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Jovino Santos Neto Quinteto: Por Causa de Você



Jovino Santos Neto Quinteto: Por Causa de Você
Jovino Santos Neto Quinteto: Por Causa de Você


This music is collected from a stage performance at the Triple Door in Seattle, Washington in 2015, held by the distinguished Brasilian composer and musician Jovino Santos Neto and his quintet in celebration of the birthday of the legendary Antonio Carlos Jobim. Mr Santos Neto is, in some circles, best known as the long time music director of that other Brasilian icon, Hermeto Pascoal. But here Mr Santos Neto revels not so much in the spirited angularity of his Hermeto Pascoal days, but in the poetry of emotion of these Jobim compositions, both familiar and rarer gems, which he has expertly re-imagined in an inimitable and spirited manner; often played at slightly altered tempi, but capturing nevertheless, the breathtaking sweep of Mr Jobim’s vision and artistry that has made him a legendary figure in the world of music.

Mr Jobim in his middle and later period was known to favour the use of multiple reeds and horns to deploy diaphanous layers of tone textures that fluttered around and across the subtle percussive elements in his music. Thus he created the unique big band sound world that endeared himself to legions of Americans who revered him in a manner not unlike that which was reserved for men like Duke Ellington and Count Basie. Mr Santos Neto, ever cognizant of that fact has endeavoured to preserve that aura but in this music he re-creates the world of Mr Jobim by finger painting from a tonal and textural palette redolent of the radiance of the vibraphone and bandoneon of Ben Thomas, both of which are used as a perfect foil to his (Mr Santos Neto’s) piano and the breathtaking wizardry that Romero Lubambo displays on his masterfully-played guitar.

The repertoire features beautifully crafted arrangements of mesmeric variety and sensuousness. This is delivered by Maucha Adnet a long-time vocalist in Mr Jobim’s famous (later) ensemble, Banda Nova. The music’s lyrics are felt in every lovingly caressed phrase by Miss Adnet’s vocalastics from the bittersweet “A Felicidade” where she seductively bends Mr Jobim’s notes, to the stark “Retrato em Branco e Preto” in which she sculpts the long, sustained inventions of the composer’s achingly beautiful lines. Through it all she plays marvellouosly off the pianism of Mr Santos Neto who shapes the music with a kind of languid ease, each melodic variation following the other, quite inexorably, his sumptuous sound brilliantly caught in this live recording.

Even in these often spirited renderings there is an unhurried quality to his approach that matches that of Mr Jobim’s romantic longings, a lived-in character to his phrase making that is engaging and is characterised by the well-honed values of experience that was not only held in high regard by Hermeto Pascoal but every Brasilian musician and cognoscenti who continue to follow Mr Santos Neto, no matter where he lives or performs. The recording also ever so appropriately remembers the late Richard Zirinsky Jr., founder of Adventure Music, and who, during his short life, filled a great void for Brasilian music, much of which has always been difficult to access for its legion of fans who live outside the South American nation.

Track list – 1: Surfboard; 2: A Felicidade; 3: Águas de Março; 4: Chovendo Na Roseira; 5: Por Causa de Você; 6: Retrato em Branco e Preto; 7: Samba de Uma Nota Só; 8: Wave; 9: As Praias Desertas; 10: Garota de Ipanema

Personnel – Jovino Santos Neto: piano, melodica (8); Ben Thomas: vibraphone and bandoneon (9); Chuck Deardorf: contrabass and electric bass; Mark Ivester: drums; Jeff Busch: percussion. With special guests – Maucha Adnet: vocals; Romero Lubambo: acoustic guitar

Released – 2018
Label – Adventure Music (1117 – 2)
Runtime – 1:00:09

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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Featured Albums

Adrien Brandeis: Siempre Más Allá



Roberto Jr. Vizcaino, Adrien Brandeis, Roberto Vizcaino Guillot - Photo Nayeli Mejia
Roberto Vizcaíno Jr., Adrien Brandeis, Roberto Vizcaíno Guillot - Photo: Nayeli Mejia.

Listening to the music of Siempre Más Allá, it certainly seems that the young French pianist, Adrien Brandeis has strengthened the belief that he is a proverbial citizen of the Afro-Caribbean universe. To be clear Mr Brandeis still loves all music and swings as hard as any pianist who loves Black American Music – that is, music that you can sing and dance to. But also continues to be beguiled by the rolling thunder of Afro-Caribbean music. The wild call of the rhythms and the joie de vivre of the questing melodies and harmonies not only appeal to his ear, but also speak to him in the hidden parts of his heart.

