instrumental / acoustic
There’s an expression in Latin American Spanish language that says “aire de chamamé”, “aire de zamba”, something that could be translated to “inspired by chamamé”, “inspired by zamba”. This expression means that you can’t say exactly that you know what rhythm is being played, it reminds you some specific rhythm, but in a particular way that the musician who is playing it has “absorbed it”. This is the translation that Rafael did, because ‘Inspirações’ is the portuguese word for inspirations. This is the point that Rafael achieved on his solo album: all the songs are like musical photographs that were taken during his travels across the large number of countries in Latin America!
‘Inspirações’ begin with ‘Rio Abaixo’ and ‘Ela’, two musics that could be interpreted as preludes in slow tempo, the first one have inspirations from the rural brazilian music and the second is a zamba (an argentinean rhythm); then we are presented to ‘Nossa Casa’, a chamamé (tradicional argentinean rhythm); ‘Passagem Crioula Nº1, Nº2 and Nº3’ were composed during a latin american tour and show all the influences that he had during this time; ‘Tempo’ is a prelude for the returning of ‘Ela’, but at this time with the presence of Badi Assad; ‘Dançando com ela’ is so interesting, because it starts with a kind of fast milonga (another argentinean rhythm), but then other percussion instruments start to been played and you have a baião (a northeast brazilian rhythm)! ‘Cabreiro’ and ‘Choro pro Motor’ are excellent tributes to the old choro groups of Rio de Janeiro, even more because of the addition of a clarinet and a “pandeiro”! This album finish with a beautiful version of ‘Rio Abaixo’ with a contrabass played by Pedro Macedo and a solo version of ‘Passagem Crioula Nº3’, bringing back a previous material in an intelligent way by adding an instrument in the penultimate music and removing an instrument in the last music.
After traveling through countries like Argentina, Uruguay, Bolivia, Colombia, Peru and Brazil (of course) it’s natural that Rafael had inspirations from as many different rhythms as milonga, choro, zamba, chamamé, paraguayan polka, baião, rural Brazilian music, choro, and so on! This internalized musical diversity is the key point that makes this album so interesting, because it portrays - in an extremely personal way - the Latin American guitar music, featuring Badi Assad and Pedro Macedo! It's fantastic to see a work like ‘Inspirações’: An album without any kind of prejudice being released in a time when more and more people care about imaginary divisions beetween human beings... something that we use to call borders...
P.S.: If you like to buy the physical CD or any score of this album, just send an e-mail to rafaelcardosoviolao[at]gmail[dot]com.
Glauber
‘Inspirações’ begin with ‘Rio Abaixo’ and ‘Ela’, two musics that could be interpreted as preludes in slow tempo, the first one have inspirations from the rural brazilian music and the second is a zamba (an argentinean rhythm); then we are presented to ‘Nossa Casa’, a chamamé (tradicional argentinean rhythm); ‘Passagem Crioula Nº1, Nº2 and Nº3’ were composed during a latin american tour and show all the influences that he had during this time; ‘Tempo’ is a prelude for the returning of ‘Ela’, but at this time with the presence of Badi Assad; ‘Dançando com ela’ is so interesting, because it starts with a kind of fast milonga (another argentinean rhythm), but then other percussion instruments start to been played and you have a baião (a northeast brazilian rhythm)! ‘Cabreiro’ and ‘Choro pro Motor’ are excellent tributes to the old choro groups of Rio de Janeiro, even more because of the addition of a clarinet and a “pandeiro”! This album finish with a beautiful version of ‘Rio Abaixo’ with a contrabass played by Pedro Macedo and a solo version of ‘Passagem Crioula Nº3’, bringing back a previous material in an intelligent way by adding an instrument in the penultimate music and removing an instrument in the last music.
After traveling through countries like Argentina, Uruguay, Bolivia, Colombia, Peru and Brazil (of course) it’s natural that Rafael had inspirations from as many different rhythms as milonga, choro, zamba, chamamé, paraguayan polka, baião, rural Brazilian music, choro, and so on! This internalized musical diversity is the key point that makes this album so interesting, because it portrays - in an extremely personal way - the Latin American guitar music, featuring Badi Assad and Pedro Macedo! It's fantastic to see a work like ‘Inspirações’: An album without any kind of prejudice being released in a time when more and more people care about imaginary divisions beetween human beings... something that we use to call borders...
P.S.: If you like to buy the physical CD or any score of this album, just send an e-mail to rafaelcardosoviolao[at]gmail[dot]com.
Glauber
