In a list of 150 countries classified by the he Gini index—an
indicator
used internationally to measure income distribution—Brazil appears
as number 148 in a list of 150 countries. And the country is losing its
battle to reduce this blatant inequality.
By Brazzil Magazine
Working within a wall of woodwinds, switching from baritone sax to piccolo, from
soprano sax to alto flute, performing solo, without benefit of accompanying musicians, the
young musician on stage in the dark recital hall was assured and comfortable, no doubt
aware that his technical command was considerably better than any of his contemporaries. I
was witnessing an almost schizophrenic duality: on up-tempo, overtly rhythmic numbers, the
musician’s tone was indomitable, coarse, threatening, fierce, and there was a feeling of
pushing things to the edge; on ballads the tonal quality became sensual, tender,
sumptuous, with an expansive sound and delivery that created a cloud I could sink into and
float away on. Talk about being relaxed! It was 1992, and I was in Rio at CIGAM (Curso Ian
Guest de Aperfeiçoamento Musical). It was an epiphany, a performance experience that has
remained etched in my memory.
Now every time I write or say something about Carlos Malta, I find myself consciously
holding back accolades. But he is undoubtedly one of the world’s fastest and most
imaginatively advanced improvisers, with a vision that streaks ahead of his flying
fingers, throwing out whirlwinds of ideas in prodigal handfuls—beautiful melodic
lines, cliff-hanging climaxes, startling tonal devices, the whole held together by a
colossal drive. An exciting tone colorist and obvious master of extended techniques,
Malta’s open ears and senses led him early on to experiment with an ever-widening circle
of possibilities, to abandon notions that the flute has only one basic tone quality and is
capable of producing only one note at a time, and to radically expand the instrument’s
sonic resources, its sound envelope.
Not only is Malta an undisputed master of the flute family (including ethnic fifes,
Japanese shakuhachi and Chinese di-zi), he virtually brought the soprano sax
into prominence in Brazil as a distinctive solo instrument. And there is little argument
about his similar accomplishments on alto and tenor, or to the categorical statement that
Malta is Brazil’s premier baritone saxophone player, in a class of his own, omnipotent,
and unchallenged in terms of sheer tonal quality, ability to improvise, and rhythmic
drive. A virtuoso and an innovator, Malta has extended the range of the often-cumbersome
instrument upwards into the high harmonic sphere and freed it of its stigmatized position
in the sax family while loosing none of its substance or grandeur.
Malta’s early apprenticeship with Hermeto Pascoal’s O Grupo was an important
developmental period for him as a leading soloist, and it passed on his first acclaim as
one of Brazil’s greatest solo virtuosi—a reputation his effortless improvisations and
omnipresence as an arranger or session musician on literally hundreds of record dates and
tours sustains with consummate ease. Says Malta, "During my time with Hermeto, I had
the chance to listen to him on woodwinds, and his best lesson was ‘create your own sound.’
I mean, for a kid like me who never got any solos on recordings, I was ready to listen and
to practice. I was ready to go." O Grupo was also where Malta embraced the influences
of other significant soloists and innovators and established the patterns that nurtured
his sophisticated conceptual development as a composer and arranger.
By any yardstick, Carlos Malta’s career has been overall an astonishing as well as a
personally rewarding one. There is little doubt that Malta is an important figure in
Brazilian music as well as one of the most exciting musical personalities ever recorded.
But a far more important index to the validity of an artist’s work than the opinions of
reviewers and critics, favorable or unfavorable, is the judgment of his peers. Former
bandmate Jovino Santos Neto told me, "Malta is a unique player in a world where so
many horn players sound alike. It’s very hard to find saxophonists who play the entire
family of reeds, from soprano to baritone and even harder for them to keep their signature
sound with all the variations in timbre among these horns. Malta is also a virtuoso
flautist who has taught me a lot about the essence of the instrument. I worked closely
with Carlos for ten years, and he was consistently brilliant in the handling of his vast
arsenal of instruments. Additionally, he has a strong stage presence, and his own fine
recordings attest to the quality of his musicianship."
