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FABIANO DO NASCIMENTO

Fabiano Do Nascimento & Sam Gendel

The Room

    The Room is a collection of folkloric pieces from various regions around South America, as interpreted by Fabiano do Nascimento and Sam Gendel, on 7-string nylon guitar and soprano saxophone, respectively. Presented with purity and focus, soaring and lamenting, this album presents a unique journey through lesser-known musical landscapes and traditions stretching from Argentina to the Amazon.

    Sam Gendal, the Californian saxophonist – perhaps best-known for his thoughtful collaborations with Moses Sumney and bassist Sam Wilkes – has long been honing slippery improvisations, pitch-bending his harmonies and sliding over rhythms. The ambient-jazz musician offers unpredictable, impressionistic takes on R&B hits from the '90s and early '00s, tackling songs by Beyoncé, Aaliyah, and Erykah Badu. Sam Gendel's ascension to beloved ambient-jazz savant has been fuelled, in part, by the inexhaustibility of his output.

    Fabiano is a Rio de Janeiro-born, LA-based multi-string guitarist, composer and producer who has developed his own sound that is ever-expansive, sometimes called retro-futuristic brazilian music, borrowing from the traditions of samba and choro while echoing elements of modern jazz, experimental & electronic.

    TRACK LISTING

    1. Foi Boto
    2. Capricho
    3. Astral Flowers
    4. Kewere
    5. Cores
    6. Txera
    7. Até De Manhã
    8. Poeira
    9. Tupi
    10. Daiana

    Fabiano Do Nascimento

    Mundo Solo

      Recorded at his home studio in Los Angeles (2020) the album is fundamentally the sound of a man alone with his instruments.
      Utilizing a variety of guitars, including 6, 7 and 10 strings, Oktav guitar and electric baritone guitar, alongside a host of pedals and synthesizers, Fabiano tracked imagined landscapes with expressive, expansive improvisations, which tend toward the more ambient and atmospheric reaches of his recent output.

      Adopting Hermeto Pascoal's concept of Universal Music, a rejection of nationalistic tendencies in order to express all of one's musical influences all at once, Fabiano avoided leaning too heavily on any particular musical language, without denying his own musical roots.

      After studying classical piano as a child, the Rio de Janeiro native discovered the guitar aged 10. Studying under his late uncle, Lucio Nascimento, he eventually left Brazil for LA, where he soon became an in- demand player for his distinct and authentic sound. He has since released seven albums under his own name and collaborated with renowned Brazilian artists including Arthur Verocai and Airto Moreira, as well as experimental US saxophonist Sam Gendel.

      Mundo Solo (Do Nascimento's eighth), was recorded in one take per track, with occasional overdubs and a few appearances from collaborators and friends Julien Canthelm (drums on Etude 1), Ajurina Zwarg, (percussion on CPMV) and Gabe Noel (Bass on Curumim).

      Fabiano Do Nascimento's consummate mastery of his instrument has afforded him a freedom of expression few can claim. Blending the emotional with the elemental, Mundo Solo is a stunning snapshot of solitude and the beauty which can blossom within it.


      TRACK LISTING

      A1. Abertura
      A2. Curumim 2
      A3. Paperstrings
      A4. Agua De Estrellas
      A5. Bari
      A6. Etude 1
      A7. Meianoite
      A8. Reflections
      A9. Coisa
      B1. Coisa 2
      B2. CPVM
      B3. Txaii
      B4. Tempo
      B5. De Manha
      B6. Dormenor

      "Ykytu" is Brasilian guitarist Fabiano do Nascimento’s fourth album for Now-Again Records. Produced by Nascimento’s longtime engineer Jason Hiller, this album is do Nascimento’s first solo guitar album and, like his previous album, Preludio, is reliant on do Nascimento’s own compositions, with a little help from like-minded musical travelers. In keeping with the trajectory of his previous albums, including Dança dos Tempos and Tempo dos Mestres, Ykytu follows folkloric Brasilian music, Brasilian jazz, bossa-nova and samba as experienced through the mind and able fingers of an expansive musician, this time in a minimalist, meditative manner. “Even though this album is a bit experimental and even abstract at times, It is meant to be a calming and easy listening experience,” do Nascimento offers.

      “I choose to keep the songs and arrangements intentionally very bare and stripped down. Just adding few layers and colors here and there.” The album came together during the Covid-19 pandemic, but one hears anything but isolation in Ykytu’s grooves. Do Nascimento performed the album almost entirely with a Strimon Timeline pedal, with a few loops and overdubs, and the result is a full-fledged, if quiet and subtle, conversation Do Nascimento has with himself, as he ruminates about this stage in his life, in his musical journey, and his music’s place in the world. Ykytu means "wind" in the indigenous Brazilian Guarani language. In his own way, as he was quarantined in Los Angeles, Do Nascimento has succeded in journeying outwards, in heeding the call of the open world. At the same time, he has remained true to the spirit and calling of his forebears, hearing their whispers, amplifying them, augmenting them, and allowing them to flow outwards. “...Based in Los Angeles, a continent away from his homeland, Nascimento draws from a deep love of Brazilian rhythms and pays homage to his mentors…His music is beautiful and transcendent and… at this time and place – a balm” – KCRW

      TRACK LISTING

      A1. Curumn
      A2. Meditacao
      A3. Novo Dia
      A4. Noite
      A5. Stalgmites
      A6. Ykytu

      B1. Pelas Ruas
      B2. Alta Paz
      B3. Corrida
      B4. Flower Of Life
      B5. Planalto
      B6. Rio Tapajos


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