Born in Niterói, RJ (1970), arranger, composer, pianist and accordionist
Marcos Nimrichter has been making music with some of the best Brazilian
artists in recent years. You might not have noticed it, but Nimrichter
participated in Mário Adnet's outstanding albums Para
Gershwin e Jobim (2000), Para
Gershwin e Jobim - 2 Kites (2001), Villa-Lobos
- Coração Popular (2001) and Rio
Carioca (2002). Furthermore, he also
appeared in Moacir Santos's Ouro Negro (2001) and Mauro
Senise's
Vênus (2002) as well as in Jobim Sinfônico (2002) .
The common thread in all those recordings is the quality of the material
and music performed. He is also a regular performer in many jazz
festivals in Brazil, the United States and Europe, and he has toured
with names such as Emílio Santiago, Victor Biglione, Cássia Éller,
Pepeu Gomes, Al Jarreau, Youssou N'Dour and many other top-notch
performers. He began studying music at age 4 in his native Niterói
at the Escola de Música Santa Cecília. Later he proceeded to study
at the Escola de Música at the Universidade Federal do Rio de Janeiro,
where he got his degree in piano and composition.
This
debut recording, Marcos Nimrichter, is a watercolor
album of the music that comprises Nimrichter's world. He plays jazz,
samba and frevo with the ease of a pro, and a wonderful professional
he is. His passion for the piano led him to explore the accordion
as well. Here in this album we have the opportunity to hear just
how well he blends an often forgotten instrument in some beautiful
numbers. Right at the opening number in the album, "Segunda Barca,"
the accordion marks its presence along with the remarkable Quinteto
Villa-Lobos in this straight jazz ballad. The second track, "Resulátero,"
dedicated to one of Nimrichter's teachers (Sérgio Benevenuto), features
Alberto Barreira's tenor sax in counterpoint with Henrique Band's
baritone sax. However, it is Alexandre Carvalho's guitar solos that
grab the listener from beginning to end. Nimrichter's spare use of
synthesizer in this track are just right. He knows not to overdo.
After featuring such great guest artists, it is only fair that in
"Paráfrase," Nimrichter uses the entire track for a touching piano
solo rich with a series of chord progressions. "Paixão de Carnaval"
brings back a mellow accordion solo. It is interesting to note that
when you are just about to guess Nimrichter will make use of the
accordion again in "Um Tango para um Amor," he surprises you with
a most heartfelt piano solo. The vibrant "Prudência" features the
Quarteto Guerra-Peixe with cellist Hugo Pilger, and coming back for
"Cara de Feliz," the Quinteto Villa-Lobos is once again featured
along with master reed virtuoso Carlos Malta on soprano sax and flutes.
Nimrichter uses the electric piano and also plays fretless bass in
this track. This is one of the best tracks in the album with a great
beat and percussive effects created by Nimrichter himself and Márcio
Bahia, Marco Lobo and Waltenir Estevão. Pantico Rocha's drum solo
is, as expected, quite impressive, too. Just before the album's only
vocal number -- the last track -- we are presented with a high-energy
frevo double track. The "Frevo do Frei Frívolo" (now try saying that
3 times fast!) is comprised of "Márcio Bahia (O Frevo)" and "O Frei."
Bahia's drums opening solo is simply impressive and is followed by
a flute duel between Andréa Ernst Dias and Marcelo Martins in "O
Frei." Just when we are about to lose our breath in ecstasy, Nimrichter
glides his fingers with a fantastic frevo solo. And all of this took
place in only barely over 60 seconds in "O Frei." The usual
brass frevo sound is meticulously replaced here with piano and flute.
It works like magic. Closing the album, Altay Veloso's haunting voice
echoes over Cristiano Alves's clarinet and Nimrichter's accordion
and piano. This piece is reflective and very touching.
Marcus Nimrichter is a surprising solo album because of
the richness of sounds Nimrichter creates along with his special
guests. He is daring whether playing the accordion or piano and exhibits
perfect control of the instruments and how they fit in his memorable
music.
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Read more about Marcus Nimrichter and
also hear track samples at Biscoito
Fino.
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Egídio Leitão
May 2004
