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Grupo Falso Baiano
Photo courtesy: daniellathompson.com |
On Wednesday evening August 3, 2011, the
'infamous' fog that quietly spreads its cool, moist cloak over the San Francisco Bay Area was rolling in from the Pacific Ocean when
Grupo Falso Biano took the stage at
Yoshi's Jazz Club in Jack London Square, Oakland, California. Little did I know what an exquisite musical cloak this group also was set to spread over the large number of its excited fans that turned out to join in the celebration of the release of their new CD
"Simplicidade: Live at Yoshi's."
I had not heard of this band before, and knew nothing of the music it played. But I was drawn to them when I learned that roots of their music, an instrumental style called
Choro, were planted firmly in
Brazil; it predated the
Bossa Nova; was relatively unknown in
North America; and
Grupo Falso Baiano arguably, was the sole working Choro ensemble
in America. This seemed to signal that the band had at its disposal a
'fresh' genre to explore; it was original; and unabashedly, I have been in love with the passion and beauty of Brazilian music ever since I heard the seminal
Stan Getz February 1962 bossa nova recording of
Jazz Samba, with
Charlie Byrd & Gene Byrd on
guitars,
Keter Betts on
bass,
Buddy Deppenschmidt &
Bill Reichenbach on
drums, and
Getz with
'the sound,' on
tenor saxophone. I had not heard of bossa nova then either, but I wish that I could have been at
Pierce Hall,
All Souls Unitarian Church,
Washington, DC that February day when this historic CD was recorded.
A Brief History of Choro:
What is Choro, and where did it originate? Choro is quintessentially Brazilian music. It originated in
Rio de Janiero, the cultural capital of Brazil, in the late nineteenth century
(circa 1870). It emerged as a music genre in the early twentieth century. During this time, musicians utilizing the '
Terno' or 'Trio' of guitars, cavaquinho ( a small four-stringed guitar) and flute played European dances for parties and social gatherings. They also came together for
'jam sessions,' to socialize and compete to display improvisational prowess.
Since its birth, it has enjoyed many incarnations and revivals. Recordings in the 1910s, and radio in the 1930s, increased Choro's popularity throughout Brazil when writers, artists, and intellectuals sought to establish a different Brazilian style as a counteraction against dependence on European culture. Choro became part of the "
movement" spearheaded by these intellectuals and artists, and was embraced as a distinctly Brazilian popular music.
Mass media and exploitation by the military dictatorship of
Gertulio Vargas increased its appeal and acceptance in the 1940s. Support for Choro declined in the 1950s and 1960s, and it ceased to be part of day-to-day musical life in Brazil; but it was revived in the 1970s through the efforts of the Brazilian middle-class, university-educated whites, and new talents,
Paulinho Da Viola, Joel Nacimento, Deo Rian, and the magnificent guitarist
Rafael Rabello who died in 1995 at 32. It was during this revival process that Choro was split into styles of
progressive and
traditional.
In the 1980s Choro was energized by groups like
Camerata Carioca and
Orquestra De Cordas Brasileiras and through the 1990s, Choro again became a rising star
. Currently
, Rildo Hora (harmonica), Nailor Proveta Azeveto (clarinet/saxophone), Antonio Carlos Carrasquiera & Dirceu Leitte (flute), are some of the musicians who are including sizable amounts of Choro to their repertoires; and now
Grupo Falso Baiano from the
San Francisco Bay Area.
Choro is called many things - from
"a conversation between instruments" to
"Brazilian jazz" to
"Brazilian blues." Historically though, Choro alluded to small groups of instrumentalists, typically featuring a soloist (usually a flautist or reed player), a cavaquinho (4-string soprano guitar), mostly used for chordal accompaniment, and the 7-string guitar which is more popular today, played the melodic lines, counter-point, and bass lines. Choro is a participatory playing style dependent on the interlocking nature of the melody, center, bass and rhythm to produce the fundamental sounds distinct to Choro.
"Choro" also is used loosely to identify a style of playing, or a genre of music.
