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Canto do Rio

Jovino Santos Neto Quinteto
Discos: Jazz / MPB

Disponible

Ficha técnica Discos

Sello	Liquid City Records
Estilo	Jazz / MPB
Año de Edición Original	2003
Instrumental

Más

Jovino Santos Neto (piano eléctrico, acordeón, percusión, arreglos)

Hans Teuber (flauta, saxo alto, saxo tenor, saxo soprano), Chuck Deardorf (contrabajo, bajo eléctrico), Mark Ivester (batería), Jeff Busch (percusión).

Participación especial de: Flora McGill (voz, percusión), Harvey Wainapel (clarinete, saxos), Mike Marshall (bandolim), Pernambuco (voz en "Batuki di Bangu").

"I wrote the music on Canto do Rio following the New Works: Creation and Presentation jazz composition award I received from Chamber Music America and the Doris Duke Foundation. The inspiration for the music comes from my hometown, Rio de Janeiro. The Quinteto explores all the musical influences that accumulated in the city through the centuries, including Native Brazilian, African, Portuguese, Arab, Eastern European, etc. The grooves are ancient, but the musical concept and the instrumentation are contemporary, reaching out both backward and forward in time to blend rhythmic energy with melodic lyricism.
1. Guanabara
This opening track refers to Guanabara Bay. The tune is a maracatu with a simple melody, which eventually transforms itself into a 7/4 groove. I arranged the theme for clarinet and soprano sax, with a lot of dialogue between the two instruments. A curious coincidence is the fact that Carlos Drummond de Andrade, one of the greatest Brazilian poets, wrote a poem called Canto do Rio em Sol, and the first word of his poem is “Guanabara”... I only found this out after our record was released. I hope that the opening cut will give the listener a good idea of the different colors and vibes of the record—intuitive melodies, layered arrangements and solid grooves featuring electric piano, bass drums, and more percussion than in all my previous releases.
2. Primavera em Flor (Springtime in Blossom)
This baião features our special guest, vocalist Flora McGill, doubling up a tricky melody along with alto and tenor saxophones. Halfway through the piece, the groove shifts to a xote, and the solos happen over this swinging pocket. For me, this tune is like a journey, passing through many different places and returning to its beginning. The ending was supposed to be a fade-out, but I was so pleased by what everyone played that I decided to keep it until the last second, when Flora sang the perfect note to the wacky chord I played on the accordion. I also greatly enjoyed Hans Teuber’s flute solo. It sounded like a bird, so I asked Jeff Busch to add some bird sounds at the beginning. This tune is a favorite in our live performances.
3. Pedra Branca (White Rock)
This one is dedicated to the Pico da Pedra Branca, the highest mountain in the city of Rio. At 3,400 ft., it towers over the Zona Oeste neighborhoods of Realengo and Bangu, where I grew up. This melody, an ascending scale in the key of G (or Sol), came to my inner ear one day last year, when I was walking in downtown Rio. I could tell right away that this was a very strong tune, so I quickly scribbled it on a scrap of paper. After returning to Seattle, I arranged it for the Quinteto, featuring Hans on soprano and our special guest Harvey Wainapel on tenor saxophone. The groove also hovers on the south side of a maracatu, which is one of my favorite Brazilian rhythms.
4. Guaratiba
In the Tupi-Guarani native Brazilian language, this means “a place with many birds.” This is a region in the extreme Zona Oeste of the city of Rio, where I spent many years as a child. The beaches and the mountains are so beautiful, and most of them are still protected. I wrote this choro as a melody without any rests, which made my admiration for Hans, Harvey, and our special guest Mike Marshall grow even more, as they played this tune impeccably. I originally thought of this tune as a difficult piece, and had hesitated including it in this project, but after we recorded it, I heard a lot of childlike simplicity in the mood and in the way the melody meanders around.
5. Sempre Sim (Always Yes)
This 7/4 theme has a hypnotic quality which I greatly enjoy. It’s based on a very simple bass pattern, with a very intuitive melody draped over it. I composed it originally for a promotional film about Cornish College of the Arts, where I teach in Seattle. I heard Flora McGill (who was a student) singing it then, and was convinced that we should also record it with her on this CD. The arrangement for the record came up a few minutes before we tracked it, and the very first take is the one on the CD. There is an element of almost chance encounters of ideas, as we all play together over the improvisation section. I had Hans and Harvey overdub some extra horn voices, and I really like the contrast between the layered horns and the sparse voice-Rhodes dialogue.
