Sketches of Brazil
Robert Irving III’s orchestral homage to his mentors, Miles Davis and Gil Evans’ on the 50th anniversary of the recording of the pair’s classic, “Sketches of Spain”.
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Sketches Of Brazil...
“…Extraordinarily ambitious”
“…A tour de force of orchestral writing”
(Horwad Reich-Chicago Tribune)
Robert Irving III’s creation “Sketches of Brazil” premiered on Thursday August 13, 2009
to a record crowd of 12,500 at Millennium Park in Chicago beginning with a mayoral proclamation. This was the debut performance of the Sonic Portraits Orchestra featuring Wallace Roney on trumpet and Fareed Haque on guitar. Miles Evans (son of Gil Evans) also played trumpet in the 33-piece orchestra.
Robert Irving III notates at the piano
Pão de Açúcar (Sugar Loaf Mountain) in Rio
COMPOSITIONAL APPROACHES
Sketches of Spain consisted of Gil Evans’ interpretation and extension of orchestral compositions by Joaquín Rodrigo and Manuel de Falla, who are considered to be pinnacles of Spanish classical music. Irving, in parallel, has referenced the works of Brazilian composer, Heitor Villa-Lobos (1887-1959), who is possibly the best-known South American classical composer (2009 marks the 50th anniversary of his death). Villa-Lobos’ orchestral, chamber, instrumental and vocal works were influenced by both Brazilian folk music and by stylistic elements from the European classical tradition.
“After researching the works of many Brazilian orchestral composers, I found that the compositions of Villa Lobos truly spoke to my sense of aesthetics,” says Irving. He explains, “His understatement of complex harmonics in the subtle coloring of his melodic inventiveness is profound. Dedication to the incorporation of Brazilian traditions including ‘street music’ earned him much respect among his peers.”
Irving has sought to mirror the basic orchestration blueprint left by Gil Evans on Sketches of Spain with utilization of almost identical instrumentation with the exception of added strings. “Also, guitar replaces the harp to bring more of that quintessential Brazilian flavor to the pallet,” comments Irving. He notes, "In addition to the works of Rodrigo and de Falla, Gil’s three original compositions on Sketches were inspired by thematic fibers from the Spanish folk forms, saeta and the solea. I have likewise endeavored to create original pieces that provide thematic balance, contrast and continuity between the selected Villa-Lobos pieces by honoring the rich music traditions of Brazil. I believe this, coupled with the interpretative sensitivity of Wallace Roney (the only trumpeter mentored by Miles), and the artistic depth and multi-genre virtuosity of guitarist Fareed Haque, make for a highly integral homage to Miles, Gil and Villa Lobos.”
ORIGINAL WORKS
Of his own original compositions within Sketches of Brazil, Irving offers, “my compositions are inspired by a wide divergence of traditional and contemporary Brazilian cultural, folk and musical influences; nevertheless, practically every note of my four compositions were written verbatim from what I first heard in my inner-ear, or that I spontaneously improvised after immersing myself in various Brazilian themes. Composing, for me, flows like water, but I sometimes toil with the esthetic and technical demands and considerations of orchestration. My intense focus on detail sometimes makes me feel as if I’m meticulously excavating a treasure. The reward, however, is having the work performed by great musicians who, invariably, add layers of unimaginable depth and dimension to the notes on paper.”
EXPERIENCES IN BRAZIL
Robert Irving III’s love affair with Brazilian music began with his first trip to Brazil as musical director, arranger and keyboardist with the Miles Davis band of 1986. “We spent the entire first week off in Rio de Janeiro, and had the opportunity to witness a samba school performance as well as chance to absorb the rich musical culture in local clubs,” recalls Irving. The rhythm of samba and the harmonic complexity of bossa nova have continued to inform Irving’s work. In 1989, he composed “Mademoiselle Mandarin,” a concerto for Harp and chamber orchestra for Markus Klinko and the Miami Chamber Symphony Orchestra utilizing elements of bossa nova. In 2006, Irving returned to Brazil to tour as pianist with the Wallace Roney Sextet. The following year, “Havilah” and “Fire Flower” on Irving’s critically acclaimed 2007 trio release, “New Momentum,” also display the depth of his Brazilian influences.
Fareed Haque
Wallace Roney
Dede Sampaio
FEATURED ARTISTS
Fareed Haque’s career spans jazz and classical guitar with equal virtuosity. He has performed all of the major guitar concertos, and is an active transcriber of baroque as well as South American music. He and Irving have recorded and toured together with the group Juba Collective. Irving and trumpeter Wallace Roney have had a long working relationship in various groups led by each. The two have recorded four projects together: “Forever Miles,” two Wallace Roney CDs, “Village” and “Jazz,” and more recently, the Miles alum group project, “Miles From India.” Brazilian percussionist Dede Sampaio is also Miles Davis Band alum, having performed with the group at the University of Chicago in 1987, where he was featured with an impromptu solo on the Brazilian Surdo drum to Davis’ delight. Irving and Sampaio have recorded and performed together since 1988.
Website: http://SketchesOfBrazil.com
Bookings: booking@sketchesofbrazil.com
Request Info on Sponsorship of Documentary: Info@SketchesOfBrazil.com
website designed by Greg Spero (www.speroweb.com)
Gil & Miles Painting by Robert Irving III
Miles & Gil painting/photo collage layout by Jeremy Irving aka JaeR
Contact: INFO@SketchesOfBrazil.com
Keep in touch!
Twitter: @robertirvingiii
(http://twitter.com/robertirvingiii)
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