Carlos Henrique Pereira: Northern Readings

Brazilian composer, pianist, and guitarist Carlos Henrique Pereira's release Northern Readings is a quietly remarkable recording that unfolds less like a collection of tracks than a carefully stitched memoir in sound. Grounded in the heritage of Brazil's Minas Gerais State, the album brings together a complementary blend of traditions, with the patience and honesty Pereira shows in allowing them to converse naturally. The ensemble itself sets the tone. Pereira alternates between piano and a nylon-stringed acoustic guitar. He is joined by cellist Rubin Kodheli, Mads Tolling on violin and kalimba, Itaiguara Brandao on acoustic and electric bass, and Mauricio Zottarelli on drums. The instrumentation is unusual for a Brazilian jazz project, yet the absence of conventional horns creates an extraordinary level of transparency.

The opening piece, "First Flight," arrives almost tentatively as Pereira sketches melodic fragments over gently suspended harmony. The ensemble seems to hover, gauging the emotional atmosphere before committing fully. Pereira's guitar lines lead the way, with Tolling's violin entering as an extension of his phrasing. Kodheli's cello anchors the music with an earthy resonance. The title track, "Northern Readings," deepens the emotional terrain. Pereira's writing captures the tension between displacement and belonging. The Brazilian rhythmic vocabulary is at the forefront, with syncopations from the piano, electric bass and drums ever-present. As the piece unfolds, the chamber textures soften the pulses, creating a reflective, almost cinematic effect.

The intimate and expansive musical narrative, as designed by Pereira's track list, is not a random selection like a number on a bingo card. The tracks are written as a continuous arc, unfolding like a musical story meant to be experienced in sequence. Alongside his compositions, each musician contributes a fully improvised solo, captured in a single take without revision.

The initial improvised solo "First Moment" is performed by Tolling. It opens with the kalimba (thumb piano) establishing a quiet intimacy, before Tolling's violin lines drift between folk-like simplicity and abstract exploration. It is a reminder that spontaneity can reveal more of reality than composition. "Side by Side" restores the chamber setting that continues to define the music's identity. Pereira's keyboard strikes dance through shifting grooves, while Brandão and Zottarelli lock into a rhythmic conversation, and Kodheli's phrasing adds a shadowy density.

"Second Moment" is Zottarelli's solo contribution, almost architectural in its construction. Rather than delivering a conventional drum feature, he creates texture and space, offering a miniature study in rhythmic colour.

Kodheli's "Third Moment (Green Pearl)" is perhaps the album's boldest foray into abstraction. His cello speaks in resonant drones, alternating between arco and pizzicato, to create a deeply personal meditation that still fits within the album's broader narrative.

"Meridian" returns to Pereira's compositional voice, balancing rhythmic sophistication with melodic accessibility. The ensemble achieves an intimate yet expansive equilibrium, a quality Pereira seems to pursue throughout the recording. "Fourth Moment" features Brandão's improvised acoustic bass solo, which offers warmth and melodic invention. Bass improvisations often become technical displays. Not here. His tone remains rich and human throughout. On "Say it like it is," the ensemble sounds fully liberated from stylistic labels. Jazz, Brazilian, and chamber music are no longer distinct languages. Pereira's guitar lines display elegance and emotional directness, and the ensemble responds with complete trust. The album closes with "Fifth Moment," Pereira's final reflective gesture. This pianistic episode does not conclude the journey; rather, it leaves the door slightly open, inviting further reflection in the final notes.

The album reveals itself as one of the rare contemporary jazz recordings that reward attentive listening.