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Take Five with Marcio Resende


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Meet Marcio Resende

Recognized as one of Brazil's leading woodwind players, Marcio Resende studied at two prestigious U.S. music institutions early in his career, Berklee College of Music and The New England Conservatory, before pursuing doctoral studies at New York University. He has studied with Jimmy Giuffre, George Russell, Joe Allard, Dr. William Thomas McKinley, Joe Gallardo, Jack Reilly, George Garzone, Joe Lovano, Jim McNeely, and Don Cherry. Resende has performed at festivals throughout Latin America with numerous renowned musicians including Toninho Horta, Wilson Simonal, Elza Soares, Belchior Ednardo, Mario Adnet, Claudio Nucci, Alexandre Carvalho, Lula Galvao, Jorge Helder, Joey Calderazzo, Matt Darriau, Ze Menezes, and Dominguinhos. He has also released two albums as a leader, New Bossa (True Azul Music, 2008) and Tutys (Humaita Music, 2016). He is currently a professor of music at the University of the State of Ceará in Fortaleza, Brazil.


Saxophone and flute

Teachers and/or influences

Teachers: Jimmy Giuffre (sax), George Garzone (sax/improv), Joe Allard (sax), George Russell (Lydian chromatic concept), Joe Lovano (sax/improv), Dr. Wiiliam Thomas McKinley (composition), Jim McNeely (composition), Don Cherry (harmolodic concept), Moacir Santos (composition).

Influences: Milton Nascimento, Toninho Horta, Antonio Carlos Jobim, John Coltrane, Wayne Shorter, Michael Brecker, Pat Metheny, Stan Getz, Bach, Debussy, Ravel, Gil Evans, Claus Ogerman, Pixinguinha, Nelson Angelo, Novelli, Edu Lobo, Chico Buarque, Dori Caymmi.

I knew I wanted to be a musician when...

When I heard the first jazz LP that I was blessed to listen to, John Coltrane's A Love Supreme (Impulse!, 1964).

Your sound and approach to music

I believe that the creative process of becoming an artist does this job, but I really am grateful for one of the best teachers I've had: Joe Lovano.

Your teaching approach

I have been teaching saxophone, flute, composition, and arranging for quite a while. I am very grateful for all that was passed on to me by my teachers, which I eventually developed into my own style of teaching.

Your dream band

That's a hard one to answer. I would have to say Herbie Hancock, Dave Holland, Jack DeJohnette, Pat Metheny, and Toninho Horta.

Road story: Your best or worst experience

I would say all of them were pretty bad until I found my own voice as a creative musician.

Favorite venue

In New York City, the Village Vanguard, Town Hall, Blue Note, and Dizzy Club's at Lincoln Center. Also Blue Note São Paulo.

Your favorite recording in your discography and why

I believe there are three of them: Stan Getz and Bill Evans's But Beautiful (Milestone, 1974), Weather Report's Heavy Weather (Columbia, 1977), and Milton Nascimento's "Raca" from Milton (43:16 Records, 1976).

What do you think is the most important thing you are contributing musically?

I still don't know for sure, but I believe that if I am changing the way growing musicians develop their paths into musical knowledge, that would be it.

Did you know...

I met Don Cherry and became friends with him at Thompson Square park in New York in the late '80s.

The first jazz album I bought was...

Night Dreamer (Blue Note, 1964) by Wayne Shorter.

Music you are listening to now

I would say mostly my own music. For me, that's my favorite learning process.

Desert Island picks

Wayne Shorter's Native Dancer (Columbia, 1974), Coltrane's A Love Supreme, Charlie Parker on Bird with Strings (Verve, 1947—52), Getz and Evans's But Beautiful, and Joe Lovano's Trio Fascination (Blue Note, 1997) with Dave Holland and Elvin Jones

How would you describe the state of jazz today?

I believe jazz has always been a self-developing "living being" that allows musicians to choose whatever path they decide to choose as their own.

What are some of the essential requirements to keep jazz alive and growing?

I believe this depends on who is creating the music and those who are listening to the style (who have so many different faces).

What is in the near future?

I'm thrilled by the album I recently released entitled Elegant Fish (Self Produced, 2021). I'm also finishing a project of my own compositions where I play all of the instruments with a few guest artists. A duo project with Brazilian acoustic guitarist Carlinhos Patriolino should be ready by mid-2021. Also, a project named "Rio" with musicians from all parts of Brazil that features original compositions and a quintet album with the same personnel on Elegant Fish that features guitarist Toninho Horta.

What is your greatest fear when you perform?

My greatest fear is that my instrument might have some kind of malfunction.

What song would you like played at your funeral?

I hope this doesn't happen soon, but it would be an original composition of mine called "Esperança" (pre-recorded with me playing solo piano).

What is your favorite song to whistle or sing in the shower?

The song that comes to my mind at that particular moment.

By Day:

University of the State of Ceará, Music Department Faculty

If I weren't a jazz musician, I would be a...

I would be a sad person...

If I could have dinner with anyone from history, who would it be and why?

Teo Macero: he was producer of many great jazz albums and knew many great stories about many of the greats in Jazz history. Also, Miles, Monk, Getz, Trane, among many others.



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