quarta-feira, 27 de janeiro de 2010

Joe Henderson - Double Rainbow

  1. Felicidade
  2. Dreamer
  3. Boto
  4. Ligia
  5. Once I Loved
  6. Triste
  7. Photograph
  8. Portrait in Black and White
  9. No More Blues
  10. Happy Madness
  11. Passarim
  12. Modinha
Double Rainbow
The first tune ever wrote, as a teenager, was a tune that I later titled "Recorda-me". This was before the bossa nova was introduced to North America by Stan Getz and Charlie Byrd. My tune had a kind of generic Latin beat to it, without being any specific rhythm, like a pachanga or a bolero or a samba. But when I first heard this "bossa nova" (above the gunshots, because I was in military training at the time), it caused me to go back to "Recorda-me", not to rewrite it - but to change the rhythm of the melody line, in order to fit the bossa nova pulse. So Jobim had a profound effect on even the way that I proceeded with melodies that I already had going on in my brain. I'll be forever indebted to him for that, and I had the chance to tell him so in 1993, when I was in Rio to take part in a tribute to him.

I feel there's a side of me that the bossa nova appeals to, a real soft side. There are songs on this album that do have a more jagged kind of edge, and that was the idea - to make each one unique, and not to play with a uniform tempo and feeling. But those softer moments are great to me. When we recorded those tracks, I felt really at peace with myself, and with the world around me.

Jobim was a tunesmith of the first order, and his music had even larger consequences, because he understood what Brazil was all about on a cultural level. His tunes - they're almost like a travelogue for Brazil. But working on this album, it was an education for me to learn the deeper range of Jobim's music. When Richard Seidel and Oscar Castro-Neves and I started looking through the hundreds of Jobim's songs, there were of course a few tunes that I already knew; but two-thirds of the songs on this album were songs that I didn't know at all. I enjoy playing his music the way I like some of the Cole Porter tunes, some of the Gershwin tunes. They offer so much, with their unique structures, and they're so strong that they lend themselves to alteration without losing their essential character. This album is primarily a great selection of tunes; they just happen to be written by one man.

He was definitely a person who had the magic going some kind of way.

The seeds of this project were planted at two 1993 concerts in Rio and Sao Paulo, celebrating the music of Jobim. These events marked the first time Joe Henderson met and performed with this great composer. (Herbie Hancock, incidentally, also was a featured artist on these programs).

In April 1994, at the Carnegie Hall celebration of Verve's 50th Anniversary, Joe and Jobim reunited for a performance of "Desafinado" that was a true highlight of the event. After this, the plans were set in motion for the sessions that have resulted in 'Double Rainbow'.

The plan was to record the project with two discreet rhythm sections. The first would explore repertoire from a North American point of view, and he recorded in Los Angeles. This session went off without a hitch.

The intention for the second session was to record in Rio with Jobim himself on piano, Nico Assumpcão, and Paulo Braga: the music interpreted in a more purely Brazilian style. Just days before we were to leave for Rio, we learned that health problems were going to make it impossible for Jobim to participate. The album was then completed in New York City with Paulo, Nico, Eliane Elias, and Oscar Castro-Neves.

It's our deepest regret that Jobim did not survive to participate in what was designed as a living celebration and collaboration with the premier tenor saxophonist in jazz, Joe Henderson. But the beauty, richness and ebullience of the music contained here is celebratory nonetheless. We hope Antonio would have agreed.

(Richard Seidel)

How does one say goodbye to a friend that is suddenly gone? I first met Tom* when I was 16. He not only became a dear friend, but a source of inspiration and enthusiasm for our craft.

The void is permanent. Jobim was unique both as a composer and as a person. I will miss the friend, the composer, the colorful storyteller, the defender of the environment and I will keep wondering about the wonderful melodies he did not have the time to write. The beauty of his music is everlasting and my memories of him are joyful ones. So I will not say goodbye.

(Oscar Castro-Neves)

*Antonio Carlos Jobim died in New York City on December 8, 1994. This album is dedicated to him and the timeless music he has created.

Jobim's nickname in Brazil.

Joe Henderson - tenor saxophone
Eliane Elias - piano
Oscar Castro-Neves - guitar
Nico Assumpção - bass
Paulo Braga - drums
Herbie Hancock - piano
Christian McBride - bass
Jack DeJohnette - drums

Joe Henderson (1937-2001)

Nascido em uma cidadezinha do interior dos EUA (Lima, no estado de Ohio), Joe Henderson começou a tocar saxofone na escola e costumava creditar sua escolha pelo instrumento a um baterista de sua cidade natal, chamado John Jarette, que o aconselhou a ouvir discos de Charlie Parker, Stan Getz e outros. Primeiro se encantou pelo timbre e simplicidade de Stan Getz, mas seria Parker sua maior inspiração. Também o influenciaram dois pianistas de Lima (Don Hurles e Richard Patterson), amigos de suas irmãs e irmãos mais velhos - eram quinze irmãos no total - que lhe deram noções básicas / práticas de piano, bem como seu primeiro professor de sax no colégio, que lhe transmitiu seu profundo conhecimento do instrumento, ensinando-o a escrever e compor música. Ainda na escola, Henderson compôs muitas músicas para a banda do colégio e bandas de rock de Lima.

Parte para Detroit e estuda com Larry Teal na Teal School of Music, aprendendo mais teoria, harmonia e refinando o som tirado de seu sax. Mais tarde freqüenta a Wayne University, onde estuda flauta e contrabaixo e, no final de 1959, forma sua primeiro conjunto. No ano seguinte é recrutado pelo exército.

No exército participa de um show de talentos, ganha o primeiro lugar com um quarteto e é classificado para a competiçao geral do exército; mais uma vez tem êxito, passando a integrar uma banda de militares que viajava o mundo entretendo os soldados. As excursões com a banda o levaram ao Japão, Coréia, Panamá, Itália, Espanha, Alemanha, França e Inglaterra.

Depois de sair do exército, dois anos mais tarde, Henderson parte para Nova Iorque, onde conhece músicos de peso como Dexter Gordon, o qual, certa noite no clube Birdland, seguindo a indicação de amigos que já conheciam Henderson, convidou-o a subir ao palco. Acompanhado apenas da seção rítmica, em poucos minutos o clube o aplaudia entusiasticamente e, segundo o trompetista e amigo de ambos Kenny Dorham, Gordon ficou paralisado e boquiaberto na coxia.

Em 1963 assina com a gravadora Blue Note e entra para o quinteto de Horace Silver um ano mais tarde. Gravam juntos clássicos como “Song for my Father”, no qual o solo fenomenal de Henderson representa bem seu estilo lírico e criativo, deixando clara a influência de Lester Young e Stan Getz. Henderson gravou muitos discos próprios e ao lado de outros músicos. Em três ocasiões rendeu homenagens à obra de outros músicos, que lhe valeram três Grammys: Lush Life em homenagem a Billy Strayhorn, So Near So Far de Miles e o disco Double Rainbow tocando músicas de Tom Jobim.

Joe Henderson morreu no dia 30 de junho de 2001 de enfisema pulmonar.

Fernando Jardim

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