Here's a non-musical question: How many branches on your family tree? For Brazilians, generations of racial interrelationship have resulted in Caboclo, a word that refers to those who have multiracial elements in their ancestry, while remaining uniquely Brazilian.
Jovino Santos Neto, long-time pianist and co-producer for Hermeto Pascoal, continues his inventive tradition with an exciting jazzy release that realizes the spirit of Brazil's vast cultural diversity. Caboclo was recorded in the Pacific Northwest where composer Jovino, who also plays flute, recorded with his regular group of area musicians (Hans Teuber-sax, Chuck Deardorf - bass Mark Ivestar- drums) and special guest percussionist Airto Moreira, whose band "Fourth World" formerly counted Jovino as one its members.
What's surprising is the quartet's genuine musical signature: Critics are delighted with the idea that any group of gringos could play so authentically. But the idea behind the word Caboclo allows for all of this without cultural qualification. Brazil's influence reaches to all points on the musical map and the improvisational style of music called Choro (dating back to Rio's 1870's) has evolved to become the perfect vehicle for Neto's Quarteto.
Other Voices:
"Soft, expressive waltzes and ballads [are] convincingly paired with juxtaposed dance rhythms"
-Nue Züe Zeitung June 1994
" ...a warm, high-energy player, as fun to watch as he is to hear." Mark Fefer, Eastside Weekly.
"...all original compositions, which were highly rhythmic and beautifully arranged." Sandra Burlingame, 5/4 Magazine.
"...an uninhibited young keyboard soloist who writes boppishly self-propelling numbers." Jack Massarick, The London Evening Standard.
"Jovino's fresh creative originals and appealing arrangements, telepathic interactivity with emotional heat, and substantial improvisational conception: these are but a few of the appetizing ingredients of a veritable music feast." Dr. Herb Wong, from the Caboclo liner notes.
"The various exchanges between players were at once relaxed and energetic - a sure sign of a well-rehearsed group." Omar Willie, Earshot Jazz.
"...lyrical and romantic, rhythmic and natural." Roberta Penn, Seattle Post-Intelligencer.
"Soft, expressive waltzes and ballads were convincingly paired with juxtaposed dance rhythms; the borders between notated "serious" music, "intuitive" folk and "improvised" jazz were crossed to the point of becoming irrelevant." Neue Zürcher Zeitung.
