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Serenata (The music of Hermeto Pascoal)

Serenata (The music of Hermeto Pascoal)

Mike Marshall* & Jovino Santos Neto
Discos: Jazz / Clásica / MPB

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Ficha técnica Discos

Sello Adventure Music
Estilo Jazz / Clásica / MPB
Año de Edición Original 2003
Instrumental

Más

Mike Marshall (bandolim, guitarras, bozouki), Jovino Santos Neto (piano, flauta)

John Santos, Michael Spiro y Aaron Johnston (percusión).

Participación especial de: Hermeto Pascoal (flauta bajo, melódica).

Reedición de 2014, en formato Digipack. Remasterizado. Con una portada diferente (la segunda foto es la de la edición original).

"For me, recording this project was a dream come true. I have always admired Mike Marshall, his talent and his total dedication to quality music of all styles. I could not imagine a better musician to share this recording with. His open-minded attitude and incredible mastery of a difficult instrument and of a musical language other than his original one are amazing to me. Besides, we have a natural affinity that includes our love of good food and wine. I can also speak on Hermeto’s behalf when I say that he was very impressed with Mike’s interpretation of his music. I look forward to many more collaborations of this type with Mike Marshall.
1. Sertão Alagoano (The Hinterland of Alagoas)
Hermeto wrote this beautiful valsa nordestina (northeastern waltz) back in 1980. Originally it only had a couple of chords, then he reharmonized it. In this recording, we play both versions, alternating between the simplicity and the complexity of the changes. If you look at the Serenata CD tray, the score for this tune is there, including a caricature Hermeto drew of myself, with arms outstretched. For me, this piece represents what we are hoping to show with the whole record, which is Hermeto’s lyrical and romantic side as a composer. Mike’s interpretation of the melody is very inspired. On the repetition, I improvised some lines around the theme. This tune was done in one take, as most of the record was.
2. Quanto Mais Longe, Mais Perto (The further apart we are, the closer we get)
This composition dates back from 1979, and I always remembered it as one of my favorites among the thousands Hermeto has written. We recorded the theme on mandolin and piano. Later I overdubbed the theme with the alto flute and left the solo section open, and then we found out that Hermeto would be in the Bay Area, and he agreed to play the bass flute. It worked just fine, especially with the very sensitive percussion that Aaron Johnston added to it. The theme of affinity between friends and how it withstands the test of time and distance also relates to how connected I feel to Hermeto’s music, even living far away from him geographically.
3. Serenata (Serenade)
This piece dates back many years, probably from before I joined Hermeto’s band in 1977. Heraldo do Monte recorded it on mandolin and cavaquinho in 1980 on a self-titled LP. Mike chose to perform it on guitar, and I incorporated some extra chords that Hermeto once added to the tune. In Brazil, the serenata is a tradition that dates back to the European troubadors, in which groups of musicians would take to the streets in the middle of the night, playing romantic music under the balconies of shy ladies. This is another deep waltz, and Hermeto knows very well how to infuse it with meaning and emotional presence.
4. July 17
This is taken from the Calendário do Som (Calendar of Sound), the book that Hermeto created by composing one tune a day for a whole year in 1996. It marks the date of Mike Marshall’s birthday. We did it as a xote or swinging baião. John Santos on the tantan and Michael Spiro on the triangle added the right amount of percussion, and we traded solos over the groove.
5. Saudades do Brasil (Modinha)
The modinha is another primeval song form, dating back many centuries to medieval Portugal. In Brazil, the form became very popular in the 16th and 17th centuries. Hermeto composed this one in the mid-’80s, cleverly changing the tonality of the song in an imperceptible way, using some modern chord changes, but without losing the essence and the spirit of the original form.
