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.
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“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
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Hamilton de Holanda – Brasilianos 2 (Adventure Music – 2010)
The mandolin has barely evolved since its incarnation as a lute in Italy over three hundred years ago. A few more strings may have been added, so that there is now a ten-stringed version; tuning of these strings may have become more creative and different, but the instrument has remained essentially the same. Unlike the violin, its notes decay quicker after they are sounded and cannot usually be sustained after a point. But then you have musicians who are so taken by the instrument that they become virtuosos at it, like Mike Marshall. The mandolin takes a different path to glory at their hands. These musicians number quite a few—among them a long line ending in Fabio Machado. It was the Portuguese who brought the instrument to Brasil, where it has grown at the hands of a few stars. They are unique and hold a special place in the modern history of the instrument. Jacob do Bandolim enriched the choro. Deo Rian did much more of that as he followed Do Bandolim.
And now there is the tireless innovator, Hamilton de Holanda, a virtuoso mandolin player so audacious that he refuses to accept that plucked, stringed instruments cannot sound like bowed ones. So much so that he can make the sound of notes stand still in time using tremulous glissandos, slides and skids on the twin strings that he plucks—sometimes delicately and sometimes ferociously. The full extent of De Holanda’s precocious talent is on display on Brasilianos 2 a twin CD and DVD released on Adventure Music not too long ago. This album revels in De Holanda’s energy, which is boundless and infectious and he is surrounded with band mates who feed off it. There is percussionist, Marcio Bahia, who brings polyrhythmic colorations to every piece; guitarist Daniel Santiago, an awesome composer and innovator on his own right, but who plays the role of a reflecting pool here, adding alternate ripples to those created by De Holanda; André Vasconcellos, whose cavernous bellowing creates a harmonic depth for the music and Gabriel Grossi, who plays chromatic harmonica opening up a kind of fourth dimension to Hamilton de Holanda’s music.
De Holanda is a consummate musician whose compositions flavour choro, but are so open minded that they invite every shade of musical colour in. The resultant music is a blend of samba, maracatu, capoeira colours in an Amazonian riot of spring. De Holanda himself presides over this with Paganini-like virtuosity and all who will listen are left breathless. The music is sometimes linear, and, at other times, swerving and twisting—harmony around melody like a double helix. There is single, double, triangular and quadrangular counterpoint that enriches melodies, harmonies and rhythm to such an extent that song well nigh explodes with emotional depth.
The music is complex and challenging and often played at breakneck speed. This, of course, showcases De Holanda’s skill, although it is probably not intended to do so. From the opening samba, “Ano Bom” there is no looking back. The energy of that piece and “O Mundo Não Acabou” too is palpable. Just as virtuosity is De Holanda’s strong suit, so also is the emotion of song. He is able to capture this fully in his implied narratives, such as in “Desceu O Anjo,” “Tamanduá” and “Estrela Negra.” He is able to capture a dreamy surrealism in his more reflective work, such as “Virtude da Esperança” and “Amor Saudade Amor.” And then there is the softer side, where a more elegiac musician emerges. “Rafaela” is a timeless ballad in just this vein. Throughout every musical incarnation, De Holanda remains sensitive, phrasing with almost deliberate perfection, appropriate to tempo and emotion. His simpatico with percussionist, Bahia and the harmonica genius, Grossi is sublime, setting a new standard for listening, musical conversation and for raising the bar on contrapuntal elegance. “A Vida Tem Dessas Coisas” maybe the finest tribute anyone paid—consciously or unconsciously—to that other genius, Moacir Santos.
The DVD of a concert played in 2008 at Jazz Sous les Pommiers, in Coutances, France is quite a bonus. The only change to the ensemble is the absence of bassist, Vasconcellos, who is replaced by another wonderful bassist, Thiago Espiritu Santo, whose Jaco-like leaps and bounds fire the mandolin player and the rest of the band up to new levels of excellence. The track list is also slightly different from the CD and this provides a greater variety of songs from Hamilton de Holanda to enjoy.
