The second duo release between trumpeter Dennis Gonzalez and pianist and accordionist Joao Paulo Estevez da Silva, a beautiful album of winter moods with Sefardic overtones, introspective and reflective improvisation.
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Label: Clean Feed
Catalog ID: CF243
Squidco Product Code: 15411
Packaging: Cardstock gatefold foldover
Recorded on January 17th, 2010 at Estudio Timbuktu, Lisboa by Andre Fernandes.
Dennis Gonzalez-C trumpet, Bb cornet
Joao Paulo Esteves da Silva-acoustic piano, electric piano, accordian
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• Show Bio for Dennis Gonzalez
"Dennis González, often credited Dennis Gonzalez (born 1954) is a jazz trumpeter, artist, and educator from Texas.
González' primary musical instrument is the trumpet (including B♭, C, and pocket trumpets), though he has also played drums, flute, synthesizer, and baritone saxophone. Allmusic describes González as "[a] talented trumpeter who has recorded a consistently rewarding string of lesser-known dates," whose "playing falls between advanced hard bop and free jazz."
The Penguin Guide to Jazz notes that González' recordings during the 1980s for Silkheart Records represented "part of a determined effort to wrest creative initiative back from New York and the West Coast." The Penguin Guide further notes that one of González' greatest achievements is having coaxed saxophonist Charles Brackeen out of retirement during the late 1980s, and that by the early 1990s, González "more than ever before... seems the heir of Don Cherry." González was also instrumental in double bassist Henry Grimes' return to performing and recording. Grimes' November 2003 appearance on González' Nile River Suite was the bassist's first official recording in more than thirty-five years.
During the late 1970s, González started the Dallas Association for Avant-Garde and Neo Impressionistic Music, or daagnim, at the suggestion of Anthony Braxton and Art Lande. The daagnim organization, which functioned both as a group of musicians and as a record label, was based on and named after the AACM.
In 1978, González began working for Dallas radio station KERA-FM, where he hosted a music program, Miles Out. He worked with KERA for 21 years, but left after the station had largely shifted from music programming to a news and talk format.
For several years during the 1990s, González retired from jazz performance and recording. In 2001, he formed a trio, Yells at Eels, with his sons Aaron (double bass) and Stefan (drums, vibraphone). In 2010, the trio recorded with Ariel Pink, appearing on the song "Hot Body Rub" on the album Before Today, and on a vinyl EP, Ariel Pink With Added Pizzazz. González's most recent offering with Yells at Eels is a collaboration with Fort Worth experimental drone rock outfit Pinkish Black Vanishing Light in the Tunnel of Dreams released May of 2020."-Wikipedia (https://en.wikipedia.org/wiki/Dennis_Gonz%C3%A1lez)
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• Show Bio for Joao Paulo Esteves da Silva
"Born in Lisbon in 1961, pianist mother. Started very early his musical studies at the Academy of Santa Cecilia, starting immediately on piano. Later, he joined the National Conservatory, where in 1984 he received the diploma Advanced Course in Piano with full marks. With a scholarship from the Secretary of State for Culture, moves immediately to Paris. Then, for three years, deepening his studies at the Conservatoire de Rueil-Malmaison and successively obtained the highest distinctions - Medaille d'Or, Prix Jacques Dupont, Prix d 'Excellence and the Prix Perfectionement.
After his studies, stays in Paris for four years, giving many recitals in France and the U.S., among which are those of New York (Carni Hall in 1986 and Carnegie Hall in 1989). However, when leaving Portugal in 1984 to halt an already extensive activity in jazz and popular music area. The first public reflection that comes his musical activity in 1979, with the participation of the group Fifth Crescent in Cascais Jazz Festival 79. Luis Caldeira (saxophone), Laurent Philippe (trumpet), Peter Wallenstein (bass) and José Martins (drums) made this training, which still lingers in the memory of many people. In addition to John Paul (piano). Between 1979 and 1981, with the bassist and drummer José Eduardo Martins, form one famous trio at the time, it has developed concerts and served as the basis for monitoring the numerous foreign musicians. It is also from this period his work as a professor at the School of Jazz Hot Club of Portugal.
In the field of popular music, also this time, participates as a pianist accompanist in numerous discs national artists. Noteworthy is his collaboration with Fausto ('For this upstream'), José Mário Branco ('be supportive') and Sérgio Godinho. It was with the latter that has developed a more intense work: accompanied him in performances and worked primarily as a musician (1981), the 'Corner of mouth ' album, later (1983) being the arranger and musical director for the album 'Coincidences' in 1992, after eight years in France, returned to Portugal and immediately reconstructs the professional relationships that interrupted in 1984. Collaborates then as arranger and musical director on the album that Vitorino composed on texts by António Lobo Antunes 'that I'm moved by everything and me nothing' (1992). Great job signing this disc does not escape criticism, earning him a special distinction: José Afonso award that Amadora City Council allocates annually to the best work of Portuguese music- first delivered to an arranger. Sérgio Godinho, companion of yesteryear now rediscovered, writes 'Permanent Ink' (1993), which is in charge of arrangements and musical direction, a task that also extends to the performances, most notably ordering Lisboa'94 brought to life the Lisbon Coliseum.
