects.
More information about “Simplicidade: Live at Yoshi’s” at: www.grupofalsobaiano.com
Related links:
Brian Moran Music: www.brianmoranmusic.com
Grupo Falso Baiano: www.grupofalsobaiano.com
Mike Marshall – An Adventure 1999—2009 (Adventure Music – 2010)
Few musicians deserve a retrospective more richly than the mandolin player, Mike Marshall. The ground-breaking, genre defying instrumentalist and composer has melded his prodigious skills with musicians as far removed as David Grisman and Darol Anger, Bela Fleck and Caterina Lichtenberg… to where his heart lies most comfortably and gracefully, with Brasilian musicians such as Hamilton de Holanda and Hermeto Pascoal. Marshall’s career has spanned much more than a decade. However, this album, An Adventure 1999—2009 features his work in various contexts for just the years that he helped form the Adventure Music label with Richard Zirinsky, and recorded with that truly artist-oriented label.
Marshall’s work during this time was truly distinct. There is work here with artists such as the virtuoso violinist Alex Hargreaves and also the wondrous violinist, Darol Anger that was recorded just over a year or two ago—albums such as Big Trio and Woodshop that produced tracks such as “House Camp,” “Back to the Castle” and “Peter Pan” as well as “Borealis” that contain some of the finest work that has bluegrass inflected. Further back, in 2007 there is collaboration with the Scandinavian group Väsen, together with Darol Anger that explores more exotic avenues such as the ululations of Middle Eastern sounding melodies such as “Egypt” and the Nordic mythical elements brought delightfully to life with “Loke’s Troubles.” The violinist, Anger, is more than a casual collaborator with Marshall and he is featured again in an earlier Adventure album with Marshall. This one is 2005’s Psychograss, a voluptuous album that yields “Into the Lion’s Den” and “Stroll of the Mud Bug,” both of which are moveable feasts for Marshall fans and feature rich harmonies with Anger as well as banjo player, Tony Trischka and guitarist, David Grier.
Then there are the memorable Brasilian albums. The earliest is the 1996/2005 album, Brazil Duets from which the two duets—with Andy Narell on piano this time—“Um a Zero,” Pixinguinha’s wonderful choro, and “Indifference” with the great banjoist, Bela Fleck are culled. In 2004 Marshall recorded an album of some of the best-known choros, Choro Famoso and this album produced two of the finest tracks on this retrospective, “Sarau Para Redamés” and “Um Abraço Seu Domingos.”
But the most memorable of all the work represented here is on the 2003 album with fellow Adventure Music alumni, Jovino Santos Neto, the extraordinary Brasilian-born and raised multi instrumentalist, who was formally musical director of the legendary Hermeto Pascoal’s group before lighting out on his own. The album, Serenata also yields two tracks, “Serenata” with Santos Neto on piano and “Quando Mais Longe, Mais Perto” which also features Pascoal himself on bass flute. The other unforgettable album is “New Words” (2006) with magical duets featuring the new sensation, Brasilian bandolim player, Hamilton de Holanda. The traditional track and an extended medley with Ernesto Nazareth’s “Blackberry Blossom/Apenhei-te Cavaquinho” is a fascinating reminder of the unbridled genius of both de Holanda and Marshall. The crowning moment must surely be the Irish jig-inflected, “Brejeiro,” which features de Holanda on an Irish bouzouki, a lute that he has mastered and on which he waxes eloquently.
Significantly, Marshall also excels on the air, “Angels We Have Heard on High,” from the 1997/2008 album, Midnight Clear, but this time he is heard on acoustic guitar, an instrument he rarely plays. However this is one instrument that might be grist for his grinding in the near future—perhaps a pensive solo album from the ingenious fingers of Mike Marshall.
Tracks: House Camp; Back to the Castle; Peter Pan; Borealis; Egypt; Loke’s Troubles; Blackberry Blossom/Apenhei-te Cavaquinho; Brejeiro; Into the Lion’s Den; Stroll of the Mud Bug; Sarau Para Redamés; Um Abraço Seu Domingos; Serenata; Quando Mais Longe, Mais Perto; Angels We Have Heard on High; Um a Zero; Indifference.
