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The near falsetto vocals of Chico Pinheiro perfectly offset the voluptuous music that he has created on There's a Storm Inside. However narrow his vocal range, Pinheiro is a master storyteller and weaves his lines like an elaborate tapestry, a sort of patchwork quilt that tells the story his way. Pinheiro has a softness that seems to accelerate and retard his very breath, which increases the dramaturgy of his vocal gymnastics in both English and Portuguese, but more so in the latterwhich, when spoken or sung, has those gliding vowels (rising and falling diphthongs) that make for the more sensuous nature of vocal music in languages descended from the Romance languages. Ironically, this also makes Pinheiro something of an astute interpreter of music that borders on the modern troubadour tradition. Small wonder why his music fits like a glove with some of Brazil's finest lyricists the celebrated poet of the Musica Popular Brasileira/ Tropicalia tradition, Paulo César Pinheiro (no relation) being one of them.
On There's a Storm Inside, Pinheiro shows himself to be a mature composer with a talent for referencing finer emotions related to sadness and love. He is, of course, being a classic Brasileiro when he makes music like this, and it is hard not to see how close he is in talent to composers that have created the Brazilian musical universe. Pinheiro's music is a fine mixture of the folk rhythms of the Brazilian hinterland as well as the rhythms and colors that dapple the urban landscape. Sometimes these collide and the result is stupendous. "Mamulengo" and, of course, the classic, "Sertão Wi Fi," are perfect examples of Pinheiro's prodigious talent for lyricism. "Boca De Siri," "Flor De Fogo" and "A Sul Do Teu Olhar" are three collaborations with the great Paulo César Pinheiro, and the two men seem to be alter egos of each other as they delve deep into the territory of the emotional psyche as they turn to music and poetry to give vent to their feelings. However, it is ultimately Chico Pinheiro's solo compositions that are truly memorable as well.
Pinheiro's music also gets an unusual lift from bassist Paulo Pauleli, whose stupendous melodism and harmonic brilliance provide a stunning palette of sounds around which the singer can wrap his voice. Pauleli is also the master of dancing around the root notes of the chords he plays, and his interpretation of the tonal values of chords puts him in the vaunted company of men like Oscar Pettiford and Ray Brown, like him, masters of the bass violin. Pinheiro is also a self-taught and ingenious guitarist, who accompanies himself with horn-like lines on the guitar and adheres himself to the finest guitar tradition of Laurindo Almeida, Baden Powell and other great Brazilians.
On this, his fourth album, Chico Pinheiro shows off his wizardry as a guitarist on charts such as "Our Love is Here to Stay," George Gershwin's great ballad making this a perfect debut for the Sunnyside label.
Track Listing: Our Love is Here to Stay; Boca de Siri; There's a Storm Inside; Mamulengo; Recriando A Criação; Flor De Fogo; A Sul Do Teu Olhar; Sertão Wi Fi; Um Filme; As; Valsa No. 8; Buritizais.
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me
I was first exposed to jazz as a middle school band student. A college ensemble passed through and put on a concert for the band students (of which I was one). The level of mastery and musicianship blew me away, intimidated, and inspired me. Try as I might, I was never able to achieve a high enough level of competency to perform at the level I was first and subsequently exposed to. Regardless, I was hooked on jazz and remain so to this day.