The instrumental group Marimbanda is as unique as its name. Formed
in1999 in Fortaleza, Ceará (northeast Brazil), Marimbanda
got its name from a song written by bassist Adriano Giffoni. With
a good dose of improvisation added to Brazilian rhythms -- samba,
baião,
frevo, etc. -- Marimbanda
scores high marks in its self-titled debut album.
Marimbanda's formation in this album is Luizinho Duarte (drums
and percussion), Heriberto Porto (flutes), Ítalo Almeida (keyboards)
and Júnior Primata (bass). The band draws the material for
this release from original compositions with the exception of the
classic "Pisa
na Fulô," which here receives a more contemporary, smooth
arrangement highlighting the band's innovative approach to Brazilian
instrumental music. Of course Giffoni's "Marimbanda" is
present, too. This magical combination of talented musicians creates
the hybrid sound you find in Marimbanda.
For example, Primata adds to the group his previous experience with
musicians such as Manassés and Renato
Borghetti. Duarte,
who is also an excellent guitar player and composer, clearly shows
influences from Zimbo Trio as well as from samba and choro traditions.
Almeida's piano solos and compositions mix Bill Evans and Chick Corea
along with frevos and sambas. As for Porto, he got his master's degree
in flute in Brussels, Belgium, where he lived for 12 years besides
performing and recording two albums there. In addition to Marimbanda,
he also performs with Syntagma, a group blending Baroque with Brazilian
northeastern music, and the woodwind quintet Alberto Nepomuceno.
Giffoni's opener, "Marimbanda," starts off with Duarte's
dynamic drumming extravaganza. The group is full of energy and exchanges
quick solos feeding from one another's lines. Almeida's fingers glide
beautifully on the ivory while Porto's flute leaves you breathless.
All of that is enhanced when Primata's bass solo takes center stage.
This musical exchange lasts over 4 minutes with fast and slow tempo
alternating back and forth. With Primata's "Destino," Marimbanda
slows down a bit. 
This beautiful bossa nova is the vehicle for Primata's
own solo carrying the melody line at first. Duarte is more subdued
now and accompanies Almeida's touching piano and Porto's sweet flute.
The nice contrasts between ballads and funkier tunes are a big plus
in this album. After "Destino,"
for example, "Feito Assim" picks up speed with its groovy
and jazzy tempo. The same is true about "À Procura do
Conde," which
follows the mellow "Luiz da Arte" with its soft baião
tempo. Incidentally, the word play between "Luiz da Arte" and
Luiz Duarte is very clever. The classic "Pisa na Fulô" receives
a new arrangement complete with a dazzling improvisational bridge
with Almeida's fast piano solo. We then have accordionist Adelson
Viana featured as a guest in the tango-influenced "Morangotango." Argentina
meets Brazil, and the combination is beautifully fiery. The romantic
waltz "Num Domingo
de Valsa" takes you strolling with images of flowers blooming
as Porto's luscious flute paints this soothing landscape. Once again,
the band electrifies your listening pleasure with "Depois a
Gente Vê" right before saying goodbye with "Samba
Nº 1."
Marimbanda is now producing its second album, but before it hits
stores, you should check out their debut release. The band's collective
work here is destined for a promising future. Marimbanda is
a much needed festive celebration of Brazilian instrumental music.
The band's sound is vibrant and serene, electrifying and soothing,
and it is all done with superb musicianship and incomparable style.
Egídio Leitão
March 2004