Malta speaks Portuguese, French, and English fluently, but his communication often
transcends language—something I discovered almost ten years ago at CIGAM. I spoke
with Malta shortly after his group Pife Muderno returned to Brazil from their performance
at the New Orleans Jazz and Heritage Festival and just before he left to perform with
Gilberto Gil and Lenine in Paris. I was charmed by his ease and generosity, his humility,
and by his enthusiasm for musical life in general. We discussed his numerous projects, his
instruments, and sonorous architecture.
Brazzil—How was New Orleans?
Malta—It was incredible. We arrived on the 28th of April, and (Marcos) Suzano,
Bolão, and I conducted a panel discussion where we talked about Brazilian rhythms and the
traditions and transformations of Brazilian musical culture. The day after that, we played
the festival and hosted another panel. The next day, another panel and a performance in
Congo Square. Between all that, we performed at night at Café Brasil. People were just
crazy about us! Everywhere Pife Muderno has been, we’ve received emphatic responses. In
Venezuela, the people loved us, and the journalists at PercPan (Panorama Percussivo
Mundial) in Salvador got so excited that we were invited to the Paris edition. We’re going
to Japan in August. It’s a very import year for Pife Muderno.
Brazzil—I know the critics went crazy with the CD. O Dia, Jornal
do Brasil, and O Globo cited it as best release of last year. Can you talk a
little about the other players and your harmonic concept for the group?
The concept I had in mind when I formed the group was to construct a harmonic field of
flutes and pit it against a harmonic wall of percussion. The banda de pífanos is
the family of sound with which Pife Muderno is primarily associated. We are, however, a
modern band, a band built up in the center of the city. We have a classical flautist,
Andréa (Ernest Dias), an orchestral player with a huge reputation; Bolão, a
multi-dimensionalist and a kind of partner of mine who performs in both Coreto Urbano and
Pife Muderno. There is Marcos Suzano, who brings the pimenta, the seasoning from
Rio with his pandeiro, which is not a very common instrument in a banda de
pífanos, but one of the secrets of Pife Muderno. And then we have the authentic
seasoning from Campina Grande, Paraíba, on zabumba, the guy who makes all the
difference, Durval. If you can think of Suzano’s pandeiros as a bass instrument and
Durval’s zabumba as a piano—he plays low and medium frequencies on the top
skin of the zabumba and high frequencies on the lower skin—we’ve got piano,
bass, and drums. This is the whole idea behind the group. When you listen to the tuning,
the drums are really connected to the flutes in a harmonic context. Suzano really plays
the bass line and Durval gets the (sings), which is the piano, the piano part! And this is
the mix of Pife Muderno. We blend in bass flutes, alto flutes, Chinese and Indian flutes,
and fifes from Caruaru, Brazil, with this rhythm section and come up with some very subtle
harmonies.
Brazzil—I know Alain Marion from his work with Pierre Boulez’s
high-powered Ensemble InterContemporain. You dedicated the Pife Muderno CD to him.
What is your connection to Marion?
Malta—Alain Marion was a French contemporary, classical flautist, one of the
finest to pass over this earth. I first met him when he came to the International Flute
Festival sponsored by Associação Brasileira de Flautistas here in Rio. They had invited
me to perform the Villa-Lobos piece "Assobio a Jato" (Jet Whistle), which is a
very difficult piece. Incidentally, this piece is recorded on my Rainbow CD. Alain
Marion just got crazy with my playing. It was wonderful to listen to the standing ovation
he initiated. He called my work a "bridge from earth to heaven." The things he
said about how you play and what you think about when you play resonated with my own
ideas. And for some reason he went completely crazy with the sound of the Brazilian fife.
