Antonio Carlos Jobim: Meu Violão, Solos & Improvisations: From Jazz to Bossa Nova

Description

Meu Violão is a journey into the spirit of jazz improvisation and the deeply rooted tradition of bossa nova music. In his debut solo album, guitarist Marco Poggiolesi pays tribute to the legendary Antônio Carlos Jobim with a project that feels intimate yet expansive, at once a reverent homage to the Brazilian composer and an exploration of Poggiolesi’s unique voice as a musician. With his varied background in jazz, classical and traditional Latin and Spanish music, Poggiolesi’s playing is marked by its emotional depth and intricate technicality, effortlessly weaving together the melodies, harmonies, and rhythms of diverse musical worlds. With Meu Violão, Poggiolesi captures the essence of Jobim’s writing while expanding it through his own sensibilities, resulting in a vibrant and captivating collection of songs.
Antônio Carlos Jobim, or “Tom Jobim” as he is affectionately known, is widely regarded as one of the most influential figures in the history of modern music. His innovations as a composer and arranger forever altered the course of both Brazilian music and jazz, resulting in the invention of the Bossa Nova genre. Masterpieces such as “The Girl from Ipanema,” “Desafinado,” and “Wave” transcend cultural and generational boundaries, with a deceptively relaxed atmosphere masking surprisingly complex rhythms and harmonies. Through these songs, Jobim offered the world a new way of listening to the lush landscapes of Brazil, seamlessly interweaving sophisticated harmonic and rhythmic elements with a naturally improvisational spirit.
Meu Violão features a selection of Jobim’s most iconic compositions. Poggiolesi performs almost all of these songs in their original keys, faithfully maintaining the composer’s personal harmonic nuances and tonal color of Jobim’s arrangements. One exception is “Chega de Saudade,” which Poggiolesi plays according to an arrangement written by Gianni Zei, which has been transposed from the key of D minor to B minor. Poggiolesi also performs “Corcovado” using an arrangement by Gianni Zei, with whom he studied for many years. These two arrangements hold a special place in Poggiolesi’s heart, as they were the very first pieces by Jobim that he ever learned.
Poggiolesi’s interpretations are marked by his ability to blend these elements with his own virtuosity, creating moments of deep lyricism and intricate counterpoint, all within the framework of a solo guitar performance. The choice to honor Jobim this way is especially poignant. It allows the listener to hear Jobim’s music stripped of any extraneous ornamentation or embellishments, revealing the bare emotional core of each piece.
The instrument Poggiolesi used to record Meu Violão is as much a character in the story as the compositions themselves. In 2015, during a tour in Milan, Poggiolesi unexpectedly received a rare and deeply meaningful gift: a 1965 luthier-built guitar. Though it had been handcrafted by Maestro Liutaio Francesco Crescio of the Ligurian school of guitar-making, the instrument, previously owned by a music aficionado who had kept it in his personal collection, had been left unplayed for decades and was in need of restoration. So Poggiolesi brought it to a well-known luthier in Florence who performed an expert restoration, perfecting the anchorage of the strings to the bridge, and thus bringing the instrument’s sonic richness to life once more.
The warmth, clarity, and depth of the instrument are evident throughout the album. The lower string’s well-rounded bass timbre and a plush yet well-defined mid range complement the bright singing quality of the higher strings, all of which perfectly complement a pleasantly familiar track list. The guitar itself is a living instrument, one that responds to every nuance of Poggiolesi’s touch, making it the perfect companion for this exploration of Jobim’s music. And much like Jobim’s own compositions, this particular guitar connects a sense of timelessness with the present, the listening experience bridging the gap between two moments in time. Poggiolesi recorded the album at the Wells Studio in Versilia, Tuscany, and took it to Antonio Castiello’s “Jambona Lab” in Livorno to be mixed and mastered. Each track was left entirely uncut during mixing and production, with the intent of providing as realistic and natural a representation as possible of how each piece was performed during the recording sessions.

Alongside Jobim’s works, Meu Violão also features two songs by Marco Poggiolesi, compositions that both pay homage to Bossa Nova while showcasing Poggiolesi’s own voice and imagination. The first of these original pieces is titled “Parlando di te,” (speaking of you). With its flowing, graceful melody and subtle harmonic shifts, “Parlando di te” is a perfect example of how Poggiolesi has internalized Jobim’s musical language, blending it with his own touch to create something both familiar and fresh. The rhythmic phrasing and harmonic choices reflect Poggiolesi’s deep understanding and love of the bossa nova genre. The second original composition, “Spoon,” is a striking departure from the Brazilian sounds that dominate the album. This waltz emerges from Poggiolesi’s love of jazz and classical guitar. It is a moment of personal expression, revealing Poggiolesi’s versatility as a musician and composer. The piece creates an atmosphere of reflection and sophistication, its lyrical qualities presented through the delicate interplay of a uniquely-voiced chord progression. Each original composition complements the Jobim tracks, creating a balance between the Brazilian musical tradition and Poggiolesi’s personal influences. They serve as bridges between the worlds of bossa nova, jazz, and classical guitar, displaying the full range of Poggiolesi’s artistry.
Although Meu Violão is a solo guitar album, Poggiolesi’s approach is anything but solitary. On certain tracks, a tasteful use of overdubs creates additional harmonic depth and texture. Poggiolesi is mindful of never losing the sense of spontaneity and musical dialogue that define the album. The overdubs enhance the interplay between the different voices of the guitar, weaving in and out of the compositions to enrich the songs’ conversational nature. In tracks such as “Chega de Saudade” and “Fotografia,” the overdubs allow Poggiolesi to explore the lyricism of Jobim’s original arrangements while still maintaining the solo guitar intimacy of the performance. The harmonic richness that arises from this interplay brings out the hidden depths of Jobim’s music, providing a new layer of complexity to these well-known songs. At the same time, there is a palpable sense of openness and improvisation in Poggiolesi’s playing.
Meu Violão is a testament to the power of music as a means of connection and communication. This is an album that speaks not only to those familiar with Jobim’s work but to anyone who appreciates the beauty of music performed with sensitivity and nuance. It is a celebration of the art of solo guitar—an exploration of melody, harmony, rhythm, and voicing—and a heartfelt tribute to the enduring legacy of one of the world’s greatest composers.
Federica Goldberg © 2024