Odair Assad

El caminante


Label: GHA

CD - 126.064

Prix 18 euros


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Descrizione (dal sito GHA)
It all began with a gift: Fá offered me a sonata! This fifteen minute present, flooded from Leo Brouwer’s pen, provoked in my life a singular revolution. More than forty years of musical symbiosis and of stage shared with my brother Sérgio got me used to always feeling, on my left side, a presence that I didn’t need to look at for my universe to merge with his.
Obviously my sonata would need company and space to communicate; time took care of it with the partnership of persons dear to my heart and important in my life: Sergio, my partner for ever, Egberto, the genius, Roland, the Brazilian who was not born in Brazil and Kevin, my best friend. The result is this album whose existence is, for me, still hard to believe in …
Odair Assad

Sonata del caminante was composed in a few days, at once for Odair Assad. Composition is a birth with its pain, its effort and its joy but, in this case, everything was organic. Thinking and doing were one and the same. An impossible challenge for any guitar virtuoso is something common for Odair. This contributed to the fluidity of the sound in the Sonata. The Sertão and the great forest intersect in waterfalls of sounds distant and static, calmed like the plain. Thematically you won’t find in the Sonata del caminante sweet melodies nor gracious batucadas; if I intended something, it was “intensity”. I hope to have succeeded.
In the 20th century, Heitor Villa-Lobos with his Studies and Manuel de Falla with his Homenaje a Debussy are a starting point for guitar writing. Guimaraes da Rosa gave us the most telluric of the Brazilian landscapes ever romanticized while the deep Nordeste touches mystery and pain in its less known music. This is the intense Brazil, the one I am interested in. Odair can unveil it.
Leo Brouwer

 
Memória e Fado solo version re-created by Odair impacted me and sent me joy and hope all over. 
Who receives the title of composer should be considered the pointer -who takes notes of polyphony, polyrhythm, counterpoints, melodies and chords; 
Who in turn holds the title of interpreter should be considered the composer - who wakes up and gives life to the music score notes; 
Finally, what is called the audience should be considered the interpreter that confirms and lends credence to the reason of the whole creative process, our support as artists. 
In this re-creation, Odair surprises everyone by his discipline and skill to reveal the two separate and contradictory voices. His portrayal reveals a deep emotion, full of happiness and hope. Dear friend Odair, thanks for your brilliant Memória e Fado re-creation. Willing that you always remain waking up and giving life to the notes written by your favorite composers. Best wishes.
Egberto Gismonti

When Odair Assad asked me to compose a piece for him, I was especially honored as I absolutely love his playing and, above all, his sublime musicality, although it was a little daunting to start writing... Remembering an evening spent in his company, telling stories and tasting wines, the idea of a composition based on wine varietals and the musical colors they evoke occurred naturally to me. Structurally, the piece is a fantasy, where seemingly unrelated ideas emerge and circulate in a world of flavors. The Red Fantasy gets underway with a Spanish red, a Tempranillo soon followed by a Syrah built on a driving 5/4 meter with an admixture of jazz, classical and a hint of renaissance style. Then we reach for a gutsy Barbera invoking rock ‘n roll, and just as the Barbera gives rise to Malbec with its South American rhythms, we settle down with an Amarone – a slow, contemplative waltz revealing a complex bouquet – before re-savoring a couple of the earlier varietals. I must say Odair's fantasy has far exceeded my imagination… 
Kevin Callahan

