Jaques Morelenbaum recourse to Buenos Aires The Brazilian cellist will play games and games at Bebop Club

With a series of intimate concerts, Jaques Morelenbaum regression in Buenos Aires, the city that defined us as “public and enthusiastic”. The games on the 20th and on Thursdays in double function (on the 20th and 22.30), the original Brazilian cellist presents with Cello Sam3a Trio in Bebop Clubthe Redoubt of Uriarte 1658. With Morelenbaum estarán Lula Galvao en guitarra and the battery player Paulo Braga, to suggest the topics of Flor do Milêniothe disco is the most popular of the trio, adamás de su personal mirada sober los klasikos de ese universo siempre cautivante que es el repertorio del samba y la bosa nova.

Created in a family of academic musicians, Morelenbaum formed between the Conservatories – a study at the New England Conservatory of Boston–, the progressive rock and the music of Brazilian music as a sonorous ambience. Arranger, composer, director and producer, cellist, Morelenbaum is much more refined than the sound of a dream inspired by Caetano Veloso, working with notables such as Gal Costa, Gilberto Gil, Maria Bethania, Milton Nascimento Buarque, Marisa Monte, Carlinhos Brown, por nombrar algunas, o, más acá, de la cantante portuguesa Dulce Pontes, la caboverdeana Cesaria Evora o el más pop David Byrne, entre otros.

Multifacético e incansable, figura de Morelenbaum se destaca en el panorama de la Latinoamericana por su versatilidad, capaz de traspasar los géneros y mancomunar los estilos, sin sacrificar su identidad brasileña. Fue músico de Antonio Carlos Jobim durante diez años e integró además el cuarteto de Egberto Gismonti. In 1995 he formed the Quarteto Jobim-Morelenbaum – with his exposition, the cantata Paula Morelenbaum, además de Paulo y Daniel, hijo y nieto del autor de “Chega da saudade” -, y luego M2S, con Paula y el pianista y compositor Japanese Ryuichi Sakamoto. Approximately these years, created by Cello Sam3a Trio, with the idea of ​​giving the cello the dimension of a singing song.

“Everything should be aspirated to the song, have the human voice as a reference,” said Morelenbaum. “When we talk about musical conversation, we look for a parameter: the human train, the most meaningful and effective way to burn the emotion. The instrument should only be a medium to listen to and feel sent to Sam3a Trio me to give you the opportunity to walk through this music in the open and in the Brazilian language, which is the same, I understand everything that musically I have. The boarding of the place of a Brazilian music that has the opportunity to express the musical experiences of the most varied in the parts of the world and with the music of different genres ”, agrega.

Morelenbaum saw that the direct inspiration for the project of the trio was a disco by Joao Gilberto. “It is the white tapas that are lit. Joao Giberto. This is a very important disco for my way of learning music. Ahí todo un universo musical se condensa en la voz, la guitarra y una percusión liviana. As I was invited by Lula Galvao, a guitarist of great silence, and Rafael Barata in percussion, to put my cello like a song ”, commented Morelenbaum.

Lula Galvao and Rafael Barata – this time it was rebuilt by Paulo Braga – grabbed Flor do Milênio, the second disco of the trio, in which also participated Cristóvão Bastos, who played the piano in the version of the theme “Choro, chuva, chello”, además de Zeca Assumpção en bajo and Carlos Malta en vientos. “These are very important music for me and for Brazilian music”, says Morelenbaum. “Flor do Milênio it is a work with real estate themes, a contrast to the trio disco example, which has more to do with the classics of the repertoire, which is the music we play in the concerts ”, continues the cellist. “Solo hays dos obras de otros composers y tienen que ver con una idea precisa. Including Dorival Caymmi’s ‘Voce nao sabe amar’ and ‘A pesar de você’ by Chico Buarque, as a reference to the political moment that we find in my country. It is a matter of honoring ‘our opponent’ to our president, we raise a way of contesting the political situation in Brazil, which does not taste good to me ”, define.

Between the disco themes there is also a “Song for Caetano”, a homage to Caetano Veloso to share an idea “what a salty, a man in the shower” and other inspiring moments in which the cello will go deep in the search of the dialogue of the trio, as “Firu haikai”, “Dó a Dó” or the theme of the disco number. “Someone can compose and arrange their opinion, and sometimes we can order and transform ideas. La diferencia está en que en la composición uno parte del propio mundo, conoce el origen y el por qué de esas ideas; in exchange, in the field, one should find the world that is part of it, go to the bottom of the material about the thing that is working, search for the compression of the song of the composer, penetrate the world to power, definitely, serve the song ”.

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