Tom Jobim may consider himself the happiest man ever for the respect
he has taught us to have for music and you guys proved to have learned
this lesson well with this interpretation.
2. (Aqui oh!). Toninho is really a great composer.
I enjoyed the scale in thirds. Humor is so necessary and it's wonderful
that you aren't shy to show it. What a beautiful ending you've arranged!
3. (Água e Vinho). What a delightful surprise
it was to hear the introduction insisting in preparing for the A,
the E repeating itself and, finally, the "donation" to
D minor! The repetition of the initial E, with the A being repeated,
is really beautiful. The fugue in two voices, the return of the
D minor, I liked everything!
4. (Clubes das Esquinas). For this fantasy about
the Clube 1 and 2 records, I expected something different. I'm basing
myself on the previous tracks. I need to listen to it more times.
5. Your interpretation of Zanzibar, by Edu, whom
I know well (I've even made a version of this song for his Songbook),
wasn't surprising but I liked it a lot. I also think that at a certain
stage, to make the song “fit itself',' some crazy improvisation
6. (Mistérios). What a coincidence to hear
this song in the month I met again with Mauricio and his son Chico
(after many years) and, at the same time, I'm scheduling a meeting
with Joyce at the Educativa TV station (where she has a program.)
Personally, I like the melody of this song so much that I prefer
to listen to it without any improvisations. (…)
7. I like Nascente a lot. As a matter of fact,
the CD’s repertoire is wonderful. Congratulations for the choices.
(…) While I was writing the last sentence, I noticed with delight
that the arrangement led to a mini fugue with changes in the tonality
(which happened before). The voices are beautiful, crossing each
other as waters falling from a waterfall. Congratulations for the
lovely arrangement. This change in tonality to announce the ending
becomes almost cinematographic…
8. (Os Cafezais sem Fim). Tiso is almost family,
a great friend. I didn't know this song was all his! Tiso's songs
naturally suggest a cello solo and images of a band playing on a
bandstand in a square of a tiny city, of children running, how wonderful!
How pleasing it is to see Tiso "living" in this CD. It
enhances the value of the presence of all the other composers. That's
how I feel. It's really great.
9. (Bachianas n°5 - Ária). The cello's
pizz blended with the guitar is great. It sounds like a single instrument.
"Villa has a guaranteed dwelling in the heart of good musicians,''
I don't remember who said that, but it's really true. (…) The final
melody with the flute one octave above is stunning.
10. Martelo is always surprising, isn't it? Tiso
will excuse me, but I'll change my opinion. "Martelo"
is the best song of this CD’s marvelous collection. It's right to
say that Tiso values us, but it's always right to say that Villa
sets us apart on the planet. I'm always glad to remember that Villa's
discovery of folklore was inspired by Mario de Andrade. It's good
to know we're part of a cooperative (in the best sense of this world),
solidarity-oriented, and friendly country. The sequence of the songs
is really appropriate – with Passarim opening the CD and Martelo
closing it. They're related songs. I wish you manage to fulfill
your musical plans feeling happy always.