The cinematography is excellent as is the sound quality of the recording. But it is the visual excellence—especially the close-up footage that fosters a new appreciation of De Holanda’s technique and virtuosity. Clearly also he is deeply entranced by the music he produces and this has a ripple effect not only on the musicians around him, but also on the audience. De Holanda’s stellar turn continues to astound on video as well. His marvellous composition—also on the CD—“Carolina de Carol” finds him stretching the harmonic boundaries of the mandolin, as it does on “Estrela Negra,” only this time he is joined on his musical expedition to renew his instrument by Gabriel Grossi, who renews his own too. Moreover, Thiago Espiritu Santo is another one of the musicians to watch as he solos with depth, creativity and utter innovation. His work on “Tamanduá” and on Hermeto Pascoal’s “Joyce” is astounding and unforgettable. The ensemble is the darling of the audience in Coutances and with two encores they simply do not have enough.
This package of CD and DVD is a great window for listening to and experiencing the monumental talent of Hamilton de Holanda, who is not only sublime throughout, but who inadvertently, runs a master-class on the mandolin as well. This must be one of the best packages of 2009/2010.
Tracks: Ano Bom; O Mundo Não Acabou; Paz Paes; Descu o Anjo; Virtude da Esperança; Tamanduá Estrela Negra; Ajaccio; Carolina de Carol; Amor Saudade Amor; Rafaela; A Vida Tem Dessas Coisas.
Personnel: Hamilton de Holanda: 10-string mandolin; Marcio Bahia: drums; Daniel Santiago: guitar; André Vasconcellos: electric and acoustic bass; Gabriel Grossi: harmonica.
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Hamilton de Holanda on the web: www.hamiltondeholanda.com
Review written by: Raul da Gama
Miguel de León – Postcards from Rio (Migsmuse Records – 2009)
There are several multi-lingual artists—some are even musicians. However, the fact that several languages may be spoken, even sung, it does not mean that they get to the soul of the musical culture whose garb they put on for the occasion. But Miguel de León is one of those artists who wears a cultural garb just like a second skin. The Mexican-American and Spanish singer appears to have touched the heart and soul of the Brazilian experience with authentic saudades and alegria, both characteristics that are as magical, mysterious and intense as the duende that Federico Garcia Lorca ascribed to authentic flamenco music and poetry.
To begin with, De León has a voice that is near perfect for the music he pays homage to here on Postcards from Rio (Re-released in 2009). His attack is angular and suggests a sub-sonic comfort zone. In tone he is a dead ringer for the finest Brazilian singers—including Jobim, although he is a singular stylist, whose approach is one that inhabits the elemental sadness that embodies saudades, with its plaintive straining as he pushes his soft tenor to the depths of emotion. Thus he is able to negotiate a myriad of quarter notes—with their subtle shades and textures that bring characters and situations to life in song.
On Postcards from Rio his objective, it appears, was narrow: To make a loving reminder of a memorable time spent in Brazil. He enlists the music of contemporary Brazilian composers—Dorival Caymmi, Tom Jobim, Toquinho, Vinicius de Moraes, Chico Buarque, Roberto Menescal and others. This is a Carioca record, a romantic piece of urbane music that sways and flutters and shuffles in the heat and dust of Rio. But it is more than merely a tribute to Rio and the effect it has on the singer. His connection with the city appears to be almost umbilical and it is easy to identify with the Brazil of which he sings too.
Much of this has to do with the repertoire. “Samba de Orly,” “Bom dia Rio,” “Corcovado” and “Garota de Ipanema” come alive in the manner that they did when they were first sung by their respective creators. This time they are also fresh and inviting. The musicians who accompany De León on his journey also have much to do with the musical experience. David Feldman’s arrangements are superb, as is Daniel Santiago’s guitar—especially on the sharp, short solo on “Copacabana,” Sidinho’s percussion and the flutes of Leo Gandelman as well as the almost human speech-like trombone of Serginho Trombone. “Cidade Maravilhosa” is a fine way to bring the album to a close—with a song that recalls another fine duet—that between Tom and Elis on “Aguas de Março.”
