Afternoon in Rio (Remaster) Paulo Morello

• 1 Afternoon in Rio 03:57
• 2 Canto da Liberdade 04:42
• 3 Rebuliço 02:18
• 4 Let's Vamos 04:36
• 5 Eternally Touched 03:38
• 6 Você Vai Ver 02:49
• 7 Balanço Do Gringo 04:15
• 8 Na Hora da Paixão 06:06
• 9 Santo Amaro 03:38
• 10 Soft Rain 04:01
• 11 Eu Viajei Para Nova York 03:13
• 12 Noites Cariocas 04:50
• 13 Let's Vamos, Alternate Take 04:22
• Total Runtime 52:25

Info for Afternoon in Rio (Remaster)

Brazil summit: Paulo Morello & Tizian Jost with top drummer Erivelton Silva from Rio. A unique trip through contemporary samba-funk, relaxed bossa nova and earthy north-eastern rhythms on a bebop base. Imagine a sunny terrace in Botafogo, Rio de Janeiro‘s vivid bairro, just opposite the famous Sugarloaf Mountain. Here, between the lush green of the mountains and the blue Guanabara bay, melodies and rhythms oat naturally through the air. You just have to grab the right moment for inspiration. It was here that the idea of this album was born, almost ten years ago, when guitarist Paulo Morello took advantage of such a moment and dreamed up the first bars of “Afternoon In Rio”. However, at that moment, those fragments – not written down – ew away through the hot breeze of the afternoon.

Morello, a dedicated Brazil a cionado, who was working with bossa nova legends Leny Andrade, Pery Ribeiro, Alaide Costa and Johnny Alf for years, is always keen to explore his predilections with interesting new projects. One day, he was enjoying a glass of beer with his Munich friend and colleague Tizian Jost. The pianist has an equally immense enthusiasm for Brazilian music has enjoyed many musical adventures with Morello, among them playing with Grammy winner Leny Andrade or the German-based carioca, Viviane de Farias. They were discussing the possibility of playing Brazil Jazz in the traditional organ trio setting – a sound that has rarely be heard in that way.

And when the question of a drummer arose, the name of Erivelton Silva immediately came up. Both Paulo and Tizian admired the drummer for his incredibly groovy playing with Rosa Passos. The musician from Rio de Janeiro has worked with many of the greats: Chico Buarque, João Bosco, Milton Nascimento, Roberto Menescal and Paquito D‘Rivera. He developed a virtuoso samba drumming style that is admired by his drum colleagues worldwide. After they managed to track Silva down the project was under way.

When a trio plays Brazilian music, it will always be compared to the great performers, since the history of this music is rich with troikas in those latitudes. Famous leaders on each of the given instruments instantly come to mind: Roberto Menescal (g), Walter Wanderley (org), Milton Banana (dr), just to name a few. Morello, Jost and Silva draw level with these eminent musicians - and add a different avour to the tropical trio pedigree. No one is fronting here; all three musicians act as equal partners. Also the repertoire – most of it being original compositions by Morello and Jost - is unmatched in its variety, reaching out from Rio to the Northeast of the country and even making forays into fusion jazz. Says Morello: “We play Brazilian music in a unique way, because we do it on a bebop base, and at the same time our compositions are tailor-made for Brazilian rhythms.”

The landscape of those rhythms is breathtaking, comprising earthy samba funk, the heavily accentuated samba-de-breque, bossa nova, of course, chorinho, Rio‘s old-time music, and baião from the north east of Brazil. Listen to the intricate funkiness of “Let‘s Vamos” of which the trio presents two versions, one featuring German vibraphone master Wolfgang Lackerschmid and the other Morello‘s long-time companion, Kim Barth, on ute. Jost demonstrates his deep dedication to the Bahian culture, highlighted in the rustic “Santo Amaro”, in which guitar virtuoso Morello shows his rock influences. Organ wizard Jost – who was initially a church organist, by the way – also easily switches to the Fender Rhodes, delivering an amazing solo in Morello‘s bossa, “Na Hora Da Paixão”. “Rebuliço” has the trio re-inventing the chorinho genre, which romps away at double speed in the final section. And, talking of bossa, with “Você Vai Ver” the group pays an unusual tribute to Tom Jobim: the melody is relocated to the organ in Walter Wanderley style and is graced by ne embellishments from Hendrik Meurkens‘ harmonica. Close friend, bassist Dudu Penz, also dropped in to propel some of the tracks with a crisp earthiness.

