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Hamilton de Holanda: Intimo [Digipak]

Audio Samples

>Samba do Soho
>Beatriz
>Gratitude
>Luiza
>Chao de Estrelas
>Senhorinha
>César o Que é de César, A
>As Rosas Nao Falam
>Passarim
>O Bem do Mar
>Amor, Saudade Amor
>Feitiço da Vila

Track List

>Samba do Soho
>Beatriz
>Gratitude
>Luiza
>Chao de Estrelas
>Senhorinha
>César o Que é de César, A
>As Rosas Nao Falam
>Passarim
>O Bem do Mar
>Amor, Saudade Amor
>Feitiço da Vila

Album Reviews:

Dirty Linen (p.81) - "Apart from three originals, de Holanda performs graceful renditions of tunes by other Brazilian composers....INTIMO works well for what it was intended, as intimate music."

Global Rhythm (Publication) (p.55) - "Playing music that has inspired him throughout his career, Holanda eschews any pyrotechnics, opting instead to perform with subtlety and without pretense."

Album Notes

Audio Mixers: Hamilton de Holanda; Daniel Musy.

Liner Note Author: Hamilton de Holanda.

Recording information: Cayenne (11/2006); Paris, France (11/2006); Rio De Janeiro, Brazil (11/2006); Zurich, Switzerland (11/2006).

Photographers: Hamilton de Holanda; Rafael Dietzsch.

The Brazilian mandolin master follows his masterful quintet date Brasilianos with a more intimate (hence the title) and plucky solo affair on the ten-string mandolin that he says uses "road technology"--that is, a good mike, his laptop, and an MBox. Rhythmically diverse and intricately rendered, the session sounds like a one-take affair, with him not worrying so much about arrangements but just letting songs from his favorite Brazilian composers work through him as if by an unconscious process. He gets off to a lovely, hypnotic start with the passionately rhythmic "Samba do Soho," focusing on pure, crisp fingerstyling as he conveys the joy intended by writers Paulo Jobim and Ronaldo Bastos. De Holanda is in more of a thoughtful mode on Chico Buarque and Edu Lobo's "Beatriz" and his own simple expression of "Gratitude," which he follows with the strumming grace of Tom Jobim's "Luiza." De Holanda's other originals, "A César o Que é de César" and the graceful "Amor, Saudade Amor," stand up well with the works of the other composers. Because each song has a similar tempo, the collection is best enjoyed as a seamless whole. From the get-go, his goal seems to be fully expressing the melodic, "vocal," and rhythmic capabilities of the instrument he has such a passion for. Realizing this, he fully conveys a genius for both interpretation and listening to the musical spirits of his native Brazil. ~ Jonathan Widran



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