Copacabana
Nilson Matta’s Brazilian Voyage
Zoho Music
When we view an ensemble, certain ideas about bandleaders pop into our heads, as we unconsciously analyze the group. We easily look at the band’s front line as the group’s leaders, assuming that the vocalist or sax player runs the show. This happens naturally; these musicians act as the band’s face, and they generally maintain the most direct contact with the audience. In some cases, this guess might ring true, but many times, a rhythm section player holds the group together at a foundation level. Many people might jump to the conclusion that a percussionist runs the ensemble, since again, they maintain a dominant presence in the Latin Jazz world. A good band leader needs a knowledge of harmony, form, and melody to efficiently express their musical ideas though; while some percussionists hold these insights, a chordal players might be a more natural leader. Piano players, guitarists, and vibraphonists also stand out to the audience – while they may not also be at the front of the band, their dominant roles as soloists capture the listener’s attention. At the end of the list of potential band leaders, the bass player sits as the unsuspecting musical gem that holds the most vast promise. Skilled Latin Jazz bass players understand harmony and form, they’ve developed a keen perspective on improvisational melody, and they hold a deep insight into the rhythmic nuances of each style. They understand the importance of support and feel comfortable capturing the spotlight when necessary. Bass players have the ideal qualities for a leader, and most times when they lead a group, they deliver a quality product. This fact holds true on Copacabana, as Nilson Matta, one of the finest bass players in modern Brazilian Jazz, leads his group Brazilian Voyage through and enjoyable an stimulating set.

Original Compositions That Combine Jazz And Brazilian Rhythms
Matta grounds the group with several original compositions that draw upon the rhythmic nature of Brazilian rhythms and the colorful harmonies of jazz. A solo bass vamp establishes a propulsive forward motion on Matta’s “Baden,” a tribute to the well-known Brazilian composer Baden Powell, until pianist Klaus Mueller moves into a an eloquently simple and engaging melody. Mueller races long lines through the chord changes, developing strong themes that inspire interaction from the rhythm section, while Matta utilizes harmonics and short repeated figures to infuse captivating rhythmic material into his solo. After a return to the melody, Mueller jumps into a frantic double time series of arpeggios, setting the stage for frenetic improvisation flourish. Matta establishes a floating bossa nova with a solid bass presence and a tastefully subtle overdubbed guitar on “Copacabana” while Mueller and saxophonist Harry Allen takes turns on the lyrical melody. Mueller spins a series of gentle melodies through the rich chord changes, taking a relaxed approach to phrasing that reflects the subdued rhythm section. Allen follows with a slightly more assertive approach that mixes the open flowing feel of the bossa nova with quick flights of bebop dexterity. Mueller dramatically introduces the main theme until percussionist Zé Mauricio sends the band flying into a samba groove on “Saci Pereré,” which pushs the band through an interesting melody with several rhythmic changes. Matta displays a unique command over jazz melodies and the intricacies of Brazilian rhythm, flying over the whole range of his bass with a fluid intensity. Mueller plays around the percussive nature of the song’s foundation, mixing sharp rhythmic figures with long lines until Mauricio jumps into a blaze of percussion prowess. These pieces provide a solid core repertoire for the band’s exploration of the meeting point between jazz and Brazilian music, a definable strength for Matta.

Original Compositions That Push The Group In A Different Direction
A different set of original pieces push the group in a different direction, allowing Matta and his musicians the opportunity to explore other avenues. Drummer Mauricio Zottarelli creates a swaying blend between straight bossa nova and swing on Allen’s “I Can See Forever” as the saxophonist reflectively interprets the melody with an expressive set of articulations. Allen carefully constructs his statement over the flowing chord changes, stretching into longer lines imbued with a sense of thoughtful expression. Mueller gently creates a colorful solo full of understated beauty, while Matta contrasts the pianist with a solo full of assertive motion and a slyly funky syncopation. Matta bows his bass with a rough aggression on the solo piece “Pantanal” mixing double stops, harmonics, and slurred lines into an almost classical setting. A bold theme grounds the piece, as Matta interjects exploratory runs and journeys into the instrument’s upper limits. This piece allows Matta to investigate the deep beauty of his instrument’s tone, displaying his technical virtuosity in the midst of a highly musical setting. The group freely plays upon textural ideas over a ballad-esqe bossa nova feel on “Águas Brasileiras,” leading into a tender melody from Mueller filled with a serene sense of uplifting joy. Matta constructs a gorgeous statement that effortlessly combines sophisticated melodic ideas with the bassist’s impeccable sense of syncopated phrasing. Mueller’s improvisation bounces around the song’s swaying pulse, wrapping quick bursts of forward motion with quietly unobtrusive lines. These pieces reveal a different side to the band’s musicianship, showing different interests and musical strengths among the ensemble.

Incorporating Songs From Other Composers
The group incorporates a variety of songs from other composers, giving them the opportunity to stretch out improvisationally. The rhythm section creates an appealing lopsided samba groove on the Villa-Lobos composition “Trenzinho Do Caipira” as Allen, flautist Anne Drummond, and Mueller take turns on the catchy melody. Allen leaps into his improvisation with an enthusiastic conviction, charging through the changes with a boppish fervor and a creative drive. Drummond uses her airy tone to spin long phrases filled with quick runs over the rhythm section, who pushes her with a responsive approach. The rhythm section explodes into a furiously paced samba on Barroso’s “Brazil (Aquarela Do Brasil),” leading into a memorable melody performed with an engaging sense of dynamics and textural variation. Allen and Drummond repeat the melody several times, trading with Mueller at times, and playing off the intensity of the rhythm section’s addictive inertia. Mueller leaps head first into an improvisation with an unstoppable sense of bluesy energy that sends the rhythm section into a fantastic frenzy. A gospel-tinged flourish opens Gonzaga and Teixeira’s “Asa Branca/Baião” until Matta establishes a powerful bass line for the melody’s driving baião groove. Drummond flies into her improvisation with a passionate flurry of notes, running quick sequences and short rhythmic ideas over the rhythm section. Mueller spins long jazz fueled lines through his solo, eventually pushing Matta and Zottarelli into a furious swing rhythm until Matta runs with the energy and creates a short show stopping statement. A good deal of personality emerges on these tunes as the musicians grasp the familiar and cut loose with attention grabbing performances.

Driven From The Bottom Up, With Strength And Conviction
Matta guides his group with strength and conviction throughout Copacabana, delivering a product that captures the strength and beauty of Brazilian music as well as the improvisational excitement of jazz. The group’s repertoire provides an ideal launching point for their explorations, infusing a good balance into the musical settings. Matta serves as the primary composer throughout the album, displaying a broad harmonic palette and a keen melodic sense. He mixes several Brazilian styles into his compositions, but lets them stretch a bit in performance, allowing for improvisational freedoms. The inclusion of compositions from several other composers breaks up the album nicely, providing the group a chance to explore a different perspective and touch upon familiar ideas. As a bassist, Matta provides outstanding support throughout the recording, executing rock solid bass lines with the ability to liberally interact rhythmically. His solos demonstrate a distinct musical personality that sings with a lyrical integrity while assertively hitting the rough rhythmic edges of Brazilian music. Mueller contributes a significant presence throughout the recording, cleanly winding through the intricate compositions and improvising with an engaging passion. Copacabana contains a rich musical experience that shimmers with beauty and moves with exciting improvisations, all driven from the bottom up by Matta’s musically insightful leadership.

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