Sunday, March 18, 2012

1 Sem 2012 - Part Sixteen

Katya Sourikova
Ivan's Dream



By Eyal Hareuveni
“The third release of Berlin-based pianist and composer Katya Sourikova looks and sounds like something fitting the ECM catalog—the beautiful cover, the pristine and rich sound of the recording, and, obviously, the genre-binding beautiful, lyrical and nuanced music that moves freely and organically along the spectrum of jazz, both American and European, as well as folk music and classical music, all without subscribing fully to any genre but embracing it all.
Sourikova has collected ten self-penned compositions, all written when she began to explore the harmonic and melodic possibilities of the new language of jazz, as well as its boundless energy, after finishing her classical music studies. All the compositions have been rearranged, but all still capture their innocent freshness, clarity and their warm, melodic, cinematic narratives.
The opening soft ballad, "In the Dark," references Bill Evans and Keith Jarrett's lyrical playing, but Sourikova enriches the simple, fluid structure by adding a Bach-ian counterpoint. "Off the Beam" features the sensitive interplay of the core quartet, with short, well-articulated solo parts by bassist Simon Nauer and tenor saxophonist Oliver Fox, all thoughtful and opinionated.
"Twilight," Sourikova's first jazz composition, sensually weave the modal innovations of Miles Davis and Herbie Hancock with an impressionist harmonic language, reminiscent of the works of French composers Claude Debussy and Maurice Ravel. Norwegian trumpeter Gunhild Seim contribute warm and soulful playing to this memorable composition. "Queen Maud Land," in its two parts, stresses the ECM aesthetic, with its cinematic, dreamy narrative of a distant, chilly journey.
The title piece is a successful exercise in integrating the improvised, energetic syncopated lines, influenced by such innovative saxophonist as Charlie Parker with the analytic exploration of folksy, pulsating rhythms by composer like Béla Bartók. Sourikova present her disdain with the politics of war on two compositions. The lyrical "Hagakure" draws its inspiration from the book The Way of the Samurai, and attempts to touch this sore issue from the perspective of the consternation of the women of the samurais preparing for another war. The more whimsical "Switchblade," originally titled "Puppet Tango," is Sourikova's sinister response to the futile war in Iraq. This impressive album is concluded with the optimistic, rhythmic "For Love Once More," another beautiful and arresting melody, that convinced Dave Douglas after hearing it, that he needed to drink vodka.“


Lupa Santiago
Sexteto
 

By LSRevista Eletronica
Ao lado de Vinicius Dorin (Sax alto & Tenor),Vitor Alcântara (Sax alto e Tenor), Daniel D’Alcantara (Trompete & Flugel), Alberto Luccas (Baixo Acústico) e Nenê (Bateria),Lupa lançou o CD homônimo que contém composições do baterista Nenê e também de Lupa, que aproveitou para homenagear alguns músicos que admira como Dolphy Dance, para Eric Dolphy, saxofonista americano da década de 1960; Stu, para Rodrigo Morte; Helio & Heraldo (Delmiro e Do Monte) para os dois grandes guitarristas brasileiros; We’ll Keep Swimming e Constantinopla, para seus outros dois grupos Sinequanone Regra de Três. Os arranjos são de Lupa Santiago e Rodrigo Morte, o sétimo elemento do sexteto.
O CD foi gravado em dezembro de 2011, no Estúdio Cachuera em São Paulo por Alberto Ranelucci, também responsável pela mixagem e masterização.
Lupa Santiago é guitarrista, compositor e líder dos grupos Regra de Três, Sinequanon e Jazz em Dobro. Possui doze CDs gravados, incluindo participações. É autor dos livrosImprovisação Moderna I, Novo Dicionário de Acordes para Guitarra e Violão e Música Brasileira em Métricas Ímpares, lançados pela Editora Souza Lima e das vídeoaulasImprovisação Moderna I e II, pela Aprenda Música. É graduado pelo Musicians Institute em Los Angeles e mestre em música pela Berklee College of Music, em Boston, Estados Unidos. Atualmente, Lupa é vice-diretor e coordenador pedagógico da Faculdade de Música Souza Lima e ministra workshops no Brasil, Europa e Estados Unidos.


