Gustavo Tavares & Nelson Faria | Na Esquina De Mestre Mignone

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Classical: Chamber Music Jazz: Chamber Jazz Moods: Type: Acoustic
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Na Esquina De Mestre Mignone

by Gustavo Tavares & Nelson Faria

Inspired by the works of the Brazilian classical composer Francisco Mignone, who also used to write popular music under the pseudonym of "Chico Bororó", this Cd is a cross over between Brazilian classical and popular music. Chamber music, Brazilian way!
Genre: Classical: Chamber Music
Release Date: 

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1. Eu quero é sossego Gustavo Tavares & Nelson Faria
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2. Choro de outono Gustavo Tavares & Nelson Faria
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3. Chora cabôco Gustavo Tavares & Nelson Faria
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4. Valsa de esquina No. 8 Gustavo Tavares & Nelson Faria
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5. Chico Bororó no Samba Gustavo Tavares & Nelson Faria
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6. Na esquina de Mestre Mignone Gustavo Tavares & Nelson Faria
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7. Mexidinho Gustavo Tavares & Nelson Faria
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8. As rosas não falam Gustavo Tavares & Nelson Faria
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9. Naquele tempo Gustavo Tavares & Nelson Faria
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10. Melodia sentimental Gustavo Tavares & Nelson Faria
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11. Três pequenas valsas românticas Gustavo Tavares & Nelson Faria
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12. Dôce de côco Gustavo Tavares & Nelson Faria
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ABOUT THIS ALBUM


Album Notes
Esquinas são cruzamentos e lugares de encontro. Esquinas são também pontos de referência. Talvez por isso mesmo que Francisco Mignone, tanto como o compositor da série de “Valsas de Esquina” quanto como o criador de maxixes e polcas usando o pseudônimo de “Chico Bororó”, se tornou uma referência natural para este trabalho. Na esquina entre o erudito e o popular, numa mistura de seresta e música de câmara, o repertório que escolhemos revela alguns dos muitos encontros de gêneros e estilos tão característico da música brasileira. Esta gravação também representa o reencontro de dois caminhos que começaram na mesma escola de música em Brasília e que mais tarde nos levaram por trajetos musicais bem diferentes. A amizade ficou; e ficou também uma paixão pela música brasileira descoberta ainda durante a juventude. Agora nos encontramos nessa “Esquina de Mestre Mignone” para apresentar algumas das referências musicais que nos tem orientado ao longo dos anos. Esperamos que você goste de ouvir este CD tanto quanto nós gotamos de tê-lo gravado.

Gustavo e Nelson

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Street corners are road-crossings and meeting places. Streetcorners are also landmarks and references. As the composer of a refined series of works called “Valsas de Esquina” (Walzes from Streetcorners) as well as the creator of popular “maxixes” and “polcas” while using the pseudonym of “Chico Bororó”, Francisco Mignone became a natural reference for this work. At the corner between “classical” and “popular”, in a mixing of street serenade and chamber music, the repertoire we have chosen reveals some of the many encounters and crossings of styles and traditions which are so characteristic of Brazilian music. This recording represents also in a way the coming together of two musical paths which have started at the same music school in Brasília and which later led us to quite different artistic experiences. The friendship lived on as well a common passion for Brazilian music discovered already during our youth. Now we enjoy our reunion at this “Corner of Master Mignone” (“Na Esquina de Mestre Mignone”) for presenting some of the musical references which have oriented us along the years. We hope you will enjoy listening to this CD as much as we have enjoyed making it.

Gustavo and Nelson

Nelson Faria is a guitar faculty at the Örebro University in Sweden since January 2010. He has performed in more then 30 different countries, and appeared at jazz festivals such as Montreaux, North Sea, Montreal and Java. He has released 9 CDs, 6 books (2 in the EUA, Japan and Italy), and DVDs both with his group ”Nosso Trio” as well as a series of video-lessons by the name “Toques de Mestre.” Nelson has recorded as guitar player, arranger and/or producer on over 200 CDs by Brazilian and international artists, and worked with names such as João Bosco, Till Broenner, Ivan Lins, Gonzalo Rubalcaba, Milton Nascimento, Lars Jansson, Paulo Moura, Leila Pinheiro, Leny Andrade, Wagner Tiso among others. Performing his own arrangements, he has also appeared with ensembles such as The Orquestra Jazz Sinfonica (SP), KMH Jazz Orchestra (Sweden), CODARTS Jazz Orchestra (NL), Orquestra Bons Fluidos, UMO Jazz Orchestra (Finland), Hr-Bigband (Germany), Frost Jazz Orchestra (USA), Amsterdam Conservatory Big Band and others. After a concert, the critic of the newspaper Nerikes Allehanda, Henrik Englöv, wrote that “the fingers of guitar player Nelson Faria seemed free of human limitations, creating rhythms beyond what is technically possible.”
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Gustavo Tavares holds a Doctor of Musical Arts from Rutgers University and is a versatile musician. He has been a student of two of the greatest cello masters in modern times: Antonio Janigro and Bernard Greenhouse, for whom he also served as assistant. Gustavo has performed throughout his home country, and in famous concert halls around the world such as the Kennedy Center in Washington DC, the Carnegie Hall in New York, the UNESCO Hall in Paris, the Theatro Municipal in Rio de Janeiro, the Sala Bellas Artes in San Juan, Puerto Rico, the Linder Auditorium of Johannesburg, the Sala Puccini in Milano, the Teatro Palladium of Rome, and the Duke’s Hall of the Royal Academy of Music in London. He has appeared as a soloist as well as a conductor with orchestras such as the Orchestra d’Archi Italiana, the National Theater Orchestra in Brasília, the Johannesburg Philharmonic, the Princeton Chamber Symphony, and the Maribor Philharmonie. In 1995, together with Paquito d’Rivera and Pablo Zinger, he created the ensemble Triangulo, which according to American critic C. Berg helped «redefine the basic assumptions of chamber music». With this ensemble he has presented a diverse Latin American music repertoire for audiences throughout the world, and the ensemble recorded several CDs. One of these was nominated for a Grammy Award in 2001, and yet another was listed as “Record of the Year, 1997” by the Brazilian newspaper “O Estado de São Paulo”. A reviewer (Novilist, Zagreb) described Gustavo as a player with “sparkling virtuosity, elegance and complete technical perfection.”


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