6. Batuki di Bangu
Here is another tribute to the Zona Oeste, or the Western zone of Rio where I spent many years of my life. Bangu today is known for housing one of Rio’s top security prisons, but for me it has always meant peaceful summer evenings, cobblestone streets, and a laid-back lifestyle. When I was a teenager, it was there that I first heard rock ’n roll, soul and R&B music. My first band was based there, and the local club became a focal point for Rio’s funk scene. These factors explain the groove aspect of this tune. I also enjoyed the rapid-fire interplay between Hans and Harvey on two alto saxes. During the percussion break, the listener can hear Pernambuco (former percussionist for Hermeto’s group) reciting a crazy text that Hermeto wrote for him about being beat up and ending up totally lost in the world. He would say this when we played a composition called “Surra.” I had the recording of his voice on tape from years ago, and asked Hermeto for his permission to use it, which he granted me. I believe that the effect is powerful... This theme was composed during the California Brazil Camp in 2002, one of my favorite events of the year.
7. Feira Livre (Street Market)
A common sight in most humble neighborhoods in Rio is the feira, or weekly street market. On the title track of Caboclo, our first CD, I used the sounds of the feira from Jabour, where I lived for 10 years when I was in Hermeto’s band. For this track, based on a blend of a forró groove with a blues form, I imagined a high-energy theme opened up in three voices: soprano sax (Harvey), flute (Hans), and Rhodes (me). Jeff Busch also plays a beautiful zabumba drum which he built himself. Chuck Deardorf plays a killer solo on the electric bass. I am proud that I asked him to bring it out, as he is mostly known for being a great acoustic bassist, but also rocks on the “plank” throughout this record. People have asked me why I did not focus on the more popular rhythms from Rio (samba, bossa nova, choro) for a record dedicated to the city. I say that this CD is dedicated not to Ipanema, Corcovado, and the Sugar Loaf, our postcards, but to the places beyond the tunnels, where hundreds of thousands of immigrants from the Northeast live and work. This is the region known as the Sertão Carioca, and this is where I’m from.
8. Ciranda
The ciranda is a children’s dance in Rio, but in Recife, Pernambuco it’s a popular dance for all ages. Its rhythm is a slow march. I composed this theme while I was teaching at Jazz Camp West in California. A lot of the themes in this record were written in the presence of students. This is a very inspiring situation for me. The first part, Chegada (Arrival) was scored for accordion, clarinet, flute, and bowed bass. The second part, Roda (The Circle) features the saxophones, plus electric piano, drums, and percussion.
9. Comichão (The Itch)
This frevo had been composed a while ago and it’s been a favorite with the band, but for this recording I added a shout chorus that added even more energy to a burning groove. Harvey played a great tenor solo, and Mark Ivester fired up the fast section at the end as only he can do.
10. Canto do Rio (Song of the River)
The title track for me is the most mysterious. We had already finished recording all the group tracks, and I felt like going into the studio by myself to record a solo piano passage. There was only a little bit of tape left in the reel (yes, we tracked all the songs to analog tape for maximum fatness and warmth of sound), so I turned off the studio lights and played this piece in one take. I stopped intuitively just a second before the tape ran off the spool... Then I took the recording home, wrote a melody over what I played, and asked Flora to sing it. She did it perfectly, and I also asked her to mention Oxumaré in some special passages, as a tribute to the Yoruba god/goddess of the rainbow, who lives in dark corners of rivers.
11. Imperador (Emperor)
This maxixe is a ghost track, and only those people who listen all the way to the end of the CD will hear it, a minute after the last “official” song ends. It’s a tribute to the street where I grew up (Rua do Imperador in Realengo), and to a band that used to rehearse upstairs on the corner of my street. They played many maxixes like this, and I have always enjoyed this style a lot." Jovino Santos Neto (daniellathompson.com, 04.10.2003)

Temas

CD 1

Guanabara
Jovino Santos Neto