Music Preview: Bibi Ferreira at Symphony Space, New York City

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By Ernest Barteldes

Bibi Ferreira

Tuesday, Sept. 20 & 23

Symphony Space

8 PM

I have known about the legendary Brazilian diva Bibi Ferreira for a very long time – she has a long history as a singer, producer, actress and director going from the 1940s to present. She is still active in spite of being 94 years young – and gives no signs of slowing down anytime soon.

I did two interviews with her for The Brasilians over the past few years and was surprised not only by how articulate she was on the phone and also by her fantastic memory – she can remember details of shows she did generations ago as if she had walked out of stage five minutes ago. I was even more amazed to hear her live at Alice Tully Hall – hard to believe is was her New York debut – and heard her sing an array of hard tunes ranging from Verdi to Chico Buarque and Piaf – as if they were nothing.

And then there was Liza Minelli’s hilarious surprise appearance, when they shared the mike for a snippet of “Theme from New York, New York” – a tune made famous by Frank Sinatra but actually introduced by Minelli (go ahead, Google it) in 1972.

On her current show Four Times Bibi, she pays tribute to fado queen Amalia Rodrigues, Piaf, tango legend Carlos Gardel and none other than our own Frank Sinatra – an evening that will bring together various genres together in what promises to be nothing short of amazing – a show that is not to be missed.

Concert Review: Trio da Paz Featuring Joyce Moreno and Dori Caymmi at Birdland

 

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By Ernest Barteldes

Trio da Paz

Featuring Joyce Moreno and Dory Caymmi

Birdland

February 25, 2016

New York, NY

 

 

Trio da Paz – the legendary Brazilian jazz trio formed by Duduka Da Fonseca, Nilson Matta and Romero Lubambo – celebrated the release of their 30th Anniversary CD with a residence at New York’s Birdland Jazz Club with special guests Joyce Moreno and Dory Caymmi – the first time all five artists collaborated on a live setting.

The trio started out with “Saudade da Bahia,” a tune by the late Dorival Caymmi with an arrangement built around Lubambo’s lead guitar and improvisations. It was a clear demonstration of their great chemistry, as they responded to the guitarist’s accents with barely a look at each other.  Moreno joined them and paid homage to what she called “their predecessors” with a very personal rendition of “Chega de Saudade”, beginning accompanied by her own guitar and joined by the band after a few measures. She included a few snippets of “Aquarela do Brasil” to the tune as Lubambo riffed around the melody.  She followed by her own “Essa Mulher,” a tune Lubambo mentioned he’d personally selected for the set, including an accomplished bass solo by Matta.   Dori Caymmi joined the group and sang his “Joazinho Boa Pinta” a humorous tune about a good-looking rascal of sorts. The trio left the stage as Caymmi and Moreno played a beautiful duet on Jobim’s “Dindi” with Caymmi on guitar. They followed that with Caetano Veloso’s “Sampa,” a song written as a tribute of Brazil’s largest city.

I like to say that Trio da Paz are “the Rolling Stones” of Brazilian jazz because they have great individual moments as bandleaders in their own right, but there is clearly some magic when they perform and record together.  This perception is renewed every time I hear them live – in spite of all these years, they are symbiotic and work together in a manner  rarely seen with ensembles where the focus is on individuality. This was clear at Birdland, when they took on originals tunes and classics like “Voce Foe a Bahia,” a playful melody on the uniqueness of Caymmi’s native state.

It was a great experience to hear Trio da Paz with their guests – I just wish the set I heard had included Da Fonseca’s “Flying Over Rio” – but I am sure there will be other chances for that soon enough.

 

 

 

Concert Review: Brasil Guitar Duo at Americas Society

 

 

 

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By Ernest Barteldes

 

Brasil Guitar Duo

Americas  Society

February 19, 2016

New York, NY

 

 

Playing before a filed room in New York’s  Americas Society, The Brasil Guitar Duo formed by João Luiz and Douglas Lora kicked off their CD release event with Astor Piazzola’s “Zita,” a complex tango that the duo arranged for two guitars and set the tone for the rest of the evening. The duo played with zero amplification (there were two overhead microphones, but I believe those were for recording the set), but the acoustics of the room made it possible for them to be heard no matter where you were seated. They continued with Jean-Phillipe Rameau’s “Les Cyclops,” a tune that showcased their soloing and chord techniques.

They followed with Mario Castelnuovo-Tedesco’s “Prelude and The Fugue no. 7,” a very interesting Bach-inspired composition filled with 1/16 notes and changing tempos. They followed that with a selection of tunes by Brazilian composer Egberto Gismonti, beginning with “A Fala da Paixão,” a mellow ballad in which Luiz played solos filled with octaves, and followed with “Sete Anéis,” a tune with a strong rural Brazilian feel and a quirky middle section with harmonics and extraneous sounds.

