Mark Weinstein has already proven himself to be a magnificent flutist in the world of Brazilian jazz with two CD’s, Jazz World Trios and Tudo de Bom. His latest, O Nosso Amor solidifies his standing, as if it needed any solidifying. Weinstein and his band interpret several Brazilian styles in a program of originals and Latin classics. Weinstein has a wonderful light and gentle musical sensibility that comes through clearly on each track. Whatever the situation and/or style call for Weinstein provides through an assortment of soprano, alto and bass flutes. His band is supportive and exciting. O Nosso Amor is a great CD sure to be loved by all fans of Brazilian jazz.
Continuing to show the love and affection he as for Antonio Carlos Jobim he showed on his previous releases, Weinstein includes three tunes by the classic Brazilian composer. The tile track, from the Black Orpheus soundtrack, is in a relaxed medium tempo, with a beautiful unison melody by Weinstein and guitarist Romero Lubambo. Por Cause de Voce is a samba (or more precisely – as the liner noted point out – a samba cancao), which Weinstein plays on alto flute. This intoxicating instrument works well on the gentle ballad. The final Jobim tune is “Falando de Amor,” another ballad-ish song identified as a “chora-cancao.” “Lugar Comun” a bossa-esque ballad was written by two other classic Brazilian composers, Joao Donato and Joao Gilberto.
The liner notes of O Nosso Amor serve as a mini-history of Brazilian improvised music. For instance, they point out that Afredo da Rocha Vianna Jr., ‘pixinguiha’…continues to he regarded as the greatest choro composer and flutist of all time. Two of the Latin masters choros are included. “Um a Zero,” an up-tempo flute feature, was composed in honor of Brazil’s winning its first international soccer title in 1919,” “Naquele Tempo is a slow and easy ballad which Weinstein performs wonderfully on bass flute. “Bahia,” the energetic opening samba, was written by Ary Barroso, another classic Brazilian composer.
The band members also contribute several original tunes. Weinstein himself wrote “Marka Som,” a slow to medium bossa nova. In a jazz samba style is “Sampa 67,” written by bassist Nilson Matta. The tune is energetic and has a syncopated melody. Percussionists Guilhermme Franco and Jorge Silva contribute an improvised percussion feature, “Batucada.” “Frevo Camarada” is an energetic up-tempo march written by guitarist Romero Lubambo. Finally from Guilherme Franco comes “Capoeira,” “inspired by the rhythm of the Bahian berimbau.
O Nosso Amoris a wonderful collection of Brazilian tunes, old and new. The band is traditional yet hip. They support Weinstein in his masterful flute playing with tasty accompaniments. They also have something to say individually: all as improvisers and several as composers. Weinstein has presented a program that is a balanced as it is diverse. He is clearly one of the greatest Brazilian flutists recording today.