This is a jazz/blues quintet written thinking of orchestral jazz works such as Artie Shaw's and Benny Goodman's... I wrote this during the same time that I was watching a beautiful collection of documentaries about the blues directed by Wim Wenders. I was especially drawn to "The Soul Of A Man", by Wim Wenders, and this inspired me so much that I decided to shift to the blues inside the Sarava Quintet, hoping to evoke the emotional origin of the blues, including the complaint, the cry... The Sarava Quintet bears the pain that black people suffered. They say that no one can sing or play the blues if he or she has not lived through all this pain. I truly believe this, so although I cannot play it with the same soul and heart as they do, ‘I'll do it my way...’ This piece is full of musical quotations of works by my favourite jazz composers, all black people too, such as Duke Ellington, Charlie Parker, Charlie Mingus, Thelonious Monk. This is a black quintet, and I thought of using this name at first but then I realised that there was also a ‘white part’ in it too. There were arrangements in the style of Gerschwin, and other influences that were also very far from the world of the blues pains... I then remembered that Vinicius de Morães celebrated the union of black and white people in music in his "Samba de benção." He blesses all the great musicians of the samba galaxy, a black and white galaxy, greeting them with the term ‘Sarava’ derived from the language used between the black people from the North West of Brazil. This is why this quintet is named the Sarava Quintet, bringing together different cultures in harmony just as Vinicus did, and as I have always done through my music all my life.
I love big bands. Quincy Jones, Count Basie, Duke... With this music, I wanted to give myself the opportunity to sing with one and make it sound wide. This song came to me the best way a song can: the music inspired the first words, and the words inspired the music. It doesn’t happen very often to have both hand in hand in this way. Enjoy!
I wrote this piece initially with the bass line in mind. I wanted it to be very shiny, which is why I used the piano. I love to use the piano as a double line to the bass line, I can’t explain why, but I feel it adds a kind of elegant or exotic dimension.
Finally, this piece turned out to be even more rhythmical than I expected. It really focused on drums, and particularly on the vibrations that animate the dialogue between the bass and snare drums.
This musical idea belongs to those tunes I keep at the back of my mind for months, while I am busy with other music, or other things in my life. Then there is a night when I want to write it all down, hear it sound aloud, as I already have every element sorted in mind. Here, the bass and voice line came first, with its bitter taste of two fifths, and the rest just followed. While writing the end of this music, I had in mind the sound of some piano chords from John Coltrane's Love Supreme...
Al Séptimo Día, by Pamela Robin. A very short scene in which the main character has dinner with a man she is falling in love with. No time to develop a full theme but merely to impart an impression of smoothness, love, peace and memory, providing a tinge of happiness to the character’s theme.