By his own admission Siempre Más Allá took root during three tours to Mexico undertaken under the aegis of the Fédération des Alliances Françaises du Mexique. The virtually all-Afro-Cuban repertoire of the album radiates charm at every turn. These disarmingly natural and eloquent performances bring out the music’s inherent drama and penchant for tumbao with a deft touch while indulging Brandeis’ lyrical instincts to the full. Meticulously balanced, the four quartet pieces, the trio and duo pieces feel as if they are chamber works. Brandeis’ astonishingly insightful playing is musically captivating and technically blemishless. Each phrase rings so completely true that one can’t imagine the music played any other way.

Adrien Brandeis: Siempre Más Allá
Adrien Brandeis: Siempre Más Allá

The album features Mr Brandeis and a group of very accomplished musicians. These include the celebrated Cuban percussionist Roberto Vizcaíno Guillot [on two tracks] and his son Roberto Vizcaíno Jr., Mexican drummer José Loria Triay make up the wall of percussion. The Brasilian bassist Giliard Lopes brings his distinctive veritas to the whole rhythm section. The big surprise here is, perhaps, the presence of the great Cuban Horacio “El Negro” Hernández sitting in the drum chair on La buena vibra.

Siempre Más Allá is an affirmation of Brandeis’ enduring love and natural affinity for Latin music. Not surprisingly the music seems to echo the famous Latin American phrase: “¡Que rico bailo yo!” [which, in English, exclaims: “How well I dance!”]. This is no hyperbole as the music – in its pulses and rhythms show as Brandeis traverses the rhythmic topography of the Caribbean and Latin America. Along the way Brandeis plunged into the world of changüí, the chacarera, Brasilian gaucho music and the ancient melodic thunder of bàtá drums.

From the get-go listeners will find themselves immersed in quite another world of rippling percussive grooves. The track Ek Bakam, for instance, conjures the intricate architecture; the line and flow of an epic Mayan civilisation located in the Yucatan. Narratives from the Latin world abound – often paying homage to famous traditional musicians. Pancho’s Power is one such chart inspired by the vivid world of the legendary trio Los Panchos. Brandeis gives his percussion section a lot of space when he puts the spotlight on them on Tierra de Oportunidades – a wistful memory of the pianist’s three tours to Mexico, which is also incidentally the popular provincial slogan of the Mexican state of Guanajuato. On Huachi-Huachi Brandeis digs deep into the epicurean delights of the only Latin country in North America with this song in praise of a kind of gourmet Mexican fish: the huachinango.

Brandeis then celebrates his association with percussion colourist Roberto Vizcaíno Jr. with the extraordinary music of Vizcaíno Blues, a piece unique with its exploratory chromaticisms and elegant sonorities that beautifully capture the eloquence of the percussionist in whose praise the music is written. Mindful of the fact that Vizcaíno is Cuban but makes his home in Mexico, Brandeis shapes the rhythmic and harmonic palette of the piece accordingly. On La Buena Vibra Brandeis delivers astonishing pianistic fireworks in the piece’s melodic and harmonic lines, played at a frenetic pace, to mirror the style of its dedicatee, Michel Camilo. The pianist demonstrates an authentic home-grown grasp of Cuban music as he reimages Voy a Apagar la Luz, by the legendary and late-singer Armando Manzanero, here adapted as a wistful solo piano work. Meanwhile on the dizzying ride of Humpty Dumpty the pianist pays homage to another idol: Chick Corea, by revisiting the sparkling composition of the recently-deceased piano maestro.

It is hard not to be mesmerised by this spirited and finely nuanced music artfully crafted in an album by Adrien Brandeis, a pianist who is about to take the world by storm with a recording that is going to be one of the finest by any musician located outside the Latin American sub-continent.

Deo gratis…

Tracks – 1: Huachi Huachi; 2: Alegría; 3: Pancho’s Power; 4: Ek balam; 5: Un peu d’espoir; 6: Vizcaíno’s Blues; 7: Tierra de oportunidades; 8: Humpty Dumpty; 9: La buena vibra; 10: Voy a apagar la luz

Musicians – Adrien Brandeis: piano; Giliard Lopes: contrabass; José Loria Triay: drums; Roberto Vizcaíno Jr: congas and bàtá drums. Featuring Roberto Vizcaíno Guillot: percussion [1, 6]; Horacio “El Negro” Hernández: drums [9]

Released – 2022
Label – Mantodea Music Productions
Runtime – 58:25

YouTube Video – Adrien Brandeis – Siempre más allá (EPK)

YouTube Audio – Adrien Brandeis – Vizcaíno’s Blues

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