639

Moacir Santos: Music in His Blood

R.J. DeLuke By

Sign in to view read count
Moacir Santos speaks slowly, struggling from the after effects of a stroke suffered eight years ago. The 78 year-old also labors with his English, which doesn't come to him as easily these days as it did in the years after he arrived in Southern California from his native Brazil in 1967. He prefers to speak Portugese.

The words are slow, but heartfelt. They describe music and Santos' feelings about the art form to which he dedicated his entire life. Santos, you see, while relatively unknown in the U.S., is a legend among the great musicians of Brazil and a living monument to the musical treasures that have come from that country. He has been a composer, arranger, player (mostly reeds) and teacher for decades. For all his life, really. His legend has it that as a child of 3, he conducted other toddlers in a form of organized music in a poor neighborhood in Pernambuco, where he was born. Is that the creation of some fanciful writer?

No, says Moacir. He says he has memories of conducting a band of five children on makeshift instruments in his neighborhood. The temperatures were very hot, he recalls, so in this poor village the kids were naked.

"Can you imagine, a band of little children conducted by Moacir, without any clothes?" he says fondly. "In the street!"

His glee shines through with the recollection. His physical struggles are vanquished for the time being and there is sparkle in his manner. "I think I was born with music," says Santos from his California home. "When you called, I was listening to Brahms, Chopin. All my life is music, music."

The recent release in the United States of Ouro Negro (Black Gold) is a testament to his talent, showcasing some of his famous works written years ago. The songs are all re-done by a young and talented band of Brazilian musicians, but they capture the feeling of Santos. Even though he helped supervise the sessions, he is still amazed by how well—and how true to original form—the music turned out.

The album is a gem, showing all colors of Latin music, but with other influences, because Santos studied classical forms as well as the Afro-Latin grooves that are part of his heritage. The music on the discs seems to have more nobility than many forms of Brazilian music heard over the years. Santos is one of the sources of that music, having taught the likes of Oscar Castro-Neves, Baden Powell, Mauracio Einhorn, Geraldo Vespar, Bola Sete, Sergio Mendes, Dom Um Romao, Joao Donato Dori Caymmi, Airto Moreira, and Flora Purim, among others.

Ouro Negro was produced by Mario Adnet and Z' Nogueira and uses original transcriptions of Santos' arrangements for music from albums he made years ago: the highly regarded (and long out of print) Coisas (Forma 1965), Maestro (Blue Note 1972), Saudade (Blue Note 1974) and Carnival of Spirits (Blue Note 1975). Instrumentalists on the double CD include Adnet and Ricardo Silveira (guitars), Crist'v'o Bastos and Marcos Nimrichter (piano), Jorge Helder (bass), Nailor Proveta (alto sax), Z' Nogueira (soprano sax), Teco Cardoso (baritone sax) and Jess' Sadoc (trumpet). Vocalists include M'lton Nascimento and Gilberto Gil.

The music blares, struts, floats, chirps, dances. It's dense in parts and gentle in others. It speaks to the head and heart and has qualities that Americans might not normally associate with Latin music, because Santos has all these things in his soul and gets them out. It is rich in rhythm and melody and harmony. It is rich in spirit. And kudos should go to Nogueira and Adnet, who redid the charts to Coisas , including "Thing no. 5," also known as "Nana," perhaps Santos' most well known number (recorded some 150 times, they say, by people including Herbie Mann and Kenny Burrell) , by listening to the original recordings. That's because the originals scores were lost when the Forma label was sold to Polygram.

The ultimate compliment to the music comes from the man himself.

He says that when he listens to the album, "tears come' Two days ago I was listening to the album and cried a little bit." On the album, "they were executing ' the music and musicians' the thoughts I need to express. It's very mysterious to me'some things I didn't write, they did exactly what I should do' my sensitivity' very mysterious' as a result of this, I cry."

Ouro Negro is a long overdue representation of a master.

Around the time Santos was conducting his naked band of children, his mother died. He was taken in by a family who sent him to school and to music lessons. He says he used to hang around musicians in one Brazilian village. The band members saw the great interest the youngster showed and they let him take care of instruments when they went on break. As a result, "I got to play all of these instruments."


Tags

comments powered by Disqus

More Articles

Read Jamie Saft: Jazz in the Key of Iggy Interview Jamie Saft: Jazz in the Key of Iggy
by Luca Canini
Published: October 20, 2017
Read Piotr Turkiewicz: Putting Wroclaw On The Jazz Map Interview Piotr Turkiewicz: Putting Wroclaw On The Jazz Map
by Ian Patterson
Published: September 18, 2017
Read The indefatigable Bill Frisell Interview The indefatigable Bill Frisell
by Mario Calvitti
Published: September 12, 2017
Read "Jack Wilkins: Playing What He's Preaching" Interview Jack Wilkins: Playing What He's Preaching
by Rob Rosenblum
Published: December 29, 2016
Read "Laura Jurd: Big Footprints" Interview Laura Jurd: Big Footprints
by Ian Patterson
Published: February 16, 2017
Read "Craig Taborn and his multiple motion" Interview Craig Taborn and his multiple motion
by Giuseppe Segala
Published: August 7, 2017
Read "Nicole Johänntgen: Henry And The Free Bird" Interview Nicole Johänntgen: Henry And The Free Bird
by Ian Patterson
Published: June 27, 2017

Join the staff. Writers Wanted!

Develop a column, write album reviews, cover live shows, or conduct interviews.