Yamandú Costa e Hamilton de Holanda – Live (Adventure Music)
When Brazil laughs, the world laughs with her. When she cries the world cries with her. No more is there greater evidence of this when the music of that majestic country is played, especially when musicians with the ingenuity of Heitor Villa Lobos, Pixinguinha, Guinga, Chico Buarque, Hermeto Pascoal, and Egberto Gismonti among others sing of her beauty and grand design. In that magnificent musical geometry and in the edifice of her epic tradition of music and dance lies the secret; its mystery will probably never be discovered, yet forever enjoyed when musicians such as the bandolim genius, Hamilton de Holanda and the master of the Brazilian violão Yamandú Costa sit down to play. This 2008 concert, recorded in Saõ Paulo is steeped in the gorgeous emotions of saudade—so steeped in it that it is impossible not to shed the proverbial tear when beholden of the utter beauty of each maestro’s virtuosity.
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Hamilton de Holanda plays an instrument that might have seemed impossible to tame for generations. The mandolin, or bandolim as it is called in his native Brazil, has a knack of sounding dry. So taut are the strings and so small its body that notes die fairly rapidly after they are plucked or strummed. This is unlike the guitar (violão), which notes dally in the air around the instruments for precious moments after they are sounded. But De Holanda’s technique is so unique and advanced and his dynamics are so superior that he is able to let the notes of his music just that little bit longer so that they intertwine with those played by Costa. The result is a musical dialogue that is akin to the most beautifully expressed counterpoint performed by two stringed instruments. In fact sometimes it is impossible to tell the difference between the instruments—especially in charts such as the superb “01Byte 10 Strings” or Costa’s achingly beautiful “Samba for Rapha.”
Yamandú Costa is another guitarist born into the great Brazilian tradition that includes players like Barbosa-Lima, Laurindo Almeida, Guinga, Gismonti, the three Assads (Sergio, Odair and Badi) and Marcus Tardelli. In fact Brazil has perhaps as many musicians who practice a modern wizardry on the violão as musicians did on piano in the era of the Romantics in 18th Century Europe. Costa does not always play fast. At his hand it seems unnecessary to do so. He can let his fingers fly in a rapid ascending arpeggio if the music calls for that. But he also extracts such pure emotions from the notes he plays, sometimes with such deep and ponderous dexterity that it appears that his violão is actually alive with every feeling and emotion that a human being is endowed with; all that Costa is doing is urging his instrument to speak its mind. His phrases are just long enough to make the emotional outburst come to life in the inner ear and when he desires to tell a story, as on “Whispered,” his music simply stirs the soul. Of course, he has a fine bedfellow in De Holanda who is often aroused by Costa’s playing and meets the magisterium of the violão with one of equal grandeur for the bandolim. This utter beauty is repeated on the encore for the program—Ernesto Nazareth’s “Sliding” or as the composer would have it, “Escorregando.”
This is a recording of exceeding beauty, one that will not be surpassed in a long time because it creates a new language for stringed instruments where voices are heard in all their splendour at the hands of sheer musical ingenuity.
Tracks: 1. Samba do Véio; 2. Chamamé; 3. Sweet; 4. Light of Dawn; 5. 01 Byte 10 Strings; 6. Samba for Rapha; 7. Whispered; 8. Flower of Life; 9. Seasons; 10. Shiawase; 11. Sliding.
Personnel: Hamilton de Holanda: 10-string mandolin; Yamandú Costa: 7-string guitar.
Yamandú Costa on the web: www.yamandu.com.br
Hamilton de Holanda on the web: www.hamiltondeholanda.com/en
Review written by: Raul da Gama
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
Latin Jazz Network Radio – Jukebox – August 2010 Playlist
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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
Samba Meets Boogie Woogie (Adventure Music 2008)
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This is a truly remarkable recording and features fifteen tracks that make for a stellar tribute bossa nova, before it became the Bossa Nova. These fifteen tracks were all written and most of them were performed during the 1940s and 1950s. There have been many recordings that purport to pay tribute to various historic periods in music, but none have been so exquisitely rendered in the modern context and performed with such panache. Although credit for this Samba Meets Boogie Woogie must go largely to Mario Adnet for the arrangements and musical direction, and also to Alfredo del-Penho for the repertoire research, every performer here also deserves to be credited for his or her contributions. For in the end it is not just this remarkable music that is the highlight of this record, but also the musicians who have pulled it off.
