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© SIDEFXPRODUCTIONS.NET (2019)

 

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Brenda Ohana Cosmopolite on her formation, intuitive on her music approach and calmly rebel on the life, Brenda, vibraphone, refuse to place herself on a precise musical genre. We ought besides all to evoke a jazz tendency to define this free electron music, who mentions as reference Milt Jackson from whom she loans the pianistic view from the vibraphone. Whatever her sound could be percussive on a Lionel Hampton way. With “ Who Knows If” her third CD, Brenda shows up just as her own self. Intuitive on the formation of the group which surround her: Toninho do Carmo, Maria Teresa it’s a bit like family, she works with them at the “Théâtre de l’Opprimé” or Bernard Wystraëte, « excusez du peu », musical godfather full of kindness, able to crossover the Europe to join his protected on the stage or on studio and offer her, as here, his magic flutes sounds; Felipe Cabrera on double base and Frédéric Sicart on drums, she had seen them on stage, le loved them, she invited them to share the adventure. Cosmopolite on the repertory construction, which surfs over several musical registers. Brenda invites her masters (J.S. Bach, Keith Jarret), evokes her influences (Hermeto Pascoal, Michel Petrucciani), hommages her idols (Radiohead), convoke her friends (Jean-Yves Candela, Felipe Cabrera). And that’s what could go through all directions….but over Brenda vibraphone mallets the eclectic repertory becomes a homogeny and harmonious ensemble. Veritable artist, she owns a universe that she spreads out everything she touches. Appropriating on the pieces, she creates them novel arrangements, take them to new shores. Throughout the titles composing the repertory, she revisits « So Tender » (Keith Jarret)*, « Largo », (J.S. Bach) or « Meu caro amigo » and « Arrastão » respectively from Francis Hime/Chico Buarque and Edu Lobo, two 70ies icons , heard on her childhood from whom she borrows some mystical titles because she likes the melodies, lyrics aren’t the point, the whole album from the beginning till the top is instrumental…and for Brenda what counts on music is music. Alongside these monsters of the universal music, friends, our days new music personalities: Jean-Yves Candela for « Baião Louco » which Brenda Prints a Caribbean sonority; the Cuban double bass player Felipe Cabrera with « Lamento Meditative melody with vocals from the composer pointed by words- whispered on all moderation - by Brenda. Sharing the scene with all these people, this last one signs more than a half of the repertory. Leading further this drum knocking boat, rather knocking vibraphone, Brenda brings up all king of colors to her vibraphone. We savor it caressing jazzy, west coast tendency spiced of boss nova on « Who knows if » (which names the opus) carried by Maria Teresa vocals, on « Love love love »* or on the « Largo » whose we’ll remember form the Swindle Singers over the 60s. We find it much more percussive on « Bio Surdo», « Insistente »*, «Borda, borda» and « Baião louco ». We appreciate it astonishing on « Internet head », hommage jazzo-rock to her idol Radiohead. Or even oven « Mau tempo »* whose we don’t know if it’s about a marrocan chaabi or a Recife Carnival Maracatu, so strong are their echo resonations. What reminds us the music, as humains, circulates and it’s very good. It won’t be Brenda, who says the opposite; she who had drew over the majestic and ineluctable Amazon River course, which had rocked her childhood, a nomad destiny conscience.

