Guilherme Coimbra was born in the south side of Rio de Janeiro, right in the place where Bossa Nova took place in the late 50's and early 60's. That means the place where the famous Copacabana and Ipanema beaches are located, next to Corcovado and the Sugar Loaf. Like well-known Brazilian artists such as Chico Buarque and Caestano Veloso, Guilherme Coimbra is a poet-composer. That means that he is a typical product of Bossa Nova musical conception which, through its revolutionary harmonies (Antonio Carlos Jobim). beat and intimate/cool singing (Joao Gilberto). provided the ideal lyrical space for ?serious poetry" (Vinivius de Moraes) to join in as well. For those reasons, it might be a difficult task and even a meaningless one to attempt to separate poetry from music in Guilherme Coimbra's songs. The poetic density of composition is unequivocal even for those who cannot understand his native language (Portuguese). On the other hand, however, the originality and sophistication of this harmonies could not have been conceived by someone other than a gifted musician. Further to playing a very stylish Brazilian guitar, Guilherme Coimbra is an interpreter of rare lyric denity. On top of it, he is also responsible for almost all arrangements of IPANEMA RAINBOW. It is not for any other reason that Polish musicians of the highest ranking such as Maciek Sikala (sax), Jacek Niedziela (bass), Adam Lewnadowski (drums and percussion) and Marek Napiorkowski (guitar) were most pleased to take part in IPANEMA RAINBOW. They found Guilherme Coimbra's songs the ideal land and some times an exotic one for them to give free expression to the best of their skills and creativity. Some of the solos by virtuoso Sikala sound so much integrated to the composer's tunes that it might be difficult sometimes for the listener to identify what is improvisation, and what is not. The result is a unique experience of pure joy and contemplation, where the most ambivalent human feelings can live together in sublimated harmony. IPANEMA RAINBOW also pays tribute to Antonio Carlos Jobim (Tom Jobim), the father of Bossa Nova, who died in the end of 1994. Ipanema and Leblon beaches are the places the legendary composer of ?The Girl From Ipanema" most loved and lived most of his life. In TOM (nickname for Antonio) Guilherme Coimbra explores poetically the double meaning of the word ?tom" to express the privilege and joy of singing as a way of travelling around in the realm of the key/tune (which Portuguese are written ?tom" as well), i.e. as a way of not losing Tom Jobim and his music after his death. The rainbow is associated with the colours that eventually came out of the composer's work after the ?tempest" for the loss of Antonio Carlos Jobim. Further to the most typical Bossa Nova tunes such at TOM and SELECAO (a tribute to some of Brazilian greatest poets and football players), IPANEMA RAINBOW also contains post-bossa nova compositions of intriguing originality such as BOEMIA (Bohemia) and CONTRADICOES (Contradictions). On the other hand , it includes compositions such as TEMPO (Time), CANTO DE SEREIA (Siren Singing), and O AMOR QUEM SABE (Love Who Knows) which are associated with other styles (cancoes, baladas and modinhas) within the endless variety of Brazilian music. Last but not least, IPANEMA RAINBOW pays tribute to Polish music through Guilherme Coimbra's cover version and original Brazilian arrangement for three classic Polish hits, POD PAPUGAMI (M. Swiecicki, B. Choinski & J.Galkowski), JEJ PORTRET (W. Nahorny & J. Kofta) and W MOIM MAGICZNYM DOMU (J. Strobel & M. Czapinska). This way he closes in high style the work presented here, which I had the honour and greatest pleasure to produce and which, I have no doubt, will leave the mark of its high quality and unique originality.

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