The title of the recording suggests a collision of cultures. This is an explosion between the musical folk art of Brazil and American – and by inference, European – popular song and dance music. But this suggestion is only ironic, even misleading. What is more acceptable is to hear how the music of Brazil reacted and responded to the “invasion” of the popular music of the United States and Europe. Here is the evidence: A roistering extravaganza of the music of Haroldo Barbosa, Denis Brean, Janet de Almeida, Heitor dos Prazeres, Gordurinha, Jackson do Pandeiro and others tongues firmly in cheek as they reacted with typical Brazilian “alegria” to American song.
It is a sort of gentle cutting contest where musicians of the 40s and 50s between the samba that infused all of Brazilian life and the affectations of rock and roll. In “Chiclete com Banana,” for instance, Almira Castilho wrote, “I’ll only put bebop in my samba/when I see Uncle Sam playing the tamborim/If he picks up a pandeiro and a drum…” The irony contained in this song is something that echoes throughout the record. It is a gentle sort of irony that sets the record straight. It is almost as if the musicians of the Brazilian 1940s and 1950s were saying that this bossa nova begat the boogie woogie. The gentle irony of Castilho’s song is echoed in the words – not to mention the music – of the other tracks as well. “Baiana no Harlem,” and “Boogie Woogie na Favela” are other fine examples of the music that will certainly go a long way into making this record one of the most significant documents of Latin American music in 2008.
It is impossible to single out any specific performances on the record, or any one or two musicians who make this record stand out from the many that were released in that year. This is because the record is an ensemble cast recording. Everyone contributes in some way shape or form – whether it is vocally or instrumentally. But deserving of special mention are Rodrigo Campello, who plays seven-string guitar, Marcos Nimrichter, on accordion, trombonist Vittor Santos, Hamilton de Holanda on mandolin and Nicolas Krassik on violin. They keep the instrumental voices fresh. And their brief soloing is imaginative yet all too brief. Also Mario Adnet and Alfredo del-Penho have undertaken a task that is not based on a well-known period in Brazil’s musical history and turned it into a spectacular affair. They have succeeded in bringing to life a rare and little-known period in Latin American music one that may actually grow to become a very popular one, the more this record is played. And for this they deserve a huge round of applause.
Tracks: Adeus America (Farewell America); Boogie Woogie do Rate (The Rat Boogie Woogie); Eu Sambo Mesmo (I Samba); Baiana no Harlem (Baiana in Harlem); Conversa de Samba (Samba Talk); Tintim por Tintim (Bit by Bit); Boogie Woogie na Favela (Shanty Town Boogie Woogie); Eu Quero um Samba (I Want a Samba); Morena Faceira (Naughty Brunette); Nada de Rock Rock (No More Rock Rock); Pra que Discutir com Madame (Why Argue with a Madam); Malandro em Paris (Rascal in Paris); O Trombone do Tribuza (Tribuza’s Trombone); Chiclete com Banana (Chewing Gum with Banana); Brasil Pandeiro (Brazilian Pandeiro).
Personnel: Monica Salmaso; Roberta Sa; Maucha Adnet; Mario Adnet; Alfredo Del-Penho; Ze Renato
Featuring: Hamilton de Holanda; Cristovao Bastos; Jovino Santos Neto; Armando Marcal; Vittor Santos; Jesse Sadoc; Jorge Helder, Ze Luis Maia; and many others.
Samba Meets Boogie Woogie on the web: www.adventure-music.com
Review written by: Raul da Gama
