Further reading the liner notes, one realizes Maio's intention.
Aprendiz is reverence to life and nature, and as
such, it does make listeners
and artists apprentices.
Recently I heard Cesar Camargo Mariano saying that Brazilian instrumental
music is alive and well in Brazil. We know that is true outside of
Brazil. Now Aprendiz,
though recorded back in 1999, proves that Mariano is not wrong. Mixing
live recordings done at Supremo Musical in São Paulo (October
1999) with studio tracks,
Aprendiz is far from being the work of a beginner. Maio,
who wrote all 11 tracks and plays both electric and acoustic bass
the flute -
divides the performances with Tiago Costa (piano) and Eduardo Ribeiro (drums).
In addition to this accomplished trio of musicians, special guests Teco
Cardoso (saxes), Léa Freire (flutes), Daniel Alcântara
(flugelhorn), Alexandre Foo Silvério (bassoon), Silvana Rangel
Teixeira (cello) and Filó Machado
add a whole new depth to this beautifully produced recording.
Enhancing the fine listening experience that Aprendiz creates,
the carefully designed liner notes serve as a good companion for
each track. Maio shares with the listener the source of his inspiration.
find that an interesting piece of information. Many times it places us
in the composer's mind and allows us to understand the feelings or emotions
through music. That is the case of "Belluno," a melancholic
song highlighted by Silvério's soothing bassoon solo. Listening
to the song and looking at the photo of Belluno, one cannot help but
be transported to those narrow and
charismatic streets of that northern Italian city. The same is true
(Bolero para Paquito)," dedicated to Paquito d'Rivera. Alcântara's
flugelhorn solo is passionate and provides a beautiful contrast to
Maio's five-string vertical bass lines.
The musical variety here, in addition to Maio's musicianship, is
a major force in Aprendiz. Sometimes slow and tender as
in "Muito Prazer," sometimes
exhilarating and playful as in "Primeiro Choro," Aprendiz leaves
the listener satisfied. In closing the album, Maio uses his fretless
bass in "By All Means" as a short introduction to "Baião
Means...," with the astonishing vocal and guitar solos by Filó Machado.
Besides the clever word play in the song titles, the infectious baião
rhythm and Machado's vocals close the album with high energy.
Rogério has created a beautiful CD, starting
with the title. Humility doesn't take up space. He's a talented
musician and inspired composer. Waltzes, baiãos, maracatus
in 7/8, etc. This is Rogério's Brazil. Suggestive,
modern, rich. Congratulations!
With great affection,
You can read more about Aprendiz and hear sound samples
in Rogério Botter Maio's site.