A Touch of Class
“How long was I unaware of your art? I’ve wasted so much time! […] I am honored to talk about the great master you are. Life is worth because of people like you.” [Roberto Menescal]
“In all tracks of the album we can feel the essence of our instrumental music in a clear way, with all its stylistic diversity, Bossa Nova-ly happy.” [Roberto Sion]
When accolades come directly from your peers, one cannot help but wonder why the Brazilian music press has not taken notice of Conrado Paulino Quarteto. The quartet is comprised of Débora Picarelli Gurgel (piano, sax, flute), Marinho Andreotti (bass), Celso de Almeida (drums) and Conrado Paulino (guitars). When not performing together, these musicians have played and worked with names such as Amilton Godoy, Chico Pinheiro, Zizi Possi, João Parahyba, Nico Assumpção, Alaíde Costa, Leila Pinheiro, Edu Lobo, Zé Luiz Mazziotti, Dominguinhos, Rosa Passos and countless other giants in Brazilian music. Conrado Paulino himself has played with Zimbo Trio, Paulinho Nogueira, Adriano Giffoni and has also arranged for Alaíde Costa and Sueli Costa. He also teaches acoustic guitar and is a member of IAJE (International Association for Jazz Education).
Featuring a nice number of original compositions by Conrado Paulino, Quarteto is a beautiful instrumental release to be added to anyone’s Brazilian instrumental music collection. All arrangements are the creation of Conrado Paulino, and outside of his own music, the album also features well-known classics “Doralice,” “Samba da Minha Terra” and “A Felicidade.” There is also the lesser known (for non-Brazilian audiences) “Choro Bandido,” a great closing number with a moving solo performance by Conrado Paulino.
Quarteto has a well-rounded and very balanced number of lively sambas and stirring ballads allowing the group ample room to showcase their talents without getting distracted from the gorgeous music they play. In “Fefê,” Gurgel’s flying piano solo carries the track with its fast tempo and gives Paulino’s acoustic guitar, Andreotti’s electric bass and Almeida’s drums the perfect field for great accompaniment. Out of the four non-original tracks in the album, “(Desconstruindo o) Samba da Minha Terra” is easily the number that will grab your attention, particularly for its arrangement. The drums and acoustic guitar duo is vibrant. Paulino and Almeida are remarkable in their dueling solos. The jazzed-up “Samba de Catalina” and “Nena” bring back the full quartet, which is again featured in the baião-flavored “Salada Nordestina.” For the evocative “Saraus de Americana,” Paulino invited Ademir Júnior to lend a great solo on the clarinet. His gentle approach to the track is simply beautiful.
Also, special mention must be made to Paulino himself on the electric-acoustic Gibson Chet Atkins guitar. It’s another duet in the album that stays with you. As for the ballads, the album soars. There is a soothing moment with “Isabel,” with Paulino on midi guitar. However, topping that great number, we have “Eu Não Sabia,” probably the best track in the album. Special guest Jane Duboc, with her inimitable voice is idyllic, as is the composition itself. The arrangement and performances overflow in sensuality and artistry.
For more information about the album and artist and to listen to the tracks in Quarteto, please visit Conrado Paulino on the web.
Conrado Paulino Quarteto
All compositions by Conrado Paulino, except where noted.
- Doralice (Dorival Caymmi)
- Samba da Catalina
- Eu Não Sabia – w/ Jane Duboc
- Salada Nordestina
- (Desconstruindo o) Samba da Minha Terra (Dorival Caymmi)
- Saraus de Americana – w/ Ademir Júnior
- A Felicidade (Tom Jobim – Vinícius de Moraes)
- Choro Bandido (Edu Lobo – Chico Buarque)