Pianos

   

João Carlos Assis Brasil
Todos os Pianos
2003

Tracks:

01. Suíte Nazareth       5m43s
02. Suíte Melodistas Brasileiros       6m23s
03. Suíte Chiquinha Gonzaga     3m26s
04. Prelúdio em Sol Menor     3m26s
05. Valsa do Reencontro     3m10s
06. Suíte Improviso     2m49s
07. Suíte Zequinha de Abreu     6m31s
08. Suíte Gershwin     3m43s
09. Suíte Cole Porter     3m33s
10. Suíte Legrand     5m13s
11. Suíte Nino Rota       5m27s
12. Suíte Cinematográfica     6m36s
13. Suíte Clássica     7m11s
    
Credit:
  
Piano - João Carlos Assis Brasil

  

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João Carlos Assis Brasil stars on Biscoito Fino with the release of his newest work, Todos os Pianos. Recorded in the Biscoito Fino studio, on the fabulous Steinway acquired by the company, together with the Berlin Philharmonic, Todos os Pianos  is formally a tribute to colleagues of the instrument that has revealed great composers throughout the history of 20th century music, and visa versa.

With the influence of choro, bossa, samba, and American and French jazz, Assis Brasil conceives suites putting together work by Ernesto Nazareth (Brejeiro, Odeon, Faceira, Apanhei-te Cavaquinho), Chiquinha Gonzaga (Aracê, Aguará, Sabiá da Mata), Gershwin (including S´Wonderful and Rhapsody in Blue), Cole Porter (including I Get a Kick Out of You), Michel Legrand (of Summer of ´42 and Umbrellas of Cherbourg). João Carlos Assis Brasil has a rare combination of techniques which were developed in decades of study in Europe and classes with Jacques Klein, as well as concerts with orchestras as the Vienna Philharmonic, and of course Brazilian style, developed in work with interpreters of Brazilian popular music. He presents some of the most personalized work of his career, sustained by his maturity and breadth.

A love for film tracks is seen in two of the suítes, one by Nino Rota, Fellini´s favorite (with themes from Os Boas Vidas, Amarcord and Noites de Cabíria), and another Cinematographic Suite that unites Chaplin in Limelight, Hupfield in Casablanca (As Time Goes By), the classics, The Wizard of Oz (Over the Rainbow by Arlen and Harburg) and Sting (Entertainer, by Scott Joplin, recycled).

The flirt with popular music extends to composers whose work, not composed for instruments, becomes appropriate with the fingers of Assis Brasil. This is the case with Suite Melodistas Brasileiros, which joins the Cartola of As Rosas Não Falam the bossa-nova of Luiz Bonfá and Antonio Maria, Manhã de Carnaval, with impressionist placidity and quiet. The suite is completed by extemporaneous samba pieces on the piano. Francis Hime (Minha) and Antonio Carlos Jobim (Retrato em Branco e Preto). None of this eliminates (on the contrary) the pianist´s close companionship with Rachmaninoff, Brahms, Tchaikovsky and, naturally, Chopin, present in the Suíte Clássica).

One of the composers most present on João Carlos´s recordings is his brother, the saxophonist, Victor Assis Brasil, one of the greatest instrumentalists of Brazilian jazz of all times. Victor died in 1981, leaving a vigorous legacy of themes performed throughout the world. Many of them were released after the author´s death and kept alive through the dedication of João Carlos. Prelúlio em Sol Menor and Valsa do Reencontro are two of Victor´s themes interpreted by João on Todos os Pianos.

   

João Carlos Assis Brasil

  

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A pianist whose keys are equally comfortable with classical, popular and music between both styles, João Carlos Assis Brasil, from Rio, began his piano studies at The Brazilian Conservatory of Music (RJ), where he studied piano, harmony and musical theory. Twin brother of the deceased saxophonist, Victor Assis Brasil, at 15 years of age João Carlos was already accompanied by orchestras in concerts.
  

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