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Sinuosa

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Bruno Elisabetsky

Label: Ia (independent Artists)
Released: 2015
Duration: 00:48:29
Views: 280

Tracks

Prorrogação; Portas; Tema de Abril; Samba Moreno; Farol Alto; Sinuosa; Seta; Maré; Novos Ares; Ponto Cego; Estação

Personnel

Album Description

Brazilian guitarist, composer and producer Bruno Elisabetsky includes Antonio Carlos Jobim, Caetano Veloso, Pat Metheny and Brad Mehldau, Edu Lobo and Egberto Gismonti among their favorite musicians. Each of them left some mark in his own work. Bruno was born in Sao Paulo, for some time he lived in Tel Aviv and Barcelona, but now he works in his hometown again, creating music in his own studio. On account of Bruno, two albums recorded in the framework of the project Quarteto Quadrantes: Passos Largos (2013) and Sinuosa (2015). In 2015, he also founded a new team, called simply the Bruno Elisabetsky Trio. Together with him, this group includes bassist Rafael Aballa and drummer Joao Fidelis (all of them are in the photo). In this purely acoustic format, in the summer of 2018, the trio recorded a program that had turned into an album called Xadrez (“Chess”) by the end of the year. http://jazzquad.ru/index.pl?act=PRODUCT&id=5109 The album includes nine tracks, of which I would first of all draw attention to track number 6, which Bruno Elisabetsky called unusual: Coisas De Violāo, which means “Things about guitar” in Portuguese (if you are not deceiving). Well, something about Bruno can really be learned from this composition: a great mastering of acoustic guitar, virtuoso technique, an organic fusion of jazz and Brazilian music elements. But, of course, one track will not be enough. Each of the nine compositions of the album opens both Bruno himself and his colleagues in a slightly different way. The starting Voando is quite simple in appearance: a light rustling of drums, followed by a guitar solo, then a double bass enters into dialogue with the guitar, and then the guitar is re-soloed. But typical for the Portuguese-speaking countries, including Brazil, the emotional mood of the Saudis, something like a bright sadness, joy, mixed with bitterness, this composition, a kind of Brazilian blues, conveys great. No less interesting is the next piece, Espera, where Bruno plays in a different, almost academic, even (perhaps, I fantasize) baroque style. And in the rhythmic structure of the composition Corda Bamba you can catch the intonation of already pure Brazilian music. For music, Bruno is characterized by a calm, unhurried development, he does not seek to impress the listener with the speed of the game and the number of notes taken, but it makes it possible to evaluate each sound separately. The most revealing in this regard, the play Nostalgico, as lyrical as it is emotional, is one of the most beautiful on the disc. I can not fail to note the interaction of the leader with partners. The musicians of the trio have excellent mutual understanding, and the dialogues of the double bass and guitar in many compositions become key points of development. I do not know why Bruno named one of the tracks and the whole Xadrez album. But, supporting this analogy, I would say that he conducted his “party” like a real grandmaster, having in his arsenal many different “debut systems” (jazz, Brazilian music, academic music). In general, remembering the famous Brazilian chess player of the 70s, one can say, a real mecking guitar! JAZZQUAD.RU

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