The Seis Brevidades were written partially in Chicago and partially in Paris during 2008 and dedicated to my dear brother Odair Assad. They were not conceived with related musical material, each being very different in character and based on different sources of Latin American music. The whole set is unified as they reflect very loose and brief moments of a journey through a single day. Although they were not written on the same day they were inspired during or by specific times of the day. The first one called Chuva was the first impression of a rainy morning in the Chicago Loop. The second one, Tardewas inspired by a warm Chicago afternoon by the Navy Pier.  Feliz which means “happy” in Portuguese expresses that state of mind when you are really having a great day and enjoying yourself. Gingawhich means to swing while walking was inspired during a walk by the Seine river. Cantiga is a song inspired by a Parisian dusk and the last piece, Saltitante, which means leaping, was created after returning home fleeing an evening rain in Paris. The title Brevidades has a double connotation by implying the word brief, for the duration of each piece, but also by being the name of a Brazilian cupcake suggesting that these pieces should be taken as sweet little "cakes".  
Sergio Assad

Rosa is one of the very first compositions of Alfredo da Rocha Vianna Filho, better known under the name of « Pixinguinha ». He was the fourteenth child of a family of musicians, born in Rio de Janeiro in 1897. Rosa is a typical Brazilian instrumental waltz for which, afterwards, Otávio de Souza wrote words. It became the real symbol of Pixinguinha’s celebrity. Many artists continue to arrange and play Rosa, like French guitarist, composer and arranger Roland Dyens.
One of Barrios’s most famous compositions, Chôro da saudade, is a sort of homage paid by the Paraguayan guitarist to the chôro, typical popular music from Rio de Janeiro, and to Brazil where he lived for several years.
Invierno porteño is one of the Cuatro Estaciones Porteñas originally written by Astor Piazzolla for his quintet and arranged for solo guitar by Sérgio Assad, in 1992, on request of the Augustine Foundation in New York. The seasons were published, one by one, in the year 1995, in the four issues of Guitar Review.

Descrizione (dal sito GHA)

It all began with a gift: Fá offered me a sonata! This fifteen minute present, flooded from Leo Brouwer’s pen, provoked in my life a singular revolution. More than forty years of musical symbiosis and of stage shared with my brother Sérgio got me used to always feeling, on my left side, a presence that I didn’t need to look at for my universe to merge with his.

Obviously my sonata would need company and space to communicate; time took care of it with the partnership of persons dear to my heart and important in my life: Sergio, my partner for ever, Egberto, the genius, Roland, the Brazilian who was not born in Brazil and Kevin, my best friend. The result is this album whose existence is, for me, still hard to believe in …

Odair Assad


Sonata del caminante was composed in a few days, at once for Odair Assad. Composition is a birth with its pain, its effort and its joy but, in this case, everything was organic. Thinking and doing were one and the same. An impossible challenge for any guitar virtuoso is something common for Odair. This contributed to the fluidity of the sound in the Sonata. The Sertão and the great forest intersect in waterfalls of sounds distant and static, calmed like the plain. Thematically you won’t find in the Sonata del caminante sweet melodies nor gracious batucadas; if I intended something, it was “intensity”. I hope to have succeeded.

In the 20th century, Heitor Villa-Lobos with his Studies and Manuel de Falla with his Homenaje a Debussy are a starting point for guitar writing. Guimaraes da Rosa gave us the most telluric of the Brazilian landscapes ever romanticized while the deep Nordeste touches mystery and pain in its less known music. This is the intense Brazil, the one I am interested in. Odair can unveil it.

Leo Brouwer


 

Memória e Fado solo version re-created by Odair impacted me and sent me joy and hope all over.

Who receives the title of composer should be considered the pointer -who takes notes of polyphony, polyrhythm, counterpoints, melodies and chords;

Who in turn holds the title of interpreter should be considered the composer - who wakes up and gives life to the music score notes;

Finally, what is called the audience should be considered the interpreter that confirms and lends credence to the reason of the whole creative process, our support as artists.

In this re-creation, Odair surprises everyone by his discipline and skill to reveal the two separate and contradictory voices. His portrayal reveals a deep emotion, full of happiness and hope. Dear friend Odair, thanks for your brilliant Memória e Fado re-creation. Willing that you always remain waking up and giving life to the notes written by your favorite composers. Best wishes.

