It's always fun to reminisce with old friends, and we're pleased to count guitarist Ricardo Silveira as one. So it only seems right to reprint this article -written by our publisher Scott Adams ten years ago - as part of 'Brazilian Guitar Month'. We hope that you'll enjoy it (and Ricardo's music) all over again!

Take a look at a picture of Ricardo Silveira, and you'll have a portrait of international musicianship. For the better part of the last decade now, the Brazilian guitarist has consistently and creatively redefined his role in contemporary jazz by successfully balancing the cultures of two countries.

On one hand, it's his Brazilian roots. On the other it's his nearly adopted home town of Los Angles, which has been his address for most of his stateside years. The west coast has provided the essential bridge for Silveira in building a common link between his Brazilian heritage and his always anticipated future. This connection has evolved through his past recording projects for Verve, including Long Distance, Sky Light, Amazon Secrets and Small World.

But now, hot on the heels of his latest release Storyteller from Kokopelli, Ricardo Silveira has found himself in a strange position. Back In Brazil. Recently, I caught up with him poolside at Copcabana's famous Rio Atlantica Hotel.

"I wanted to spend some time back here in Rio," he said. "It's been a long time since I've stayed around here and it was time for a change. I'll probably do some touring here and then begin writing again. Coming up with new ideas has never been a problem for me, but it takes time and a relaxed frame of mind and Rio seemed like the right inspiration for now."

Writing is just one of Silveira's strong suits. Storyteller's top charting sales and radio success is due in part to his ability to transcend cultural boundaries with a distinct musical style that appeals to a wide range of listeners. Many of the songs contained on the album are three of even four years old, the result of some creative soul searching and a expert knack for arrangement and tight ensemble play. This formula has been a constant in Silveira's work from the very beginning.

"My first Verve album, Long Distance was really a shot in the dark. Going in, I didn't have a strong sense of direction for the project, so I had to rely on my intuition and Liminha's perspective. Of course, I had some really great musicians to work with including Pat Metheny, Leo Gandelman, and David Sanborn. Leila Pinheiro made her US debut with that recording. Everything just seemed to fall into place. After that, we had something to build on."

And build he did, with the next three albums reaching #1 on jazz radio playlists nationwide. Traditions began to form. Silveira stayed the course, augmenting his world class talent with top notch guest musicians from both the US and Brazil. And his intuition remains right on track.

"I don't think at all about what will sell or become a hit. I concentrate on what the song is telling me, what feels right. For instance, "Francesa" went through several changes before it got to the point were it I felt comfortable with it. Everyone knows that there's a wide range in the quality of music for contemporary jazz, and it's amazing to me to see what groups like Fourplay can accomplish for themselves. But sometimes, I'll hear something on the radio and think what is that?"

Silveira's at his musical best when he incorporates soft flowing guitar melodies with improvisation that showcases his technical mastery. He is widely regarded in Brazil as the best ever to come along in this regard. His years at the Berklee College of Music and then later with Herbie Mann provided the baseline for his accumulation of musical influence.

"I play from a Brazilian point of view, but not traditional Brazilian music," Silveira said. "There are elements of funk and jazz, but I don't like to say that I play fusion. There's a lot more to my music than just that."

Ricardo Silveira's musical world began in Rio de Janeiro in October of 1956. Born into a creative family, his own interest in the guitar lay dormant until age 16. His cultural interplay with the US began about that same time, due to friendships kindled with students at an American school in Rio. Records were traded. Jobim for John Mayall. Joao Gilberto for Eric Clapton. Bossa for Rock & Roll.

The mid 70's saw him in Boston studying music by day and playing at night with the aforementioned flute player, and Sonny Fortune. The venues soon changed to New York, and Silveir's career was underway. Studio work was then added to the mix and armed with his experience and expectations, he returned to Brazil.

Three years with Milton Nascimento helped to launch his international reputation. He recorded and worked with the best Brazilian singers and musicians: Gal Costa, Ivan Lins, Gilberto Gil, Elis Regina to list but a few. His own debut album as a solo artist came in 1984, with Bom de Tocar (Good To Play).

Ricardo would be the first to say that looking back is only good for seeing where you were, so it's fair to ask where he's headed next:

"This time in Brazil is important for me right now. My son Pedro and I are enjoying the time together and I'm starting to hum a few new melodies from time to time. But for me, the music takes time to develop on it's own. I'm not in a hurry and I've got plenty of ideas to work with.

I'm planning to tour the US this year with Los Gatos, a special Latin American group we've put together, and I'm really looking forward to playing Abraham Laboriel and the rest of the members. It should be a great time. I'm just a musician that likes a lot of different kinds of music, and I feel it's great to have those musical worlds to explore.