Album Remarks & Appraisals:
"One of Brazil's leading lights in contemporary instrumental music. Two of Ricardo's previous albums have reached 1 on various contemporary jazz charts.'Ricardo Silveira possesses the compositional eloquence of Metheny, the bracing attack of Benson, the". Adventure Music.2004
JazzTimes (2/04, p.137) - "Silveria chooses each note carefully, and his compositions are wonderfully detailed yet understated."
Personnel: Ricardo Silveira (guitar, keyboards); Sasha Amback (keyboards); Andre Rodrigues (bass); Renato Calmon (drums).
Producers: Ricardo Silveira, Eduardo Chermont.
Recorded in 2000.
Personnel: Ricardo Silveira (acoustic guitar, electric guitar, steel guitar, nylon-string guitar, keyboards); Gilson Peranzzetta (accordion); Sacha Amback (Fender Rhodes piano); Andre Rodrigues, Luís Alves, John Leftwich, Jorge Helder (acoustic bass); Renato "Massa" Calmon, Carlos Bala (drums); Armando Marçal (percussion).
Audio Mixer: Eduardo Chermont.
Recording information: Adg Studios (08/2000-12/2000); Arrebite (08/2000-12/2000); Big Studio, Rio De Janeiro, Brazil (08/2000-12/2000); Leftway, Los Angeles, CA (08/2000-12/2000); Professor Pardal (08/2000-12/2000).
Photographer: Jefferson Mello.
Originally issued in Brazil in 2001, this is Brazilian guitarist Ricardo Silveira's first non-Verve recording in the United States. Though issued in the States two years after its initial release, it retains its freshness and forward-thinking way of looking at popular musical forms as inseparable. Silveira has been influenced not only by his countrymen, but also by American guitarist friends such as Pat Metheny and Bill Frisell. And like such illustrious artists, he has integrated virtually everything he can put his ear to into his sound. Silveira has played with everyone from Milton Nascimento to Gilberto Gil to Dori Caymmi back home as well as Herbie Mann, Flora Purim, and the Grusin brothers in the States. Noite Clara reflects the textural richness of his experience in the neo-flamenco stylings of "Lua No Mar" as the track meets modern groove jazz and bossa nova. Elsewhere, on "Tango Carioca," Silveira turns the Argentinean classical form on its head with ringing Grant Green-styled arpeggios and lilting backbeats. "Bom Partido" is perhaps the first ever jazz-rock samba, and the closing track, "País Tropical," uses American country figures (à la Bill Frisell's Nashville) inside a Jorge Ben harmony that is pure Afro-Cuban in melody and soul-jazz in groove. This is a graceful, breezy recording that is as rewarding musically as it is open and easy atmospherically. Highly recommended. This is smooth jazz with chops and heart. ~ Thom Jurek
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