6. Hino da Princesa Eterna (Hymn for the Eternal Princess)
This composition is recent. It was written in 2000 and had its premiere in London in the same year, where I conducted a big band performing Hermeto’s works with himself as a soloist. This piece was written for just piano and a solo instrument. The princess in the title is Lady Di, who had recently passed away, and Hermeto decided to honor her in London. He has written several of these hinos or hymns, and he always mentions that when he grew up in Lagoa da Canoa, in the state of Alagoas, he would often stand by the door of the local church, listening to the women singing inside. To add to that ambiance, I overdubbed a harmonium part, on an instrument that Mike purchased just for this recording.
7. Os Guizos (The Bells)
The word guizo means a sleigh bell rather than a church bell. Hermeto recorded this piece with an orchestra and vocals by Googie Coppola in his 1971 recording, originally titled “Hermeto” and reissued later as “Brazilian Adventure.” This is a beautiful jazz ballad, and I consider it the jazziest of the pieces on this recording. Mike plays the steel-string guitar, and we both had fun exploring the changes, the space, and the mood of this piece.
8. Tertúlia
The word is an old one, meaning a gathering where music is played. Hermeto had this piece composed when I met him in 1977, and his Grupo did a version of it, titled “Crianças (Cuida de Lá),” with bottles in the Brasil Universo record we did for Som da Gente in 1985. Here we are again joined by Hermeto on melodica. This piece has two contrasting parts, one bright baião and a lament-like second part in a melodic minor mode, giving it a mysterious Eastern vibe. Aaron Johnston again added some beautiful percussion here.
9. Joyce
This waltz was composed in 1988 and dedicated to the singer/composer Joyce, who was visiting us at our rehearsal space in Hermeto’s house in Rio. Hermeto would often honor guests by composing some music for them when they visited us. Here Mike plays the nylon-string guitar, I added a subtle harmonium pad, and the vibe is again very lyrical and deep...
10. Roseando
This choro was composed in 1979, and it demonstrates how well Hermeto writes for the flute, an instrument that he totally masters. For me, it was a big challenge to record this on flute, and I also wrote a little flute chorus arrangement to accompany the solo section. I recorded it on three flutes and an alto flute. It came out so pretty that we decided to use it as an opening to the track.
11. Sept. 1
Another tune from the Calendário do Som. We did it as a swing waltz, shifting to a 6/8 afro groove during the piano solos. I really like the 4 over 3 feel of the fade-out section, and once again Aaron Johnston helped us out in a great way.
12. Floresta (Forest)
This is a beautiful tune that Hermeto wrote back in 1979, and we intended to do it as a duo. I recorded an intro on piano, and then we both felt that it should be just that, a solo piano track...
13. Santa Catarina
This waltz, dedicated to the southern Brazilian state of Santa Catarina, was recorded by us (with Hermeto’s Group) on Lagoa da Canoa, Município de Arapiraca (Som da Gente, 1984). For this recording, we decided to start with a little improvised baroque duo, leading into the main theme. I also added some low harmonium lines as a counterpoint." Jovino Santos Neto (daniellathompson.com, 04.10.2003)

Temas

CD 1
01
Sertão alogoano (The hinterland of Alagoas)
Hermeto Pascoal
03:57
02
Quanto mais longe, mais perto (The further apart we are, the closer we get)
Hermeto Pascoal
04:12
03
Serenata
Hermeto Pascoal
03:23
04
July
Hermeto Pascoal
03:45
05
Saudades do Brasil (Modinha)
Hermeto Pascoal
02:45
06
Hino da princesa eterna (Hymn for the eternal princess)
Hermeto Pascoal
02:13
07
Os guizos (The bells)
Hermeto Pascoal
07:27
08
Tertúlia
Hermeto Pascoal
04:31
09
Joyce
Hermeto Pascoal
04:11
10
Roseando
Hermeto Pascoal
03:29
11
Sept.1
Hermeto Pascoal
04:44
12
Floresta
Hermeto Pascoal
02:24
13
Santa Catarina
Hermeto Pascoal
04:32
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