Jaques Morelenbaum

Recordings

This melody is memorable and infectious, and it will get stuck in your head for so long that you are forced to lear it yourself. The introduction sets the mood for this tune very well— you are taken to Brazil (0:01). I love the ease with which Jaques Morelenbaum plays this melody (0:09). His attack of the notes rhythmically complements that hurried and liveliness found in the melody with Rafael Barata's percussion work. Morelenbaum plays basslines on his cello while Galvão solos (0:51). I really love the timbre of the brushes with the cello pizzicato. The change from brush on the snare to hitting the cymbal is a noticeable textural change. I personally don’t like it as much as the brushes and I wish Barata had played with brushes on Morelenbaum’s solo. Nonetheless both solos are very enjoyable and Barata plays to each soloist. Morelenbaum’s solo is inventive, fun, and includes a great range of the cello. I love how he uses the lower voice to add some depth and a second voice when juxtaposed with higher register notes. Since he added the lower 5th string, F, he has focused on exploiting this. Being in a lower range tends to lead to a “less is more” approach. Tom Jobim has followed and told of such approach to many musicians, which has influenced Morelenbaum after working with Jobim for 10 years. Morelenbaum said that he has been adapting that approach to his playing to the other ranges as well. This is another smaller ensemble, from the same album. However this is a samba and their slight changes of texture and tone in all instruments shows the important difference between Bossa Nova and Samba styles. Some really great differences are in Rafael Barata playing with a brush and auxiliary instruments that are typical in Sambas.

The mix between all three musicians demonstrates their musicianship and tone as a group. Rafael Barata’s drumming pattern is more complicated than the typical clave and bossa nova beat and is well heard, giving a great focus on the rhythm of the melody itself. The use of side stick on the snare rim with a clave rhythm, somewhat complicated, is definitive to the Bossa Nova. The simplicity of just percussion, acoustic guitar, and cello complements this tune. This allows for Morelenbaum’s bow technique and tone to really shine as the only horn. I really enjoy his interpretation of this melodywhich can tend to become stagnant because of its somewhat repetitive and uninterrupted nature.

Morelenbaum’s solo is full of great quotes of the melody, new melodies, and makes use of the mid-lower range. It leads into a great section where he and the guitarist, Lula Galvão, play simultaneously, which is not common in Morelenbaum’s smaller ensembles. This makes sense considering that in such a small group there is no one to cover Morelenbaum if he stops playing melody or bass. This duet is such a wonderful addition; the two sound great timbrally, listening to the guitar harmonizing with cello. One can hear their matching articulation despite the fact that Galvão is plucking while Morelenbaum is still playing arco. And it is also a great texture change, from the many voices in the chords of guitar plus solo cello to just two voices. This gives the listener a palate cleanser as we go back into the original melody and orchestration. Morelenbaum’s addition of the tune to the end further demonstrates his interpretation of this tune. It is a unique choice made by this band, giving depth to the listeners understanding of the band. It is not super common to add a tune from another piece, so when it happens it is like having a surprise dessert! One that you didn’t know you needed until you tasted it. Morelenbaum quotes Agua de Beber in this second tune and it is fun! Quotations of other tunes can be unintentional to some degree. When I quote a different tune while I am soloing, it is because I played a few notes and then it reminded me of a different tune and I finish the quote in some fashion. It can be intentional, such as when you are working with a musician and maybe you quote something they played earlier or they are working on. There is a lot of room for what quotations can be and it doesn't happen all the time. Because they are so versatile and full of meaning, it is a treat I look forward to in a song every time I listen.

Jauques Morelenbaum begins an introduction with the lower range. This choice of range and notes is almost a direct quote of Tom Jobim’s own introduction to this tune in his live concert “Rio Revisited.” In that respect, it can be understood as a nod to the creator of the tune. Morelenbaum’s incredible tone is somewhat due to his bow choice. He uses what looks like a baroque cello bow. This change from the modern thinner concave bow to a convex shape creates a deeper and more articulate tone. Morelenbaum’s tone is rich and greatly contrasts when Paula Morelenbaum comes in with the melody, singing in Portuguese. She also plays the wood block while singing, demonstrating her incredible musical ability and adding a great percussive layer. Morelenbaum accompanies her with a bass line. This is another example of a small combo which is a medium in which Morelenbaum clearly enjoys working. This recording is a live broadcast from Nelson Faria’s Um Café Lá im Casa, and it really is a joy to watch. I have heard so many versions of “Desafinado” and yet Morelenbaum’s solo is really distinctive. When he repeats certain phrases they stick with you. Also, I love that he only solos for the first half of the tune. This allows for the tune not to be too long nor too solo orientated. Although that would be difficult to achieve with only three musicians. The added ending is a short but sweet melody that contributes to the long, complicated melody but short and sweet recording.

Sources:

1. https://www.discogs.com/Jaques-Morelenbaum-Cello-Samba-Trio-Jaques-Morelenbaum-CelloSam3aTrio-Saudade-Do-Futuro-Futuro-Da-Sa/release/11119286

2. https://www.discogs.com/Jaques-Morelenbaum-Cello-Samba-Trio-Jaques-Morelenbaum-CelloSam3aTrio-Saudade-Do-Futuro-Futuro-Da-Sa/release/11119286

3. https://youtu.be/BdUMx2WD3Zk