ドゥランゴ・キッド (DURANGO KID) オリジナルレコーディングのリマスター
80年代後期からUSに渡り、VERVEリリース期を経て、トニーニョ・オルタが辿り着く弾き語りの境地。 独特の響きを創出するギターと、飾り気のないソフトなヴォイスで、ブラジル:ミナス・ジェライスの澄んだ空気を最もシンプルな形で表した1993年の作品。弾き語りの清らかな美しさと淀みなく湧き上がる興奮...卓越したギタリストとして、そして自然体の語り部としてトニーニョの虜となり、世界中に信望者を生むこととなった記念碑だ。 1stアルバム『TERRA DOS PASSAROS』のオープニングも飾ったことで知られる名曲M1「CEU DE BRASILIA」は、ストリング・ギターの残響と滑らかなカッティングで原曲の印象的なコードワークを、より味わい深いサウンドへと仕立てた冒頭にしてハイライト。この見事なまでの音が耳に届いた瞬間に鳥肌を覚えるのは、決して間違いではない。 同じく1stアルバムで取り上げたM3「DIANA」、2ndアルバムの収録のM2「VENTO」、VERVE盤『DIAMOND LAND』からのM9「WAITING FOR ANGELA」、そしてミルトン・ナシメントに提供したラストのタイトル曲「DURANGO KID」と、セルフ・カバーで自作代表曲の新たな素晴らしさを堪能できることはもちろん、躍動的なギターの調べが高揚感を誘うM5など、本作がレコーディング初演となるトラックも魅力的。 そして、ビートルズのトニーニョ・オルタ流解釈で聞かせるM4の存在も特筆。
2件中1 - 2件目のレビューを表示
Don't let yourself be deceived; enjoy this amazing CD; standouts:
- Ceu de Brasilia
- Across the Universe
- Bola de Futebol
- Dreaming About my First Love
- For My Children.
Three qualities distinguish Horta's work:
1 - He is a great guitarrist and he plays within a conception of a big orchestra. His guitar playing seems to float wonderfully upon a sea of strings. Wonderful and unique playing!
2 - He is a sophisticated composer of intricate songs and a great melodist. "Sky of Brasilia", "Diana", "Waiting for Angela" (later recorded by Flora Purim) and the tile song "Durango Kid" are among his inspired compositions in this CD. Though sophisticated, his songs are beautifully melodious to new entrants.
3 - His guitar playing is a parameter for guitar instrumentalists in Brazil, notably those who are in their advanced playing.
Just like Tom Jobim, sometimes, Mr. Horta decides to sing on a few tracks of his albums and his singing is not so good though the songs and lyrics are always highly inspirated. I wouldn't mind about his bad singing.
For those who love sophisticated Brazilian music or Bossa Nova in the Tom Jobim tradition or those who simply love good music.
Every song on this cd features excellent guitar work.A true virtuoso "On Guitar". "BUT" in my opinion the listener will need to hear past his odd vocal style. Toninho states in the liner notes that he felt totally at home and natural when he recorded this music. Every artist should be able to play what they feel,within reason. "BUT" they owe it to their fans to remember what got them there. For Mr.Horta it is his Guitar !!
I purchased his Moonstone cd first."It Is Fantastic". The Moonstone music takes you there and back to what got him there,"his guitar" playing. If you can find a copy of his Moonstone cd at a reasonable price. Buy It !! Dont settle for the Durango Kid cd. Look for the real Durango Kid that is hidden within his other music selections. Final thought:
Toninho's Guitar, without end. Now that's the end !!
I've been listening to Pat Metheny's Brazilian jazz fusion for almost 20 years, where the non-verbal melodic vocalizations are at times impossibly mesmerizing. Compositionally, Metheny comes across as continually innovating sound and voice, through rock, bebop, KennyG-jazz, and wind-and-string modern classical. The Brazilian components Pat draws from come from the likes of Nascimiento and Horta; simple, pure, heartfelt musical primatives that sound like they come from the most remote parts of Brazil. I bought Toninho's Moonstone and Durango Kid because I wanted to hear more of these distant pieces that were driving Metheny in new directions. The part of Toninho's music I came to like the most is his singing, that non-verbal accompaniment to beautiful guitar playing.
About 20 years ago I saw Toninho in concert in Washington, D.C. , part of a Smithsonion music series. The venue was small, holding maybe 200 in the audience. About 20 seconds into one song, for no reason I could determine from the performance (not due to missed notes or poor timing -- neither occurred), he stopped, laughed openly, said something warmly in Portuguese to the audience, and then started again; the song was perfect. I can only think that he wasn't concerned about the polish, but rather that it just didn't feel right the first time.
These days, Metheny's polish seems redundant in some way. For now, the sound of Toninho singing and playing in Brazilian syncopation, as if sitting on his doorstep, singing about his children, about soccer, about the people he loves is for me a simpler but emotionally broader understanding of Brazilian music.