Quarteto Edison Obras 2 'O Pulo Do Gato' CD

I felt honored when Edison asked me to join his group in the late 1960s, when I was under twenty years old. I worked with his quartet for a while, together with Ion Muniz and Ricardo Santos, two fine musicians with whom I had been playing regularly and frequently for the few preceding years. As we worked together, I felt Edison's playing was so inspiring that it made me want to quit piano and play drums. And so I did. I left the group and started practicing the drums. In a few months I was already working as a drummer. It was around this time that Obras 1 was recorded, with Alfredo Cardim doing a wonderful job as pianist. Later on I joined the group again, and recorded the present album, which Edison himself wanted to name "O Pulo do Gato", the tune I so named because of his constantly mentioning of the musical meaning of a "cat's jump". Needless to say, to record with Edison was a big challenge to me. Besides Edison himself, trombonist Edson Maciel was also a great artist and his playing was one of the cornerstones of my melodic conception. Both were admired and respected by the three younger musicians on the band: Ricardo, Ion and myself. But there was also another big responsibility: to live up to the high standard Alfredo Cardim had previously set by his impeccable performance on the original Obras album. I was fortunate, though, since Edison had the ability to make every musician in his band to play from the heart and to put forth musically the best of themselves. Thus, when we started recording, all I could think was to make good music and have a great time playing with such a wonderful band.

I am grateful to Charlie Leach and Whatmusic for the efforts done as to the fostering of instrumental Brasilian music, of which this album, recorded over three decades ago, is a very important instance. Thanks to Whatmusic it is being released now for the first time ever.

Haroldo Mauro Jr.

Edison Machado, inventor of Samba NovoAlthough the music we played is commonly called Latin Jazz or Samba Jazz, these modern terms completely miss the truth. For those of us who played on this record, this music was more Samba than the music of our Samba forefathers, who were not sure if "Pelo telefone" was a Samba or a Maxixe. Edison Machado was the guy that put modern Samba on the map. In the history of Brazilian drumming there were three key figures: 'FaĆ­sca' who created double bass drums beat which in Brazil we call bumbo-dudlo, then Hildofredo, who created the Samba Cruzado, and then Edison Machado, the creator of the Samba no Prato (samba on cymbals). Under Edison's leadership, we were conscious that the music we were playing was more than SambaSamba had already developed in the 20's and with composers like Donga, Pixinguinha and Ismael Silva, a

• Product Detail
• Track Listing
• Customer Reviews