Personnel: Mike Marshall: mandolin (1 – 7, 9 – 12, 14, 16, 17), 10-string mandolin (1), mandocello (2); nylon string guitar (13), acoustic guitar (15); Paul Kowert: bass (1, 2); Alex Hargreaves: violin (1, 2); Darol Anger: violins (3 – 5, 9, 10), baritone violin (5, 6); Phil Asberg: piano (3); Todd Sickaloose: bass (3); Aaron Johnston: shaker, cymbals (3); Olov Johansson: nykelharpa (5, 6); Mikael Mann: 5-string viola (5, 6); Roger Tallroth: 12-string guitar (5, 6); Hamilton de Holanda: 10-string mandolin (7), Irish bouzouki (8); David Grier: guitar (9, 10); Todd Phillips: acoustic bass (9, 10); Tony Trischka: banjo (9, 10); Carlos Oliveira: nylon string guitar (11, 12); Andy Connell: clarinet, soprano saxophone (11, 12); Michael Spiro: percussion (11, 12, 14); Brian Rice: percussion (11, 12); Jovino Santos Neto: piano (13, 14); Hermeto Pascoal: bass flute (14); John Santos: percussion (14); Andy Narell: piano (16); Béla Fleck: banjo (17).
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Mike Marshall on the web: http://mikemarshall.net
Review written by: Raul da Gama
Eva Scow + Dusty Brough – Sharon of the Sea (Adventure Music)
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There is something in the music of Eva Scow that is so unique that the only two other musicians who come to mind when she is playing are Joni Mitchell and perhaps Bela Fleck. And here is why: As a composer and arranger, she hears music in the same playful, unvarnished and guileless manner that Joni Mitchell does. Yet like Mitchell, she is a sublime harmonic colorist and has a lyrical sophistication – whether in her phrasing and musical syntax, or the hidden rhythms (rhymes in Mitchell’s case) – that literally gives new meaning to the term. And of course, she is a virtuoso who can soar conceptually on a rather difficult instrument as only Bela Fleck can.
Sharon By The Sea will be one of the years’ most celebrated releases, for sure. On this record, Scow shares the marquee with guitarist Dusty Brough. What an inspired duo. True this record is choro, but it is the reading of the moods and the swirling emotions that emerge from great choro that haunts each song here. And there is such a delightful and memorable sense of playfulness that only Hermeto Pascoal brought time and time again to music.
First off, there are the titles of the songs themselves… these provide a contrapuntal elegance to the depth and richness of the music itself. The songs are quite naked because the emotion that runs like an underground river throughout each song is replete with elemental sadness in sketches, “Rodolfo,” “Sharon By The Sea” and best of all on “Sketches of Terry”. The harmonies are slanted, oblique and Monkish. “Sketches of Terry,” is especially novel with the addition of the tabla to the conventional choro percussion. This is a bold step. It broadens the textural palate of choro immediately with the deep melodic resonance – not quite like a surdo, which perhaps is a good thing – and makes it even more universal. Brasil sharing, once again, with the world…
And on the final track there is, again a stroke of genius – the addition of the Fender Rhodes, not because an electronic keyboard was absolutely necessary, but because the fey tones of the Rhodes would add a certain emotional vulnerability to the character’s emotions. Also the exquisite bass solo that comes out of nowhere to dazzle while a lazy dialogue in the background sets up the fade away… an end to a perfect weekend session… This is what makes this a record of considerable achievement.
And that recalls what Machito is known to have said apropos of clave. It is the emotion that makes the rhythm authentic, not necessarily the actual clacking of the clave.
Tracks Listing: Bird With Beastlike Qualities; Theoretically Speaking; Utah; Rodolfo; Pica Pica; Best in Show; Sharon of the Sea; Gypsy Wagon CRASH; Sketches of Terry; Gateway Chronicles; Saturday.
