BruMa: Celebrating Milton Nascimento, by Keiichi Konishi – Jazz Tokyo – Japan

Although the world of jazz is in a difficult situation in the world of corona, the recent paradise of jazz-tropical jazz albums is the result of saying, “Blow off corona and get a little better with jazz.” Let me introduce about two of them. One is Brazilian jazz requested by the editorial department, and the other is my own recommended Latin jazz.

First of all, it is a work that came from the editorial department, but a large veteran pianist and arranger, Antonio Adolfo’s “Bluma” (“fog”), which should be said to be a living index of the Brazilian jazz scene. From samba jazz to bossa to shoro and bahia, to folk music from all over Brazil, this is a brilliant piece of master Adolfo who knows all about Brazilian music. Some of his numerous albums should have been previously featured in this review, but this new release is a collection of his national hero, Milton Nasciment, also known as the “Brazilian Voice (& Heart).” An ambitious work that can be said to be the culmination of various works such as Wayne Shorter and Ernesto Nazareth (the originator of Shoro).

Milton Nasiment is familiar to jazz fans and is a singer and composer representing MPB (Brazilian popular music) from the treasure trove of Minas Geras. What led to the major debut was the late “CTI” famous producer, Creed Taylor (1969). What made his name worldwide was the guest participation in Shorter’s name board “Native Dancer” (CBS/74). In addition to Shorter, Harvey Hancock, Jack Dijonette, and Pat Metheny are all Stars in 1994’s Angelas. It is a very natural flow for him who is a representative of Brazilian jazz to pick up the work collection only for the nasiment which has a very high affinity with jazz. By the way, I heard that they first met in 1967, just after their debut.

Here, 12 people in total, mainly regular members such as the rhythm team that added the guitar to the first call 4-tube front team such as Marcelo Martins (sax / solo shining), which is also known as the back member of Javan. You can see the enthusiasm for the full team. Adolfo performed 9 songs carefully selected from over 30 original songs recorded in over 30 albums, and it took 6 months to complete the album. All the songs were full of color, and they were all suitable for “Brazilian voice (heart)”. Among them, Eris Regina sang a huge hit, a memorable performance number <Salt song> (④/66 I am happy that the year is included. Actually, I’m not a good listener of Nashimento, and I’m familiar only with this song and <Torres Pontas> (⑥), <Encounter and Farewell> (⑤). There are many reflections on this manuscript.

Ronald Bastos (①②⑥⑦) and Fernando Brunch (③⑤⑧), which are featured here, are mainly the combination number up to about 75 years, the early stage of his career with his close lyricist, the last. <Treste> (2002) is the newest one. It’s a pity that my favorite <Travesia> and <Maria Maria> aren’t included, but it’s Adolfo’s choice.

The unique fantasy and charming melodies unique to Nasiment, where the modern and hot Minas hot scent of the earth rises, are the strength and lightness of the Adolfo unit, and the excellent “balancing (swing)” feeling. The “banquet” (plus Adolfo’s skillful arrangement) adds a touch of refinement and clarity to its seductive scent. I am impressed with <Salt Song>, <Outbro (November)> with a refreshing taste, <Treste> full of a feeling of sound, but in any case, Adolfo’s charm as a pianist is a little bit more dissatisfied… It can be said that the great achievements of Brazilian jazz are also reflected in the fact that it spotlighted the MPB giant and brought out its new charm.