Notticalde Jazz in Buenos Aires
Hello friends...! Thank-you for taking interest in my music and for taking the time to have a read through my album notes and bio. Instructions: 1. Prepare a large glass of red wine (Italian, of course!), 2. Read my album notes and bio etc., 3. Put on a decent set of quality headphones, 4. Adjust the volume to a suitably resonant bassy quality, 5. Dim the lights, 6. Take a preliminary sip of your wine, 7. Close your eyes and... enjoy! ~/~~~~~~~~~~~~~~~~~~~/~ THE RECORDING The story behind the recording... Not only a jazz singer, but a Tanguero (Argentine Tango dancer), tango performer and tango teacher as well, I was all set to visit Buenos Aires (my 11th visit) for the annual International Argentine Tango Festival. Then I started thinking. It had been in my head for a while that I would like to record some Latin Jazz including (for obvious reasons) perhaps a tango track or two. Well, considering I was about to re-visit Buenos Aires, I though "why not do a couple of recordings down there?" And so it came to pass that I decided to do exactly that... My next step was to find an arranger for my songs. So... on filtering through some of my 'MySpace' friends, I was given the name of a Colombian jazz pianist (Nicolás Ospina) living in Buenos Aires and having studied jazz at Buenos Aires University. I contacted Nicolás, who was happy to be involved (primarily doing my jazz arrangements), and so at that point the project was born. Then I had to select the songs for Nicolás to arrange. Originally it was 2 or 3 songs I had planned to record but, as there are so many great numbers to choose from, I found it very difficult to throw away many of them. So, the number of songs on my 'shortlist' continued to grow, and grow... and grow! I had to do something and so I was eventually left with 8 songs and I thought "Hell, let's just do the lot!". So, at my next vocal coaching session with Lorna Brooks, I was surprised to hear her say "Well, that's an album!". Hmmm... and so it was! From the beginning, Nicolás was great! He helped me source suitable (his recommendations) recording studios for both recording/mixing and for mastering. He also took charge of organising musicians for me... and I must say that he produced a wonderful batch of excellent backing musicians! Needless to say, it was a natural next step for me to ask/hire Nicolás to be my Producer/Musical Director as well, to which he agreed! Nicolás was fantastic in collaborating with me via the internet (emails, Skype, Facebook etc) on the styling etc for my songs. After much back-and-forth discussion Nicolás's arrangements appeared one-by-one... and they were great! My selection of songs (a couple of them suggested by Nicolás in order to maintain a nice variation on styles of Latin jazz in the album) worked superbly. I ended up with eight great personalised arrangements: 1 x Cha Cha Cha / 1 x Bolero / 1 x Tango / 1 x Samba / 1 x Son / 3 x Bossa Nova On arriving in Buenos Aires, I had a meeting arranged with Nicolás at his flat, so we could go through the songs. After a short taxi ride, I arrived at his address and met face-to-face for the first time. The first day of the recording (Monday 14th March 2011), I arrived with Nicolás at the Casa Frida Recording Studio in Buenos Aires and met both the studio owner Hernán Caratozzolo and sound engineer Mariano Cuello. Great guys! Warm, welcoming, friendly! Then, while the piano tuner was doing his job, the musicians started arriving beginning with Carlos Alvarez (Contrabass) and Fabián Miodownik (Drums). Bernardo Monk (Tenor Saxophone and Bandoneón) arrived a little later, followed by Martin Quaglia (Guitar) and then Diana Maria Arias (Guira and Cencerro). The day went well, although very tiring. After two more days of recording and mixing, Nicolás and I took the mixes down to the "3:3:2 Studio" on Thursday 17th March 2011, where we met Diego Calviño and mastering engineer Pablo Lopez Ruiz. Again, a welcoming warmth invited us into the absolutely gorgeous and modern studio where the Latin jazz legend Chucho Valdez had mastered albums. All-in-all, a fantastically wonderful experience was had. I met some wonderful people, made great contacts... and I can't wait to do the same again and, hopefully, work with the same people! ~/~~~~~~~~~~~~~~~~~~~/~ SONGS The songs' own styles and stories... 1. IT HAPPENED IN MONTEREY (Billy Rose & Mabel Wayne) [CHA-CHA-CHA] From the 1930 film 'King of Jazz' with Paul Whiteman. 2. MA L'AMORE NO (Giovanni D'Anzi & Michele Galdieri) [BOLERO] 1940s standard jazz song, made popular through the movie "Malena"(2000) sung and recorded by Lina Termini in 1943. I fell in love with this song after hearing it in the movie. 