Postcards from Rio may not leap out in the manner that many some of the more ambitious albums do, but then it is not that kind of record. The artist’s intention is to provide a tender portrait of a city that has got under his skin and this he does with skill and beauty.
Tracks: 1. Samba de Orly; 2. Bom Dia Rio; 3. Corcovado; 4. Ela é Carioca; 5. Garota de Ipanema; 6. Sábado em Copacabana; 7. Only a Dream in Rio; 8. Rio de Janeiro Blue; Rio; 9. Samba do Avião; 10. Copacabana; 11. Cidade Maravilhosa.
Personnel: Miguel de León: vocals; Alberto Continentino: bass; David Feldman: piano, arrangements; Erivelton Silva: drums; Daniel Santiago: guitar; Sidinho Moreira: percussion; Serginho Trombone: trombone; Leo Gandelman: saxophones, flutes.
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Miguel De Leon on the web: www.migueldeleon.net
Review written by: Raul da Gama
Daniel Santiago – Metropole (Adventure Music 2009)
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Daniel Santiago comes from a long and continuing line of renowned Brasilian guitarists. He has a lively and probing mind and the language of his guitar resonates with sparkling phrases, unusual syntax and an almost full-formed musical ideology. On Metropole, a thoughtful, questioning record, Santiago employs the distinct nature of being “Brasileiro” to explore his environment from a unique perspective: an urbane, worldly vision with a truly pastoral sensibility.
The music of Metropole is all about living in a contemporary world full of old colonial baggage, disturbance and conflict and a genuine concern for the future of humanity. This view, as the title of the record suggests, is one fraught with colonial and ecclesiastical overtones. “Metropole” in Portuguese colonial culture once referred to the “European part” of that colonial power. As Santiago’s fingers play with gentle irony on the strings of his guitars, the idea translates into a brilliantly conceived “colonized perspective.” Now the song titles – even the not-so-obvious ones – reflect loaded thoughts. Here are three examples: “Letter to the World,” “Children of War” and “Angola’s Dance.” The titles of other songs may be more suggestive, nevertheless they all work together to reflect the overall conception of the record. This is executed through well-crafted sound design and superior musicianship.
The music is densely textured. This appears to be deliberate and works well as the idea is to provoke thoughts using just sound, without words. It helps immensely that Santiago and his group is so in tune with what is required of the music that they seem to have an almost telepathic connection as far as tone is concerned. Further, the instrumental textures add an interesting and almost choral aspect to the music as individual voices express singular and plural aspects of the music. Interestingly – from the rhythm-driven Brasilian musical point of view, the two drummers play perhaps the most important role in the music.
Both Márcio Bahia and Edu Ribeiro create a unique percussive coloration – the magic carpet on which the music glides and slides as it moves in an ever-forward motion. The two men do not drum together but somehow each is able to create a dense “Amazonian” feel that swirls around the music. There is a constant ricka-ticka-rat-a-tat and more, a constant swish, splash and tempestuous working of the brass and bronze of the cymbals. The underlying rhythmic motifs are always “samba,” “maracatú,” “xote” and others – both hidden and exposed. It is as if the drummers are speaking for the ancient trees in the Amazonian jungles of the “real” Brasil. What they say in turn is an actual reaction to the dissonant march of urban progress – globally. The often-neglected rural cultures of Brasil are given unique squeeze room here to react through this wonderful and committed music group.
With the rhythmic bed created, Santiago with his electric and acoustic guitars, tenor and soprano saxophonist, Josue Lopez, pianist, Vitor Gonçalves and acoustic bassist, Guto Wirtti get to work, creating multi dimensional voices and choral music soundscapes. The record unfolds like a visual drama. Beginning with the song, “Old City,” there is an obvious reference to the cultured remains of the city, in urban conflict with the pull of time marching on without much reason. The odd and shifting rhythmic pulse keeps the tension going until the end. Santiago is the lead voice and he plays a clear-thinking protagonist as he expresses himself with lines and augmented notes, while the saxophone piano and bass meld together in an agitated musical underbelly. Yet nothing is resolved.
