The Brazilian trio Caixa Cubo starts its 2014 European Tour at the German jazz club "B-Flat", before heading Portugal and Denmark.
On the repertoire, tunes from Brazilian masters and original compositions, based on the repertoire of the new album "Misturada".
B-Flat Jazz Club
Rosenthaler Str. 13 - 10119 Berlin-Mitte
Entrance: 10 euros
To listen to Caixa Cubo:
EPK of the new album "Misturada": https://www.youtube.com/watch?v=P2U0NDujGSw
"Remexendo", with special guest Nailor Proveta: https://www.youtube.com/watch?v=9dR4vSHyA1Q
Review of the album "Misturada"
"The musical effervescence of 1960’s Brazil has waned. The only reason it has do not been totally overlooked and forgotten is that, for a while, Brazilian and foreign musicians and instrumental ensembles have been presenting re-readings of that repertoire. Yet these are sporadic, isolated and fragmented memories do not deliver a consistent panorama of the wealth of that time.
What then, in fact, happened in that period? Let us remember that, at the turn of the 1960s, shortly after the outbreak of bossa nova music, the clubs and hype nightspots of Rio and São Paulo doubled as a kind of laboratory for instrumental groups. These bands played not only the latest compositions by Tom Jobim, João Gilberto and Vinicius de Moraes, João Donato, Johnny Alf, Carlos Lyra, Roberto Menescal and Ronaldo Boscoli, but also a number of other genres such as pre-bossa nova samba and choro.
The style conventionally called samba-jazz was nothing but a quintessentially Brazilian instrumental music open to improvisation. It attracted numerous ensembles that included the magnificent Tamba Trio (formed by Luiz Eça, Bebeto and Hélcio Milito); Zimbo Trio (led by the
ace Amilton Godoy); Sambalanço Trio (led by Cesar Camargo Mariano); Milton Banana Trio, Bossa Tres (led by Luiz Carlos Vinhas), Salvador Trio (led by the great Dom Salvador), Tenório Junior Trio, Embalo Trio, Bossa Jazz Trio, Sambrasa Trio, and bands headed by Sergio Mendes,
Edison Machado, J.T Meirelles, Raul de Souza, Tião Neto, and countless others.
It so happens that, more than five decades after the dissemination of that school and that language, Misturada (Mixed) emerges as the first CD of the Caixa Cubo Trio, adding new meaning to the term samba-jazz while respectfully redeeming and renewing, with a modern touch, the timeless repertoire of the great masters of Brazilian music.
The names in the honoree team dispense with introduction: Dorival Caymmi in Maricotinha, with unprecedented arrangement by the great Dori Caymmi; Airto Moreira, in the theme song that lends its name to the album, and Juventino Maciel in Cadência, which is featured in the CD in a much slower tempo than the original, resulting in one of the most beautiful interpretations of this choro.
In the second half of the CD, tributes are paid to the ingenious Dominguinhos in Choro pro Miudinho; Hermeto Pascoal, in Coalhada, and Vinicius de Moraes and Edu Lobo, in Arrastão (both theme songs based on arrangements of very hot record Em Som Maior, by the Sambrasa Trio formed by Pascoal, Moreira and Humberto Clayber). Finally, there was Laércio de Freitas in Pirambêra, rescued from the cult album Laércio de Freitas e o Som Roceiro.
The creative mixture of Misturada is further enhanced by the special attendance of two respected Brazilian musicians: Nailor Azevedo, a.k.a. Proveta, playing the clarinet in the choro Remexendo, composed by unforgettable music director Radamés Gnattali, and Teco Cardoso, with playing the bamboo flute in Ponteio # 45, composed by Camargo Guarnieri, and Amphibious, by Moacir Santos, playing the baritone saxophone that once belonged to Santos himself. Cardoso was a student of this maestro "that was not only one, but many," as Vinicius de Moraes sang in his Samba da Bênção.
Apart from being accomplished instrumentalists, Henrique Gomide, João Fideles and Noa Stroeter also reveal their extreme creativity in the compositions Shot # 4 (Gomide / Fideles) and Bolero para Zulma (Noa Stroeter).
Here a parenthesis seems appropriate. Once, in a conversation with master Hermeto Pascoal, he described a revealing conversation with Tom Jobim, who told him he was tired of his own style of composition. Jobim said he wanted to play like Quarteto Novo (a group formed by
Pascoal, Moreira, Heraldo do Monte and Theo de Barros). Pascoal then replied, "Tom, you have spent too much time in the United States, you need to spend more time in Brazil." Shortly thereafter, Jobim came up with Águas de Março, and Pascoal boasted: "Thank Goodness, Tom
has listened to me."
Loosely speaking, before designing Misturada I commented with Henrique Gomide (who lived abroad and focused primarily on jazz) that they should conserve the essence and the vigor of Brazilian music in their compositions.
Anyway, the result is here to be heard, in an album produced by three protagonists and that comes out of the oven not as a promise, but as a
reality. It is a reality because all the technical refinement of Henrique, João and Noa would be of no use if it were not for the soul and the feeling that they instill into this flawless and perennial repertoire. Music says thanks.
Lucas Nobile, 2014"