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Mart’nália: The Art of Love and Beauty in Music

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Mart'nália photographed by Marta Azavedo

Mart’nália’s eyes are like large, limpid pools. They draw you into their world. Once you’re in, the quietude of this portal opens out into the vivacious world of song and dance – the world of samba – into which she was literally born and raised by her illustrious father Martinho de Vila. Then her mouth draws you in; the smile that adorns it is wide and beckoning. And it seems omnipresent. She laughs a lot too – shyly when she’s talking about herself, with a burst of pride when talking of her father and of Brasil and with reverence when she remembers Vinicius de Moraes to whom she pays homage on her most recent and celebrated recording Mart’nália Canta Vinicius de Moraes.

Amid laughter she tells you how much music – which is her all-consuming thrill – means to her. She speaks as she sings – in cadences not dissimilar to samba. She is also singing at the top of her game. When she does so on the repertoire of this album, her seduction is complete and it feels as if that a smiling Vinicius is also in the room with her. Seduction, after all, is what Vinicius was famous for; his poetry was filled with it. Remarkably, Mart’nália’s interpretations of Vinicius’ songs bask in seduction especially in the manner in which the lyrics whisper huskily as they come to life in the rhythm of her enunciation of the words and the hypnotism of the metaphors.

I had always hoped to speak with her; to hear what she had to say about this extraordinary project that she shared with the incomparable Arthur Maia, who has since, sadly, left us. But as Brasil struggles to find its way back to health and alegria, I knew that it was going to be a challenge. David McLoughlin – my friend, the Irishman who has gone native in São Paulo – was more than forthcoming in putting me together with Márcia Alvarez, Mart’nália’s manager, co-producer and friend.

Mart'nália with Arthur Maia, Maria de Moraes and Celso Fonseca
Mart’nália with Arthur Maia Maria de Moraes filha de Vinicius and Celso Fonseca during the recording at the Biscoito Fino Studios. Photo from Mart’nália’s Facebook page

Mart’nália herself took time off to answer my questions and listen to my effusive praise of her music and the album which some Brasilian critics seem to think less of when compared to her other work – which is where I beg to differ, of course. The album is brilliantly conceived and exquisitely executed with Mart’nália and Arthur Maia directing an ensemble of sublimely gifted musicians, who have given their all in honour of a beloved Brasilian icon, Vinicius de Moraes. What follows is an excerpt of the interview, followed by my review of the recording itself.

Raul Da Gama: Congratulations to you and Arthur and Marcia for this beautiful new album. I love it and I’m sure millions do too…

Mart’nália: Thank you very much. I’m so glad you liked the CD. Our production has been done here with so much love!

RdG: Tell me what does Vinicius mean to you – not what he means for Brasil – but for you personally?

M’n: [Without hesitating for a moment] For me Vinicius means love. He idolises and praises the woman in his lyrics. Our sufferings as women is translated and transformed into beauty! His poetry is life-giving to me!

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Based in Milton, Ontario, Canada, Raul is a poet, musician and an accomplished critic whose profound analysis is reinforced by his deep understanding of music, technically as well as historically.

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Interviews

In Conversation with “Drum Poet” Pazcual Villaronga

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Pazcual Villaronga

PAZCUAL VILLARONGA was born and raised in Spanish Harlem, New York. He attended Haaren High School and New York City Community College and graduated from Hunter College, earning a degree in Communications and a Master’s Degree in Bilingual Education. 

Known as the “Drum Poet,” Pazcual recites poetry while accompanying himself on the congas (often joined by other musicians), creating an innovative fusion of poetry and discussion that takes his verses to a new level. 

Pazcual is the recipient of the Golden and Silver Poet Awards in California and placed third in La Canción Bilingüe – The Bilingual Song Competition in Washington, D.C. He has read poetry at Columbia University, Teachers College, Hunter College, Hostos Community College, Manhattan Community College, and Connecticut’s Housatonic Community College. 

His published works include the highly successful “Caracol” (Poems For The Children), “By The Music Inspired,” “Poet,” “Fire From Hell,” “Compendium,” and “Stereotypes and Cycles.” His most recent collection of poems and CD is titled “On Whatever Day Saturday Happens To Fall.” Pazcual’s work has also appeared in “Around the Mulberry Bush – An Anthology,” “Windfall – An Anthology,” and “Fahari.”

Now retired after over three decades of teaching, Pazcual is preparing several collections of poetry and a children’s book and performs with The Lehman College Latin Jazz Ensemble, directed by Victor Rendón. 

