01 Lugar Comum (João Donato/Gilberto Gil)
02 O morro não tem vez (Tom Jobim/Vinícius de Moraes)
03 Tu mi delírio (Cesar Portillo de La Luz)
04 Guajira Gunatanamera (José Fernandez Diaz)
05 Dora (Dorival Caymmi)
06 Georgia on My Mind (Hoagy Carmichael)
07 Beijo Partido (Toninho Horta)
08 Obsession (Pedro Flores)						play
09 Pra Machucar meu coração (Ary Barroso)
10 But not for me (George Gershwin/Ira Gershwin)
11 Drume Negrita (Ernesto Negret Wood)
12 Besame Mucho (Consuelo Velasquez)				play
13 Provei (Noel Rosa/Vadico)
14 Se acaso você chegasse (Lupicinio Rodrigues/Felisberto Martins)

Edsel Gomez e Arismar do Espírito Santo- The CD “América”, more than a meeting of two great instrumentists of international music, the Brazilian, Arismar do the Espirito Santo and the Puerto Rican consolidated in the United States, Edsel Gomez, is the proof that music can knock down the borders that man insist to firm. In this album they coexist in total harmony, the well refined jazz of George & Ira Gershwin (But not will be me), bolero of Consuelo Vélazquez (Besame mucho), the bossa of João Donato (Lugar Comum), the samba of Ary Barroso or even the ballad of Hoagy Carmichael/Stuart Gorrel (Georgia on my mind), each one of those representing a part of this giant continent called America. Arismar, in more than two decades of career, has been acting in shows and records of the Gal Costa, Hermeto Pascoal, Luizinho Eça, João Donato and Sebastião Tapajós.

In 1993, his first solo CD, Arismar do Espírito Santo conquered the Prize Sharp of Music in the category Instrumental Revelation. He then has been present in three editions of the Free Jazz Festival. Edsel Gomez is a pianist that combines, with top skills, the jazz, latin music and the Brazilian suingue acquired between the 80´s and 90´s, when he lived in Brazil. He played with Cauby Peixoto, Wilson Simonal and Raul de Souza, among others. His first solo CD from 1999, called “Celebrating Chico Buarque de Hollanda” is all dedicated to the workmanship of the composer.

CD América reúne o brasileiro Arismar do Espírito Santo e o porto-riquenho Edsel Gómez em trilha sonora que mapeia a ‘américa’ musical

Gravado em apenas um dia, ao vivo no estúdio, álbum traz músicas de George & Ira Gershwin, Tom Jobim, Consuelo Vélazquez, Eliseo Negret e Ary Barroso

O CD América, mais que um encontro de dois grandes instrumentistas da música internacional, o brasileiro Arismar do Espírito Santo e o porto-riquenho radicado nos Estados Unidos Edsel Gomez, é a prova de como a música pode derrubar as fronteiras que os homens teimam em estabelecer. Neste álbum convivem em total harmonia o jazz refinadíssimo de George & Ira Gershwin, o bolero de Consuelo Vélazquez, a bossa de João Donato, o samba de Ary Barroso ou ainda a balada de Hoagy Carmichael/Stuart Gorrel, cada qual representante de parte desse continente chamado América.

Produzido por Zé Luiz Soares, a idéia era juntar o violão de Arismar e o piano de Edsel como numa jam session, sem muitas regras pré-definidas, apenas que o repertório abarcasse a música produzida no continente americano. O resultado foi além do esperado, como define Zé Luiz: “Tinha tudo para dar errado: a agenda apertada dos dois só permitia um dia para o encontro, e eles não tocavam juntos há anos, mas decidi arriscar. Edsel entrou no estúdio às 14h, Arismar chegou direto do aeroporto duas horas depois e já começamos a gravar. Às 21h tínhamos todas as músicas prontas, sem qualquer ensaio e sem refazer nada. Valeram todas as primeiras gravações. Sinceramente, são realmente dois gênios".

O guitarrista, baixista e violonista Arismar, em mais de duas décadas de carreira, tem atuado em shows e discos de Gal Costa, Hermeto Pascoal, Luizinho Eça, João Donato e Sebastião Tapajós. Em 1993, seu primeiro CD solo, Arismar do Espírito Santo conquistou o Prêmio Sharp de Música na categoria Revelação Instrumental. Esteve presente em três edições do Free Jazz Festival.

Edsel Gomez é um pianista que combina, com maestria, o jazz, a música latina e o suingue brasileiro adquirido quando morou por aqui entre os anos 80 e 90. Tocou com Cauby Peixoto, Wilson Simonal e Raul de Souza, entre outros. Seu primeiro CD-solo, de 1999, chama-se Celebrating Chico Buarque de Hollanda e é todo dedicado à obra do compositor.