I was introduced to Jean-Pierre Rampal through Alain. They were like father and son. We
formed a remarkable bond, and then suddenly, he died from a heart attack while on tour in
South Korea. He was about 66 years old, which was too young for me. I was finishing the Pife
Muderno CD at the time, and the dedication was my way of showing homage to him and
connecting the French and Brazilian flute. Lately, I’ve been working with a friend who
lives in Paris on a project called Maison du Pife. It’s an association sponsored by the
city of Paris whose objective is the exchange of artists between France and Brazil.
Brazzil—You formed both Pife Muderno and Coreto Urbano in 1994. Why
undertake so much at one time? How could you possibly manage two groups that were so
different?
Malta—Yes, they are twins, born in ’94. Coreto Urbano, one week in a cultural
center here in Rio, and the next week, Pife Muderno. After leaving Hermeto’s band, I was
having a hard time. I was playing, but as we say, playing for survival. A lot of people
still don’t know that I am writing my own music and leading my own groups. They think that
I still play with Hermeto, but he hasn’t made any group recordings since Festa dos
Deuses. He’s playing everything himself on his new CD, Eu e Eles. Those years
with Hermeto were crazy times, and I left with a sense of respect for my first impressions
and the insight to sculpt with my ears, not with my eyes. But I had no group to perform my
own work, to hear how it sounded. Coreto Urbano was originally a way to develop my pencil,
to write arrangements.
In spirit, Coreto Urbano is a revival of those little bands from past times, when we
had those gazebos, the coretos, before we had computers and TV’s, when people could
sit in the square and listen to music, when there were no cinemas and everything happened
at the coreto. That was entertainment, and this is the spirit of Coreto Urbano. But
to that sound from the gazebos, to that brass and percussion music, I’ve brought a Gil
Evans harmonic concept. As you can hear on "Luz do Sol" and "Bagunçando o
Meu Coreto" from the Jeitinho Brasileiro CD, these are very, very hard
arrangements, especially "Bagunçando o Meu Coreto." The lines are really
challenging for the players. And this is a piano-less band and bass-less band. I mean,
there are only seven people blowing, and it sounds like a huge band. It’s very hard for
any musician to get in the kind of shape that these players are in and to gel on that
level, but all the players in Coreto Urbano are orchestral musicians who came to explore
fresh ideas and to improvise. We’re planning to record a CD, just Coreto Urbano, during
the second half of this year.
Brazzil—When I listen to Coreto Urbano on the Jeitinho Brasileiro CD,
I hear your mentor’s influence. How much has Hermeto Pascoal’s unique harmonic approach
influenced your writing and arranging?
Malta—I can say that just about everything I’ve approached in the harmonic
field, I developed with Hermeto. The group would meet with him in the afternoon and we
would write arrangements and compose together. We could see all the time how he was
creating—right under our noses—how simple he made it seem, and how strong he
was, always showing lots of respect for our contributions. Many aspects of my arranging
and composing were developed just by observing him. Being with Hermeto was an intensive
experience for me, so sometimes my sound has whispers of someone who was educated by him.
You know, there is a big difference between being educated at GIT (Guitar Institute of
Technology) or Berklee (College of Music) and by Hermeto Pascoal.
Brazzil—Was it your work with Hermeto that helped you develop your
multi-horn capacities?
Malta—A lot. A lot, of course. When I came to Hermeto, I was playing flute,
piccolo, and soprano sax. The next thing I knew, I was playing tenor, and then during a
trip to Paris, I took up alto and baritone at the same time. Baritone was really weird in
the beginning. I was getting a lot of back pains, because it is such a heavy instrument.
It’s much heavier than tenor, and your position has nothing to do with it. With the tenor
you can get a comfortable position by resting the instrument on your leg, but baritone, no
chance, man. You have to hold that horse in your hands. So there I was with seven
instruments in front of me, and, of course, the first thing Hermeto wrote was a
"do-or-die" piece for baritone called "Arapuá." It was amazing how I
started to…had to develop. I had to learn, because I was usually the player responsible
for exposing his themes on saxophones and flutes, and I often had to invent ways of
playing pieces that seemed unplayable. But that experience taught me to trust my playing
anywhere, anytime. It’s because I’ve played very, very hard lines, that I know the value,
the real value, of every single note. Hermeto is a muse and a really generous person who
trusted me as his porta voz. He always appreciated my Brazilian way, this jeitinho
Brasileiro that I suggest in my playing. And to Hermeto, a man who can perform
amazingly on any instrument, this is very important. He told me, "Hey, kid, come on,
play these things." (laughs) Very nice.
