Mike Marshall Serenata
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by Beppe Gambetta ~ Blu di Genova
- Released: September 16, 2003
- Originally Released: 2003
- Label: Adventure Music
- 1.Sertao Alagoano - (The Hinterland Of Alagoas)
- 2.Quanto Mais Longe, Mais Perto - (The Further Apart We Are, The Closer We Get)
- 4.July 17
- 5.Saudades Do Brasil
- 6.Hino da Princesa Eterna - (Hymn For The Eternal Princess)
- 7.Os Guizos :: The Bells
- 11.Sept. 1
- 13.Santa Catarina
Song previews provided courtesy of iTunes
Personnel: Mike Marshall (guitar, bouzouki, mandolin); Hermeto Pascoal (flute, melodica); Jovino Santos Neto (flute, piano, harmonium).
Producers: Mike Marshall, Jovino Santos Neto.
Recorded at Mobius, San Francisco, California; Gatorland, Oakland, California and Reede Studios, New York, New York. Includes liner notes by Andy Connell.
Digitally remastered using HDCD technology.
Personnel: Mike Marshall (steel guitar, nylon-string guitar, mandolin); Jovino Santos Neto (flute, piano, harmonium); Hermeto Pascoal (bass flute); Aaron Johnston (drums, percussion); John Santos (surdo); Michael Spiro (triangle).
Audio Mixers: David Luke; Mike Marshall .
Liner Note Author: Andy Connell.
Recording information: Gatorland, Oakland; Mobius Studios, San Francisco, CA; Reede Studios, NY.
Photographer: Andy Connell.
To say that this recording is a surprise is an understatement. It is a shock, but not in the way one might expect. First off, this duet appearance by mandolinist Mike Marshall and pianist Jovino Santos Neto is a collection of compositions by the great Brazilian wizard Hermeto Pascoal. Pascoal is easily the most prolific and challenging of Brazil's master musician class and his music transcends all boundaries and genres. Neto is Pascoal's pianist and has been for over 15 years; he is also the executor of his musical estate --though the master is still very much alive, he's too busy composing to trifle with details. He and Marshall teamed with a number of other musicians to offer Pascoal in a unique way. They succeed in spades and perhaps too well. The material here, most of which has never been heard before, is either from a radically subdued side of Pascoal's harmonic personality, has been wildly reinterpreted, or sometimes both. This is not to say that Serenata is in any way a failure or something that is not desirable. Quite the opposite: if anything it is the most listenable recording of the man's music ever issued because it finds its aesthetic space and stays in it. And while their approach is seamless, warm, human, and accessible, it lacks wildness and vision; it settles too easily for feeling rather than challenge. Most listeners will never notice this and it just needed something a little bit edgier. That said, this is nonetheless a fine recording and one that should be heard and appreciated by anyone interested in modern Brazilian music. ~ Thom Jurek
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