LATIN JAZZ NET REVIEW: ROGER CORREA | LATINO IBÉRICO

The seemingly ubiquitous seven-stringed violão is not the only instrument that defines the gloriously mesmerising music of Brasil. Roger Corrêa reminds us that the accordion is as important to the defining joyfulness of choro, forró and much more as the violão. His sophisticated performance on the diatonic accordion, in his album Latino Ibérico – with the gently elegant wheezing bellows and dextrous fingering of the buttons – reminds us of the masters whose vortex-like wake has swept him up, claiming him as one of the true virtuosos of the instrument.

Brasil’s impressive tradition of virtuoso masters of the chromatic accordion includes Luiz Gonzaga [1912-1989] of Pernambuco, possibly the most celebrated master of the instrument, through Mario Zan [1920-2006] from Sao Paulo, Sivuca [1930-2006] from Itabaiana, to Dominguinhos [1941-2013] of Pernambuco. This lineage continues through Targino Gondim [1972- ] from Salguero, the irrepressible genius, Mestrinho [1988 – ] of Itabaiana, and Bia Socek [1994 – ], a young woman from Rio de Janeiro who has fast become a sensation thanks to YouTube.

However, the incomparable Roger Corrêa, is one of a small tribe of virtuoso masters of the diatonic accordion, as his repertoire on Latino Ibérico shows us. This instrument may be more diabolically difficult – not to mention restrictive – to play as the buttons on the right-hand [melodic] side of the instrument demand that only the twelve notes of a particular scale [C major, for instance] can be played at a time. To advance an interval to C#, for instance another dextrous move combining the left-hand buttons must be enabled to play the accompanying [harmonic] chromaticism.

Taking the music ahead of this album a notch higher by the happy collision of Brasilian music with that of the Iberian peninsula – which adds the subliminal influence of Arabic [Phrygian] modes – gracing the joyful Afro-Brasilian modes and rhythms. Add to this the masterful melding of Galician pasodobles, polkas and rumbas [cue Latino Ibérico and, more especially, Candombiteando, with its glorious Colombian cumbia flavour]. Doffing his proverbial hat to the Iberian tradition is the presence of and homage to the ineffably masterful contrabassist Javier Colina who is highlighted on the song composed as a tribute to him, A Don Colina.

Far from being the only star on the recording, Mr Corrêa’s group is replete with performances by masters on their individual instruments. Pianist Daniel Grajew, bassist Tiê Pereira, drummer Rodrigo Porciuncula, conguero Rodrigo Campos, whose percussion colours are enhanced by the rhythmic [flamenco] palmas by Yannick Corre on Guaiba, the elegantly frenetic forró, and Minuaneiro are wonderful. Moreover, every performer is completely attuned to  the vision and artistry of their leader.

Music – 1. Guaíba; 2. Latino Ibérica; 3. Minuaneiro; 4. D’Rivera; 5. A Don Colina; 6. Guate; 7. Candombiteando; 8. Sul Interior.

Musicians – Roger Corrêa: diatonic accordion, compositions and arrangements; Daniel Grajew: piano; Tiê Pereira: contrabass and electric bass; Rodrigo Porciuncula: drums; Rodrigo Campos: conga [1]; Javier Colina: contrabass [5]; Yannick Corre: palmas [1, 3].

Released: 2024
Label: Independent
[rogercorreamusic.com]
Runtime: 35:05