After a brief intermission, they played Leo Brouwer’s “Sonata de Los Viajeros,” a track from their CD dedicated to the works of the Cuban composer, which was released that evening. The composition is divided into four distinctive movements, beginning with “Primer Viaje a Tierras Heladas,” which started with a tranquil mood and then became agitated, as to represent the travelers’ journey from the Caribbean Sea to the North Atlantic. “La Venus de Praxiteles” had more of a contemplative feel, while “Visita a Bach en Leipzig” had more of a classical feel. The piece ended with “Por El Mar de Las Antillas,” which had a traditional Cuban feel.

The concert ended with Marco Pereira’s “Bate-Coxa,” an up-tempo “Coco,” a popular northeastern Brazilian beat. It was a nice closing to the concert, since it got out of the seriousness of Brouwer’s composition, taking the music to a more playful feel.

The concert was hosted by WQXR’s Terrance McKnight, who talked with the musicians between songs, tracing their musical influences and their beginnings and also their working relationship and their musical choices. They also talked about their beginnings in Brazil and the guitar teacher who first had them play together when they were younger.

 

Disc review: Trio da Paz “30”

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By Ernest Barteldes

 

Guitarist Romero Lubambo, drummer Duduka Da Fonseca and bassist Nilson Matta are all accomplished bandleaders in their own right, but when they get together as Trio da Paz there is clearly some extra musical magic going on.  The three musicians have fantastic chemistry together, and that can be heard not only on a live format but also in the studio.

The group began via informal rehearsals the three musicians did together before officially creating Trio da Paz, which now celebrates its 30th anniversary with 30 (Zoho), a record containing mostly original material written individually by Lubambo, Da Fonseca and Matta. The album kicks off with “Sampa 67,” a Matta composition that honors the city of the bassist’s birth (not to be confused by the similarly titled Caetano Veloso tune).  The track is centered on the bass and drums with guitar riffs.  They revisit Lubambo’s “For Donato,” a tune played around a bassline that is reminiscent of Dorival Caymmi’s “Samba da Minha Terra” but then goes into a completely different direction.

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The song was previously recorded by its composer on 2002’s Rio de Janeiro Underground, but here the arrangement is markedly faster than the original recording, focusing on all three band members.  Also revisited is Da Fonseca’s “Flying Over Rio,” a song previously featured on the drummer’s quintet album “Samba Jazz (Anzic, 2013). The Trio da Paz version is more stripped down, focusing on Lubambo’s nuanced guitar playing.

 

The trio also pays tribute to the late master guitarist Baden Powell with a cover of his “Samba Triste,” here played as an antithesis of its title – instead of being a “sad samba,” it appears as an up-tempo melody that showcases the band members’ individual chops.  It is notable that Lubambo recorded a handful of tracks using electric guitar (something I have never heard him doing with Trio da Paz) – “Outono, “a slow bossa that features a melodious solo from Matta, and also the aforementioned “Flying Over Rio.”

As someone who has seen this trio perform live many times in the past decade, I cannot wait to hear how they will treat these tunes on stage. I have been in awe of their music ever since I heard them for the first time at the Jazz Standard in 2005, and I hope they stick around for a very long time.

Capsule Reviews: John Basile. Calixto Oviedo, Ivete Sangalo & Criollo

By Ernest Barteldes

I know it’s been a while since I posted any  new disc reviews – during the summer I pretty much refrain from doing that because I am either out there attending concerts (reviewing either here or for All About Jazz), so when Labor Day comes along there is a pile of neglected records begging to be heard and reviewed.

Now years ago I would have had a number of outlets to write in-depth reviews of these wonderful works, but considering that way too many publications have either disappeared or hired so-called “music editors” who think they are the last bottle of Coca-Cola in the desert, I have created this labor of love in which I bring you some of the music that I have heard and appreciated.

Since summer is over and that means that I won’t be heading to concerts as often, I would like to offer you a selection of recordings that were released in the last few weeks and that I think deserve to be checked out. This is not in any specific order of preference – check them out:

A picture of a street sign for Liverpool’s most famous street greets you on John Basile’s Penny Lane (Self-released) ,a jazz tribute to the works of the Fab Four. Kicking off with the symphonic “Eleanor Rigby,” Basile works through some of the Beatles’ deep cuts while finding a new way to improvise around hits like “Can’t Buy me Love” and “I Want to Hold Your Hand,” the latter of which sounds nothing like what was played at the Ed Sullivan Theater thanks to the creativity around the arrangements. Sadly, Basile pulled a Sinatra and credited “While My Guitar Gently Weeps” to Lennon/McCartney – I am assuming this was a typo since it is one of George Harrison’s most beloved and well-known songs after “Something”.

