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Labyrinths Reviews
ALL ABOUT JAZZ / JANUARY REVIEW
The pathway twists many times, one environment giving way to another. A sunny beach becomes a parlor: "Rondo Baiao" starts earthy, a berimbau creeping through a mess of rattles. A cello adds depth, and Peter Epstein twirls a soprano, the light swing of a merry-go-round. Now enters Zarvos: a sweet gentility, delivered with force. The varied tastes recall New Age in its early days; it's as eclectic as the Penguin Café Orchestra. Marcelo turns lush at the end, as a marimba patters delightfully. It's a waterfall of sound, ordered but natural -- the notes suggest a formal garden, and this is most appropriate. "Labyrinths" flows like a slow march, textures forming as instruments join. First it's Mauro Refosco, hammering chords with steady warmth. Zarvos assists, Epstein starts simply, a theme completed by Lawson's cello. This building is gradual; voices recede and themes evolve, all with the same mood. It's a quiet hotel, sounding the grace of a bygone age. "Caraiva" is likewise, a piano racing in Impressionist strength. (His classical teacher also taught Jobim.) Refosco chimes in, and Lawson steps forward, her sway copied by Epstein. Now it's Marcelo, notes shared with Refosco in bright clusters. Romero Lubambo adds wiry lines, a modern touch to this Victorian beauty. The theme returns, and it lives: Lubambo adds a world of passion, a lovely thought over too soon. A Brazilian album must have a bossa: this one's a charmer, dedicated to Bebel Gilberto. Marcelo goes easy, a spare touch enhanced by Lubambo. Epstein is stronger, and here the strum glistens. "Chance Meeting", nothing - this is a reunion of best friends. "Lament" goes out to his ancestors in Greece - a tumbling theme calls forth the ocean. Lawson is placid, and piano grows intricate with lovely echoes. A storm builds, and the drums come on like thunder. Much of this is improvised, and it's hard to tell: the patterns - and lament - are eternal. The
"Ghost Child" is tense: brittle notes, hammered down low.
Lawson is firm, with a little groan in her sound. Percussion runs
riot, and Marcelo sounds hopeful; it's more a hymn than a dirge. And
listen close for "Lu's Rag": soft whooshes trade speakers
and Zarvos walks humbly, a simple sound, and full of hope. The brushes
come in, and Epstein follows the leader; Lawson does likewise. No
embellishment, and none needed; just a parallel statement, stronger
as it's repeated. Rating: *** *. Ideal if you like light classical, and there are glimpses of Brazil. Zarvos plays well, but his strength comes from his compositions. Epstein is pretty throughout, and Lawson is essential to the mood. Try "Rondo Baiao", "Caraiva", "Chance Meeting", "Lament", and "Lu's Rag". Songs: Rondo Baiao; Labyrinths; Caraiva*; Chance Meeting (to B.G.)*; Lament; The Comfort of Strangers; Ghost Child; Lu's Rag. Musicians: Marcelo Zarvos (piano); Peter Epstein (soprano sax); Dorothy Lawson (cello); Mauro Refosco (marimba, percussion); Renato "Brasa" Pereira (percussion); Romero Lubambo (guitar on tracks marked *). For
more info, contact: www.marecordings.com M.A.
Records MO40A
by Bertram Lehmann, writer The beauty of the nature of Brazilian music has always been its wide range of expression, extending from thunderous percussion-driven music-of-the -streets to some of the most harmonically sophisticated and subtle sounds on earth. Perhaps more so than in other parts of the Americas, composers in Brazil embraced the traditions of European folk and classical music, combining them freely with the polyrhytmic elasticity transplanted to the Americas from Africa. Much of"Labyrinths", Marcelo Zarvos´ second CD for the japanese label MA is informed by that heritage, offering a unique vantage point of a young pianist and composer equippedwith a background of startling diversity. New York-based Zarvos [whose interview appeared in Bossa , 12/95] is part of a "new breed" of exceedingly talented South American composers now residing in the States. He has expanded beyond the duet concept pursued on his first recording, Dualism ( see Bossa , 3/96 ) by adding percussionists Mauro Refosco and Renato Pereira as well as cellist Dorothy Lawson alongside soprano saxophonist Peter Epstein. Aided by minimalist high-end recording techniques ( only one set of stereo mics was used to capture the instruments within the ambience of a church), the ensemble packs a lot of emotional density inside a sound of great transparency, radiating with the warm, acoustic earthiness reminiscent of Egberto Gismonti´s group or Oregon. The compositions are characterized by a measured eqilibrium oof exuberance and introspection, images of joyous pastoral beauty surrounded by episodes of reflective and lyrical mood. Zarvos´ writing merges elements of classical form and melodic development with the improvisation and the dances of his native Brazil. The opening track "Rondo Baião", an overture of sorts to the entire album, charges ahead with abundant celebratory spirit, juggling various recurring folk-esque melodies on top of a droning baião of varying intensity. Zarvos, who thinks of his group in terms of a small orchestra, has each instrumeent assume a wide range of functions within a highly contrapunctual texture. On "Ghost Child", Dorithy Lawson´s cello might share a melody with the saxophone, then change register to deepen the ressonanc of a bass line, only to dart right back up to participate in a supporting counterline. The African wooden quality of the marimba employed throughout creates an extension of Zarvos´ lyrical piano, providing for a rhytmic continuity that enables the pianist to interact moore freely with the flow of the music. "Lament" is built around a simple harmonic sequence in triple meter over which extended improvisations by piano and sax soar to expressive heights.Peter Epstein´s playing is crucial in estabilishing the reflectiveand somber atmosphere that pervades many of the pieces. Not since Paul McCandless or Wayne Shorter has there been a saxophonist with such beauutiful lyrical restraint heard by this listener. Guitarrist and fellow Brazilian Romero Lubambo contributes his nmistakable rhytmis accompaniment on ÒChance MeetingÓ, a melancholic samba and easily the most straight-ahead composition on this disc. He also shines on "Caraiva", a whirling composition based on a yearning descending melodic curve which, propelled by a vivid 6/8 arpeggiated plse, was inspired by Zarvos´memories of hitching rides from local fishermen on boats off the coast of Bahia. The pianist´s sense for broad diatnis melodic gestures is also evident on the title track and the rem. April 1997 By now the relationship
between American and Brazilian jazz is definitely a two-way street.
It's no longer about only one group influencing the other. The sound Zarvos
has put together in this recording includes generous Interspersed
with the Oregon sounds are some pleasant excursions into
Jobim-like latin jazz. Perhaps the best of these is the fourth track, Chance Meeting. There are also a few classical/chamber pieces, the best of which is The Comfort of Strangers, and even one piece entitled Ghost Child that recalls some of the best Gary Burton/Chick Corea duets. As
evidenced by this outstanding recording, the dialogue between Brazilian
and American musicians is getting better all the time.
-- Cortland Kirkeby, Omaha Reader
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