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Samambaia

César Camargo Mariano & Hélio Delmiro
Discos: Jazz / MPB

Disponible

Ficha técnica Discos

Sello	EMI
Estilo	Jazz / MPB
Año de Edición Original	1981
Instrumental

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César Camargo Mariano (piano), Hélio Delmiro (guitarras)

Primera edición en CD, de 1987.

"(...) In the original liner notes for Samambaia, Mariano sums up the dream realization it was to record that album with Hélio Delmiro, one of Brazil’s most respected and sough-after musicians:
No dia 17 de agosto de 1981, entramos no estúdio e apresentei a ele um dos meus temas, Samambaia. E mais uma vez foi confirmada a identificação musical e sensitiva do duo pois no meio da exposição do tema, Helinho “saiu tocando” e a faixa foi gravada “na primeira” [On August 17, 1981, we got to the studio and I showed him one of my themes, Samambaia. Once again the musical and sensitive identification of this duo was confirmed, for while I was showing Helinho the theme, he just “started playing right off the bat” and the track was recorded on its first take.]
Affinity, artistry, sensitivity, musicianship – those words are a few of the terms that come to mind when one tries to classify the work created by Cesar Camargo Mariano. Whether arranging for the best in Brazilian music – e.g., Elis Regina, Simone, Nana Caymmi and many more – composing, producing or playing, Mariano excels in every way and in each release he puts out or is involved in. Helio Delmiro & Cesar Camargo MarianoHe innovates and sets new standards to be followed by other musicians. So, it was with such anticipation that fans worldwide finally received the CD version of Samambaia. In addition to Mariano’s and Delmiro’s own compositions, such as the title track, “Emotiva Nº 4” and “Maria Rita” (a beautiful lullaby to Mariano’s daughter), this recording also features some Brazilian classics. “Carinhoso” and “No Rancho Fundo,” for example, touch on the traditional whereas the suite for “Milagre dos Peixes” explores more contemporary sounds in Milton Nascimento’s elaborate and intricate music. Those tracks give these consummate artists the chance to freely showcase what they are capable of doing. That is nothing short of spectacular. The same can be said of Delmiro’s “Das Cordas,” with its flamenco introduction and subsequent dazzling solo. Mariano’s own “Choratta” beautifully mixes choro with Bachian influences (...)" Egídio Leitão (Música Brasileira, 12.03.2003)