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Chico Mello - Gesang, Gitarren, Klavier, Perkussion mit: Ségio
M Albach - Klarinetten / Uli Bartel - Violine / Helinho Brandăo
- Kontrabass / Guilherme Castro - E-Bass / Ahmed Chouraqui -
Perkussion / Armando Chu - Perhussion / José Dias de Moraes
Neto - Klarinetten / Wolfgang Galler - Synthesizer, Bass, Perkussion
/ Michael Hauser - Kontrabass / Lothar Henzel - Bandoneón /
Levent - Darabuka / Burkhard Schlothauer - Violinen, Kontrabass
Mix: Chico Mello, Burkhard Schlothauer, Thilo Grahman, Ahmed
Chouraqui, Gerhard Grell
Gesamtdauer: 62:23
Bestellnummer:
TG 1008
Verkaufspreis:
€ 15,40
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review:
Chico Mello's remarkable new disc, Do Lado da Voz (From the
Voice's Side), is his first all-song album. The recent interest
in song stems from his studies of Dhrupad and his work with
Silvia Ocougne. Since the early 1990's, he's elaborated unusual
versions (or de-compositions, as he calls them) of well-known
Brazilian songs of various eras. His novel and sometimes startling
arrangements alter the songs' tempi, break their rhythm with
pauses and repetitions, add samples of old recordings, and juxtapose
instrumental dissonance against lyrical vocals, taking the songs
out of their original contexts and transforming them into essentially
new (re)creations. (…)
The other side of Do Lado da Voz consists of five compositions
by Mello, to which he applies the same de-composition techniques.
"Achado" and "Chorando em 2001" utilize multiplication of acoustic
instruments to create an almost electronic ambient. The violins
in "Achado" recall Steve Reich's "Different Trains," while the
title plays with the name of the Brazilian writer Machado de
Assis. "Cara da Barriga" and "Valsa Dourada" are triumphs of
simplicity, employing silence as an integral element of the
composition.
The disc ends on the alliterative "Paramá", where an electronic
program of bass, drums, and synthesizer progressively alters
the tempo.
Mello's voice is an extremely attractive tenor that he keeps
mostly in high registers and low decibels, like a muted horn.
It's as unique and intriguing as his musical voice.
Daniella Thompson in "Song of the South:
How a city with no indigenous cultural roots is creating a musical
legacy", article about Curitiba, for revista Brazzil
http://www.brazzil.com/musdec00.htm
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