Egberto Gismonti


When Odair Assad asked me to compose a piece for him, I was especially honored as I absolutely love his playing and, above all, his sublime musicality, although it was a little daunting to start writing... Remembering an evening spent in his company, telling stories and tasting wines, the idea of a composition based on wine varietals and the musical colors they evoke occurred naturally to me. Structurally, the piece is a fantasy, where seemingly unrelated ideas emerge and circulate in a world of flavors. The Red Fantasy gets underway with a Spanish red, a Tempranillo soon followed by a Syrah built on a driving 5/4 meter with an admixture of jazz, classical and a hint of renaissance style. Then we reach for a gutsy Barbera invoking rock ‘n roll, and just as the Barbera gives rise to Malbec with its South American rhythms, we settle down with an Amarone – a slow, contemplative waltz revealing a complex bouquet – before re-savoring a couple of the earlier varietals. I must say Odair's fantasy has far exceeded my imagination…

Kevin Callahan


The Seis Brevidades were written partially in Chicago and partially in Paris during 2008 and dedicated to my dear brother Odair Assad. They were not conceived with related musical material, each being very different in character and based on different sources of Latin American music. The whole set is unified as they reflect very loose and brief moments of a journey through a single day. Although they were not written on the same day they were inspired during or by specific times of the day. The first one called Chuva was the first impression of a rainy morning in the Chicago Loop. The second one, Tardewas inspired by a warm Chicago afternoon by the Navy Pier.  Feliz which means “happy” in Portuguese expresses that state of mind when you are really having a great day and enjoying yourself. Gingawhich means to swing while walking was inspired during a walk by the Seine river. Cantiga is a song inspired by a Parisian dusk and the last piece, Saltitante, which means leaping, was created after returning home fleeing an evening rain in Paris. The title Brevidades has a double connotation by implying the word brief, for the duration of each piece, but also by being the name of a Brazilian cupcake suggesting that these pieces should be taken as sweet little "cakes". 

Sergio Assad


Rosa is one of the very first compositions of Alfredo da Rocha Vianna Filho, better known under the name of « Pixinguinha ». He was the fourteenth child of a family of musicians, born in Rio de Janeiro in 1897. Rosa is a typical Brazilian instrumental waltz for which, afterwards, Otávio de Souza wrote words. It became the real symbol of Pixinguinha’s celebrity. Many artists continue to arrange and play Rosa, like French guitarist, composer and arranger Roland Dyens.

One of Barrios’s most famous compositions, Chôro da saudade, is a sort of homage paid by the Paraguayan guitarist to the chôro, typical popular music from Rio de Janeiro, and to Brazil where he lived for several years.

Invierno porteño is one of the Cuatro Estaciones Porteñas originally written by Astor Piazzolla for his quintet and arranged for solo guitar by Sérgio Assad, in 1992, on request of the Augustine Foundation in New York. The seasons were published, one by one, in the year 1995, in the four issues of Guitar Review.







El caminante è uno di quei dischi che sin dalle prime note si impone all’ascolto.


La qualità dell’esecutore, Odair  Assad, interprete solista dell’incisione, e quella altrettanto valida delle musiche proposte in scaletta, un’ampia carrellata di brani sudamericani, sono gli ingredienti che fanno di questo disco un’esperienza sonora unica nel suo genere.


Siamo stati abituati ad ascoltare di solito Odair in duo con il celebre fratello Sergio alle prese con repertori del Sudamerica, di cui i due virtuosi brasiliani sono di certo interpreti insuperabili.


Da soli l’impresa presenta naturalmente difficoltà  differenti, e Odair, anche in questa particolare veste, dimostra di essere un musicista non solo dotato di quella tecnica straordinaria ampiamente dimostrata in duo, ma di essere anche interprete sensibile e profondo.


In più, in questa occasione, non tutto sembra percorrere i binari collaudati che hanno caratterizzato le scelte musicali delle tante incisioni in duo.