Brazzil—Do you use circular breathing?
Malta—Yes, sometimes you can’t cut a note. Hermeto’s music has many passages
where I had to use circular breathing. Even on the flute, and it is a very serious thing
to do on the flute. On saxophone and clarinet or double reed instruments, it’s difficult,
but on flute, it’s really hard. There is no resistance for the air column, so you have to
create it inside your body to make it work. Very funny, but the sensation is very nice. I
like the sensation. Feels like you’re going to die! (laughs)
Brazzil—Hermeto wrote many different horn parts for you within the same
arrangement, so you not only had to learn the parts, you also had to learn how to drop one
horn and pick up another one quickly. Did that take lots of extra work or did it come
naturally?
Malta—That was some challenge! After playing the saxophone for some time, the
muscles of the mouth hurt from the reed and mouthpiece, so I had to learn how to manage.
Some of those albums, like Só Não Toca Quem Não Quer…changing from baritone to
piccolo flute, for example, is a crazy switch. The reference is so large. But it was
something that I wanted to learn. Now when I go into the studio and I’m asked to play
flutes and saxophones on the same recording, I always say, "Let’s do the saxophones
first." And they flip. "Really! Are you sure?" Developing on diverse
instruments has brought me to the core of what’s happening with my music now.
Brazzil—How do you keep in good shape on so many instruments?
Malta—When I have to concentrate on a particular instrument for a concert, I
keep that instrument close by. Even if I’m watching TV, I’ll have the instrument in my
hands and be practicing some fingerings, without disturbing anyone, you know? I’ll get a
soprano sax mouthpiece out and play some notes and do some tonguing just to exercise the
muscles. Or, for example, if I’m working on the computer writing arrangements, I’ll have
an instrument next to me, just to practice some ideas or to build up the embouchure.
That’s the key to managing a better sound faster. It’s just knowing what you have to do,
so you’re not uncomfortable when performing.
Brazzil—Does the key have anything to do with a particular kind of reed?
Malta—You might find this a little curious, but I use plastic reeds on all my
saxophones. You know, those crappy things everyone hates? They are the only ones that
allow me to switch from one instrument to another. Because the climate here is so warm and
wet, a good bamboo reed in the morning looks like a potato chip by the afternoon. It’s
impossible, impossible! But like an angel from North Carolina, a saxophone player came to
visit us. He had a nice sound, so I asked him what kind of reed he was using. He told me,
"This is a plastic reed." I said, "Oh, man, tell me about it." Now I
have sound for a week, for a month, for a year, and no more problems. I had to learn how
to bring out that good sound, but I already had it in my head.
Brazzil—Who did you listen to in order to develop that sound? Who were
your inspirations?
Malta—You know, l fell in love with soprano sax after hearing Wayne Shorter’s Native
Dancer. Shorter became a very strong reference point for me. Ian Anderson (Jethro
Tull) and Thijs Van Leer (Focus) were also strong influences. You know, not long ago, I
was a special guest at a recording session for a group from Holland and Thijs Van Leer was
also invited. Thijs Van Leer! It was very funny, because he was one of my heroes. The
Banda de Pífanos de Caruaru, definitely is a strong influence. My other heroes are the
classical flautists, Rampal and Marion, and I love Copinha, Nicolino Cópia. If Altamiro
Carrilho is the Pelé of the flute, then Copinha is the Garrincha.1 Yeah,
Copinha was amazing. Copinha was the flautist on all the Brazilian bossa nova
recordings. The bossa nova style asked for a cool sound; Copinha had that cool
sound.