Still in 1993, founded with pianist Mario laginha the chamber orchestra 'Souls and Dances', in March 1995, took a memorable concert at the Belém Cultural Center in 1994 working in 'L' Amar', the disc debut Filipa Pais, who composes three themes, makes the arrangements and musical direction. Simultaneously performs a series of improvisations in the National Cinematheque as a companion silent films and acts as soloist with the Orchestra of the North. He regularly collaborates with musicians like Thomas Pimentel, Carlos Martins, Pedro Caldeira Cabral, Mario laginha, and Maria João Pedro Burmester, among others. These collaborations result numerous concerts and participation in another album, 'Taking Off' (1994), the debut album by trumpeter Thomas Pimentel septet. Along with Jorge Reis, Mario Franco and Jose Salgueiro, form the quartet of John Paul. It is with these musicians who writes 'Saw worm', the first album in his name and that now constitutes the core of his musical activity. Sérgio Godinho: 1980. I had been talking about him, and Carrapa Ze Luis Caldeira, and whispered me his name as if it were a mystery: There is a person called John Paul, who sits at the piano and leftover praise. Moreover, the fact that John Paul came with his piano by 'Corner of mouth' inside, sauntered your glow interpreter and arranger for 'Coincidences', by my first Coliseum for many performances that marked me. The track went to France and then came back even better and made me the 'Permanent Ink'. I owe you some important sounds of my life, and this is indeed, a mystery that I feel like sharing. There is a person called John Paul 'Mario laginha' John Paul is a musician with unique features. His enormous talent encompasses the composition, interpretation and improvisation. Has an immense musical intelligence and is still a highly stimulating to share ideas, opinions and experiences musician. These days, listening to inspirational music is not, in my opinion, at all ordinary. The music of John Paul's! Let us enjoy the privilege of listening to Vitorino. Words for what? What is good is to hear it live. Does not yield one iota in essential. It is lord of a prodigious hands and a great talent. Moreover, is a great friend! Is João Paulo Esteves da Silva 'DISCOGRAPHY: With Sérgio Godinho' Corner of mouth' (Polygram, 1981); 'Coincidences' (Polygram, 1983); 'permanent ink' (EMI, 1991) With Fausto. For this upstream (CBS / Sony Music , 1982) With José Mário Branco, 'Being supportive' (Edison, 1982) With Vitorino,' that I 'm moved by everything and me nothing ' (EMI , 1992) Septet With Thomas Pimentel 'Taking Off' (El Armadillo, 1994) With Filipa Pais 'L' Amar' ( Strauss, 1994) In its own name: 'Saw worm' Lighthouse ( 1995), 'Souls and Dances' Lighthouse( 1996) 'The exile'. Pope John Paul: piano, carlos spout: contrabass, peter epstein: saxophones( Marecordings 1999) 'Souls' - Pope John Paul: piano , carlos spout : contrabass , peter epstein : saxophones (Marecordings 2000) 'Corner' - Pope John Paul: piano, peter epstein: saxophones (Marecordings 2000) 'Sunrise' - uses / japanese - john paul: piano, ricardo days: accordéon, peter epstein: avril saxophones ( Marecordings 2001) ' Wheel portugaises les suites ' - empreinte digitale / nocturne - john paul en france soil ( juin 2002) piano."-JACC Records (http://www.jacc-records.com/en/musicians/joao-paulo-esteves-da-silva)
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^ Hide Bio for Joao Paulo Esteves da Silva
1. Como A Noite 6:43
2. Broken Harp 7:10
3. Deathless 4:14
4. Thirst 0:25
5. Taking Root 5:37
6. El Destierro 6:18
7. Sleeping Thunder 3:26
8. Burning Brain 3:49
9. Yielding To Song 5:47
10. Sobre Mi Mi Koraçon Doloryozo 7:00
11. Augúrio 8:29
sample the album:
"After the success of the first encounter between the Texan trumpeter and the Portuguese pianist, Scapegrace, here is the second volume of a partnership able to continue to surprise us. There are more instruments involved, with Dennis González also using a cornet and João Paulo Esteves da Silva adding an accordion and a Fender Rhodes to the Grand Piano, in this way opening up the timbral spectrum of this music.
And yet, if Scapegrace was a solar work, this one - as González points out in his liner notes - contains winter music, full of shadows and in some way reflecting the falling rain. João Paulo gives free hand to an old obsession about his Sefardic heritage, and he signals that, at the time of the recording, he was reading Byron's collection of poems and songs "Hebrew Melodies". Natural was that Dennis also based himself in his own Latin, Moor and Jewish roots.
The resulting music is astonishing, full of soul and with an imagetic quality that makes us dream and introspect. Who could tell such different musicians and individuals could reach a close understanding as this? The word "beauty" gains an extra significance in these pieces, meaning that we are one in spirit, like once John Coltrane believed."-Clean Feed Records
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