A partire dal brano di apertura, infatti, il registro interpretativo con cui Odair si deve cimentare risulta da subito più ostico.


Si tratta della Sonata El Caminante, scritta per lui da Leo Brouwer, ampio brano in quattro movimenti che si susseguono l’uno nell’altro in forma quasi di fantasia, dove tutti i luoghi comuni del Brasile sono abilmente evitati da Brouwer a favore di una scrittura più introversa.


Come ci dice lo stesso Brouwer nelle note di copertina, il lavoro è stato scritto quasi di getto, in pochissimo tempo, e vuole restituire non l’immagine oleografica e più ovvia del Brasile, ma cerca, piuttosto, di sondare gli aspetti più profondi e nascosti della cultura e degli umori cariochi.


Tutto ciò si traduce in una  struttura quasi rapsodica e nell’evitare programmaticamente il ricorso a temi accattivanti e a situazioni ritmiche tipiche di tanta letteratura ispirata al Brasile.


Odair, dedicatario dell’opera, ne accetta la sfida, dipingendo con gran bravura strumentale e profondità di espressione un percorso che, nel fluire ora nervoso e scattante, ora più tenebroso della pagina,  si snoda sempre in una chiara e espressiva chiave di lettura.


Complimenti! Anche il successivo Memória e Fado di Egberto Gismonti è un brano per certi versi introspettivo, dall’incedere a tratti polifonico, nel quale Odair si immerge con piglio ispirato, valorizzandone  con gran trasporto gli accenti più inquieti  e mesti.


Altra pagina impegnativa è la Red Fantasy del compositore Kevin Callahan, curiosamente ispirata ad una degustazione di vini “rossi” svoltasi una sera a cena con lo stesso Odair.


Il brano è ancora rapsodico e le suggestioni musicali più varie, dal folk a jazz, si susseguono ispirate ai profumi e colori di alcuni celebri vini.


Qui Odair sembra rispolverare maggiormente i registri tecnici e interpretativi che lo hanno reso celebre insieme al fratello Sergio, restituendoci una esecuzione piena di verve ritmica e melodica.


Le successive Seis Brevidades, scritte per Odair dal fratello Segio, sono una raccolta di piacevoli piccoli brani di carattere più popolare, organizzati come dei quadretti quasi aforistici che si ispirano con un certa libertà a ricordi del compositore durante delle giornate particolari vissute in giro per il mondo.


I ricordi prendono vita sulla chitarra come dei nostalgici ripensamenti serali sul tempo trascorso e qui la tipica “saudade” brasiliana diventa pienamente protagonista delle letture dell’interprete.


A partire, poi, da questi lavori  i toni si fanno più leggeri, grazie ad una certa virata del programma su pagine più note e ispirate più francamente al folklore.


Abbiamo così la dolce melodia di inizio secolo scorso del valzer brasileiro Rosa, una delle pagine di ‘Pixinguinha’ più accattivanti, proposta nella pregevole trascrizione di Roland Diens.


Segue il celeberrimo Chôro de Saudade di Barrios (ancora un brano che conferma i toni nostalgici e pensosi che sembrano essere i cardini di questa incisione), del quale Odair restituisce sia i tratti più mesti che delle originali accentazioni ritmiche in pieno stile carioca, non usuali nelle letture che ne fanno di solito i chitarristi europei: molto bello!


Ancora un brano di Sergio Assad, l’eterea e sognante Valseana, e poi in chiusura un altro classico: Invierno porteño di Piazzolla, nella trascrizione dello stesso Sergio Assad.


Bel suono,tecnica impeccabile, letture ispirate e fluide, questi gli ingredienti di chi vuol percorrere in compagnia di Odair Assad questo coinvolgente e intenso viaggio tra gli umori del Sudamerica, in un’incisione che oltre a farci godere di preziosità musicali ci stimola a far risuonare anche le nostre corde più profonde!


Piero Viti