BAIAO MALANDRO PDF

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What a great present for my seventy years of life. Since the very first time I heard them, these magnificent and diverse musical creations settled in a special place in my heart, as deeply transportive experiences. For a long time I wanted to produce a tribute to this extraordinary musical genius, but could not find anyone who wanted to take on arranging these complex masterpieces.

They said it was like trying to repaint a Picasso! This composer joined elements from folklore, classical, contemporary and world music with stunning virtuosity and melodic invention. Eddie was curious, so I sent him numerous examples. So, after many years, I had finally found my lead artist for this project. We eventually settled on the instrumentation of Eddie on clarinet and tenor sax, piano, bass, drums and string quartet.

I also wanted to weave the Harlem String Quartet in and out so I told the arrangers to handle them as a unit to not only provide backgrounds, but at times play solo sections. His passion, incredible technical ability, and innate understanding of each style, made him so easy to work with that I could trust his choices on every song.

I could not be happier with the final result. Apparently Egberto Gismonti agrees as shown by his comments. I consider him without question the greatest living jazz clarinetist and it was an honor to collaborate with him. His songs, which have filled over seventy albums, are windows to the culture: its Indian, European, and African cross-breeding; its connections with nature, rhythm, and melody; its relation to the rest of mankind.

His writing is exceptionally refined, yet full of adventure. He dips into French impressionist harmonies and post-bop jazz; he loves sudden changes of tempo and rhythm. Some of his pieces unfold in movements. The material and personnel were selected by the owner of Resonance Records, George Klabin, who wanted to give the music a jewel-like setting.

As soloist, he chose Eddie Daniels, a jazz clarinetist and sometime sax player whose technique, expressiveness, and radiant tone have been hailed by authorities ranging from Leonard Feather to Leonard Bernstein.

Since making his first album for Prestige in , the Manhattan-born Daniels has aced every challenge. George threw me into it and I fell in love with the originals, while still wondering, how can I pull this off? The arrangements and playing maintain the Brazilian flavor of the originals; at the same time, they add cadences that are improvised, that are a clear variation of Brazilian music. The repertoire spans a rich period of my composing.

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