But Altamiro Carrilho is the player with the most individual sound. I used to listen to
him when I was a kid. There was a TV show Altamiro used to play on with his little band,
which had a tuba and an accordion played by Hermeto Pascoal. Yeah, man, Hermeto used to
play with Altamiro Carrilho’s little band on TV. So funny. They wore little hats, those
caps and dressed in marching band uniforms. I always watched it. And later on, the tune
"Primeiro Amor" was used as an overture for one of the soap operas here and
Altamiro Carrilho played it. Every night I would wait up until ten o’clock just to hear
that fucking tune. I had to listen to the flute before I could go to sleep. (laughs) Last
month, I was called to do a recording of that famous Pixinguinha and Benedito Lacerda duet
"Um a Zero." I played tenor sax and Altamiro played flute. It was incredible.
Dino Sete Cordas looked at me and said, "Pixinguinha is standing right beside you,
man." (laughs)
Brazzil—Do you recall a point in your life when you knew you were going
to be a musician?
Malta—Oh yeah, I had been complaining a lot after reading a magazine article
titled "Leve Sua Vida na Flauta." That was an expression here a long time ago
that meant an easy way of life, like a playboy’s. The article told about the mysteries of
the flute, with pictures of Gilberto Gil, Hermeto Pascoal, Jeremy Steig, and Jean-Pierre
Rampal. It’s amazing, because at this point, I’ve met all the guys that were mentioned.
Right now, I’m working with Gilberto Gil. We’re performing this weekend in Paris and next
week here in Rio. We were talking just yesterday about how strong the fife culture is
here, and he told me that after hearing the Banda de Pífanos de Caruaru, he knew they had
to appear on his album Expresso 2222. The first track on the album is "Pipoca
Moderna." But that’s getting ahead of my story. I read that article and got
completely crazy about becoming a flautist, so my grandmother, who knew nothing about
music, bought me a Yamaha blockflöte, a recorder. But it was kind of boring, because the
article showed the big flutes. "I want one of those," I told her. "I want a
silver one." She said, "Hey, you’ve got to practice first. It’s very expensive
to buy a flute. You’ll just leave it lying around." I said, "Oh, no! I want to
practice. I want to be a musician." So I waited three years, just looking in the
store windows, standing there looking and wishing. It was something like platonic love.
Then one day I dragged my father to one of the stores. It was the 6th of September, 1975.
I remember the day. I told him, "You’re not leaving until you buy me this
flute." The guy in the store told my father that I knew how to play, because I had
picked up the flute and played (imitates rapid passage) right there in the store. My
father bought me a very good French flute, a Louis Lot, which was a wish come true.
Brazzil—Do you like the Haynes flute?
Malta—I’ve played Haynes flutes and felt very good vibrations. I’ve also
played on a Marigeaux. Andréa plays on a Marigeaux; they’re very good. Odette (Ernest
Dias) also has a Louis Lot with a golden embouchure plate. Oh, man, is that an amazing
flute. Sometimes you can take a Japanese flute and find a lot of sound initially, but
after a while you get bored with it, because its sound can only be pushed so far. I have
two American flutes. My bass flute is an Armstrong, and my second C flute is a
Gemeinhardt. I also have a rare piccolo with a C-foot. A friend of mine, a very old man,
who has since passed away, had an instrument shop in São Paulo, and when I found it there
I said, "Oh, man, this is mine!"
Brazzil—Carlos, how do you feel about playing flute with electronic
effects?
Malta—You know, I have a friend who uses a lot of effects on flute, and I’ve
tried some things at his house. He’s from Switzerland and uses a kind of digital delay and
some pedals for solo concerts. Very nice. I think it’s very interesting. When you have
this touch for electronics and some ideas to develop during a solo concert, electronic
effects are useful. But we have to be conscious of exaggerated colors, the exaggerated use
of effects. It should just be a question of having another key on the instrument.
