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Sempre crescendo

Celia Malheiros
Discos: MPB / Jazz

Disponible

Ficha técnica Discos

Sello	Independiente
Estilo	MPB / Jazz
Año de Edición Original	2001

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Celia Malheiros (voz, guitarra acústica, cavaquinho, armonio, percusión, berimbau, arreglos)

Tony Corman (flauta), Jovino Santos Neto (flauta, arreglos), Marcelo Bernardes (clarinete, flauta, saxo tenor), John Worley (trompeta, flugelhorn), Mike Galisatus (trompeta), Harvey Wainapel (saxo soprano), Nelson Oliveira (flugelhorn), Macaé (saxo alto), Serginho de Jesus o Terry Russell (trombón), João Rebouças o Marcos Nimrichter (piano), Rich Kuhns (teclados), Ignéz Perdigão (guitarra acústica, cavaquinho, arreglos), Carlos Oliveira (guitarra acústica, arreglos), José Neto (guitarra eléctrica), Jorge Helder (bajo eléctrico, contrabajo), Itiberê Zwarg o Kai Eckhardt o Gary Brown (bajo eléctrico), Wilson das Neves o Celso Alberti (batería), Márcio Bahia (batería, percusión), Marcos Suzano, Celsinho Silva, Ricardo Barros y Trambique (percusión) y Dima Birich, Nancy Hall, Jennifer Allen-Zito, Roxy Bovia, Patty Mason Maggie Piver y Camila Malheiros Popovics (coros) y cuarteto de cuerdas.

Participación especial de: Hermeto Pascoal (piano, melódica), Mestre Caboclinho (voz, percusión), Fernando Gama (guitarra acústica, guitarra de 12 cuerdas, coros), Baldeação Rio (Zeca Rodrigues, Matias Corrêa, Fernando Moura, Ignéz Perdigão, Claudia Alvarenga y Laura do Valle) (grupo vocal).

Excelente debú discográfico de la multiinstrumentista, cantante y compositora carioca Celia Malheiros, radicada en la Bay Area (Zona de la bahia de San Francisco, California) desde el inicio de los años 80, en el que muestra sus indudables cualidades en todos los apartados. El trabajo está avalado con la destacada participación de Hermeto Pascoal, con los primorosos arreglos de Jovino Santos Neto, Ignéz Perdigão y Carlos Oliveira y con la colaboración, entre otros, del grupo vocal Baldeação Rio (que unos años después se transformaria en Be Bossa, siempre bajo la direción de Zeca Rodrigues).

"Celia Malheiros evokes the spirits of tradition in a thoroughly modern creation: Multi-instrumentalist, composer, and singer, Celia Malheiros has been calling the San Francisco Bay Area home for twenty years. Nonetheless, her spiritual home continues to be Brazil, whose rhythms and nuances fill her debut disc, Sempre Crescendo.
As the album title indicates, Celia is an explorer, and she selected the best guides for her musical adventure: Cartola, Tom Jobim, and Hermeto Pascoal. The latter even makes two appearances in the disc, as does a select group of top instrumentalists.
Cartola is the dedicatee of the beautiful opening samba, a hymn to love inventively arranged by Ignéz Perdigão. There’s a tip of the hat to Ary Barroso’s “Na Baixa do Sapateiro” in the opening strains.
Yemanjá, Afro-Brazilian goddess of the sea, receives her due in an upbeat samba-louvação that is a paean to all womankind. Celia’s arrangement includes her own singing and spoken words, a vocal sextet, and instrumentation similar to the one in “Ao Mestre Cartola,” with an additional clarinet (Marcelo Bernardes), Celsinho Silva on atabaques, pandeiro & agogô, and Mestre Caboclinho on atabaques, agogô, and a wonderful candomblé-style vocal at the conclusion.
The gentle bossa nova “Soul Longing” is dedicated to Tom Jobim. The title, an English rendering of saudade, finds the echo ‘so long’ in the lyrics, which use nature imagery to parallel emotional states.
“Praia” introduces an indolent Caribbean beat, carried by the vocal chorus, acoustic and electric guitars (Celia and José Neto, respectively), clarinet (Marcelo Bernardes), bass (Kai Eckhardt), and Suzano’s percussion, which utilizes pandeiro, cajón, castalhas, and seashells.
Hermeto Pascoal joins Celia for “Sempre Crescendo com o Mestre” in a remarkable vocalese/piano duet that is pure musical exploration, wafting the listener from the lyrical to the atonal and back in seven and a half minutes.
The master returns for an encore in the frevo “Fremeto,” arranged by his disciple Jovino Santos Neto. Hermeto plays melodica, accompanied by his longtime group members Itiberê Zwarg (bass) and Márcio Bahia (drums & percussion), among others.
Two other noteworthy instrumentals are “Amazon” and “Woman Being.” The former is a rich tropical tapestry woven by Jovino and embroidered by Celia’s vocalese and Tony Corman’s flute. The latter is a showcase for Celia’s array of talents, as she plays berimbau, harmonium, cavaco, pandeiro, moringa, baya, triangle, and ganzá; vocalizes in Indian style; and waves us off with a well-deserved chuckle." Daniella Thompson (09.05.2002)

"The words Sempre Crescendo mean Ever Growing and they seem apt for Celia Malheiros. The Brazilian singer has been active in the Bay Area and her first album should help strengthen her credentials as a singer and composer.
The music naturally devolves on the samba and the other lilting pulses that give Brazilian music its indelible character. Malheiros adds impetus by introducing African rhythms into her music. Consequently, the album dances, struts, flexes and radiates joy and happiness. But there are also softer moments, after all love does have a gentle side!
Malheiros has a great band working with her. Among them is Hermeto Pascoal who plays the piano with a radiant, open structure, the perfect complement to the serene vocals of Malheiros on Sempre Crescendo com o Mestre. He switches to the melodica on the upbeat, swaying Fremeto, that is made all the more enticing by the shifting time structure.
Malheiros plays several instruments on Woman Being. Her arrangements are nifty and her wordless vocals, with a chorus coming in on the bed of her instrumentation, makes this a standout. Her singing on Soul Longing an English version of Saudade is supple and not without a yearning. And for one more from the many outstanding tracks there is Yemanjá, which is downright heady. The mood is manifested by an exemplary flute solo from Marcelo Bernardes, and a traditional vocal chant by Mestre Caboclinho. This is a lovely debut, indeed." Jerry D'Souza (All about Jazz, 02.08.2002)