John Blake
A New Beginning

Naná Vasconcelos was to become a world-renowned percussionist who retrieved the berimbau (a Brazilian single-stringed instrument, intrinsically linked to the Capoeira tradition) from its natural environment and raise it to a universal level.Agustín Pereyra Lucena, on the other hand, became the undisputed representative of Brazilian music in Argentina entering also the world of jazz, becoming a respected musician in Argentina and abroad, both in its interpretative and didactic facets.Two musicians who achieved an unmatched symbiosis with their respective instruments. Two masters who understood music differently from the rest of us, without barriers or prejudices.This encounter, as spontaneous and sincere as the music resulting thereof, was facilitated by the hyperactive producer, radio broadcaster and music journalist Arturo Cavallo. Vasconcelos had arrived in Buenos Aires to accompany the famous Argentinean saxophonist Leandro “Gato” Barbieri in the series of concerts held at the Teatro Regina and organized by Cavallo himself. Due to their obvious musical connection, he was introduced to Pereyra Lucena after one of the performances and instigated by Cavallo, the two musicians agreed to enter the studio the next day to record the songs that would eventually make up this album, subsequently released in Cavallo’s label Tonodisc. Without any prior arrangements, the session was an improvised exchange of ideas, all recorded in absolute darkness at Naná’s request.It would take years for these two musicians to meet again, remaining this record as the only document of a crucial moment in the beginning of their careers.

Rahsaan Roland Kirk's live club appearances were usually a very engaging, casual affair, full of good humour and with a fantastically large selection of different types of music. The double album "Bright Moments" is an almost authoritative document of what you could experience in a concert by Kirk, and also his best album from the seventies.The extroverted Kirk was in front of audience in his element, constantly narrating, explaining his concepts and singing anecdotes from the history of jazz. Even if some of his long introductions, spoken in jive rhythm, may sound a bit outdated these days, you can tell from the music that Kirk greedily absorbed the energy in the room. Most of the pieces are long (seven minutes and more) and demonstrate Kirk's rich variety of solos in different styles (and of course with different instruments)."Pedal Up" is a performance - in which the air stays away - of Kirk's never copied technique to play three wind instruments at the same time, including a lot of unaccompanied passages that sound simply unfeasible. Another of Kirk's essential madness can be heard on "Fly Town Nose Blues", which features much of an instrument called a nose flute; and on the title track, Kirk offers a generous portion of another specialty of his: singing a second voice using a (traditional) flute. His repertoire typically draws from various sources: Ellington's "Prelude To A Kiss"; a groovy pop song by Bacharach: "You'll Never Get To Heaven"; a delightful version of Fats Waller's "Jitterbug Waltz"; and a stomping, jubilant New Orleans style original, "Dem Red Beans and Rice".But perhaps best of all is a passionate interpretation of the well-known ballad "If I Loved You", in which Kirk's crude, almost choked tones coming from within indirectly point to the avant-garde without ever losing the melodic basis. "Bright Moments" conjures up all the great tricks from Kirk's box of tricks, offers a pretty microcosm of his talents and shows a perfect and knowledgeable stage artist. In short, it's nothing less than a tour de force.Recording: 1973 live at Keystone Korner, San Francisco, by Biff Davies, Ed Barton & Jack Crymes