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Henrique Gomide : Portais.
Format : 1 CD
Durée totale : 00:41:47

Enregistrement : 15-16/01/2023
Lieu : Cologne
Pays : Allemagne
Prise de son : Stereo

Label : Challenge Records
Référence : CR73568
EAN : 0608917356823
Code Prix : DM019A

Année d'édition : 2023
Date de sortie : 01/11/2023

Genre : Jazz
Portais
Frevo
Jorge do Fusa
Miniatura n° 1, Choro Imaginario
Pucciniana
Miniatura n° 2, Sanfona
Canto de xango- Loro
Miniatura n° 3, Congada
Beatriz
Miniatura n° 4, Sobre o Amor Inconditionnal
Na baix a do spateiro
Miniatura n° 5, Samba
Miniatura n° 6, Portais
Palhao
Miniatura n° 7, Preludio De Um Frevo

Henrique Gomide, piano

Henrique’s arrangements for these songs are ingenious, refined and full of life, without artificially forcing any unnecessary originality. In addition to these fundamental pieces, there are also the ‘miniaturas’, which bring Henrique’s signature to the album as a composer. When I received the album, the pieces – brief, aphoristic and strongly suggestive – intrigued me as much as delighted me. I began to envisage, and suggest to Henrique, ways of ordering them. I felt these little improvisations were contrasts of simplicity in the face of such a monumental repertoire, so replete with significance for us Brazilians. Gradually I came to understand a second meaning to the pieces: they are like inevitable bursts of creativity from a pianist who is also a composer. Fragments of Henrique’s intense inventiveness at the piano, whose hands are always throwing forth spontaneous ideas, which I have had the good fortune to witness for many years as his colleague and contemporary. Any musician knows that when preparing a repertoire, we try to get the music “under our fingers.” The music of the score must become ours, it must be embodied. The work of preparation, which is repetitive, is so that the repertoire leaves the paper and enters our blood stream, so that it pulses inside us and becomes part of our movement. The ‘miniaturas’ of Portais are creative eruptions derived from the study of great Brazilian composers. They are like transpirations of this process of metabolising the masters, by an interpreter whose inventiveness certainly points to subsequent work as a composer.”

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