When writing this text, I am at the beginning of my journey to record my next solo album, titled O Dia do Sol. It is an exciting journey, and I can’t help but dream about the day it will be released. It still feels far away, but I can already hear the songs—at least in my mind.
If you are curious about how a Brazilian jazz album is recorded, this is the place for you. Over the next few weeks, while working on the album, I will write about the process, sharing the steps I go through to get it recorded and released, and talking about the compositions, rehearsals, studio sessions, and how I approach each challenge I might face.
I can tell you it is far from an easy task: too many variables to handle, too many decisions to make, too many steps to navigate. And the first one is the album idea.
To conceive an album is to envision how it will sound in terms of compositions, arrangements, instruments, tone, and more, as well as how you—yes, you—will feel when listening to it. To conceive an album is to find your way through countless options (many of them not better or worse, just different) to solve the puzzle and create an album with a beginning, middle, and end.
Let’s talk about musical genres.
My Music
Because I have a degree in Jazz Performance, I could record a jazz album. Should I? Because of my cultural background and Brazilian music studies, I could record a Brazilian music album. Should I? Should I mix jazz and Brazilian music? Add a pop flavor? Keep it more traditional? Would it be a good idea to explore other genres?
Too many decisions.
Since I recorded my first album in 2003, I have realized that I am more a composer than a bassist. Although I am proficient in improvisation, I do not consider myself an improviser—at least not when comparing myself to friends who are great jazz improvisers.
Over the years, I have also learned that I can trust my musical decisions. This means that if I truly like what I compose, people will like it as well—not everybody, but many will.
No, I am not saying I have a “composition wand” or that I have all the musical answers. When composing, there is never a guarantee that people will like any of my pieces, and I have to face this challenge. I just believe that if I search deep in my heart and work on a piece until I exhaust all the possibilities my skills allow, people will empathize with me.
So, here is my decision: I will record mainly my compositions because they allow me to express my deepest feelings.
Arranging and Improvisation
American jazz performance practice has followed the basic structure of melody–solos–melody for almost one hundred years. I personally like this approach because it is simpler to rehearse and play, and it gives the opportunity to play with other musicians with less effort.
Although I like this approach, since listening to mandolin player Hamilton de Holanda’s Brasilianos albums (especially Brasilianos II), I have been paying more attention to overall arrangements. I like the idea of exploring different aspects of arrangement such as intros, counterlines, moods, interludes, and, of course, improvisation.
The outcome is more complex music: more time spent on arranging, more rehearsal time, and more effort to achieve what I have in mind. But the result is worth it. You can expect a richer, more layered experience when listening to these songs.
“The boys”
“Os meninos” (“the boys”) is how I refer to pianist Misael Silvestre and drummer Pedro Almeida. They are central to my music because, when playing together, we reach an unmatched level of expression.
We have been playing together since I returned from the U.S. after my master’s degree. It took me only two or three concerts to realize that we had a special connection. Seven years later (when writing this text), this connection has only grown stronger, and I can’t achieve the sound I want without them.
Why does this connection happen? First, they are very skilled musicians. Second, they keep practicing and improving. Third, we share the same musical preferences. And lastly, we truly listen to one another when playing.
So, here is the beginning! Stay tuned for the other posts I will publish during the next few weeks.
P.S.: Where does the name O Dia do Sol come from?
When studying English and Spanish, I noticed that the days of the week are named after celestial bodies, and that these names came from Greek and Roman culture and the Latin language. Long ago, it was the same in Portuguese, but at some point the names were changed.
The Latin dies solis became the English “Sunday,” and dies lunae became the English “Monday” and the Spanish “lunes.” “Wednesday” and “miércoles” refer to Mercury.
When I noticed this relationship, I decided to record songs for the Sun Day and for the Moon Day. The composition O Dia do Sol is ready—and it will give the album its name!