Short Takes

Jorge da Silva

It's been just over a year now since Brazilian saxophonist Leo Gandelman left his wonderful home near Jardim Botânico in Rio to embark on his re-discovery of the new world, via New York city. Gandelman, who has an impressive history of recording here in the US, made his decision to concentrate on new aspects of his career with the focus on his international image. With the mastery of his instrument has come the recognition from his native country, unusual for an instrumental artist, but substantial and well deserved and a perfect launching pad for his goals.

With six solo albums to his credit, Leo Gandelman has the ability to expand the horizons of Brazilian music through the resurgence of contemporary jazz worldwide. His latest recording, currently available in the US only as an import is called Pérolas Negras (Black Pearls) and showcases Leo's favorite songs written by Afro-Brazilian composers. In it you'll find jazzy versions of "Mais Que Nada" by Jorge Ben, "Nana" written by Moacyr Santos and Mário Telles with its driving, infectious beat, and Milton Nascimento's "Clube da Esquina No. 2."

One of the album's favorite tracks is a reworking of Monsueto and Ayrton Amorim's "Me Deixa em Paz" with singer Luís Melodia. The song carries all of the passion of unrequited love, and is a wonderful interpretation of a Brazilian classic. And much like other saxophone players here, Gandelman's decision to use a singer to anchor his recording of the song has had the desired effect: it's a big radio hit in Rio.

Included are other songs penned by Cartola, Jamil Jones, Djavan, Gilberto Gil and Pixinguinha. And with a nod to the northeast, Leo includes a spirited, modern version of Pauliho da Viola's "Choro Negro," and it comes off with a satisfying sense of respect and the same playfulness that the song has always held.

Stevie Wonder's "Overjoyed" is included as "the exception that proves the rule," as Leo would say. His gratitude and appreciation of Wonder's incredible musical skills has always been evident and the song is presented as a lovely ballad with a Brazilian touch that's unmistakable.

A true Carioca, Gandelman began to study piano and flute at an early age, and benefited from a musical family. While his father's background was as a conductor, his mother's talents were more instructional, literally, as a piano teacher. He studied classical music extensively during these years and became quite adept at the form, playing with various Baroque groups and also as a soloist with the Brazilian Symphony Orchestra. This early direction soon led to the saxophone and Leo left Brazil for Boston and the Berklee College of Music during the 1970s.

The close of that decade found Gandelman back in Rio, armed with an advanced talent and the creative skills to support it: arranging, composition and the ability to perform on all of the saxophones, from soprano to baritone, as well as his earlier favorites, his keyboards and the flute.

He also had a plan, and began to record with everyone: Simone, Djavan, Elis Regina, Toninho Horta and Ricardo Silveira. He also took part in the popular Rock in Rio festivals and the Montreux Jazz Festival as his name and reputation grew. Sometimes playing two or three sessions a day, Leo set aside his savings for the project that would catapult his career to the next level. A solo album.

His self titled album was finally recorded and released in 1987 on CBS in Brazil, and while it was ahead of its time for the Brazilian music scene, it was on the cutting edge of contemporary jazz in the US, were word of his creativity caught the eye of Verve Forecast, a Polygram label in New York. The label was growing by leaps and bounds, and signing new Brazilian jazz stars was part of the game plan.

Verve signed Leo to a multi-release agreement, and did likewise with Ricardo Silveira, Joyce and Toninho Horta. With the strong support and backing of this music powerhouse behind him, Leo's recognition grew in the US and back home in Brazil. He quickly recorded Western World and Solar for Verve, both of which gained quick, lasting radio play with smooth jazz stations. When Verve changed directions in the 1980's Leo continued on with Polygram Brasil and his success continued as well with Visions (1991) and Made in Rio (1993). While neither of these two albums received widespread exposure here in the US, both are excellent choices for your collection.

What you'll find with these two CDs are the effects of Leo's continuing growth as a jazz master. Visions represents Leo's first advance into the international arena, with a well produced collection of tunes including the flowing lines of "Pirates" and "Point of View" with a stylish touch of Tower of Power thrown into the mix. João Bosco appears on "Dance in the Woods" and "Spirits of the Forest" is restructured and elevated from its beginnings as a novela (soap opera) theme song. Made in Rio is more pop flavored, with takes on Paul McCartney's "Long and Winding Road," Nascimento's "Quay," Ary Barroso's "Bahia" and Rio's unofficial theme song "Cidade Maravilhosa" (Wonderful City).

Today, Leo calls the New York suburbs his home, having made a promise to build the next stage of his incredible career as a musical giant in a culture that heavily favors vocal music. His eight years of awards as Brazil's top instrumental player pay tribute to his talent and dedication; holding a glimpse of what the future might bring. Watch for Leo Gandelman's upcoming projects, including his work with Oscar Castro-Neves and the group Globo later this Spring.