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About this product |
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Quito Pedrosa`s most recent CD, Luz e Pedra, isdedicated to the memory of his grandfather, the artcritic Mário Pedrosa. Quito shows diversity with histraditional emphasis on acoustic sounds and a ratherchamber-like tone, reinforced by the presence of agroup of flute, flugelhorn and clarion, counterpointedwith the melodies interpreted by the tenor saxophone.
The constant presence of the congas as the percussionbase bring out a Latin influence. The alternation ofother instruments (tambourines, ganzás (rattle-boxes),clave, xequerê and plates) complement the sound ofthe rhythm section. |
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Tunes |
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| 1 |
Três da Manhã (Quito Pedrosa)
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5m07s
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| 2 |
Camello (Quito Pedrosa)
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4m22s
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| 3 |
Piedra y Candela (Quito Pedrosa)
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5m36s
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| 4 |
Decantando (Quito Pedrosa)
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2m27s
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| 5 |
Valsa no Mar (Quito Pedrosa)
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3m55s
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| 6 |
Andando (Quito Pedrosa)
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4m10s
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| 7 |
3 a 2 (Quito Pedrosa)
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4m05s
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| 8 |
Extemporânea (Quito Pedrosa)
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5m18s
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| 9 |
Manifesto (Quito Pedrosa)
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2m51s
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Credits |
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Recordings in studios:
Drum - by Alexandre Hang;
Assembly - by Ricardo Cidade;
Big Studio - by Alexandre Chalon
Mixing in the studio Tenda da Raposa by - Rodrigo Lopes, Zé Al and Quito Pedrosa.
Mastering by Rodrigo Lopes
Photos by Bel Pedrosa / Cover by Arthur Fróes based onthe idea by Fernanda Martins
Alto Saxophone - Quito Pedrosa; Flutes - Andréa ErnstDias; Flugel and Trumpet - Nelson Oliveira; Clarion -Rui Alvim; Guitar - Bernardo Bosisio; Piano Rhodes -Marco Tommaso; Acoustic bass - Bruno Migliari; Congasand percussion - Léo Leobons; Percussion - SidonSilva; Plates - Pedro Strasser; Composition andArrangements - Quito Pedrosa; Produced by Zé Al andQuito Pedrosa; Percussion Programing MIDI in Manifestoby Quito Pedrosa. |
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Interview |
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The composer, arranger and saxophonist Quito Pedrosadedicated Luz e Pedra, his latest CD released byBiscoito Fino, to the memory of his grandfather, theart critic Mário Pedrosa. For years Quito has beenproducing instrumental music that centers around musicof the Americas. He uses elements of jazz, Afro-Latinand especially brazilian music in the ninecompositions which he wrote and presents on this CD.
The CD was first conceived in the year 2000,coincidentally 100 years since the birth of MárioPedrosa, a great, mostly emotional, influence on thelife of his grandson. Quito came back to Brazil in1980 at 15 years old after having lived in Peru andSpain with his mother, who was a diplomat, and had thechance to become close to his grandfather. Heremembers, \"I had the privilege and pleasure to gowith him to São Paulo at the founding of PT. He wasthe first militant to join the party. From thiscontact at the end of his life, I began to get to knowhis work better. Various artistic and culturalreferences marked me. He was an art critic with greatunderstanding of people who thought differently orcame from different origins. His political militancyand interest in art were always seen as separatethings, but today I see the relationship between them.He gave a lot of value to the artistic experience andeven defined art as “the experimental exercise offreedom.”
During the recording of the CD, Quito spent some timebent over Mario`s project for the Museum of Origins. The Museum of Modern Art, destroyed by a fire, was tohouse, after its reconstruction, a collection ofIndian and Black art and art from the Museum of theUnconscious (a museum with work by mental patients). Mario considered these to be some of the pillars ofBrazilian culture or even of art in general. Quitocomments, “He started to lose interest incontemporary art from the moment he perceived acertain market and commercial mentality in it. Hebegan to go back to archaeology, popular art, tomanifestations distant from art whose prestige wasmuch more from banks, collectors and dealers than fromthe art work itself. At no time did he cut himselfoff from abstract, modern or contemporary art, but Ithink he felt it was in a way drained. He wanted topay homage a little to this influence and gave it thename Luz e Pedra (light and stone), thinking aboutthe artistic process. Light is something identifiedwith the idea of creativity, and stone with the ideaof construction, a primary instrument”.
Self taught, Quito began playing and composing inPeru: “I started to develop with some friends a typeof composition that was, underneath it all, a mixtureof Brazilian music with Peruvian urban music. Fromthen on I felt this pleasure composing. And composingmeant associations with these diverse influences”.
Leaving Brazil, for this 38-year-old composer, madehim intensify his relationship with a Latin identityand an American identity: “One of the subjects thatinterests me a lot in music is a certain dubiousquality in the tone you play. In samba, Noel says,“cry with happiness,” “smile of nostalgia”, that is happy/sad, something that has both feelings. Choro,for example, has a timid melancholy. Other LatinAmerican music is also dubious: the bolero has adramatic side together with a subtle irony; the tangois a tragedy with a joke underneath. I write somemusic that has this dubious quality.”
Parallel to his musical work, Quito develops artisticwork. The cover of the CD Luz e Pedra shows detailsof his work in wood, Totem e Alvo (totem pole andtarget). On the walls of his house are some smalloils. He explains, “I do these without pretensionsand am also self-taught. While I lived in Paris I hadcontact with artists, went to their studios and sawthem work. I developed a taste for the dedicationthat artistic work requires. I even did someexpositions, sold some things, but associatedartisans, never with galleries. Now I have stopped awhile because I realize I have to have completededication.” |
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