Quito Pedrosa
Luz e Pedra

Cover (Luz E Pedra:Quito Pedrosa)

By PurpleRecords
Jovem do Brasil o saxofonista de jazz Quito Pedrosa,  músico pop típico para tocar jazz e pop brasileiro. Baseado em uma variedade de fatores, incluindo ritmos latinos, pop instrumental do sistema no Brasil está atraindo a atenção. Seu sax alto e trompete. E percussão diversos, a seção rítmica é posicionado em um toque de corcom um estilo de fusão doce e confortável brasileira jazz diz.
1. Tres Da Manha
2. Camello
3. Piedra Y Candela
4. Decantando
5. Valsa No Mar
6. Andando
7. 3a2
8. Extemporanea
9. Manifesto 


Muiza Adnet
As Canções de Moacir Santos/ Sings Moacir Santos

Cover (Muiza Adnet Sings Moacir Santos:Muiza Adnet) 

by Scott Yanow
Moacir Santos, who passed away in 2006, was a very significant Brazilian composer and music teacher. Many of the top bossa nova practitioners were originally his students. He also worked as a saxophonist, arranger and conductor. This delightful set, one of Santos' final projects, has a dozen of his songs sung by the lovely Muiza Adnet, whose warm, flexible and versatile voice perfectly fit Santos' music. The instrumentation changes from song to song and Adnet shares the vocals with guests Ivan Lins, Milton Nascimento, her brother guitarist Mario Adnet and, on four occasions, Moacir Santos himself. From bossa novas and light pop to Brazilian jazz and ballads, Muiza Adnet Sings Moacir Santos is a well-planned and thoroughly enjoyable outing, a perfect tribute to the great Moacir Santos. 


Sergio Monteiro
Heitor Villa-Lobos - A Prole do Bebê I e II

Cover (Prole Do Bebe N 1 E N 2: Villa Lobos:Sergio Monteiro)

By SMonteiro
"This is the first time that the two "Proles do Bebê"(Baby's Family) are recorded in the same CD by a Brazilian pianist. According to the distinguished Brazilian composer Almeida Prado, the Baby's Family n. 1, from 1918, "has the French influence of Debussy and Ravel associated with a very ingenious use of Brazilian rhythms." Three years later, in 1921, V. Lobos wrote the second cycle of "Prole do Bebê". "This time", says the critic, "the change in style is astonishing. A very different pianism, agressive- sometimes even brutal- is combined with a highly sophisticated harmony (bitonal, atonal), and new rhythms coming from the Sacre du Printemps are enriched by the originality of V. Lobos."

PROLE DO BEBÊ Nº 1
01 Branquinha2m40s
02 Moreninha 1m38s
03 Caboclinha 2m57s
04 Mulatinha 1m21s
05 Negrinha 1m17s
06 Pobrezinha2m07s
07 Polichinelo 1m28s
08 A Bruxa 2m08s 

PROLE DO BEBÊ Nº 2
09 A Baratinha de Papel 2m45s
10 A Gatinha de Papelão 2m45s
11 O Camundongo de Massa 2m55s
12 O Cachorrinho de Borracha2m35s
13 O Cavalinho de Pau 2m13s
14 O Boizinho de Chumbo 4m44s
15 O Passarinho de Pano 3m19s
16 O Ursinho de Algodão 2m23s
17 O Lobozinho de Vidro 4m41s

1 comment:

Felipe Pipoko said...

Gostei muito do blog, das dicas! Obras muito bem selecionadas, gosto refinadíssimo! Fiquei particularmente curioso pelo disco da Muiza Adnet! Sou fã do Moacir Santos (aliás, já aproveito pra deixar o link do blog, tendo em vista que há uma resenha do 'Coisas' do Moacir por lá).

http://www.rocktowndownloads.blogspot.com

Abração, Léo!