Something that attracts me more is a kind of chamber constructed from various materials,
like metal, wood, and leather. Each material in the walls of this chamber would present
its own timbral characteristics, and players would go into this chamber and generate and
respond to the inventory of sound possibilities. In 1993, when the cellist Daniel Pezzotti
and I were working on the Rainbow project, we gave a concert in Curitiba, and the producer
constructed two huge wooden pyramids on the stage. Microphones were placed inside the
pyramids, and we went inside these structures to make sound explorations. It was wild!
These pyramids were tuned (sings a perfect 5th), like surdos. No one could see us,
and we did crazy things inside these sound installations. Sometimes adding some
electronics, like a delay or a good reverb or some echo makes for a nice ambience, but I
like the structural idea more. I’m more unplugged.
Brazzil—Speaking of structural ideas, can you tell me a little about the
recording of "Camaleão" on the Jeitinho Brasileiro CD?
Malta—You remember Hermeto’s tune "Cannon" that sounds like it had
been written in a tunnel, like a time tunnel? Well, my idea to record in the tunnel was to
create one of the longest soprano saxes in the world and to create chameleonic images by
playing underground, under Corcovado, you know? Rebouças tunnel runs underneath Cristo
Redentor (the stature of Christ the Redeemer) and connects the south side of Rio (Lagoa)
to the north side (Rio Comprido). It’s very, very Carioca. I called my friend and we took
a portable DAT unit and a pair microphones into the tunnel. It’s about two miles long, so
the lows get really, really low. There was no traffic, because we went the night they
clean the tunnel. When I got to the mouth of the tunnel, the supervisor ran over and
started giving me hell, "Hey, man, what do you think you’re doing? What are you
thinking about?! I suppose you’ll bring a whole orchestra down here tomorrow night and
throw a big party. What are you thinking?!" It was a crazy scene, but we recorded it
there, man, at two o’clock in the morning.
Brazzil—This year you’ve got another set of twins: Pixinguinha Alma e
Corpo and Pimenta. Those arrangements for string quartet just penetrate and
expand—the quintessence of musical ecstasy!
Malta—Yes, it’s beautiful, just a beautiful thing, the works of Pixinguinha
arranged for saxes, flute, and piccolo with string quartet. Pixinguinha Alma e Corpo,
is a poem, a poem. I wrote the arrangements in 1997 for the Pixinguinha centennial and
always wanted to record them. They’re highly unusual in the Pixinguinha tradition where we
have so many recordings, but always in the same choro atmosphere, like you’re
playing outside on the veranda, on the balcony. But these arrangements transform
Pixinguinha’s music into something for the concert hall with an erudite atmosphere, or
chamber music quality. And Pimenta is an homage to Elis Regina. That was her
nickname, an homage for Pimentinha. It’s a memoir of tunes eternalized by Elis, like
Jobim’s "Chovendo na Roseira" and "Águas de Março," Milton
Nascimento’s "Cais" and "Nada Será Como Antes," Edu Lobo’s "Upa
Neguinho," Gilberto Gil’s "Ladeira da Preguiça," and João Bosco’s
"Bala com Bala." The production has a very nice, live atmosphere. I just
performed the project last night at a spot here in Rio called Arte Sumária with Tríade,
a group that plays on the recording.
Brazzil—I should tell you that I’m partial to baião anyway, but
"Nada Será Como Antes" with Tríade is burning! The 12-string sounds like a
sitar and that extended flute solo…haunting!
Malta—Yes, Tríade is an excellent trio from Rio composed of Dalmo C. Mota, berimbaus
and 6 and 12-string guitars; Augusto Mattoso, double bass; and Luiz Sobral, drums. The
group’s name means triad, or 3-tone chord.
Brazzil—Carlos, a couple of months ago you mentioned a project with the
Alto Xingu Indians? How did that come about?
