Stephen Guerra: No Balan​ç​o do Choro​-​Samba

Guitarist Stephen Guerra was finishing up his undergraduate degree in engineering when he became enchanted with Brazilian music. It was the guitar and song magic of Baden Powell with its mysterious metric ambiguity. Upon graduating, he took a job in personal wealth management, teaching himself to play guitar and read music on the side. After a couple of years in finance, he went for a second undergraduate degree—this time in music—and kept going toward a PhD, never looking back. He now serves on the music theory and performance faculty of the State University of New York at Buffalo, dividing his time between New York and Rio de Janeiro.

No Balanço do Choro-Samba (In the Swing of Choro-Samba) is Guerra's second release and his first to present a program of his own compositions, all well-crafted. He recorded the album in Brazil with 7-string guitarist Rogério Souza, flutist-saxophonist Edu Neves, mandolinist Tiago do Bandolim (Tiago Souza) and percussionists Felipe Tauil and Almir Sodré. Rogério Souza, Guerra's mentor in the world of choro and Brazilian guitar, is a noted composer-arranger and musical director who has worked with such luminaries of popular Brazilian music as Joao Bosco, Ivan Lins, Elza Soares, Leila Pinheiro, Paulinho DaViola, Baden Powell, Guinga and numerous others. Neves likewise has a long career as a composer-arranger, session musician and side man for such celebrated choro, jazz and popular musicians as Hamilton de Holanda, Maria Schneider, Hermeto Pascoal, Guinga, Paulinho DaViola, Maria Bethânia, Milton Nascimento and Gilberto Gil. Tiago do Bandolim follows in the footsteps of his prominent mandolinist father, Ronaldo do Bandolim (Epoca de Ouro, Trio Madeira Brasil) but is part of a younger generation of players who mix their choro with jazz, tango, samba, baião and other genres.

"Um Negocinho pro Tito" (A Little Something for Tito—track one) presents the full ensemble and lays out the flexibly traditional spirit of the project: a swift groove with an easy feel, a well-wrought composition that lends itself to variation and space in the arrangement for the able improvisers in the group to have a little fun. Neves melodizes with a jazz-informed classical fluidity, a smooth warm sound and a subtly assertive Brazilian swing. Tiago's slightly tart timbre and touch are the perfect foil in exchanges between mandolin and flute.

The performances featuring the full ensemble are all engaging—"Alegria," "A Livia Comprou Chiclete" and "O Tom do Rossini." "Já Valeu" (Already Worth It) is a standout for its playfully darting lines, expressive harmonies and lively feel. The band drives the piece, hugging the curves, not letting go of the gas.

"Cataratas do Niágara" and the duet tracks with Rogério and Guerra ("Choro pra Lia" and "Acorde Vagabundo") are lovely, offering student and mentor an opportunity to support one another and shine together. Souza steers the boat with his masterful melody-making and baixeria (improvised bass counterpoint), negotiating a delicately forward-leaning balanço, a groove that flows.