Yo-Yo Ma

Recordings

Obrigado Brazil is an album full of magic. This version of “Chega de Suadade” captures the joy of Rosas Passos and Yo-Yo Ma together. Rather than have Ma play the melody like other tunes on this album, he plays an introduction. Then he plays a lovely background with Passos on guitar, the two plucking timbers joining together (0:16). These few measures before Passos enters are one of my favorite moments of the tune—the texture is so lovely.

Passos begins the melody with Ma accompanying her and we hear a bare texture of just voice, guitar, and cello. Then, when we enter the major key section, the percussion and piano join adding to the joy of the tune (1:00). Throughout Passos' singing, Ma plays countermelodies which are busy yet contrasting to the rhythm section, emphasizing different beats and longer phrases. Usually when a vocalist is singing, the horn player accompanies in an accommodating manner. However, I am sure Passos wanted Ma to add as much as possible, to really show off Ma’s voice because when do they ever get to collaborate with each other?

Yo-Yo Ma takes the only solo, playing the first section of A (1:58). Ma’s solo is expansive, using the high register of the cello. The listener gets to hear Ma play the melody loosely and share his ideas of the melody in this solo. Because jazz has evolved so much, musicians can play most anything during their solo and it is a nice change of pace when a soloist references the melody. When Rosas Passos enters back in the B section to finish the melody, we hear the duet again of her and Yo-Yo Ma (2:36). The ending is the introduction from earlier, with Passos singing this time, ending with that magical timbre. It really is such a special arrangement.

This album of mostly Cole Porter uses strings in a way which Grappelli and others jazz violinists have been a part of, with Yo-Yo Ma joining this tradition. Ma truly plays all three roles of the horn in this tune. Grappelli’s introduction of the melody with piano greatly contrasts Ma’s low registered finishing of the melody. Cello, violin, and piano are rubato, indulgent, and yet still fun.

Once Ma and Grappelli finish their last note, the piano plays such a wonderful vamp into the solo section (1:59). I have not heard any recordings of “Anything Goes” use this vamp and I am sold on it. When I hear it, it is much like hearing the intro to “Take the A ‘Train.” The piano is perfectly syncopated in its rhythms played with drums on brushes. Roger Kellaway takes the vamp down a step with the drums. The rhythm of the chords, the chords themselves, and the unique part creates a path for us to change moods into the solo section.

Grappelli plays his usual notey and fast solo full of character (2:15). Then Ma and Kellaway trade solos (3:17). In this trading section, Yo-Yo Ma plays a slow melody that has the same color of the melody but expands it with new notes and rhythms. The soft timbre and rhythm contrasts greatly with Grappelli as well as with Kellaway’s responses. Kellaway plays more rhythms, exploring more harmonic choices as well. Hearing any players trading is always unique, and hearing these two is no exception.

Once Ma and Kellaway finish the end of the form, the rhythm section plays the vamp that started the solo section (4:16). This allows Ma to deviate from these slow ideas into something new in his second solo. Here Ma is freer with his rhythms, melody, and even timber. It is not a usual solo section make up—and that's why I love it. Starting Ma with the trading then leading to him soloing by himself is sometimes how I wish to solo. Interacting and hearing other people's melodic ideas on this tune and then leaving to play your own. It feels like warming up to a longer conversation. I personally enjoy trading because of the ability to respond to any phrase, intervals, or rhythm from the other person. It is so imaginative and fun!

At the end of Ma’s solo, he plays a sequence of arpeggios that Kellaway plays with him that are clearly not in the music which then lead to the vamp from earlier (5:20). I love that small sequence a lot because the chords are outside of the original tune, adding momentum to Ma’s solo and bringing the listener into the vamp. I almost always love trading but hearing Ma and Kellaway trading is very special. What’s great about this tune, is we are not done with trading and with changing up the forms of this solo section.

We have Grappelli and Ma soloing together, counterpoint or countermelodies abound with light brush work by Daniel Humair (5:40). This collective solo could be described as chaotic but I think that it is better described as daring and a bit cheeky. When it is just Grappelli, Ma, and Jon Burr it sounds like it could be a hint at Ma’s Goat Rodeo Sessions. It puts a smile on your face to hear them all jumbled together, with Humair responding on some lovely brushes. When the piano or guitar chime in it adds an extra texture.

This leads to Grappelli and Ma playing simultaneously with the melody returning but with harmonies being traded off (6:44). And then Ma takes over the melody while Grappelli adds busy and fun accompaniment. I love this last section of the melody. Choosing a new way to play the melody really showed the creativity of the band as well as continued the idea that was created in the solo section. Truly a fun structure that adds newness to a well-known tune.

Sources:

1. https://www.discogs.com/Yo-Yo-Ma-Obrigado-Brazil/release/2544644

2. https://www.discogs.com/Stephane-Grappelli-Yo-Yo-Ma-Anything-Goes/master/398097