Pazcual Villaronga and the New Drum Poets: On Whatever Day Saturday Happens to Fall
Pazcual Villaronga and the New Drum Poets: On Whatever Day Saturday Happens to Fall

TOMÁS PEÑA: Welcome, Pazcual! Tell me about the project. 

PAZCUAL VILLARONGA:  “On Whatever Day Saturday Happens to Fall” is my salute to the musicians and their creative souls. Also, to the percussive rhythms and melodies, they share with us each and every time they perform. Also, it is my way of sharing with the world, through poetry, how they inspire me and the power and beauty of their musical creations.

TP: Thank you for sharing an advance copy of the book and CD with me and for taking me on a fascinating bilingual literary and aural journey. Before we delve into the project, I’m curious to know what drew you to poetry and the spoken word.

PV: Growing up, I was shy and introverted. Poetry was my way of expressing myself. When I was in high school, my friend Jose showed my writings to a teacher (Dr. Richstone) and the teacher replied, “There are better things you could do with your time.” Undaunted, my friend showed my writings to another teacher (Mary Lamboss), and she said, “You are the Poet Laureate of Harren High School!” Later, I formed the “Drum Poets” and began reciting poetry with percussion and music.

TP: How did the project come about, and why did you choose this title?

PV: It began with Víctor Rendón’s “Fiesta Percusiva” (2008), where I recited the poems “Soy Chicano” and “In the Pocket.” Shortly after, Victor appeared on José “Joe” Massó’s “Con Salsa!,” who played selections from the album on the air. He encouraged me to “make more music like this.” Shortly after, Víctor asked if I was interested in pursuing the project, and I immediately said, “Yes!” Victor Rendón agreed to produce the record with the following conditions: Trust him implicitly and don’t breathe a word about it to anyone until the project is completed. The rest is history!

The title, “On Whatever Day Saturday Happens to Fall,” is inspired by trumpeter John Walsh, who composed the song “On Whatever Day of the Week Saturday Happens to Fall” (the tune appears on Chris Washburne and the Syotos Band’s “Paradise in Trouble”) and whose philosophy is, “On Whatever Day of the Week Saturday Happens to Fall, musicians must answer the call and give their all.” Walsh’s philosophy resonates with me because it applies to poets and creative souls who must be in the moment when the muse appears.

The New Drum Poets: Paz Villaronga, Yasuyo Kimura, Louis Bauzó, Victor Rendón and Wilson "Chembo" Corniel
The New Drum Poets: Pazcual Villaronga, Yasuyo Kimura, Louis Bauzó, Victor Rendón and Wilson “Chembo” Corniel

TP: The recording contains a collection of your poems set to music: Afro-Caribbean and Afro-Puerto Rican rhythms, Jazz, and Latin Jazz and features an impressive lineup: Víctor Rendón, Wilson “Chembo” Corniel, Louis Bauzo, Yasuya Kimura, Mike Viñas, Amy Quint Millan and José Luis Armengot. Additional guests include Andrea Brachfeld, Henry Brun, Ariel De La Portilla, and Roman Diaz (see below for specifics). Tell me about the poem, “Right Pocket/Left Pocket.”

PV: My mother was concerned about my dad, who drank excessively and played pool at a local social club. She asked me to check on him and bring him home. When I arrived, my father was intoxicated and staggering. Shortly after, a neighborhood hustler and “aprovechao” (exploiter) named Chano challenged my father to a game of pool. My father immediately asked me, “How much money do you have?” And demanded I give it to him. Then, miraculously, he took a breath and straightened up. After that, it was “right pocket, left pocket!” Long story short, my father and I left the social club fifty dollars richer! When Victor and I arranged the tune, he had just acquired a set of “timbalitos” (9-1/4 and 10-and 1/4 timbales), which have a very distinct sound. If you listen closely, you will hear Victor mimic the sound of the cue ball striking the billiards.

TP: Your words conjure up images. I felt like a fly on the wall! I also enjoyed the poem, “El Chembito,” where percussionist Wilson “Chembo” Corniel masterfully accompanies you. 

PV: The poem was born while listening to Chembo’s solo on the tune “Lagos” which appears on Victor Rendon & the Bronx Conexion Latin Jazz Big Band’s “True Flight” (2016). I realized that in Chembo’s hands and in the hands of the masters, you feel and hear the connections between past and present and are privy to a glimpse of the future. Chembo has a way of taking you along for the ride as he time travels between rhythms, feelings, and emotions! His hands never falter, and his ideas are always fresh!

TP: The poem, “I Saw You (Tribute 4 Miles)” talks about a unique experience you shared with trumpeter José Luis Armengot onstage.

