Jon Gold: Brazil Confidential *

Audio Samples

>Além Do Azul
>Funky Jabour
>Teresinha
>Carioca Da Clara
>Confissao
>Singela
>Vitamin B
>Paraty
>Parafuso a Menos
>Janacek Suite No. 4
>Rapadura
>Parazen

Track List

>Além Do Azul
>Funky Jabour
>Teresinha
>Carioca Da Clara
>Confissao
>Singela
>Vitamin B
>Paraty
>Parafuso a Menos
>Janacek Suite No. 4
>Rapadura
>Parazen

Album Notes

Personnel: Jon Gold (piano, keyboards); Tatiana Parra (vocals); Luiz Ribeiro (guitar); Anat Cohen (woodwinds); Mauricio Zottarelli (drums).

Audio Mixer: Scott Anderson .

Liner Note Author: Greg Hillis.

Recording information: Kaleidoscope Studios, Union City, NJ; Madureira Sound, Brooklyn, NY; Sao Paulo, Brazil.

Photographer: Jack Frisch.

Pianist Jon Gold's love of Brazilian music is obvious on this set of modern jazz where he is the leader, but not necessarily the central figure all the time. Instead you hear a mix of music that has Brazilian influences and performers from that region, but Gold is stretching the parameters of this music into European art song, 21st century music, a little blues, and the progressive sounds of uptown New York City. Armed with this variety of musicians from various disciplines, Gold mixes and matches these players so that each individual track has its own sound and personnel, with no two tracks sounding the same. With flutist Andrew Sternman and saxophonist Anat Cohen, Gold offers a busy, upbeat "Funky Jabour" for Hermeto Pascoal, the ultimate three-minute celebratory party tune "Parafuso A Menos," and a jam, "Vitamin," all fired by lots of percussion. Then there's "Alem Do Azul" fusing Zach Brock's violin with a lovely Steve Reich-type piano minimalism. Several vocal tracks, or those featuring English horn player Katie Scheele, provide more light pop or classical-oriented sounds. Whether playing music specifically for dancing, or as introspective romantic backdrops, Gold consistently delivers intriguing music on this recording, and just enough originality to portend great things for his next project. ~ Michael G. Nastos



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