“In The Rain,” though not necessarily a leaf from“After the Rain” in the John Coltrane songbook is awash with more congeniality and even romance. The acoustic guitar, playing off the subdued piano enhances the feeling of closeness – almost suggesting a cuddle. “Gregorian Samba” is another deeply thoughtful song. Santiago uses an old, albeit commonly used Papal era: “Gregorian” to set up the profane era “Samba.” The interesting aspect of fulfilling the urges of the profane before the ulntra-significant spiritual season of “Lent” adds an interesting counterpoint to the music. The stage is set with a vigorous rhythm and wonderful mildly agitated, contrapuntal passages between piano and horns until Santiago brightens the dance with a darting sequence in a high-register that breaks the samba focus, perhaps introducing a character in the pagent, who returns it to a more spiritual setting.
In “Letter to the World,” Santiago sets the stage for a larger argument about future generations. Here, though, the horns and guitars set a brisk opening pace, obviously to create urgency. Santiago and Gonçalves then alternate to state their case clearly. The guitarist uses combinations of single notes and smooth linear lines and the pianist does the same, augmenting the harmony, often even adding to it. “Children of the War,” does not necessarily refer to “war” within societies. It really ponders the uselessness of involving a generation from whom we have inherited the earth. The mood here is sombre, with very limited improvisation, shorter more loaded guitar phrases and a dirge-like slashing agitation of the drum skins.
The musical narrative progresses through “Salamandra,” a startlingly sharp song from left field. It focusses on the six species of ancient salamander now extinct. The song has a swishing rhythmic swing to it and raises an interesting issue. “Traveling” and “Lagoon” push the pace of the record and the urgency also shows in Santiago’s solos. The lines are shorter and sharper and the ideas resolve themselves much quicker. “Miracle” may actually be linked to “Angola’s Dance,” An oblique comment on the manner in which the ravaged country is rebuilding its country after years of colonization. The vivacity of the composition reflects the fact that the country essentially rises above the bygone era and dances on. The bright pace of the song and the virtuosic leaps that each musician takes not only suggest that anything is possible – especially the proverbial rise from ancient ashes.
“Miracle” and “Within Us” bring the music closer to resolution. Both these tracks are inward looking pieces. They force another look at faith and character the humanity. Clearly, after Daniel Santiago’s, inward and outward motif in the song – and despite the rather uncertain nature of this risque sojourn – there is a suggestion that hope lies within us. In fact, “Within Us” features some of the most serious and challenging music – right from the bowed entry into the song to the swishing cymbals and highhat combinations that Márcio Bahia employs with such melodic expertise. The thoughful pace of the song and its major mode and beautifully augmented chords culminate in a final con arco closing that reflects commanding resolution.
This beautiful end to the record comes with “Metropole.” This is brisk and tantalizing piece with rapidly changing rhythms. Again, that characteristic swish and splash agitation, that so sets the record apart, is heard and this brings an interesting bookended closing to “Old City“ at the beginning of the record. The song ends almost abruptly, but the suggestion here is that Daniel Santiago has much to say, if not now, then in the future. We await the next step from this fine guitarist who seems to love to shroud his finished product in the strings of mystery.
Tracks: Old City; In The Rain; Gregorian Samba; Letter To The World; Children of the War; Salamandra; Traveling; Lagoon; Angola’s Dance; Miracle; Within Us; Metropole.
Personnel: Daniel Santiago: acoustic and electric guitar; Josue Lopez: tenor and soprano saxophones; Vitor Gonçalves: acoustic piano; Guto Wirtti: acoustic bass; Edu Ribeiro: drums (1, 2, 3, 6, 8, 10); Márcio Bahia: drums (4, 5, 7, 9, 11, 12).
Daniel Santiago on the web: www.myspace.com/danisantiago
Review written by: Raul da Gama
Latin Jazz Network Radio – Jukebox – October 2009 Playlist
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