"Ninho de Vespa (wasp's nest)," the title track from their forthcoming CD, opened up the second half. Renato Bandeira on guitar played a magnificent solo at blistering speed, which was quickly followed by a sultry tenor sax solo by Santos. Every one of the magnificent musicians on stage got to solo. The camaraderie between them was evident and the love of the music came across in the exuberance of their playing. There was much back slapping and smiling between the players after solos, and a towel was passed around to mop brows, coming to rest on the balding head of one particularly warm trombonist.
During an amusing interlude Spok introduced a medley composed by frevo maestro Nelson Ferriara, consisting of three short tunes titled "Very Delicious," "Little Delicious" and "Delicious." He explained that "'delicious" in Brazil is what men call themselves if they think they are good looking, then assigned the titles to three band members, reminding them that only they thought they were delicious. "Very Delicious" featured four trombones playing solos and then coming together in a lovely lilting melody, much slower than the audience were used to by now. In "Delicious," four saxophones combined to produce a huge, fast and uplifting sound.
Spok explained before one number that it was written by cowmen (vaqueiro)and used to communicate with their cows. He needed the audience to repeat the tuneeasy at first, but the tune soon became too long and too complicated for anyone to keep up withSpok has a sense of humor. This frivolity was followed by a beautiful slow number "Passo de Anjo" (Angel Steps)," which included a haunting sax solo and was written in homage to their native area.
The modern number "Caranca" (the monster figurehead on the prow of a boat) was a little slower and included several soloists improvising around the tune. Spok introduced the finale, inviting the entire audience to, "come to the carnival in Brazil next year"jokingly pointing out that one of the band members had a very large house and a wife who loved to cook, so there would be no hotel or food bills. Then he invited everyone to take part in a carnival "right now" and do it in frevo stylethat meant standing up. Most of the audience got to their feet and the number "Vasshourinhas" began, again at frenetic speed with a driving beat. It was impossible to keep still.
In person, Spok is charming and charismatic. Through his interpreter, we managed a few words when I was introduced to him and he said he would love to play on TV and get more people to enjoy this music. I tried a bit of Portuguese, telling him I enjoyed his performance. His face lit up, and I thought for one moment I was going to get caught pretending I spoke the language, but the interpreter flew to my side and duly introduced us for a three-way chat.
He spent a long time talking to people, signing programs and making his way slowly back towards the dressing room, never hurrying but evidently enjoying the time at Ronnie Scott's and the interaction with people. He continually thanked people for listening and seemed genuinely thrilled to find himself at the famous jazz club (a great setting with its low lighting and quiet, relaxed ambienceeven if that went out the window once frevo was under wayfeaturing three shows most nights which people can enjoy until 3:00 a.m., including Ronnie Scott's All Stars which opens many shows, the main act, and then a showcase of newer acts at midnight.)
Noteworthy was the age of many of the band's instruments. Spok plays an old, slightly battered, curved silver soprano, and many of the instruments look like they have traveled a long line before reaching their current owner. This perhaps explains why they are handled so lovingly and why the timbre of the tenor saxophones and trumpets is so well roundedor maybe they just play them that way. It would be difficult to find jazz music which is more infectious than frevo or more definitive of a region. It would be difficult to find on one stage so many truly talented players and in Spok himself, it would be difficult to find a man more humble, genial and supremely gifted.
Frevo has very special, distinctive tunes and rhythms at its heart and is evidently much loved by those who play it. It involves big band sounds while fully embracing players who want to solo and improvise around the tunes. The music relates to the players' history, heritage and cultureit speaks to their hearts. In observing that the music communicates and joins people together, during a rare calm moment Spok looked into the audience and said simply, "Never lose your soul."
I was first exposed to jazz in 1961 (at age 10) when I was in a shopping arcade in Southport, England with my parents. I fell in love with the music playing over the PA system; Take Five by the Dave Brubeck Quartet
I was first exposed to jazz in 1961 (at age 10) when I was in a shopping arcade in Southport, England with my parents. I fell in love with the music playing over the PA system; Take Five by the Dave Brubeck Quartet. After going through Rock 'n Roll, the Beatles and Heavy Metal/Hard Rock phases over the next eight or so years, I finally bought my first jazz album; We're All Together Again for the First Time by Dave Brubeck, Paul Desmond and Gerry Mulligan. I was hooked on jazz, and still am 40+ years later.
I moved from England to the USA in 2002, and founded the Brookfield Jazz Society in 2005.
I became editor of the quarterly IAJRC Journalin 2012. The magazine goes to the worldwide membership of the IAJRC (International Association of Jazz Record Collectors) and many major libraries and educational establishments around the world.
As well as being the editor of the IAJRC Journal, I write about jazz and review CDs, vinyl, DVDs and books on jazz.
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