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Bom dia

Juarez Moreira
Discos: Jazz / MPB

Disponible

Ficha técnica Discos

Sello	Independiente
Estilo	Jazz / MPB
Año de Edición Original	1989
Instrumental

Más

Juarez Moreira (guitarras, arreglos, producción)

André Dequech (teclados, arreglos), Zeca Assumpção (contrabajo, bajo eléctrico), Esdra Ferreira "Nenem" (batería).

Participación de: Toninho Horta (guitarra acústica), Paulo Moura (saxo alto).

Primera edición brasileña en CD, de 1989 (en 1998 fue reeditado en los EEUU por el sello Malandro Records, con diferente portada).

Tras na década acompañando a grandes artstas de la música popular brasileña instrumental y vocal, este fue el precioso debú discográfico como lider del refinado guitarrista, compositor y productor mineiro Juarez Ferreira Moreira (Guanhães, Minas Gerais, 1954) uno de los grandes melodistas de la música instrumental de Minas Gerais. El disco, enteramente autoral, incluye algunos de sus composiciones más conocidas como “Baião Barroco” y “Diamantina”. El primero de ellos fue utilizado como viñeta de un canal de TV de Belo Horizonte. El segundo fue estrenado por Toninho Horta en 1988 en su primer álbum estadounidense.
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"Juarez iniciou-se na música como autodidata em sua cidade natal, Guanhães (MG), desde os 12 anos, atraído pela bossa nova, pelo jazz e pelos clássicos, em especial por Johann Sebastian Bach, cuja influência se faz notar até hoje em suas composições e improvisações. Mudando com a família para Belo Horizonte, começou sua carreira profissional com o pianista e compositor Wagner Tiso em 1978 e tornou-se um músico respeitado como solista desde então. Trabalhou com grandes nomes da música, como Milton Nascimento, Maria Bethânia, Lô Borges, Toninho Horta e Paulo Moura. Nos anos 80, integrou importante grupo de música instrumental, o grupo Vera Cruz, ao lado de Mauro Rodrigues, Esdra Ferreira, José Namen e Yuri Popoff. Ganhou em 1989 o prêmio nacional Concorrência FIAT e, em 1991, foi convidado a se apresentar no Free Jazz Festival do Rio de Janeiro."

"(...) Hailing from the state of Minas Gerais, a state that has given the world artists such as Milton Nascimento, Ary Barroso, Toninho Horta and Clara Nunes, Juarez Moreira continues that tradition and showcases a “mix of every musical element from Brazil and interprets them in a majestic way,” says Milton Nascimento himself. With the exception of Tom Jobim and Chico Buarque’s Sabiá, the last track in this magnificent collection, all other 13 tracks are original compositions by Juarez Moreira. What a composer he is! A self-taught guitar player who has performed with the cream of Brazilian music — names such as Maria Bethânia, Paulo Moura and Wagner Tiso — Juarez Moreira is no stranger to those who accompany the vast number of outstanding guitar players in Brazil. Toninho Horta’s 1988 release, Diamond Land, was named after one of Moreira’s compositions, and that track is also included in Bom Dia.
Juarez MoreiraUpon hearing Bom Dia, you will understand why Milton Nascimento says this CD is a “trip to paradise.” Covering a variety of Brazilian genres, such as forró, choro, baião, samba and bossa nova, Juarez Moreira crosses over all musical boundaries. His music is truly a gift to the world. Along with Moreira, keyboardist André Dequech shares the responsibility of signing the arrangements in Bom Dia. You can distinctly feel Dequech’s touch in the title track, for example. Starting with a contemporary jazz arrangement, Bom Dia immediately switches the mood to a slow samba with shades of toada. The musicians, one by one, are featured in this track. In particular, Zeca Assumpção’s bass work sets the tone for the subsequent tracks. Assumpção is known for his appearances in Caetano Veloso’s band, as Veloso toured the U.S. in 1997.
Besides Assumpção, an array of Brazilian musicians parades track after track. Paulo Moura’s sax lends a hand in “Depois do Amor” (After the Love) and “Chora Jazz” (Cry Jazz), whereas Toninho Horta divides a guitar solo with Moreira in “Samba pra Toninho” (Samba for Toninho). That track is particularly exceptional, and we are the winners to hear a duel between two major Brazilian guitarists. The music flows peacefully. Being a landlocked central state, Minas Gerais seems to benefit from its beautiful geography and location. Thus, it is no wonder to hear influences from neighboring northeastern states in “Baião Barroco” (Baroque Baião). Moreira’s acoustic guitar here is especially reminiscent of the “cantadores” (dueling improvisers) style. Nenen’s (his real name is Esdra Ferreira) drums are phenomenal, too. “Chora Jazz” is another precious gem. The rhythm, however, is more like a choro. “Valsa pra Maria” (Waltz for Maria) is sublime. If there were words to this melody, they would clearly be speaking of love. Moreira’s guitar conveys that idea without a doubt. In “Último Adeus” (Last Goodbye), Nivaldo Ornelas plays tenor sax and Cliff Korman is featured on keyboards. Along with Moreira’s electric guitar, this song again speaks to you without ever using words. It is passionately sad and beautiful at the same time. In a series of outstanding compositions, “Último Adeus” is destined to be one of Moreira’s best. What is there to say, then, about Tom Jobim and Chico Buarque’s “Sabiá”? Many people have recorded this tune, but Moreira’s rendition sets itself apart from all others. It soars quietly and gently like the bird about which it sings (...)" Egídio Leitão (musicabrasileira.org, 30.04.2004)

Temas

CD 1

Bom dia
Juarez Moreira