Personnel: Eva Scow: mandolin, electric mandolin, violin, Fender Rhodes; Dusty Brough: nylon string guitar, electric guitar, acoustic bass, cumbus; John Martin III; percussion (1, 3-9); Adam Scow: violin (2, 4, 7); Brian Rice: pandeiro, tan tan, tamborim, cuica, tabla (2, 4, 8); Mark Summer: cello (4, 7, 8); Javon Davis: keyboard (7, 9); Kevin Davis: upright bass (10); Brian Hamada: drums (10).
Eva Scow on the web: www.myspace.com/evascow
Review written by: Raul da Gama
Grupo Falso Baiano – Viajando Choro e Jazz (Independent 2008)
Of the many non-Brasilian ensembles in the United States besotted with “choro,” the music of Brasil and, not simply drawn to it, but actually performing it, Grupo Falso Baiano may very possibly be the finest. The quartet of Jesse Appelman (mandolin), Zack Pitt-Smith (woodwinds), Brian Moran (guitars and cavaquinho) and Ami Molinelli (pandeiro and percussion) focus their attention on Brasilian “choro,” on Viajando: Choro e Jazz, a record that consists of 13 tracks sweeping across a hundred years of “choro.”
What is remarkable about this record is the consistently fabulous and contemporary treatment of “choro”. Some of the older “choro,” in fact, such as “De Coração a Coração” and on “Carioquinho” and other Waldir Azevedo compositions, as on Bonfiglio de Oliveira’s “Alzira,” as on Jacob do Bandolim’s “Biruta” and others, the classical music played with bare feet and calloused hands truly comes to life. Remarkably the music also sounds fresh as the “choro” written by more recent masters -Hermeto, Baden Powell and Hamilton de Hollanda.
There is a wonderful synergy between Appelman, Moran, Pitt-Smith and Molinelli. This is what drives the music in the truest tradition of Brasilian lament. Not only are the string players virtuoso instrumentalists just as Zack Pitt-Smith is with his horns, but they appear to dance around each other in a fabulous interplay that is worthy of the best “choro” bands put together by Hermeto and de Hollanda. Molinelli can slap the pandeiro as well as the finest percussionists. On Baden Powell’s “Canto de Ossanha” she holds her own with Michael Spiro, who also guests on conga.
Here, too, the classic rondo form of the “choro” gets its finest showcase. This is true of all the tracks on the record, but Baden Powell’s composition, just as Hermeto’s “Viajando Pelo Brasil” before that are the highlights of the art of “choro” of today. The AABBACCA form and changing keys are superbly highlighted, as is the form on “Arrasta-Pé,” Azevedo’s offering with which Grupo Baiano close the set. But while the documentary nature of the record gives it considerable weight, the joie de vivre of the musicians and their virtuosity of the highest order is what makes this a first class record. If this were the group’s debut, the sophomore offering would be even more eagerly awaited.
Track Listing:
De Ben com e Vida; Carioquinha; Beliscando; Irmãos Super Mario; Samba de Lua; Biruta; De Coração a Coração; Aquarela na Quixaba; Alzira; Viajando pelo Brasil; Conversa de Baiana; Canto de Ossanha; Arrasta-Pé.
Personnel:
Zack Pitt-Smith: woodwinds; Jesse Appelman: mandolin (except tracks 9 & 10); Brian Moran: steel and nylon string guitars, cavaquinho; Ami Molinelli: pandeiro, zabumba, percussion. With Guests: Jovino Santos Neto: accordion (10, 13), melodica: (4); Mike Marshall: mandolin (7); Eva Scow: mandolin (7, 9, 10); Jorge Alabe: percussion (8); Michael Spiro: congas, percussion, birdcalls (4, 8, 12); Brian Rice: tamborim (4).
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Grupo Falso Baiano on the web: www.grupofalsobaiano.com
Review written by: Raul da Gama