A gravação, que foi realizada na tarde de 16 de julho de 2005, contou com a participação do baixista Thiago do Espírito Santo, filho de Arismar, em três das 14 faixas.

O repertório faz um apanhado do que há de melhor na música das três Américas. Tem o jazz refinadíssimo de George & Ira Gershwin (But not for me), o bolero de Consuelo Vélazquez (Besame mucho), o samba de Lupicínio Rodrigues (Se acaso você chegasse), a bossa de João Donato (Lugar Comum), a balada de Hoagy Carmichael/Stuart Gorrel (Georgia on my mind), cada qual representante de parte deste continente, América. --- luamusic.com.br

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01. NYC Taxi Ride 
02. To the Lord 
03. Wolfville 
04. Ladybug 
05. Juan Tizol 					play
06. Minetta Triangle 
07. Coqui Serenade 
08. Empty House					play 
09. "Adoracion" Variations 
10. Harmolodic Collage 
11. West 54th Street Theme 
12. 3-3 Clave 
13. Molly

Personnel:
Edsel Gomez (piano); 
Edsel Gomez; Steve Wilson (alto saxophone); 
Greg Tardy, Gregory Tardy (tenor saxophone); 
Don Byron (clarinet); 
Miguel Zenón (alto saxophone); 
David Sanchez (tenor saxophone); 
Drew Gress (acoustic bass); 
Bruce Cox (drums).

Puerto Rican pianist Edsel Gomez lived in Brazil for ten years, and that country's influence is evident in his playing. His Caribbean roots have not been lost, however, and a blend of those different tendencies is evident on Gomez's debut as a leader. One of the first tracks that stands out on Cubist Music is "Lady Bug, a blend of Latin and bebop with horns (played by Don Byron, David Sanchez, Miguel Zenon, Steve Wilson and Greg Tardy) coming together for a fiery intro that moves quickly into a Cuban-esque groove. At Jazz Standard last month, the Latin influence of the piece was kept clear by the piano, but the rest of the live band (James Zollar, Wilson, Peter Brainin, Kenny Davis, Henry Cole) took the song elsewhere.

"Juan Tizol is a blues-inspired tune which is so subtle that any distraction might disrupt one's concentration. When played live, conversations taking place came to a halt, the audience quickly becoming entranced. On another bluesy tune, "The Minetta Triangle, Gomez clearly borrows from Vince Guaraldi, and both David Sanchez and Don Byron have fun performing a call-and-response improvisation around the theme.

"Coqui Serenade makes evident Gomez's debt to Antonio Carlos Jobim—there is a clear bossa nova element here, especially in Bruce Cox's drumming and the soft touch on the piano. The rest of the band also plays very softly, bringing to mind a remark by Frank Sinatra's trombonist during the making of the Jobim-Sinatra album in 1967: "If I blow any softer, it'll come out of the back of my head!

Although the album is comprised mostly of Gomez originals, he also plays compositions by other writers in live performance. At Jazz Standard, he took on Chico Buarque's "Samba de Orly with a markedly different approach from the original, yet preserved its samba feel (which meant that Cole had to keep the beat steady while the others played more freely). The sextet showed great skill and took advantage of magnificent opportunities to showcase individual talent—Buarque would be proud. ---Ernest Barteldes, allaboutjazz.com

In his U.S. recording debut as a leader, Edsel Gomez is a man with a theory. His concept of musical Cubism advocates an improvisational approach based on small self-contained melodic phrases or motivic patterns, analogous to the building blocks of Cubist paintings.

Gomez has assembled a high-powered team for this project. Whether or not Don Byron, Miguel Zenon, David Sanchez, Steve Wilson and Gregory Tardy are thinking about Gomez' "complete unit patterns" when they solo, it is clear that something special is going on here by way of aesthetic stimulus. All five reed players are especially sharp and focused, and indeed they often sound like they are working from smaller structural elements, creatively and intensively juxtaposed.

Wilson's short, quick alto-saxophone figures cohere into an ambitious design on "To the Lord." Sanchez (on tenor), Wilson (on flute) and Byron (on clarinet) all paint with sharp Cubist angles and vivid colors on "Ladybug." Zenon and Gomez exchange modular ideas that accumulate to a sincere homage on "Juan Tizol."

Gomez' piano work, in its detailed overlays, episodic contrasts and huge dynamic swings, may or may not be Cubist but is definitely distinctive, and he writes intriguing compositions. Cubist Music is an impressive debut, although Gomez is not well served by the veiled, pallid recorded sound. --- Thomas Conrad, jazztimes.com

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