Malta—The idea was Ana’s, my wife. We were in Brasília, and she suggested
that we see the Memorial dos Povos Indígenas (Memorial of the Indigenous People). It’s
(Oscar) Niemeyer’s architecture and breathtaking. We met Sandra Wellington there, the
English girl who directs the memorial and who is a close friend of Aritana, one of
Brazil’s most important Indian chiefs. Somehow the idea of recording and producing a
concert evolved and everyone got crazy with the idea. So we had this gathering there in
Brasília. The Indians brought their flutes, their sacred flutes, the Jakuí and the
Takuara, very holy objects. Music is sacred to them. Their existence is connected to the
universe through music. They celebrate the morning, the sun, the mid day, the sunset. They
celebrate the moon and the birds. Music is supernatural, and flute blowing is used as a
mediator between the human and spirit worlds. Playing their flutes invokes the presence of
the spirits and makes those powers accessible to the people. Whoever carries music inside
himself is a kind of magic person. Our concepts of virtuoso musicians mean nothing to
them. A flawless performance of Chopin means nothing to the Indians.
We played together, bass flute with the sacred flutes. I was improvising on their
harmonic fields, and an amazing bond was created. The whole thing was just magic, one of
the greatest experiences of my life. We recorded the main song of the Kuarup and also the
main song of the Yawareté, the celebration of the birds.2 Yeah, man! We could
tell at the time, there in Brasília, right after the session, that we had captured
something magical with exquisite musical color, full of spirit, full of heart. It was
completely new to our ears, something as strong as those Bulgarian voices. The chief told
us, "No one has ever had permission before to put a microphone up to the mouth of the
singer during the Kuarup." Yeah, man, this is a religious ceremony, a very strong
ceremony. It was really special for all of us. The Indians will have a CD, with all
copyrights going to the Kuarup Foundation, which is very important, because they have been
taken advantage of so often by people who go there taking pictures, making books, and a
lot of money, with the Indians receive nothing. That’s exploitation!
Brazzil—You seem to have a full plate, so I’m wondering what next?
Malta—In July, I will be performing an homage to Charlie Parker here in Rio,
which is a genuinely gratifying project for me. It is a challenge, but I love playing his
solos note-for-note on my Selmer alto. What a player! What an innovator! He built up a
solid wall of sound like Pixinguinha…roses, thousands of roses coming from his horn.
Brazzil—Carlos, what are your views on the current trends and future of
instrumental music?
Malta—I think everything that has good intentions and good direction is
important. It’s also important for new labels and new producers to come out and for
alternative ways of selling records to develop. Because in the end, what is most important
for us is to have recognition for our work. We need multinational companies here that have
some concept of our music. I saw Roy Hargrove at the Village Vanguard at the beginning of
his career, his first concert in New York. He was so nervous, man, but his producer was
sitting next to us saying, "Roy is a big jazz star." And that’s it, man. That’s
the thing we need here in Brazil, the same spirit, the same respect, like the trends in
the United States and Japan. And I’m quite sure, as Tom Jobim once said, "The best
way for the Brazilian musician is the door of the airport." But just to get out and
close the door, no. I like to come back, and I like to tell my friends here what’s going
on. I think this is a maxim, a good phrase once you come back. I’d like to build up
something here similar to what I saw and felt in New Orleans, in New York, in Tokyo, in
Los Angeles. I’ve never seen anything like that festival in New Orleans—thirteen
stages working simultaneously. You couldn’t hear sound bleeding from one stage to another,
and it was an open-air venue, like a fairground where they have horse races. It was
amazing, the control of the air they had. There were no sound wars between the different
performance spaces. The sound just went. Rio has a lot of places like that, but we haven’t
developed them yet. There are so many things to build up here. We need to use those models
and good influences to support festivals here. And it’s nice because we’re a young
country.
Brazzil—Carlos, thank you very much for allowing me to take so much of
your time. It was an honor and a pleasure to talk with you.
