Roger Davidson | Bom Dia

Go To Artist Page

Album Links
Soundbrush Records

More Artists From
United States - NY - New York City

Other Genres You Will Love
Latin: Brazilian Jazz World: Samba Moods: Type: Instrumental
There are no items in your wishlist.

Bom Dia

by Roger Davidson

A full range of samba rhythms, from the percussive Carnaval style to the delicate murmur of the bossa nova.
Genre: Latin: Brazilian Jazz
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Sign up for the CD Baby Newsletter
Your email address will not be sold for any reason.
Continue Shopping
just a few left.
order now!
Buy 2 or more of this title and get 10% off
Share to Google +1

Tracks

To listen to tracks you will need to either update your browser to a recent version or update your Flash plugin.

Sorry, there has been a problem playing the clip.

  song title
share
time
download
1. Fabiana
Share this song!
X
5:00 album only
2. Soir Bresilien
Share this song!
X
2:17 album only
3. Bom Dia
Share this song!
X
5:11 album only
4. Tristezas do Amor
Share this song!
X
4:29 album only
5. Eu Sinto Saudade Dela
Share this song!
X
4:42 album only
6. Ele Me Ama
Share this song!
X
2:32 album only
7. Contemplacao
Share this song!
X
4:32 album only
8. Samba para Minhas Criancas
Share this song!
X
4:19 album only
9. Patient Soul
Share this song!
X
6:06 album only
10. I Remember Your Smile
Share this song!
X
4:48 album only
11. Abia
Share this song!
X
2:56 album only
preview all songs

ABOUT THIS ALBUM


Album Notes
This CD updates a fabled moment in musical history: the birth of small-group Brazilian jazz. It happened in the late ‘50s, when a string of hip clubs in Rio’s Zona Sul (the beach area) offered an effervescent new sound, known as bossa nova. The music took flight when the sun went down: a sensual, pulsing style, rooted in the aggressive rhythms of samba but softened by the influence of cool jazz. It traveled to America around 1962 and revolutionized jazz, inspiring such milestone albums as Stan Getz’s Jazz Samba.
The Getz recordings were composer-pianist Roger Davidson’s introduction to the music of Brazil. He heard them as a boy in New York, and they stayed in his mind long after he had begun traveling through the U.S. and Europe to study classical music. By the late ‘70s Roger was based in Boston, where he led a celebrated chamber orchestra; wrote sacred choral music, a specialty of his; and taught. Since then he has blossomed into a composer of sprawling versatility. Besides choral works, Roger’s catalogue includes a broad array of symphony, chamber, jazz, and world music. Amid the last category, his passion for Latin music burns the brightest, hence his recent albums devoted to tango, bolero, and bossa nova.
In all cases, he gave these familiar styles a new twist. On his 2005 album Rodgers in Rio, he set Richard Rodgers standards in bossa settings, led by his tuneful, jazz-inspired piano playing. Now, in Bom Dia (Portuguese for “good day”), Roger weds his own songs to a full range of samba rhythms, from the percussive Carnaval style to the delicate murmur of the bossa nova. “Brazilian music has been a really strong interest of mine for a long time,” he explains. “It’s music that’s very relaxing; I feel like I’m on vacation every time I play it. It’s also danceable, and has a rhythm that no other music does.”
Brazil, of course, has produced a strong percentage of the world’s most bewitching tunes – another attraction for Roger, whose work in all categories reveals his love for melody. This is no academic modern composer writing over anyone’s head; even without words, the message of his music is clear.
So is the rapport among him and his three musicians. Two of them joined him on Rodgers in Rio, and he couldn’t have found better. David Finck is an American bassist whose mastery knows few barriers; Dizzy Gillespie, Aretha Franklin, Rosemary Clooney, Linda Eder, George Michael, and Andre Previn have all benefited from David’s precise pitch, swinging time, and impeccable taste. He’s also a Brazilian specialist who has played with many of the country’s giants, including Cesar Camargo Mariano, Ivan Lins, and Leny Andrade. Roger has used him on almost all his Latin and jazz recordings since 1991. “He’s the best bassist-collaborator that I could imagine. He’s got consistently great rhythm, and he’s extremely alert to every nuance that I’m playing, so I always feel that he’s right with me.”
Since the ‘70s, Paulo Braga has been known as one of the innovators of modern Brazilian drumming, with a command that bridges samba, bossa nova, and jazz. Born in Minas Gerais, Paulo has played for a long line of Brazilian royalty, notably Elis Regina, Milton Nascimento, Gilberto Gil, and his maestro for fifteen years, Antônio Carlos Jobim. In 1995 he moved from Rio to New York, where he was hired by some of the biggest names in jazz (Joe Henderson, Randy Brecker, and Pat Metheny, to name a few) as well as Yo-Yo Ma (on the acclaimed CD Obrigado Brazil). Just before he returned to Rio in 2005, Paulo accompanied Roger on this CD. “He’s a great musician, and a lot of fun,” says Roger. “He gives the best support, and he made the tunes sound even more Brazilian than they otherwise might have.”


Reviews


to write a review

John Book/The Run-Off Groove

A worthy recording
Bom Dia (Soundbrush) may only be a brief hint of the kind of music played on this album by the Roger Davidson Trio, but "Fabiana" opens the album with a bossa nova feel that is almost dominated by Davidson's piano work, only allowing bassist David Finck to take the spotlight about three minutes into the song. When he has his time, Davidson comes back in and takes everyone home with him.

Davidson's style is more Ramsey Lewis and George Shearing than Dave Brubeck, although someone with a finely tuned ear may catch other influences. Bom Dia is influenced by the sights and sounds of Brazil, and there are moments when Davidson's approach is more classical than jazz, or at least that's what I hear in "Soir Bresilien", "Ela Me Ama", and "Patient Soul", and it makes for a nice contrast to the Latin sounds that dominate. It might sound foreign and distant, but once the music kicks in and everyone is playing, it sounds as close as the music you might hear being played by a next door neighbor. Finck is a great accompanist, and one can focus on him and be amazed by what he adds to the proceedings. Drummer Paulo Braga is great playing a ballad as he is in something more uptempo, and yet one can't get over by how great Davidson plays.

On top of that, I can't get over by how well this album sounds, thanks to recording engineer Will Schillinger along with Finck and Davidson who handled production duties. You can almost smell the wood and metal on this one, although if one uses this for a romantic occasion it may be better to think of scented candles and perfume rather than mahogany and steel. Nice music, nice recording, definitely worth buying.

Donald Orlich

Bom Dia
The Roger Davidson Trio's "Bom Dia" is a very happy recording. My top pick for honors go to the rendition of Samba Para Minhas Criancus (Samba for our Children). The overall CD is pleasant to hear and brings about an overall good feeling.