I first heard master drummer Calixto Oviedo at the Jazz Standard a couple of years ago, and was impressed by his creativity and dexterity, as you can see from a review I published on All About Jazz when he was in town as part of the New Dimensions in Jazz program, which continues to showcase new voices in Latin jazz.  We have stayed in touch on social media since then, and he was nice enough to send me a copy of his “Cuban Train: Como Suena,” which is like a party to the ears.  I expected to hear more traditional material, but here he expands the music into various directions, going from modern jazz to more traditional material

Last year Renata and I attended a free show in Fortaleza in tribute to the late singer-songwriter Tim Maia. The concert was part of a national tour sponsored by Nivea (the popular cosmetic brand) that featured singers Ivete Sangalo and Criollo, who did their own takes on the music, often sharing duets. I was not able to review that show because there was a large crowd and it was just impossible to take notes there.  The duo also released a studio album (I was hoping for a live DVD or something, but that has yet to materialize) with some of the songs included on the tour.  Among the most notable are Criollo’s take on “Chocolate” (a hit for Marisa Monte – I am assuming that is why Sangalo did not carry that one), which has a nice R&B feel, and “Corone Antonio Bento,” a song with strong northeastern Brazilian roots. The disc does a very good job of bringing Maia’s music to younger generations.

Album Review: Badi Assad/Hatched

By Ernest Barteldes

I’ve been following Badi Assad for about fifteen years, from the time she was doing more avant-garde instrumental-oriented music right into her shift into the pop-jazz-fusion material she started putting on her records, going from 2005’s Verde up to Hatched (QuatroVentos),  in which she reinvents pop hits in her own way – the tunes are still recognizable, but her personal imprint combined with her signature acoustic guitar chops – are undeniable.

It was fortunate that I was oblivious of most of the tunes on the disc so I could appreciate the music without any bias, approaching them from a completely fresh point of view. She kicks off with Mumford & Sons’ “Little Lion Man” with a bossa-nova vibe that contrasts to the much faster paced original.  She transforms “The Hanging Tree” (from the Hunger Games soundtrack) into an acoustic funk that showcases her guitar and vocal chops, leaving the original recording as floundered Joe Cocker did to The Beatles on “With a Little Help From My Friends.”

My favorite recreation was her take on Lorde’s “Royals” – Assad plays it double tempo, with Simone Sou’s strong percussion as a backdrop to the Assad’s fluid guitar and Rui Barossi’s upright bass.

I am looking forward to catching this material in a live format. The last time I saw her perform was during the Verde tour, when she played accompanied solely by her guitar – it was great, but I would love to see her stretching it live with a band behind her.

Not that she needs it at all – she is highly engaging on her own.

If you happen to live anywhere near where she’s touring, do not miss the opportunity to hear her live. I have already told my friends in Fortaleza – the only major Brazilian city she is playing in at the time of this writing – to go to the show.

And a note to my readers in Chicago – the publication there that I have contributed there for over a decade has a new music editor who thinks he is the last Coca-Cola in the desert. He is doing the usual house cleaning that commonly comes with change in the masthead, so you will not be seeing my byline there for a while. The solution? Subscribe to my feed, because I have not forgotten you.

Musical Blends: New Orleans Meets Brazil + Music of Turkey and Greece/ CD reviews

By Ernest Barteldes

Carnival Caravan

On the EP “Carnival Caravan”  (Self-released) the Scott Kettner-led Nation Beat embarks on a very interesting  musical trip that blends the sounds of New Orleans with  Northeastern Brazil ‘s traditional beat of Maracatu – that is immediately noticeable on the opening track “Casa Diamante/Sew Sew Sew,”  a mash-up between an original track in Portuguese with a traditional NOLA tune.

Like I have written in the past, there are many similarities between the cultures of  northeastern Brazil and Louisiana that putting them together is more natural than one might think. That is evident on  “Carnival Carnival” – just listen to “Vou Cantar Esse Coco,”  an original tune sung entirely in Portuguese with the backing of a typical New Orleans-sounding brass band.  The same goes with “Canto da Ema/All on A Mardi Gras Day,” a  very enjoyable mash-up of the two countries’ sounds. The track begins with with a traditional NOLA “call” and then Fabiana Masili jumps in with her native Fortaleza-accented Portuguese.

The EP is lots of fun and gets you moving from the very first moment. It sounds like everyone was having tons of fun in the studio together  – even if some of the musicians were in different locations.  I am  surely going have this one at hand to get the party started.

Going in a completely different direction is Dű-Sems  Ensemble’s “Music From Turkey and Greece,”  (Arc Music) a lovely collection of traditional sounds from the neighboring Mediterranean  countries. Like Brazil and New Orleans, both countries also share various cultural and culinary traits.

This disc blends original and traditional tunes from both nations. Most of the disc is instrumental, going from slow ballads to more uptempo tunes.  I especially liked the more improvised, seemingly off-the-cuff moments – two examples being “Oud Improvisation,” an inspiring two-minute solo piece by Osman Kirklikçi and Tanju Erol’s “Clarinet Improvisation,” which begins as a solo and then becomes an ensemble piece.

Among my personal favorites were  “Nihavend Mandra,”  an instrumental tune that picks up tempo as it goes along, and “Abacilar Inişi,” one of the few tracks  with vocals by an unidentified female singer (they list various on their website, but I could not figure out who it is since they have various guest artists performing with them) who sings with great gusto.

As of this writing there are no scheduled dates for any shows in North America – I surely would love to have the opportunity to see them up close  – the music is highly captivating and beautifully played