Malta—Enjoy the sounds!
|
Selected |
|||
| Artist | Title | Label | Date |
| Carlos Malta | Pimenta | 500 Anos de Som | 2000 |
| Carlos Malta | Pixinguinha Alma e Corpo | 500 Anos de Som | 2000 |
| Carlos Malta | Carlos Malta e Pife Muderno | Rob Digital | 1999 |
| Ithamara Koorax | Serenade in Blue | Jazz Station | 1999 |
|
Records |
|||
| Joyce | Hard Bossa | Far Out Records | 1999 |
| Lenine | Na Pressão | BMG | 1999 |
| Carlos Malta | Jeitinho Brasileiro | Malandro Records | 1998 |
| (Released as O Escultor do Vento in Brazil) | |||
| Os Paralamas do Sucesso | Hey Na Na | EMI | 1998 |
| Guinga | Suite Leopoldina | Velas | 1999 |
| Rosa Passos | Canta Antonio Carlos Jobim | Lumiar | 1998 |
| Gal Costa | Aquele Frevo Axé | RCA/BMG | 1998 |
| Aldir Blanc | 50 Anos | Alma Produções | 1997 |
| Lenine | O Dia em Que Faremos Contato | BMG | 1997 |
| Ivan Lins | Vivanoel-Tributo a Noel Rosa | Velas | 1997 |
| Caetano Veloso | Livro | Polygram | 1997 |
| Leila Pinheiro | Catavento e Girassol | EMI Odeon | 1996 |
| Guinga | Cheio de Dedos | Velas | 1996 |
| Caetano Veloso | Tieta do Agreste | Natasha | 1996 |
| Marcos Suzano | Sambatown | MP.B | 1996 |
| Ithamara Koorax | Red River | Movieplay | 1995 |
| Edu Lobo | Meia-Noite | Velas | 1995 |
| Malta & Pezzotti | Rainbow | Independent | 1993 |
| Lenine & Suzano | Olho de Peixe | Velas | 1993 |
| Sérgio Mendes | Brasileiro | Elektra | 1992 |
| Hermeto Pascoal | Festa dos Deuses | Polygram | 1992 |
| Hermeto Pascoal | Mundo Verde Esperança | Som da Gente | 1988 |
| (never released) | |||
| Hermeto Pascoal | Só Não Toca Quem Não Quer | SDG | 1987 |
| Hermeto Pascoal | Brasil Universo | Som da Gente | 1986 |
| Hermeto Pascoal | Lagoa da Canoa | Som da Gente | 1984 |
| Hermeto Pascoal | Hermeto Pascoal & Grupo | Som da Gente | 1982 |
1. Mané Garrincha was Brazil’s (some say the world’s) second best soccer player
ever, right after Pelé. He died a couple of years ago after a long period of heavy
drinking and was possibly the last great representative of romantic soccer.
Garrincha reached the climax of his career in 1962, in Chile, where Brazil won its
second World Cup without Pelé, who had been injured during the first match. Some
say Garrincha won the cup for Brazil. Garrincha’s position practically doesn’t
exist in today’s soccer: right wing forward. Pelé was a scorer (center forward) in
the beginning of his career, but later became an advanced mid-fielder, a position
that in Portuguese is called ponta de lança (spear head). Pelé and
Garrincha never played for the same team (except on Brazil’s national team). Pelé
played for Santos (from São Paulo state) and Garrincha for Botafogo (Rio).
2 The Kuarup is a ritual rarely performed, that celebrates life, and is reserved
only for chiefs and warriors. It is the highest tribute the Xingu Indians will
bestow upon a person.
Web sites of interest:
Malandro Records: http://www.brazilianjazz.com
Toll free telephone number: 1 (888) 225-7878
Associação Brasileira de Flautistas: http://www.abraf.org
Information about and purchase of Carlos Malta’s recordings can be obtained via
e-mail: cmalta@rio.com.br
Bruce Gilman, music editor for Brazzil, received his Masters
degree in music from California Institute of the Arts. He leads the Brazilian jazz
ensemble Axé and plays cuíca for escola de samba MILA. You can reach him
through his e-mail: cuica@interworld.net
Send your
comments to
Brazzil