Famous composers in the Choro tradition are:
Heitor Villa-Lobos (1887 - 1959) who wrote 14 major works for Choro.
Joaquim Antonio (Callado) da Silva (flute professor; 1848 - 1880).
Chiquinha Gonzaga (conductor; 1847 - 1935).
Anacleto Augusto de Medeiros (clarinet/composer; 1866 - 1907).
Alfredo da Rocha Vianna Filho, Jr., (composer/arranger/flautist/saxophonist; 1897 - 1973), also known as "
Pixinguinha", regard as a genius who defined the Choro's final format. He blended Afro-Brazilian and rural music with Choro's
polkas,
tangos and
schottisch echoes.
Jacob Pick Bittencourt (composer; 1918 - 1969), a. k. a
Jacob do Bandolim (Mandolin Jacob) who was a virtuoso mandolin player.
Grupo Falso Baiano "Live" at Yoshi's August 3, 2011/ CD Review: "Simplicidade"
Musicians: Zack Pitt-Smith -
Saxophones/Flute; Jesse Appelman -
Mandolin; Brian Moran -
7 String Guitars; Ami Molinelli -
Percussion (Pandeiro/Zabumba).
On July 5, 2010
Grupo Falso Baiano appeared at Yoshi's, Oakland CA to record
"Simplicidade: Live At Yoshi's." Now, a year later, they have graciously returned to Yoshi's to treat their fans to a celebration marking the release of the CD containing the exciting music they played on that summer night.
Grupo Falso Baiano began the ascending arc of their evening's celebration, without much fanfare, introducing a tune called
"Bole Bole" (Shake Shake), featuring the articulate, melodious mandolin playing of
Jesse Appelman, and
Zack Pitt-Smith's quick, clear flute. It was clearly evident that this group of musicians knew their music, and how to put it over. Immediately, the audience snapped to attention, and took notice. A fanfare was the last thing that was required. The title track of their new CD, "Simplicidade," composed by Mandolin virtuoso
Jacob do Bandolim followed, and Appelman's absolute mandolin wizardry flowed with the flavor of vintage wine. Smith had moved to tenor saxophone imbuing the piece with a smooth, jazzy feel that had many heads
"rockin' in rhythm."
One of GFB's objectives for the show was to stretch out "both on stage and stylistically." This and their performance arc took a positive climb with the addition on stage, of guests, flautist
Rebecca Kleinman and guitarist
Carlos Oliveira. These two fine players instantly infused fascinating style and fluid energy into the band's third selection, a well executed, intricate arrangement of composer Pixinguinha's
"Ainda Me Recordo."
Up to this point the band had demonstrated an energetic, delightful, emotional musical character, but with the next selection, the smooth, lilting, melodic
"Cuidado Violao," its unrestricted stylistic dimensions, liquid change of tempo and form, without encumbrance, was breathtaking.
There are powerful effects of Choro to be realized in the nuances of the body language and non verbal interaction between the players which accentuate the intimacy of the performance. These effects slowly began to work into the evening's show in the music of
"Cabaceira," a tune from Northern Brazil on which flautist
Rebecca Kleinman simply sparkled,
"Cidade Lagoa," a lament about rainy
Rio, and
Jovino Santos Neto's "Kenny E Voce" (from the new CD). Also on display were the sensational versatility and mastery of multiple instruments by Zack Pitt-Smith (saxophones/flute), Ami "Wizard" Molinelli (percussion/pandeiro/zabumba), Brian Moran (cavaquinho/7 string guitars) and Carlos Oliveira (cavaquinho, 7-string guitar, 12-string guitar, zabumba). The entire movement was accomplished with an ease that was uncanny, deceptive, and dizzying. This sequence got thunderous applause. It was at this point that the audience really understood what a seriously talented band was entertaining them. The '
performance arc' had reached a secure working orbit.