PV: Yes, Jose was standing to my right, and he was soloing on the tune “Fragile.” I turned to Jose; he was wearing dark glasses and leaning back like Miles used to, and I saw Miles! At the time, I was not aware that Jose idolized Miles. Later, I read the poem to Jose and I said, “You are Miles!”

TP: Tell me about the poem, “In the Pocket.”

PV: The poem is inspired by Omar Castaños, who said, “Some musicians express themselves and don’t say a lot. But every once in a while, you will find an artist who sits in the pocket, and everything is pushed away. I saw it happen when the masterful Luis Bauzo took a solo at “Gonzalez y Gonzalez” (NYC) in front of a packed house and stopped the room. The poem was born at that moment!

TP: The poems mentioned earlier are examples of what listeners and readers can expect. There is much more to savor! The CD and book will be released on December 1, 2022. Is there a CD Release Party or a live performance in the works? 

PV: We have yet to set a specific date, but, yes, it is in the works. 

TP: “On Whatever Day Saturday Happens to Fall” will be available at: http://amazon.com via https://cdbaby.com, and all the major digital streaming, and download sites (iTunes, Spotify, etc.). Also, readers can listen to and download the CD on Pazcual Villaronga’s Website: http://conceptovillapaz.com.

TP: Closing thoughts?

PV: If I have touched you with one word, phrase, or poem, I have done my job as a poet!

TP: Indeed, you have! “On Whatever Day Saturday Happens to Fall” recalls the writings of the Nuyorican poet and playwright Pedro Pietri, playwright Tato Laviera, activist, journalist, media personality Felipe Luciano, and Latina poet Sandra Maria Estevez, among others. Rarely has the spoken word, Afro-Caribbean and Afro-Puerto Rican rhythms, and Latin Jazz come together as organically and beautifully as it does on this exciting and innovative project. Highly recommended!

The Original Drum Poets: Jorge Alicea, Davis Alicea, Roxanna Rodriguez, Pazcual Villaronga, Ray Alicea, and Omar A. Castaños
The Original Drum Poets: Jorge Alicea, Davis Alicea, Roxanna Rodriguez, Pazcual Villaronga, Ray Alicea, and Omar A. Castaños
TRACKS

1. Drummers Prayer
2. By the Music Inspired
3. In the Pocket
4. What Do You Do?
5. El Chembito
6. How Many of Us Listen?
7. Bongo Habla Otra Vez
8. Que No Se Te Olvides
9. Right Pocket/Left Pocket
10. On Whatever Day Saturday Happens to Fall
11. I Saw You (Tribute 4 Miles)
12. Alma Jibarita
13. Puerto Rican Trilogy
14. Puerto Rican Trilogy
15. Puerto Rican Trilogy
16. Speak Easy
17. Soul Riffs
18. Entendian Voz
19. Another Night in Tunisia
20. En Las Manos de Los Maestros
21. Afro, Is That You?
22. Now and Then

THE NEW DRUM POETS

Pazcual Villaronga – Executive Producer, Poetic Voz, Conga and Shekeré
Víctor Rendón – Producer, Drum Set, Timbales, Pailitas, Shekeré, Batá (Okonkolo), Coro
Wilson “Chembo” Corniel – Congas, Batá (Itótele), Guataca, Coro
Louis Bauzo – Bongos, Congas, Barril (Primo), Batá (Iyá), Bonkó Enchemiyá, Güícharo Puertorriqueño, Coro
Yasuya Kimura – Congas, Bongos, 1st and 2nd Cajón, Maraca, Coro

SPECIAL GUESTS

Michael Viñas– Bass
Amy Quint Millan – Piano, Coro
José Luis Armengot – Trumpet

ADDITIONAL GUESTS
  • Andrea Brachfeld – Flute
  • Henry Brun – Conga, Shaker
  • Ariel de la Portilla Acoustic Bass
  • Roman Diaz (Batá and Various Percussion)
  • Diego Lopez (Batá and Various Percussion)
  • Allan Molnar First Marimba
  • Yumi Suehiro Second Marimba
FEATURED PHOTO

LEFT TO RIGHT: Pazcual Villaronga, Yasuyo Kimura, Louis Bauzo, Víctor Rendón, Wilson “Chembo” Corniel.

POETRY BY PAZCUAL VILLARONGA
  • COMPENDIUM (1991)
  • POETRY (1995)
  • BY THE MUSIC INSPIRED (2002)
  • FIRE FROM HELL (2004)
  • CARACOL – P0EMS FOR CHILDREN (2009)
  • ON WHATEVER DAY SATURDAY HAPPENS TO FALL (2022)
ARTIST WEBSITE
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