61

Lukas Hein: Lukas Hein & Dialeto Brasileiro

Jack Bowers By

Sign in to view read count
In the early 1960s, bright new rhythms traveled northward from Brazil, kindling a "bossa nova craze" that swept through the jazz world and spilled over into the realm of pop music, led by saxophonists such as Stan Getz, Bud Shank and Zoot Sims, and abetted by guitarists Charlie Byrd, Laurindo Almeida and others. After scoring a hit in 1962 with an adaptation of Antonio Carlos Jobim's "One Note Samba," Getz had a million-seller the following year, again thanks to Jobim, with "Desafinado." He teamed with singer Joao Gilberto for yet another blockbuster, "The Girl from Ipanema." Others soon climbed aboard the fast-moving bossa bandwagon, which rolled merrily along for several years before the phenomenon gradually slowed to its inevitable conclusion.

Saxophonist Lukas Hein, not yet thirty, wasn't around when the bossa nova mania first arose, but he must have done his share of listening to Getz, Shank, Sims and the others, as his debut album with Dialeto Brasileiro, a rhythm trio from Rio de Janeiro, recreates with fondness the music of that era. Hein does his very best impression of Getz, whose sound was unique among tenor men at the time and remains pretty much so to this day. Hein, however, has listened closely to that sound, assimilated its shadings and timbre, and fashioned a modulation of his own that closely resembles the captivating sound that Getz was able to produce.

Whether the world needs a Stan Getz clone, or a bossa nova revival, is a topic for debate. Nevertheless, what we have here is a saxophonist who sounds a great deal like Getz, performing mostly bossas (including three numbers by Jobim) with a trio of native Brazilians. Hein's soft, breathy style is well-suited to the music, his improvisations graceful if not galvanizing; his teammates are staunch and supportive, as if they'd been playing this music all their lives (which in all likelihood they have). There is no guitar, but bassist Wagner Soares Trindale contributes a couple of engaging solos, as does pianist Cassio Vianna. Meanwhile, drummer Claudio Rochat-Felix keeps impeccable time.

Besides interpreting music written by others, Hein composed the buoyant "Samba de Mais Notas," which is enchanting. The only other composer's name that would be familiar to adherents of American jazz is that of Mal Waldron, whose expressive "Soul Eyes" closes the album. Although Hein's debut album leans more backward than forward, it is nonetheless admirable and pleasing, and the hope is he will soon be heard from again, whether in bossa nova apparel or some other suitable clothing.

Track Listing: Aspettami; Samba de Mais Notas; Dindi; É Luxo Só; Look to the Sky; Correnteza; Corcovado; Soul Eyes.

Personnel: Lukas Hein: tenor saxophone; Cassio Vianna: piano; Wagner Soares Trindade: bass; Cláudio Félix: drums.

Title: Lukas Hein & Dialeto Brasileiro | Year Released: 2012 | Record Label: Teal Creek Music

Tags

Watch

comments powered by Disqus

Shop for Music

Start your music shopping from All About Jazz and you'll support us in the process. Learn how.

Related Articles

Read Burning Meditation Album Reviews
Burning Meditation
By John Sharpe
April 18, 2019
Read Remembering Cecil Album Reviews
Remembering Cecil
By Dan McClenaghan
April 18, 2019
Read Apophenia Album Reviews
Apophenia
By Roger Farbey
April 18, 2019
Read Transcending the Sum Album Reviews
Transcending the Sum
By Chris May
April 17, 2019
Read Punkt.Vrt.Plastik Album Reviews
Punkt.Vrt.Plastik
By John Sharpe
April 17, 2019
Read Glitter Wolf Album Reviews
Glitter Wolf
By Jennifer DeMeritt
April 17, 2019
Read American Love Call Album Reviews
American Love Call
By John Bricker
April 17, 2019