Jazz Brasil
Mark Weinstein
Jazzheads
Jazz and Brazilian music seem like close life partners that hold the possibility of existing in beautiful harmony. When the promise of this union becomes a reality, an ideal setting exists for memorable and exciting musical moments. The intoxicating rhythmic structure of Brazilian styles add another dimension to the rich harmonic flavors of jazz, opening a world of options for a skilled improviser. At the same time, the looseness of jazz interpretation infuses Brazilian styles with a freedom that adds an extra layer of vitality to the music, opening doors for liberal interaction among the rhythm section. All these elements potentially come alive when jazz and Brazilian music meet in a performance, but they only bear fruit when the musicians approach both sides of the union with respect. When one side of the musical equation overpowers the other, a potentially beautiful marriage becomes a disaster. Uneven combinations stagger into their union with a stiff motion and a stagnant sense of doom, defeating the purpose of bringing the two worlds together. It’s a musical matrimony that needs to be approached with care and based upon intimate knowledge of both styles. Flautist Mark Weinstein finds that wonderful balancing point between both styles on Jazz Brasil, delivering a collection of music that exists in blissful unison.

Placing Jazz Standards Inside Brazilian Structures
Weinstein explores the line between jazz and Brazilian music with several standards placed within the context of Brazilian rhythmic structures. An energetic introduction from pianist Kenny Barron sends Weinstein charging into an up-tempo rendition of Thelonious Monk’s “I Mean You,” over a samba rhythm. Weinstein deftly weaves clever melodic lines through the chord changes, alternating between a flowing stream of notes and rhythmic references to the stylistic foundation. Barron attacks his improvisation with an upbeat momentum that bounces around the music’s accent points, giving way to an engaging exchange of phrases between Weinstein and drummer Marcello Pellitteri. The rhythm section provides a sparse 6/8 rhythm as a backdrop to Weinstein’s intimate melodic reading of Wayne Shorter’s “Nefertiti.” Barron carefully chooses his notes as he constructs a masterful statement that glows with rich harmonic colors. Weinstein flies into his solo with rapid streams of notes that raise the song’s dynamic into a vibrant forward motion that opens the door for beautifully understated commentary from Pellitteri. Bassist Nilson Matta establishes a strutting bass line that rides along a funky drum beat on Herbie Mann’s “Memphis Underground,” setting the stage for a percussive melody from Weinstein’s bass flute. Blues drenched lines flow from the low register of Weinstein’s instrument, infusing his improvisation with a soulful vibe that captures the song’s spirit. The volume drops as Matta runs quick lines over the groove that hit all the jagged edges of the funk, leading into a quick and poignant improvisation from Barron. Matta freely outlines the changes over a driving samba rhythm on Joe Henderson’s “Isotope” until Weinstein jumps into the mix with a sharply phrased interpretation of the melody. The flautist enthusiastically leaps into his improvisation, winding rapid streams of notes through the changes, followed by a focused solo from Barron filled with lively bop character. Matta and Pellitteri trade ideas in twelve bar phrases, grabbing each opportunity with a committed zeal that sends the group into an exciting climax. Each one of these standards fits nicely into the Brazilian context, providing ample opportunity for Weinstein and his group to move through the improvisatory possibilities.

Original Pieces From The Group Members
Group members contribute two pieces to the recordings, revealing a more concise view of their take on the musical marraige. Pellitteri executes some nice samba brushwork beneath Matta’s light but energetic bass line while Weinstein interjects short melodic phrases on the bassist’s “Sambosco.” Barron feeds on the upbeat spirit of the music, contributing an energetic improvisation that moves forward with an impassioned zeal. Weinstein takes the energy one step further with furious flights of notes, separated by sharp rhythmic edges, until an unaccompanied solo from Pellitteri breaks the groove with an ear catching intensity. Lush chords and a spacious bass line create a floating feel beneath “Dawn’s Early Light,” and when Pellitteri enters with a mid-tempo bossa nova, Weinstein’s melody comes to life. Barron relishes in the flowing texture of the song, developing a statement that glides through delicate themes and thoughtful embellishments. Weinstein follows with a memorable solo that breathes new life into the song with smart combination of reflective ideas and rapid melodic runs. These pieces find the group members delivering smart pieces that pleasantly bring together jazz and Brazilian forms.

