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  • 2 weeks later...
Posted
On 03/02/2021 at 11:29, DaveFry said:

Interesting to see a berimbau mentioned .
We have a large Portuguese community here and a couple of summers back a Capoeira group used to meet in the park at weekends . One guy was playing a berimbau so I asked a Portuguese guitarist friend of mine about it and he explained that it was common to make your own out of driftwood from the Brazilian beach , fencing wire , a coffee tin and pebbles .
The next time I visited him he had made one from a garden cane , a guitar string , a margarine tub ,cable ties , a Kinder egg with rice in for the shaker , a chopstick and a 50pence piece so I had a play on it . Fascinating .

While I was Chairman of my local orchestra, I had a hand in commissioning a concerto for percussion and orchestra from a wonderful guy named Adriano Adewale. One of the vernacular instruments he used was the Berimbau. I loved it and still do

  • Like 1
Posted

I listened to the studio version the other day then went down the Blake Mills wormhole...Not watching the filmed version, interesting to see how abrupt the conversation veers to equipment (except the hands thing). And then the paronomasia sets in...

  • 3 weeks later...
Posted (edited)

Bought the album today. On first listen I really like it.

The production/engineering is right up my street - for starters, it’s a really ‘warm’ sounding record (though my ears ain’t what they used to be!).

Unsurprisingly the musicianship and playing is top drawer throughput. 

I’m a big fan of Pino and his playing, but this has opened my eyes (and ears) to a different side to him, in terms of his musical writing/ideas. Elements of nu soul and hip hop grooves (J Dilla), with cinematic soundtrack pieces sitting comfortably alongside afro beat, experimental and avant-garde jazz tracks.

Such a talented all round musician/composer... bloody smart a**e!! Is there nothing this man can’t do?!

Edited by Old Man Riva
Avant-garde jazz, and further Pino praise!

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