1920

Brenda Ohana Cosmopolite on her formation, intuitive on her music approach and calmly rebel on the life, Brenda, vibraphone, refuse to place herself on a precise musical genre. We ought besides all to evoke a jazz tendency to define this free electron music, who mentions as reference Milt Jackson from whom she loans the pianistic view from the vibraphone. Whatever her sound could be percussive on a Lionel Hampton way. With “ Who Knows If” her third CD, Brenda shows up just as her own self. Intuitive on the formation of the group which surround her: Toninho do Carmo, Maria Teresa it’s a bit like family, she works with them at the “Théâtre de l’Opprimé” or Bernard Wystraëte, « excusez du peu », musical godfather full of kindness, able to crossover the Europe to join his protected on the stage or on studio and offer her, as here, his magic flutes sounds; Felipe Cabrera on double base and Frédéric Sicart on drums, she had seen them on stage, le loved them, she invited them to share the adventure. Cosmopolite on the repertory construction, which surfs over several musical registers. Brenda invites her masters (J.S. Bach, Keith Jarret), evokes her influences (Hermeto Pascoal, Michel Petrucciani), hommages her idols (Radiohead), convoke her friends (Jean-Yves Candela, Felipe Cabrera). And that’s what could go through all directions….but over Brenda vibraphone mallets the eclectic repertory becomes a homogeny and harmonious ensemble. Veritable artist, she owns a universe that she spreads out everything she touches. Appropriating on the pieces, she creates them novel arrangements, take them to new shores. Throughout the titles composing the repertory, she revisits « So Tender » (Keith Jarret)*, « Largo », (J.S. Bach) or « Meu caro amigo » and « Arrastão » respectively from Francis Hime/Chico Buarque and Edu Lobo, two 70ies icons , heard on her childhood from whom she borrows some mystical titles because she likes the melodies, lyrics aren’t the point, the whole album from the beginning till the top is instrumental…and for Brenda what counts on music is music. Alongside these monsters of the universal music, friends, our days new music personalities: Jean-Yves Candela for « Baião Louco » which Brenda Prints a Caribbean sonority; the Cuban double bass player Felipe Cabrera with « Lamento Meditative melody with vocals from the composer pointed by words- whispered on all moderation - by Brenda. Sharing the scene with all these people, this last one signs more than a half of the repertory. Leading further this drum knocking boat, rather knocking vibraphone, Brenda brings up all king of colors to her vibraphone. We savor it caressing jazzy, west coast tendency spiced of boss nova on « Who knows if » (which names the opus) carried by Maria Teresa vocals, on « Love love love »* or on the « Largo » whose we’ll remember form the Swindle Singers over the 60s. We find it much more percussive on « Bio Surdo», « Insistente »*, «Borda, borda» and « Baião louco ». We appreciate it astonishing on « Internet head », hommage jazzo-rock to her idol Radiohead. Or even oven « Mau tempo »* whose we don’t know if it’s about a marrocan chaabi or a Recife Carnival Maracatu, so strong are their echo resonations. What reminds us the music, as humains, circulates and it’s very good. It won’t be Brenda, who says the opposite; she who had drew over the majestic and ineluctable Amazon River course, which had rocked her childhood, a nomad destiny conscience.

1600

Brenda Ohana Cosmopolite on her formation, intuitive on her music approach and calmly rebel on the life, Brenda, vibraphone, refuse to place herself on a precise musical genre. We ought besides all to evoke a jazz tendency to define this free electron music, who mentions as reference Milt Jackson from whom she loans the pianistic view from the vibraphone. Whatever her sound could be percussive on a Lionel Hampton way. With “ Who Knows If” her third CD, Brenda shows up just as her own self. Intuitive on the formation of the group which surround her: Toninho do Carmo, Maria Teresa it’s a bit like family, she works with them at the “Théâtre de l’Opprimé” or Bernard Wystraëte, « excusez du peu », musical godfather full of kindness, able to crossover the Europe to join his protected on the stage or on studio and offer her, as here, his magic flutes sounds; Felipe Cabrera on double base and Frédéric Sicart on drums, she had seen them on stage, le loved them, she invited them to share the adventure. Cosmopolite on the repertory construction, which surfs over several musical registers. Brenda invites her masters (J.S. Bach, Keith Jarret), evokes her influences (Hermeto Pascoal, Michel Petrucciani), hommages her idols (Radiohead), convoke her friends (Jean-Yves Candela, Felipe Cabrera). And that’s what could go through all directions….but over Brenda vibraphone mallets the eclectic repertory becomes a homogeny and harmonious ensemble. Veritable artist, she owns a universe that she spreads out everything she touches. Appropriating on the pieces, she creates them novel arrangements, take them to new shores. Throughout the titles composing the repertory, she revisits « So Tender » (Keith Jarret)*, « Largo », (J.S. Bach) or « Meu caro amigo » and « Arrastão » respectively from Francis Hime/Chico Buarque and Edu Lobo, two 70ies icons , heard on her childhood from whom she borrows some mystical titles because she likes the melodies, lyrics aren’t the point, the whole album from the beginning till the top is instrumental…and for Brenda what counts on music is music. Alongside these monsters of the universal music, friends, our days new music personalities: Jean-Yves Candela for « Baião Louco » which Brenda Prints a Caribbean sonority; the Cuban double bass player Felipe Cabrera with « Lamento Meditative melody with vocals from the composer pointed by words- whispered on all moderation - by Brenda. Sharing the scene with all these people, this last one signs more than a half of the repertory. Leading further this drum knocking boat, rather knocking vibraphone, Brenda brings up all king of colors to her vibraphone. We savor it caressing jazzy, west coast tendency spiced of boss nova on « Who knows if » (which names the opus) carried by Maria Teresa vocals, on « Love love love »* or on the « Largo » whose we’ll remember form the Swindle Singers over the 60s. We find it much more percussive on « Bio Surdo», « Insistente »*, «Borda, borda» and « Baião louco ». We appreciate it astonishing on « Internet head », hommage jazzo-rock to her idol Radiohead. Or even oven « Mau tempo »* whose we don’t know if it’s about a marrocan chaabi or a Recife Carnival Maracatu, so strong are their echo resonations. What reminds us the music, as humains, circulates and it’s very good. It won’t be Brenda, who says the opposite; she who had drew over the majestic and ineluctable Amazon River course, which had rocked her childhood, a nomad destiny conscience.

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