One of the aspects that gives music its inherent beauty lies in the universality it can enfold. When the players have empathy for, and the sensitivity to mould, the different strains, the experience can be compelling. Britos has that perception. He melds jazz and candombe, which is an African derived rhythm that has been part of Uruguayan culture for two centuries; but he takes his conception even further. Derivatives of the melody and the harmonic concept of “Malungo” can be heard in songs composed in Goa, India, which in turn has its heritage in the music of Portugal.
Britos is a deeply passionate player, constantly churning up excitement during the quietude of a ballad or in the frenzy of a swinging tune. His tone is deep and warm, the nuances captured with delicate precision. His classically intent solo outing “Canción De Cuña” is a stunning piece of sustained lyricism. In the mainstream of jazz comes “Palermo,” with a nod to Ellington that makes swing come alive.
Britos finds a kindred spirit in Simon Saltz, whose guitar shapes melody with an understated grace. Saltz’s delicate air is the prime force on “Una Lagrima,” an achingly beautiful ballad. The art of the ballad is also spelt compellingly on “Cuareim”, where the piano of Novas entwines with the violin in gentle conversation.
The music on Candombe & Jazz, delicate and joyous by turn, makes listening a resounding pleasure!
Ansina; Malungo; Luna Dorada; Cuareim; Montevideo-Miami; Una
Lagrima Cae En El Rio; Musica Para Un Cuadro; Palermo; Cancion De
Cuna; Punta Del Diablo; Isla De Flores; Mercado Del Puerto; La Ciudad
De Los Tamboriles; Candombe Dombe
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