Composer notes:

My idea behind the compositions in this album was to portray different places and events in my life, both real and imaginary, in a similar way to which one might write a journal or paint a landscape from memory.

Producer Todd Garfinkle interviews Marcelo Zarvos...

T: This is your 3rd album that we have done together, but we have never really talked about how you came to do what you do and where you came from musically....

M: I think there are three main "pillars" to what I do : Brazilian folk music, including what is referred to as MPB, Jazz and Classical music. At one point or another of my musical life I touched each one of these worlds in depth, but never felt that any of these could satisfy me by itself. Probably the greatest impulse behind my music was a need to unify these voices into one somewhat coherent whole. The process has been gradual and without a doubt is still evolving, but I feel that one can see a clear path from my first album, "Dualism", through "Labyrinths" and "Music Journal". The idea of a mixed ensemble of classical and non-classical musicians is what really appeals to me, both in a musical and spiritual sense. As a whole I still like to write most of the music out but find that leaving pre-determined spaces that allow for improvisation can bring a sense of magic and discovery to each performance that wouldn't happen otherwise. To this end I must add that a lot of these discoveries and experiments were made possible by the unique talents of the different players I have been so fortunate to collaborate with over the years, particularly Peter Epstein on saxophone, Dorothy Lawson on cello and Mauro Refosco on mallets and percussion. Each one of these artists have brought to my music strong individual voices and the true spirit of chamber music in which music passes from hand to hand in a graceful and democratic manner.

T: What would you say are your musical influences? Do they include Villa Lobos and Egberto Gismonti? Or, the more popular composers, such as Jobim and Caetano? Or, both? And, didn't you studied with the same teacher as Jobim?

M: I enjoy very much both Villa-Lobos and Gismonti's music, but find myself more and more drawn to the sources these great composers themselves went looking for theirinspiration, in other words Brasilian folk music. In addition, I would always name Jobim as a great influence, being in my opinion a truly powerful and unifying voice that consolidated many of the different styles of Brasilian in the 20th century within his own work. I had the honor of studying in Brasil with H. J. Koelreutter, a German composer and musicologist who also taught young Antonio Carlos Jobim.

Having lived in the US for the past 12 years, there are obviously quite a few American artists who have had a deep impact in my music such as Steve Reich, Aaron Copland, Morton Feldman, the group Oregon and many types of folk music from around the globe. In the classical world, I would mention J.S Bach, Josquin, Stravinsky, Beethoven and Debussy among my strongest influences.

T: I feel that your music has a more tranquil, country-like feel than an urban vibe. Can you comment on this please?

M: I think that's true. Perhaps the easiest way of explaining it would be that one of my greatest sources of inspiration continues to be my childhood back in Brasil. As a boy growing up, I spent long periods of time by myself in nature, and I feel that there is still a certain a longing in my music to express the incredible beauty, joy and sadness I witnessed during those years.

T: You have been in the US for many years now. What is it that keeps you here as opposed to Brasil, which is without a doubt your main musical influence? What kind of music do you think you would be doing if you were still in Brasil? Do you think you could not do the kind of music you are doing if you were back in Brasil?

M: Being in New York has allowed me to be exposed to a really wide range of art and artists from all over the world. While Brasilian music is still a very strong source of inspiration for me, my main goal is to combine that tradition with different elements in Classical, Jazz and other types of Folk music. In addition, I've been increasingly involved in composing music for films and feel that New York is a really interesting place to be right now in that regard, particularly in the independent film arena which consistently turns out interesting work.

T: I have heard that Bossa Nova began due to the political situation going on in Brasil at the time. Is this correct and can you comment a bit?

M: I don't think that's necessarily true since the really significant political event that shook Brasil in the 60's, the military coup of 1964, happened when Bossa Nova was already fully developed. What the political situation did influence was the next generation of musician such as Caetano Veloso, Chico Buarque and Gilberto Gil ,who along with many other artists were arrested and/or exiled during the years of military dictatorship.

T: I am aware that your roots are of Greek origin. What is the Greek community like in Brasil. How much influence has there been in Brasil and how much on you? Is it more cultural than musical?

M: I actually feel that the Greek influence in my music is more spiritual in nature than anything else. I've felt a deep connection in the many times I've been there and while it might be hard for me to explain, I find that my awareness of that wonderful culture and music is growing all the time. Perhaps the most significant musical influence has been the music of Manos Hadjidakis, who I jokingly refer to as the Greek Jobim.

T: Do you find it difficult to record with 2 microphones, or just more of a challenge than a "normal" recording studio situation, or do you actually prefer it? Does it actually compliment your music or make it more difficult to perform?

M: I think that this technique of recording can work extremely well depending on the circumstances and type of music being recorded. As a general rule, I find that it works better with more transparent ensembles and/or softer pieces. Needless to say, the performers must be very well rehearsed and able to adapt to a recording situation when they are not able to listen to each very well. As a whole I find that the incredible warmth of this recordings more than compensates both listeners and musicians for the few times when they fall short of being ideal.

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