Dances from the New World

Description

The Assad Brothers and Paquito D’Rivera met in 2003 at the Concertgebouw of Amsterdam during the Obrigado Brazil project, an initiative led by the charismatic cellist Yo-Yo Ma. Paying tribute to the Assad’s native Brazil the international tour created a close friendship between the Latin-American artists and inspired the birth of this recording. It showcases a number of different styles and rhythms born in the New World of Latin America where Europe and Africa met. Choosing music for this unusual trio was not a simple task given the extremely rich Latin­American repertoire.

This special selection showcases a number of different styles and rhythms born in the New World of Latin America where Europe and Africa met. “Dances from the New World” include well-known pieces as well as less familiar ones, all arranged for the clarinet of Paquito D’Rivera and the guitars of Sergio and Odair Assad.

“>Um a zero” is a joyous chôro by Brazilian Alfredo da Rocha Vianna Filho, born in Rio de Janeiro in 1897, and internationally renowned by the name Pixinguinha. The lyrics of this chôro tell and commemorate the victory (one zero) of the Brazilian football team playing against Uruguay in 1919. Immortalized in 1946 on a recording where Pixinguinha plays the flute part, “Um a zero” seduced many other interpreters such as Jacob do Bandolim, Benedito Lacerda, Garoto and Altamiro Carrilho.

“>Alfonsina y el mar” is a sad song by Argentinian composer Ariel Ramirez with lyrics by Felix Luna evoking the tragic death of poetess Alfonsina Storni (1892-1938); knowing to be affected by a cancer, she decided to confide her sick body to deep waters of the sea.

“>Afro” by Cuban Paquito D’Rivera pays tribute to the huge contribution of Mother Africa to the music of the New World.

“>Malambo” was chosen by Argentinian composer Alberto Ginastera as the passionate conclusion of his ballet “Estancia” (1941). The origins of this virile and rhythmical dance go back to the 17th century. The malambois still nowadays the object of meetings and competitions where men in typical dress confront in a fervent zapateado.

“>Vete de mí” is a famous bolero by Argentinian Virgilio Expósito composed on lyrics by his brother Homero. Since its composition in 1946, hundreds of interpretations have contributed to its fame, in particular the one by the pianist and singer Bola de Nieve.

“>Conga de la media noche” by the great pianist and composer Ernesto Lecuona was inspired by the characteristic rhythm of the conga born in the 16thcentury among the Cuban slaves.

“>Dizzyness” is a tribute by Paquito D’Rivera to his unforgettable friend and mentor, Dizzy Gillespie, in the form of variations around some of his trade mark melodies and improvisations. Like « Afro » the piece was originally part of a suite of “Aires Tropicales” commissioned by the Aspen Woodwind Quintet in the early eighties.

“>Nos e o rio” (we and the river) evokes the Pardo river in Ribeirao Preto (Brazil) which was crossing the property of the Penha brothers, Altamir and Edinho, the first guitar duo that the Assad brothers met in their childhood.

“>Aquarela do Brasil” is the internationally renowned samba by Brazilian composer and actor Ary Barroso.

“>El choclo” is said to be the first-ever written tango by Argentinian pioneer of tango Angel Villoldo, composer, lyricist and great tango singer.

“>Trialogo” is the only original piece for clarinet and two guitars on this recording. In this piece written for Paquito D’Rivera and the Assad brothers, Cuban guitarist Rey Guerra mixes the character of the Brazilian chorinho and the typical rhythm of the habanera.

“>Danza paraguaya” is one the numerous compositions for solo guitar by Agustín Barrios paying tribute to his native land.

“>Drume Negrita” is a famous lullaby by the Cuban pianist, composer and arranger Eliseo Grenet in which the lyrics are trying to imitate the slang of origin of the African slaves.

Françoise-Emmanuelle Denis