Quick and to the Point: Classical music meets Jazz on gilded Brazilian streets..
A recording partially sponsored by a grant from the Illinois Arts Council, Juntos (“Together”) is a Brazilian choro -inspired musical collage that reinterprets the work of some luminaries such as Antonio Carlos Jobim, Astor Piazzolla, Heitor Villa-lobos, and other composers. The date’s leader is the main author featured, nonetheless.
Juntos offers a rare opportunity to listen to musicians such as pianist Maria Teresa Madeira and flutist Altamiro Carrilho, although the leading figures are guitarist, composer and vocalist Paulinho Garcia and flutist Julie Koidin. The latter’s breathing, technique, ideas and sound are classically infused –however, the Brazilian jest, beauty and flavor are not far behind. Garcia’s Spanish singing –as in “Luna Tucumana”– leaves much to be desired, nonetheless, as his accent belies a better knowledge of the linguistic hybrid known as “Portañol.” Aside from that, the rest of the work elicits aesthetic pleasure. Garcia and Co. make economically moving music that should be very well appreciated by lovers of such musical endeavors.
Dois no Choro recorded a simple and meaningful work that should attract anyone interested in good music, plain and simple. There are so many memorable moments: the opener’s charming fluttering interchange between Carrilho and Koidin; “Adios Nonino” and its meshing of classical, tangoed jazz and Brazilian undercurrents; the jumpy happiness of “Aruanda.” Chorinho Pra Nos” and “Chorinho Do Paulinho”; the graceful “Vals del Olvido.” The key is Garcia’s writing and roles as guitar anchor and vocal enabler, as well as Koidin’s talented flute playing –with its alluring understated effect. Their take on Villa-Lobos’ “Bachianas Brasileiras #5" should convince any listener.
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St. Needless to say, Jazz and Blues were always on the stereo in our home. I was steeped in these exciting sounds, and they make up some of my earliest memories.