構成数 | 1枚

合計収録時間 | 00:54:21

Personnel includes: Airto Moreira (vocals, percussion); Oscar Castro-Nieves (acoustic piano, acoustic & 12-string guitar); Dom Camardella (accordion, bass); Meia Noite, Marco Gibi, Michito Sanchez, Giovanni Hidalgo (percussion); Bob Necksnapp (turntables); Flora Purim (background vocals). Recorded at Entourage Studios, North Hollywood, California; Fantasy Studios, Berkeley, California; Sound Design Studios, Santa Barbara, California. Personnel: Airto Moreira (vocals, berimbau, drums, percussion); Diana Moreira Booker (vocals, background vocals); Flora Purim (vocals); Oscar Castro-Neves (acoustic guitar, cavaquinho); Gary Meek (flute, saxophone); Stephen Kent (didjeridu); Marcos Silva (piano); Giovanni Hidalgo (congas); Sikiru Adepoju (talking drum, percussion); Mosheh Milon, Jr., Kiazi Malonga, Marco Gibi, Molonga Casquelord, Val Serrant, Meia Noite, Michito Sanchez (percussion). Audio Mixers: Lynne Earls; Dominic Camardella; Geoff Gillette; Yutaka Yokokura; Diana Moreira Booker; Airto Moreira; Krishna Booker. Recording information: Entourage Studios, North Holly, CA; Fantasy Studios, Berkeley, CA; Visual Rhythm Studios, Alhambra, CA. Editors: Geoff Gillette; Yutaka Yokokura; Airto Moreira. Photographer: Gilberto Marcelino. U.S. jazz audiences know this legendary Brazilian percussionist best from his gigs with wife Flora Purim and his storied history with Miles Davis, Stan Getz, Lee Morgan, and fusion pioneers Weather Report and Return to Forever. Drawing upon every type of world groove and drum pattern under the sun, and adding liberal doses of the sultry sambas of his homeland, the legendary sideman steps out here with his first U.S. solo recording in 20 years. Fans of exotic, anthemic exoticism will dig heartily into the hypnotic tribalism of the opening track, "Ritmo Do Mundo," which bangs along joyfully as a choir of young singers chant along. Just as things are getting too bouncy, however, Airto shows the softer side of his artistry with the gentle acoustic guitar-driven mood piece "O Tunel." Then it's back to the wild rhythms with the all-percussion (laid on thick), voice, and whistling "Baba and Malonga Went Home." The pattern is set, alternating vast rhythmic excursions and crazy experiments with more mainstream tastes of home. The basic concept behind the adventurous project is summarized by the lyrics of the powerful vocal and percussion-based closer, "Let It Out, Let It In," which urges the listener to "Take a chance, move your body and dance...." Fans of Brazilian music will enjoy it, but it will hold the most appeal for those fascinated by the possibilities of a master percussionist's huge arsenal. ~ Jonathan Widran

録音 | ステレオ (Studio)