Forests
Brazilian Trio
Zoho Music
Great piano trios throughout the history of jazz have relied upon the balance between freedom and structure to find their unique personalities. Pianist Bill Evans led his many trios in a conversational style that often prioritized interaction over traditional jazz swing. Oscar Peterson took a much different approach, fueling his repertoire with a heavy dose of swing and charm. Thelonious Monk’s trio work depended upon his unique personality and innovative compositional voice; he often bent the structure to his will. Pianist Chick Corea imported modern ideas from sophisticated harmonies to rock drum beats, building new structures based upon his artistic concept. These jazz artists all played upon the inherent looseness of the swing format, a liberty not always available to Latin Jazz artists. The interlocking rhythmic structures of many Caribbean and South American musics are very defined, providing little room for interpretation. Implementing elements of freedom characteristic of jazz trio requires a true musical bi-lingual language that can respect the aesthetics of both influences. Drummer Duduka De Fonseca, pianist Helio Alves, and bassist Nilson Matta find spaces for authentic applications of freedom and structure on Forests, creating a strong Latin Jazz piano trio approach.

Re-Imagining Influential Brazilian Composers Through Jazz
The trio reinforces their connection to Brazilian music with a group of compositions written by influential Brazilian musicians. Matta and Da Fonseca provide a spacious introduction on Ivan Lins’ “Amor” until Alves enters with a strong, yet reflective melody. Carefully constructing a series of melodic ideas, Matta weaves a thoughtful statement through the changes. Alves takes an assertive approach, building his improvisation from lush lines into a wave of crashing chords. The group slows to a ballad setting on Hermeto Pascoal’s “Montreux” as Alves delivers an introspective reading of the melody. Matta exposes a personal side with an expressive exploration of the song’s colorful harmony. Alves takes a more thematic approach, combining short phrases into a larger, meaningful statement. The trio charges into an energetic samba on Vitor Assis Brasil’s “Pro Zeca,” pushed forward by the momentum of Alves’ winding melody. Alves utilizes the song’s up-tempo feel, creating tension with forced harmonies and repeated rhythmic ideas. The group provides a striking contrast as both Matta and Da Fonseca take unaccompanied solos that showcase their mastery of idea development. After a dramatic rubato introduction, the trio dives into an up-tempo samba on Milton Nascimiento’s “Vera Cruz,” driven by an urgent melody. Alves rides the inertia of the rhythm section, developing a short idea into a fluid statement. Da Fonseca breaks the groove and uses a series of rolls and cymbal colors to paint a passionate picture. These pieces make an important connection to Brazilian repertoire and allow the musicians an opportunity to interpret Brazilian music through jazz improvisation.

Matta and Da Fonseca Share Their Experience Through Strong Compositions
Matta and Da Fonseca draw upon their years of experience in Brazilian Jazz, contributing several compositions that display their refined concept. Atmospheric animal sounds transition into a gentle melody from Alves on Matta’s “Forests” until the rhythm section enters with a powerful groove. Alves grabs the new feel with a rhythmic melody and a well-conceived statement that benefits from thematic sequences. Cleverly evolving rhythms burst from the snare drum as Da Fonseca applies strong compositional development to his improvisation. There’s a melancholy mood riding throughout Da Fonseca’s “Flying Over Rio,” fueled by each musician’s sensitive performance and dynamic interaction. Alves gently shapes melodies into an expressive statement, while Da Fonseca and Matta subtly alter their playing to accent his performance. Da Fonseca and Alves thin the texture while Matta steps into the forefront, adding a more aggressive stance to his solo. Alves playfully repeats the uplifting melody on Matta’s “Paraty” gaining a push from the energetic groove established by Da Fonseca and Matta. Alves applies his impressive technique to his improvisation, taking simple melodies and twisting them into several exciting variations. Matta and Da Fonseca follow Alves’ every move, matching his energy level and anticipating his lines at every turn. With several years of cutting-edge Brazilian Jazz behind them, Matta and Da Fonseca’s compositions present an interesting opportunity to apply their knowledge to the piano trio.

Alves Emerges as a Skillful Composer
Alves contributes two finely constructed pieces that reveal a strong compositional voice with both feet firmly planted in the jazz and Brazilian worlds. After a tender unaccompanied introduction from Alves, the trio jumps into a loose samba based around an understated melody on “Samba Alegre.” Alves displays a talent for melodic invention on his solo, followed by Matta’s assertive statement. Alves and Matta proceed to trade ideas with Da Fonseca, displaying a telepathic communication and the ability to create exciting conversations spontaneously. Alves plays a short introduction over Matta’s bowed bass and Da Fonseca’s coloristic ideas on “Ubatuba” before the group transitions into a subdued melody over a bossa nova. An understated elegance fills Alves’ solo with a delicate beauty, as he spins bold lines over the changes. Matta follows Alves’ lead with calm lines, and then follow his own path with strong rhythmic figures and rapid notes. Alves proves himself to be a smart composer, loaded with a defined concept and a keen ability to create inspiring improvisational settings over Brazilian music.

Another Chapter In Piano Trio History
Alves, Matta, and Da Fonseca stretch the boundaries of the Latin Jazz piano trio on Forests, while remaining true to the history and aesthetics of both jazz and Brazilian music. Their inclusion of compositions by influential Brazilian composers creates a tie to the country’s authentic repertoire, while their jazz influenced re-imaginings place these pieces in a completely new light. Their own compositions reveal their true concept, honestly blending the best elements of Brazilian music and jazz. Matta and Da Fonseca retain a telepathic communication that they’ve developed through their years of shared experiences with Trio Da Paz. Alves compliments this established interactive spirit with an impressive performance that not only acts as an inspirational spark within the trio, but also affirms his status as an important piano voice. The strength of these three musicians forces their personalities into the front of the trio, as they actively embrace freedom and conversational expression. Brazilian music sits as second nature to their artistic instincts though; they never wash out the music’s cultural roots. The Brazilian Trio’s performance on Forests asserts the possibilities inherent in a truly bi-lingual Latin Jazz piano trio, and hopefully it marks the beginning of another great chapter in jazz piano trio history.

———-
Check Out These Related Posts:
Album of the Week: Live At JazzBaltica, Tri Da Paz & Joe Locke
5 Latin Jazz Bassists Driving Today’s Scene
The Insightful Art of the Duet: Continuous Friendship, Hamilton De Holanda & Andre Mehmari
Album of the Week: Felicidade, Gary Morgan & Panamericana

———-
Click here to have these posts delivered via email. Or, click here to subscribe to the full text RSS feed and never miss another post!

Stumble it!