With the audience firmly engaged, GFB inadvertently revealed a striking musical characteristic. It transfixed the room as it performed another
Pixinguinha F major gem, called
"Rosa." "Rosa" was played as a waltz with the band stripped to a core of
Jesse Appleman (mandolin), Brian Moran (7 string guitar), Carlos Oliveira (cavaquinho). Within the sheer simplicity of its name and
'terno' of guitars, the audience unknowingly was transported to a time and place of the birth of Choro; its essence and spirit laid bare by three supremely talented players who performed, in total silence, with such respect and sublime articulation as to channel the spirits of
Joaquim Antonio (Callado) da Silva,
Chiquinha Gonzaga,
Anacleto Augusto de Medeiros,
Jacob do Bandolim, and
Alfredo da Rocha Vianna Filho, Jr., a. k. a.
Pixinguinha, its genius Brazilian composer, who made its resplendent reprise possible on this night in Oakland, California.
The ensemble's performance arc had now reached its apogee; its high point. The remaining evening's performance included three more selections
"Sofres Porque Queres," "Pagao," and
"Cheguei" (from the new CD) by composer Pixinguinha, whose work the band executes with relish, joy, and exquisite improvisational skill. The ensemble remained at full strength for two more selections from the new CD
"Simplicidade," "Deixa O Breque" (Leave the Break For Me) composed by
Severino (Sivuca) Dias de Oliveira, the renowned Brazilian accordionist/guitarist, on this selection
Ami Molinelli gave a percussion clinic on the
pandeiro that left the room asking itself:
"How did she do all that?" And the band's admitted favorite, another
Jovino Santos Neto composition,
"Feira Livre." In between they played,
"Teclas Pretas" with fine tenor work by Pitt-Smith, and the uptempo and very danceable
"Aquarela na Quixaba."
At the end of the show (17 selections), GFB was called back on stage for an encore. They returned and played
"Doce do Coco," composed by
Jacob do Bandolim, and dedicated it to kids and grand kids everywhere, especially
Cleo and
Leo (Moran's and Molinelli's children), who will no doubt have the pleasure of carrying the traditions of Choro on into their future. On this selection, Jesse Appelman's mandolin was sincerely poignant and wonderfully amorous, bringing a fitting end to a very wonderful evening's performance.
On the CD
"Simplicidade: Live At Yoshi's" (2010), the brilliant multi-percussionist, educator and graduate of
Oberlin Conservatory of Music,
Brian Rice, appears as a special guest. Rice has played with Brazilian artists,
Paulo Sergio Santos,
Danilo Brito,
Dudu Maia, and
Jorge Alba. He currently performs with
Mike Marshall and Choro Famoso,
Samba Rio, and
The Berkeley Choro Ensemble. He brings a wealth of percussive talent and professional playing experience to
Grupo Falso Baiano. Also making a featured appearance on the CD, is the acclaimed,
Jovino Santos Neto, who, although not at this show, lent his enormous spirit and influence through the contribution of three of his wonderful original works from the CD:
"Rosa Cigano" and the previously mentioned
"Kenny E Voce" and
"Feira Livre". Santos Neto's ample instrumental talents
(piano/accordion/flute), have emerged as essential in enhancing the richness of
"Simplicidade's" musical colors, and ensuring that excitement and enjoyment flowed freely from the rhythms, harmonies and melodies that are distinct in authentic, quintessential, Brazilian Choro.
Grupo Falso Baiano Simplicidade: Live At Yoshi's (2010), is a CD of appealing charm played by musicians dedicated to bringing the richness and beauty of Choro to North America. They have selected the music of the giants of the genre, past and present as their musical conduits. This is an important group on an important mission of joy and love.
CD Track listing:
Caminhando;
Simplicidade;
Cheguei;
Feira Livre;
Kenny E Voce;
Rosa Cigano;
Bem Brasil;
Deixa O Breque;
Doce De Coco;
Forro Na Penha.
Engineer: Michael Winger
Mixing: Celso Alberti
Mastering: Ken Lee
Photos: Ryosuke Matusmoto
Art Direction and Graphics: Juliana Sankaran-Felix
CD Recorded at Yoshi's, Oakland, CA July 5, 2010
Produced by Grupo Falso Baiano
