Few first discs
leave as profound an impression as does Diz que Fui por Aí,
debut album of the young harmonica player from Brasília, Gabriel Grossi.
Like many adolescents, he began playing blues and rock on a pocket harmonica.
By the time he was 18, he had switched to the chromatic harmonica, which,
in his words, is "as complete as a piano" and which has enabled
him to leap from the domain of the two notes to free improvisation—what
he likes to do best.
Having passed through
the obligatory phase of singing in a heavy metal group, Gabriel Grossi abandoned
rock in favor of injecting a rock-like excitement into Brazilian genres, working
with an amalgam of samba, baião, frevo, maracatu,
pop-rock, jazz, and the music of Hermeto Pascoal—the latter a primary
reference for the young musician.
In an interview
given to the Brasília newspaper Correio Braziliense last year,
Grossi credited Hermeto with helping advance his musical development: "He
encouraged me to lose the limitations imposed by the instrument. He helped
me understand the harmonica as if it were simultaneously an accordion and
a drum set." When it comes to improvisation, believes Grossi, there are
two schools to follow. One is jazz, the other is Hermeto Pascoal, "A
unique, Brazilian school."
The master returns
the compliment. "In Brazil," he says, "where so few harmonica
players such as Maurício Einhorn and Rildo Hora have achieved notice,
it's marvelous to see a musician like Gabrielzinho emerge, with technique
that is so peculiar and varied, and with no prejudice in relation to any genre."
Grossi's disc—whose
title, taken from the famous Zé Ketti samba, also makes a statement
of arrival—offers a mixture of the classic and the avant-garde laced
with jazzy improvisations and demonstrating a high level of virtuosity and
versatility.
Diz que Fui por
Aí leads off with an exuberantly jazzy rendition of a samba with
a long pedigree: "Cai Dentro," which opened Elis Regina's anthological
Elis, Essa Mulher (1979). In 1997, the guitar quartet Maogani recorded
an instrumental version on their first album. The current arrangement by Daniel
Santiago is distinguished by its swing. It includes guitar (impressively played
by Santiago himself), piano (Leandro Braga), bass (André Vasconcellos),
drums (Hermeto sidekick Marcio Bahia), cuíca and tamborim
(Leander Motta).
Jazzy
samba is followed by wily frevo in "Os Curupira,"
a tune of Grossi's authorship that begins in a deceptively introspective
vein before revealing its true rambunctious colors and gathering
speed as it goes. Curupira is a mythic nature spirit personified
by a wild boy with pointed ears, green teeth, fiery eyes and
hair, his feet pointing backwards, who is said to be a defender
of nature who helps wild animals.
Curupira is also
the name of a trio with whom Grossi has played. The arrangement by Grossi
features a blend of electric piano and bass (Renato Vasconcellos and Hamilton
Pinheiro, respectively), augmented by guitar (Santiago) and percussion (Motta).
And there's a very special appearance by Hermeto Pascoal on mouth piano (escaleta),
the same instrument Hermeto played on Trio Curupira's eponymous disc.
The
title track is given a rhythmic choro interpretation,
assisted by Rogério Caetano (7-string guitar and arrangement),
Rafael dos Anjos (guitar), Pedro Vasconcellos (cavaquinho),
Leander Motta (cuíca), and Velrinho (varied percussion
instruments). In contrast, the beautifully plaintive "Nossa
Valsa" is a duet between harmonica and 7-string guitar,
played by the composers. The tune was tailor-made for Grossi's
instrument and sounds like an homage to all the great harmonica
players that preceded him.
Uptempo, "Baião
de Dois" is more jazz than baião and gives all concerned
ample opportunity to demonstrate their technical assurance at high speed.
This is the only vocal (though wordless) track on the album, the vocalese
contributed by the gifted Mariana Bernardes. There's a fine sanfona
yielded by Robert Curto (who also plays electric piano), soprano sax (Sérgio
Galvão), and the astonishing Marcio Bahia in a return appearance. Arranged
by Santiago, "Baião de Dois" is a densely woven track full
of highlights. It keeps galloping until the very end.
Another restless
tune is the choro "Rebuliço" from Hermeto Pascoal's
landmark album Só Não Toca Quem Não Quer. With
its complexity and breakneck speed, the tune is a challenge for any soloist.
Grossi revels in it, as do his fellow musicians Gabriel Geszti (electric piano),
Amoy Ribas (pandeiro), Rogério Caetano (7-string guitar), and
Pedro Vasconcellos (cavaquinho). For a change of pace, Grossi invites
his teacher Maurício Einhorn for an intimate counterpoint in "Folhas
Secas." Another precious duet is the one between Grossi and guitarist
Marco Pereira in the latter's "Quando Monk Vir a Lobos," receiving
its first recording. Witty title apart, the tune is a heart wringer.
Grossi's samba "Há
Mil Tons" is a tribute to the brilliant bandolinist Hamilton de Holanda.
The pulsating arrangement by the author includes trumpet (Moisés Alves),
trombone (Samuel Ramos), and keyboards (José Cabrera), apart from the
core bass, cavaquinho, 7-string guitar, and percussion.
There's
a new change of pace with the choro-canção
"Ternura," composed by the clarinetist K-ximbinho
(1917-1980) and recorded on his final album Saudade de um
Clarinete (1980), reissued this year by Eldorado. In a setting
that includes piano (Renato Vasconcellos), acoustic bass (Rômulo
Duarte), and drums (Leander Motta), the track resonates with
the atmosphere of a smoky jazz club, a fitting tribute to the
composer, an important figure in Brazilian jazz.
Closing the set
is another driving Hermeto Pascoal tune, "Viajando pelo Brasil"
from Festa dos Deuses, the album through which Grossi became acquainted
with O Bruxo's music. The special guest here is Hamilton de Holanda, playing
a 10-string bandolim. The arrangement, for traditional choro
instruments plus bass, is an apt summation of the direction chosen by Grossi:
a bit of the old, a lot of the new, tossed together with a dash of the unexpected.
It's an auspicious debut and then some.
Gabriel Grossi: Diz que Fui por Aí
(Independent LMCD 0195; 2003) 46:29 min.
Musical direction:
Gabriel Grossi & Daniel Santiago
01. Cai Dentro (Baden
Powell/Paulo Cesar Pinheiro)
02. Os Curupira (Gabriel Grossi)
03. Diz que Fui por Aí (Zé Ketti/Hortênsio Rocha)
04. Nossa Valsa (Gabriel Grossi/Félix Júnior)
05. Baião de Dois (Daniel Santiago/Caio Tibúrcio)
06. Rebuliço (Hermeto Pascoal)
07. Folhas Secas (Nelson Cavaquinho/Guilherme de Brito)
08. Quando Monk Vir a Lobos (Marco Pereira)
09. Há Mil Tons (Gabriel Grossi)
10. Ternura (K-ximbinho)
11. Viajando pelo Brasil (Hermeto Pascoal)
The writer publishes the online magazine of Brazilian music and culture Daniella Thompson on Brazil and the website Musica Brasiliensis, where she can be contacted.
This article was originally published in Daniella Thompson on Brazil.
Copyright © 2003 Daniella Thompson. All rights reserved.
