Neves e Silva: Ladeiras de Santa Teresa

Ladeiras de Santa Teresa opens with a big polymetric beat and powerful brass and percussion up front. You might flash on the Afro-Bahian sound of Letieres Leite's Orkestra Rumpilezz. The groove shifts suddenly, releasing into a jazz feel; Brazilian jazz that is, not swing or bebop, though Charlie Parker's "Star Eyes" with intro serves as a rough analog (Verve, 1951). Luiz Otavio takes a ride on piano, followed by Eduardo Neves on tenor saxophone, then back to the head with Neves' dreamy flute floating in at the end. The tune is trombonist-trumpeter-guitarist and drummer Antonio Neves' "Das Neves."

Antonio Neves co-leads Neves e Silva with drummer-percussionist and guitarist Thiaguinho Silva. Both multi-instrumentalists are second-generation Brazilian jazz royalty. Antonio is the son of multi-reedist and composer-arranger Eduardo Neves, who has collaborated with Hermeto Pascoal, Hamilton de Holanda, Guinga, Maria Bethânia, Milton Nascimento, and Gilberto Gil, among others (and has a guest spot on Ladeiras de Santa Teresa). Thiaguinho's father is Robertinho Silva, whose list of collaborators is as impressive, including Nascimento, Gil, Egberto Gismonti, Toninho Horta, Airto Moreira, Flora Purim, and Wayne Shorter.  

Ladeiras de Santa Teresa is their debut, and it is the sort of album that rewards repeated plays. The tunes are well-crafted and the ensemble is superb, with soulful horns, adventurous improvisations, and intoxicating rhythmic feels.

Each piece has a different feel. Neves' "Romênia" (track two) is in a slow three, with Silva's purring brushed drumbeat and Neves' muted trumpet in the foreground against passing streaks of lightly reverberating guitar, as Guto Wirtti's patient bass moves the scene steadily on. Otávio's piano, here as elsewhere, serves as an advance guard, jumping out of the frame to explore exterior melodic and harmonic terrain. The piece does not end so much as disappear. The effect is inexplicably poignant.

Silva's "Fendas Vocais" brings on the funk, with a rocking 3-3-2 beat at the outset and James Brown-like horn lines in the break. Rodrigo Pacato joins Neves and Silva in the percussion section. This is music for dancing, and it is not hard to imagine it extending in a live setting.

As the title indicates, Ladeiras de Santa Teresa refers to the historic Santa Teresa neighborhood of Rio de Janeiro. The district is sometimes referred to as "Rio's Monmartre" due to its hilly terrain, boho vibe, and the Catholic edifice on its summit, attributes it shares with the Parisian quartier. Neves' "Morro dos Prazeres" (Hill of Pleasures) alludes to a favela of the same name, which is part of Santa Teresa. The piece is in a loping meter of 5. A slightly ominous bowed bass pulls at the heartstrings while legato brass creates an intermittently dissonant watercolor wash with muted trumpet and lightly-etched piano in the foreground. Those who are familiar with Santa Teresa's history of mule-drawn trams might imagine them scaling the heights here. Again, this is a piece that could easily be stretched into a Kind of Blue-style improvisation (Miles Davis, Columbia, 1959).

The final two selections present further contrasts, with Silva and composer-producer-street artist Joca (rapper)'s "Viagem de Trem" (Train Trip) spotlighting Joca in a fast-moving stream-of-consciousness rap that shares the foreground with Otávio's free-range piano, as horns and rhythm punctuate the ride. The program concludes with Silva's affecting "Misericórdia" (Mercy). Neves' trombone renders the lead line simply, with sincerity and grace.

Neves e Silva is definitely a duo to watch.