This is, by far, Fest's best CD (from those
I have listened to). That's what Martin Porter wrote on the
cover notes: "Manfredo Fest's music is as diverse as the
cultural and ethnic landscape of his Brazilian home-land. It represents
a rare assimilation of European classical training, Afro-Brazilian
rhythms and American jazz. This upbeat and long-awaited recording
runs the gamut of this musical tradition. Blind from birth, Fest
draws upon the African percussive soul that can be traced to slave
drummings on the Portuguese plantations of Brazil. Yet he augments
these native influences (from which the samba and bossa nova are
both derived) with advanced classical piano technique that lends
both shape and spine to the unique improvisations he sculpts throughout
this CD. The title cut "Braziliana" in particular combines
traditional jazz figures, dancing Brazilian lyrical expositions,
and a demonstration of Fest's power and control as a key-board artist
flowing riverlike, the music bends, rises and falls, constantly
buoyed by an ethereal undertone of synthesizers and scat However,
there is yet another element at work in Fest's music, for
this student of the European masters and Afro-Brazilian percussion
has also intently studied the jazz maestros of bebop and modern
jazz. In fact, it was his love of American jazz that originally
drew him to the United States in the early 1960's. With six LPs
of his own as a trio leader in his native Brazil, Fest came
to America as part of a wave of bossa nova artists that flooded
the states with a popularized samba derivative beat. He has stayed
ever since. His music has outlived the fad."Leave It To The Sea"
illustrates why It combines an American up-swing with a layered
samba beat.
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Yet it is an engaging cross-cultural
composition that, like the sea, turns on itself with the currents
and tides of harmony rhythm and melodic leads. "Echoes from Bahia"
meanwhile, reflects a stronger African influence, showing roots that
would later evolve into not only soul, jazz and blues but into funk
and rock and roll as well. These are obviously more complex compositions
than the pop melodies that made Brazilian music an American hit in
the mid-sixties. And while Fest may once have been known as a pianist
and arranger for Sergio Mendes, his long-lasting reputation has been
built upon an independent LP (1975) called "Brazilian Dorian Dream'.'
In fact, the title cut from this classic LP is treated to a contemporary
arrangement here, combining a percussive heartbeat with contrapuntal
elements for a skillful cross cultural blend. "I Am Happy;'
meanwhile, features traditional jazz chord transitions with a melody
line that frolics atop a coloring of vocals. Fest's most famous tune,
"That's What She Says' has also been reworked for this CD.
Popularized by his friend George Shearing who has made it a regular
part of his concert repertoire, Fest's own rendition is a cheery syncopated
reverie with spontaneous and talky jazz piano solos. The mel-ody line
is friendly and familiar The arrangement is exploratory and new. "Braziliana"
is a bold exploration for Manfredo Fest and for the growing lexicon
of Brazilian jazz music. It is an exploration of wide digital dynamics
and enlightened frequency response. It is an exploration of cultural
roots and contemporary influences. It bespeaks of a fearless voyage
and a glorious discovery."
I believe Martin has said it all. I'd just like to add
that Fest's version of Mauricio Heinhor's Estamos Ai is
just awsome. Fest's feel & phrasing are an example of what Brazilian
music is all about. It's definitely a must. |