3. NADA (Horacio Sanguinetti & José Dames) [TANGO] Written in 1944, this is a very beautiful but sad tango song telling the story of someone returning to the house of a lost love only to find that she is no longer there and there is nothing left, Nada; no trace of her but the empty shell of a house where she used to live. Only spiders live there now, with nothing but sadness and calm and no-one to tell him if his lost love is still even alive, while the irony is that he has 'returned repentant looking for her love'. He finally walks away from the house whispering a soft goodbye, only to hear a sense of an echo of his love's voice responding similarly, while a tear pours like a flower from his poor heart. 4. ONE NOTE SAMBA (Newton Mendonca & Antonio Carlos Jobim) [SAMBA] [Wilkepedia] 'The song title refers to the main melody line, which at first consists of a long series of notes of a single tone played in an uptempo bossa nova (i.e. a samba)' 5. CORCOVADO (Quiet Nights of Quiet Stars) (Antonio Carlos Jobim & English lyric by Gene Lees) [BOSSA NOVA] This lovely, languid melody was written by Antonio Carlos Jobim and tells the story of a man living on the mountain "Corcovado", near Rio de Janeiro, that supports the giant statue of Christ. The man in the story, Jobim explained, dreams of the simple life while seeing, from his window, the inspiring statue of Jesus Christ overlooking all. 6. FRENESÍ (Alberto Domínguez, Ray Charles, S K Russell) [SON] [Wilkepedia] "This a musical piece adapted as a jazz standard by Leonard Whitcup and others. A hit version recorded by Artie Shaw (with an arrangement by William Grant Still) reached number one on the Billboard pop chart on December 21, 1940. The word 'frenesí' is the Spanish equivalent of 'frenzy'". 7. ESTATE (Bruno Martino & Bruno Brighetti) [BOSSA NOVA] "Estate" was written in 1960 by the singer and composer Bruno Martino, together with co-author Bruno Brighetti. The lyrics deal with the summer as the time of a great and past love. Only the next winter might cover the memories. In 1961 the song was placed in the Italian charts, but it did not become a big commercial success. Only the later interpretation by João Gilberto made it well-known beyond the borders of Italy. "Estate" belongs to the few Italian compositions that succeeded in entering the repertoire of jazz musicians from all over the world. It is reputed as one of the most beautiful jazz standards, and it is usually played as a bossa nova or a ballad with a slight latin groove. It is also worth mentioning, that the piece was originally entitled 'Odio l'estate' ('I hate the summer'). But in a TV show, Lelio Luttazzi, a well-known Italian musician of that time, ridiculed the song, performing an ironic version with the title 'Odio le statue' ('I hate the statues'). Thereupon subsequent recordings would be entitled only 'Estate". [Michael Sattler] 8. GARÔTA DE IPANEMA (The Girl From Ipanema) [BOSSA NOVA] - (Antonio Carlos Jobim, Vinicius De Moraes & English lyric by Norman Gimbel) This is said to be is one of the most covered songs in the world and is generally considered a quintessential jazz standard. The composers of Garôta de Ipanema apparently used to frequent a café-bar called "Veloso" (now called "A Garôta de Ipanema") situated in a fashionable neighbourhood close to the beach in Rio de Janeiro. The 'Garôta' (girl) who was the actual inspiration for the song, was a fifteen-year-old girl who lived on Rua Montenegro, called Heloísa Eneida Menezes Paes Pinto (now Helô Pinheiro). In 1962, Jobim and Moraes would regularly notice her daily passing-by. She was a very attractive brunette of 5'8" tall and was seemingly already the focus of the café-bar's regulars. Infatuated, Jobim and Moraes decided to write a song about her. ~/~~~~~~~~~~~~~~~~~~~/~ CONTRIBUTORS All Arrangements ~ Nicolás Ospina Musical Director and Producer ~ Nicolás Ospina LANGUAGES 1, 4 ~ in English 2, 7 ~ in Italian 3 ~ in Buenos Aires Spanish (Castellano) 5, 8 ~ in Portuguese & English 6 ~ in Spanish & English MUSICIANS: Vocals [tracks 1-8] ~ Dani Iannarelli Piano [tracks 1-8] ~ Nicolás Ospina Tenor Sax [tracks 1, 8] ~ Bernardo Monk Bandoneón [track 3] ~ Bernardo Monk Guitar [tracks 5, 7] ~ Martin Quaglia Contrabass [tracks 1-8] ~ Carlos Alvarez Drums [tracks 1, 2 & 4-8] ~ Fabián Miodownik Guiro [tracks 1, 6] ~ Diana Maria Arias Cencerro [tracks 6] ~ Diana Maria Arias INSTRUMENTS 1 - Piano, Tenor Sax, Contrabass, Drums, Guiro 2 - Piano, Contrabass, Drums 3 - Piano, Bandoneón, Contrabass 4 - Piano, Contrabass, Drums 5 - Piano, Guitar, Contrabass, Drums 6 - Piano, Contrabass, Drums, Guiro, Cencerro 7 - Piano, Guitar, Contrabass, Drums 8 - Piano, Tenor Sax, Contrabass, Drums RECORDING/MIXING 14th-16th March 2011, at Casa Frida Estudio, Buenos Aires, Argentina MASTERING Thursday 17th March 2011, at 3:3:2 Studio, Buenos Aires, Argentina.