Here are two links to the stylings of Amilton Godoy, an 81-year-old Brazilian pianist. Godoy was one of the founding members of the Zimbo Trio–a Brazilian instrumental ensemble established in 1964. The Trio was one of the most influential groups of Brazilian music in the second half of the 20th century.
The first is a Spotify link to the 1995 trio album Caminhos Cruzados interpreting the music of Tom Jobim. The second is a 45-minute video segment from a series of live recordings made last year that let you see the man at work. I hope this might open your ears to the beauty of Brazilian piano. Enjoy!
Recently I was taken by Michel Camilo’s version of “Alfonsina y el mar.” Written by Ariel Ramírez, an Argentine composer and pianist, with lyrics by Felix Luna, an historian, it was originally recorded in 1969 by Mercedes Sosa, a popular Argentine vocalist.
It’s based on the suicide of Alfonsina Storni (29 May 1892 – 25 October 1938), an Argentine poet, playwright, and feminist/social activist who “[a]round 1:00 AM on Tuesday, 25 October 1938, . . . left her room and [walked into the sea] at La Perla beach in Mar del Plata, Argentina and committed suicide. Later that morning two workers found her body washed up on the beach.”
Found a video of Jovino and his group in a live radio studio. His piano work is impressive. Also love the bandoneón. A great fan of Astor Piazzolla. Enjoy!
It seems I’ve found kindred spirits with an interest in Brazilian jazz piano. I’m going to share one of my favorite albums and then bow out for a bit. I don’t want to hog this thread.
Roda Carioca (2006) is an album by Jovino Santos Neto. Except for tracks 4 and 8, all are originals. In a review in Allmusic, Jonathan Widran wrote:
The barriers between classical music, jazz, and indigenous Brazilian music have been obscured by Rio de Janeiro-born and Seattle-based pianist, flutist, and composer Jovino Santos Neto. A member of Hermeto Pascoal’s legendary band from 1977 to 1992, Santos Neto has continued to expand on his world music-influenced vocabulary. He later built on his knowledge of Brazilian music during a stint with Airto Moreira and Flora Purim’s group, Fourth World, from 1993 until 1997. He also worked with such artists as Mike Marshall, Richard Boukas, Celso Machado, and Chitravina N. Ravikiran. For this lively, multifaceted, and percussive from the get-go collection — check out the frenetic piano-drum interaction on the opening track, “Estrela do Mar” — Jovino returned to his hometown, where he recruited some of the country’s most impressive performers to contribute. It’s fitting that the liner notes feature a glossary of Portuguese cultural and musical terms, because the exciting set plays like a vibrant musical encyclopedia of the musical spirit of his homeland. The joy keeps growing through “Coco na Roda” — whose feisty drumbeat and whimsical mix of instruments create a Brazilian version of Mardi Gras music — and tracks like the lively samba “Gente Boa.” But there are some subtle moments as well, including the gentle vocal ballad “Nana” and the gentler samba “Homeopatia.” He pays homage to Pascoal with a seductive, “out there” rendition of “Juvenal no Grumar,” which blends off meter rhythms with heavy doses of swinging jazz and odd vocal effects. Overall, this is a fascinating collection aimed squarely at lovers of all things Brazilian.
I really like the rising pattern at the end of “Homeopatia.”
Here’s a link to Spotify and, for those who don’t have
Spotify, it’s followed by a URL for the full album. Enjoy!
Thank you for the Jovino links @scott1 - I read in the Jazzwise article recommended by @dave1 that Jovino is about to rehearse the National Youth Jazz Orchestra for the Hermeto Pascoal concert next week in London. I’ve also been fortunate to hear Roberto Fonseca at one of the UK venues on his world tour recently - a wonderful show, a supreme talent.
Apparently, Hermeto Pascoal has reissued his 1988 album Hermeto Solo: Por Diferentes Caminhos (Piano Acústico). Probably has something to do with his current tour. Here’s the Spotify link. (It’s also reissued on Apple Music.) Enjoy!
Recently, I came across “Agua & Vinho,” a piece by the Brazilian pianist (and guitarist) Egberto Gismonte. It’s one of the most beautiful tunes I’ve encountered in some time. I hope you enjoy!
And while I have your attention, I’ll include this number.The more I listen to it, the more intrigued I become. I’ve been studying the Brazilian genre baião. Gismonte has what amounts to a jazz influenced version in “Baião Malambro.” It might be a bit strident for some, but his piano mastery is incredible. He does a chromatic bass run toward the end of the tune that just blows me away.
Here’s a link to an amazing concert by Kenny Barron. It’s a presentation of his 2002 album Canta Brasil. It’s a 2003 live mix of his and the other members of the group’s original tunes. Grammy winner Romero Lubambo’s guitar and Dudaka da Fonseca’s drums are worth a close listen. [In 1992, Barron issued another Brazilian-based studio album Sambao which contains eight originalcompositions.]
Many swing-based pianists don’t really get it. Barron does. Throwing in a bit of syncopation here and there doesn’t work. There is a whole pattern-based rhythmic world out there that is just as important as the voicings and scales. Enjoy!
Not a record, but worthy of an entry, i think.
Heard the Emmet Cohen Trio last night at the Calgary Jazz festival in a very intimate venue. It was one of the best performances i have ever had the pleasure of attending, truely a mind expanding experience. Lyrical and percussive piano. It felt like a master class in the possibilities of the instrument. Kyle Poole is the most melodic drummer i have ever heard. He looked like he was in some kind of blissful trance the whole concert. And impressively imaginative and technical bass playing by Philip Norris.
@tuomo , perhaps an Emmet Cohen Listening class at some point?