“What about the fragments of the terrace song?” you may ask. Well, one day they rose up from oblivion again. While sitting in the afternoon sun with his guitar, Morello had been filmed by a journalist who showed him the document years later. Instantly Morello remembered the line, worked on it - and now the result fiercely stands as an opener in which the virtues of all three musicians are broadly displayed: Morello‘s inventive and virtuosic improvisation, Jost‘s steaming response to it and the compact, semi-quaver-laden precision of Silva. Don‘t be mistaken: a lazy afternoon in Rio might become very hot!

Paulo Morello, guitars
Tizian Jost, organ, Fender Rhodes
Erivelton Silva, drums
Guest musicians:
Dudu Penz, bass (on tracks 1, 2, 4, 7, 13)
Wolfgang Lackerschmid, vibraphone (on track 4)
Kim Barth, flute (on tracks 2, 13)
Hendrik Meurkens, harmonica (on track 6)

Digitally remastered

Paulo Morello
(7. Oktober 1970 in Burglengenfeld als Cornelius Paul Schmidkunz) ist ein deutscher Jazzgitarrist, Komponist und Musikproduzent.

Paulo Morello studierte das Hauptfach Jazzgitarre am Meistersingerkonservatorium in Nürnberg bei Helmut Kagerer von 1992 bis 1993 und von 1993 bis 1995 an der Hochschule für Musik in Mannheim bei Frank Kuruc. Es folgte ein einjähriger Studienaufenthalt an der New Yorker New School mit dem Hauptfach Jazzgitarre bei Jim Hall und Peter Leitch und zusätzlichem Unterricht bei Buster Williams, Jack Wilkins, Attila Zoller, Richie Beirach und George Garzone. 1996 bis 1998 studierte er erneut an der Musikhochschule Mannheim, wo er seine akademischen Studien mit einer künstlerisch/pädagogischen Diplomprüfung abschloss. Zusätzlich nahm Morello bei Workshops Unterricht u. a. bei Jerry Bergonzi, Mike Stern, Hal Galper, Jimmy Cobb, Frank Foster, Pat Martino, Tal Farlow, John Scofield und Karl Ratzer.

Im Jahr 2001 begann Paulo Morello seine internationale Karriere mit dem von ihm gemeinsam mit dem dänisch-deutschen Saxofonisten Kim Barth initiierten und produzierten Projekt „Bossa Nova Legends“. Mit diesem Projekt unternahm er in den folgenden Jahren u. a. mit Leny Andrade und dem Sänger Johnny Alf Tourneen in Europa und Südamerika. Hierbei gastierte er z. B. in der Queen Elisabeth Hall/London Jazz Festival, im Teatro Rival/Rio de Janeiro, beim Verona Jazz Festival/Italien, beim Vilnius Jazz Festival/Litauen und beim San Javier Jazz Festival in Spanien. An dieses Projekt schlossen sich u.a. eine Europa-Tournee mit dem Trio des Organisten Jimmy Smith, Tourneen und eine CD- Produktion mit Paul Kuhn und Greetje Kauffeld, Engagements mit Roberta Gambarini sowie eine Tournee mit dem Kim Barth & Michael Mossman Sextett an.

Im Jahr 2008 stellte Paulo Morello gemeinsam mit Jermaine Landsberger und Peter Weniger mit der CD-Produktion Hammond Eggs sein Orgel-Trio vor. Im Jahr 2011 folgte mit dem Album Night of Jazz Guitars bei der Jazzwoche Burghausen die Präsentation eines Gitarrenquartetts mit Larry Coryell, Helmut Kagerer, Andreas Dombert und dem Gast Philip Catherine. 2012 erschien das Album 'Afternoon in Rio', das Paulo Morello zusammen mit Tizian Jost und Erivelton Silva produzierte. Gastsolisten sind Hendrik Meurkens, Wolfgang Lackerschmid und Kim Barth.

Paulo Morello ist seit dem Jahr 1999 als Dozent an der Hochschule für Musik Nürnberg tätig und erteilt Unterricht im instrumentalen Hauptfach Jazz-Gitarre. Zusätzlich unterrichtet er die Big-Band Rhythmusgruppe und leitet eine Brazilian Jazz-Combo.

This album contains no booklet.