A Jazz Edge In Brazilian Compositions
Weinstein investigates several Brazilian pieces, finding an inherent jazz edge to the songs that feed his group’s creativity. Pellitteri establishes a solid samba groove on the introduction to Antonio Carlos Jobim’s “Triste,” setting up Weinstein’s lovely straight-ahead rendition of the melody. The flautist flies into his improvisation with an evident joy that reveals an affinity for the piece, and he carries that sensation into a free wheeling stream of clever ideas. Barron provides a smart contrast with a spacious entry into his improvisation, building back into a full momentum for Matta’s solo, which evolves through a wisely developed theme. Weinstein’s flute glides over a dramatic rubato introduction that explodes a lively version of the traditional melody on Ary Barroso’s “Brazil.” The flautist engages his full creative vision on his improvisation, sending the band soaring into a charging groove that matches his ascending solo flights. The band comes down behind Barron, who sends energetic melodies flying forward, until Matta displays a powerful melodic ingenuity on his statement. Barron provides a quietly thoughtful introduction on Jobim’s “If You Never Come To Me,” before the full band enters with a subtle bossa nova behind Weinstein’s melody. The calm setting provides the perfect context for Matta’s solo, which touches upon the harmony’s inherent beauty with carefully chosen collections of notes. Weinstein takes a brief solo turn, followed by Barron, and both musicians take the opportunity to create lovely lines. These songs resonate with a Brazilian character, but the skillful performance of Weinstein’s band brings a recognizable jazz flavor at every turn.

An Addictive Energy And Joyful Enthusiasm
Weinstein approaches the combination of jazz and Brazilian music from several angles on Jazz Brasil, and each time his admiration for the styles leads to memorable music. The repertoire serves as the starting point for his successful union; by taking standards from both the jazz and Brazilian music worlds, Weinstein acknowledges the importance of each tradition. Once the group starts playing though, the group treats each passing song with the same enthusiasm and integrity. There’s a true sense of seamless integration throughout the album that brings the loose interactive nature of jazz together with the exciting rhythmic momentum of Brazilian music. Weinstein’s performance shines with his love for the context – his obvious enjoyment brings his vast musicality to the forefront. The presence of legendary pianist Kenny Barron throughout the album connects Weinstein’s efforts to the greater jazz tradition and provides an impressive improvisatory foil for the flautist. Matta grounds the recording with his masterful command over Brazilian styles, his jazz edged ability to spontaneously interact with the group, and his engaging improvisatory voice. Pellitteri injects the soul of both styles into the music, with solid Brazilian grooves and spontaneous jazz commentary. Weinstein brings an addictive energy and joyful enthusiasm into Jazz Brasil that combines the elements of both styles into a harmonious co-existence.

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Track Listing:
1. I Mean You (Thelonious Monk)
2. Triste (Antonio Carlos Jobim)
3. Nefertiti (Wayne Shorter)
4. Brazil (Ary Barroso)
5. Ruby My Dear (Thelonious Monk)
6. Sambosco (Nilson Matta)
7. Dawn’s Early Light (Mark Weinstein)
8. Memphis Underground (Herbie Mann)
9. If You Never Come To Me (Antonio Carlos Jobim)
10. Isotope (Joe Henderson)

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Musicians:
Mark Weinstein – concert, alto, and bass flutes; Kenny Barron – piano; Nilson Matta – bass; Marcello Pellitteri – drums

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Check Out These Related Posts:
Weekly Latin Jazz Video Fix: Mark Weinstein
Album Of The Week: Timbasa, Mark Weinstein
Latin Jazz Conversations: Mark Weinstein (Part 1)
Album Of The Week: Lua e Sol, Mark Weinstein

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