x

You are using an outdated browser. Please upgrade your browser to improve your experience.

Jorge Pescara / Press

“..."For the most part, the electric bassist (Jorge Pescara) offers soulfoul grooves that sparkles with fiery energy, a contemporary backceat, and plenty of amplified sound."”

“Sa musique s'articule autour de trois axes la basse électrique; la rock music des années soixante et soixante-dix et bien sûr la musique brésilienne. Puis nous abordons le Brésil avec les voix exquises d'Ithamara Koorax et Eumir Deodato, pour une pièce toute en langueur avec l'appui du Fender Rhodes de Deodato. Avec MilesMiller, le Brésilien nous replonge dans l'atmosphère du Miles Davis Group période Tutu ou Amandala. Le leader rend ensuite hommage à Jaco Pastorius en compagnie d'un batteur de qualité en la personne de Don Um Romão. Le bassiste expose The Great Emperor of the Bass de façon plus délicate que foudroyante, tandis que Meteor, l'étude pour Mr Pastorius est exposée au Stick. Enfin, ses reprises rock sont originales, notamment Kashmir de Led Zep où Pescara utilise une basse fretless de huit cordes alors que José Carlos Ramos (ts) prend la place de Robert Plant. Le groove latin de Pescara est à la fois frais et de bon aloi.”

“Jorge Pescara, lässt uns auf seiner ersten CD unter seinem Namen tief in sein Universum blicken. Die Sheibe ist eine einzige Hommage an seine Helden, wie das Enfant terrible des Jazz Jaco Pastorius, Pescaras Eigenkomposition "The Great Emperor of Bass/My Theme for Jaco", ein Duo mit Dom Um Romão, an Marcus Miller "Miles Miller", Jimi Hendrix "Power of Soul" mit der Stimme der unübertrefflichen Ithamara Koorax, an Tony Levin, dessen "Funk Fingers"-Technik er auf "Coming Home Baby" benützt, an Led Zeppelin "Kashmir" mit dem unverkennbaren Sound der Leslie-Orgel von Mauricio Barros. Legenden Wie "Zarathustra" Deodato und der grosse Luiz Bonfá auf einer seiner letzten Aufnahmen leisten wertvolle Starthilfe. Knackige Grooves, ein intelligentes Sound Design und ein totales Beherrschen der verschiedenen Bässe, gepaart mit ansteckender Spielfreude, zeichnen Jorge Pescara aus. "He really grooves the Temple".”

““Pescara és uno grande bajista y sticksta lleno de sabiduría!.” (plus 6 pags of the interview)”

“Bassist Jorge Pescara demonstrates here why he has such a strong following not only with audiences but also among his fellow musicians. This is vibrant and exhilarating music making from a highly talented musician. There are other fine musicians on this CD including Dom Um Romão, Ithamara Koorax and José Carlos Ramos. Jorge has drawn his repertoire for this set from an interesting mixture of sources, including music by Jimi Hendrix, Eumir Deodato (who also guests on the CD), Bob Dorough and Ben Tucker, as well as contributing some of his original compositions.”

“”Jorge Pescara, the Brazillian bass sensation, whose debut CD (“Grooves in the Temple”) gathered rave reviews around the world, has the big talents. … Fasten your seatbelts, ladies and gentlemen. The show is about to begin ...””

““Meteor” is another one of Pescara’s tributes to Jaco Pastorius. It starts out as a sort of etude in the classical tradition – an exercise that allows the musician to depart upon multiple explorations of a single theme or idea – with Pescara manning the Stick Contrabass…It’s an uncanny mix that’s driven not by guitar (as in Deodato’s original) but rather by the bassist’s melodic Stick figures (an homage to Pescara’s Stick idol, Tony Levin, the bassist on Deodato’s original). Pescara balances the harmony by using his right hand to play the high notes and his left hand to play the bass line.””

"Jorge Pescara has produced an album that weighs in at a generous 70-plus minutes. 'Grooves in the temple' is sumptuously produced, reminiscent in parts of the early 70s Creed Taylor-produced fusion (due, in no small way, to the presence here of fellow Brazilians Eumir Deodato – 'Laura Lee' and Black widow' – and Luiz Bonfá – 'Sofisticada'), but Pescara also name-checks (and pays audible tribute to) Miles and Marcus, Jaco, Tony Levin, Jimi Hendrix and Led Zeppelin. Amazingly, it works – probably because the bassist retains a subtly Latin identity throughout. This is a richly rewarding album, starting with a simple-but-wicked bass line and groove that sets up the opening tune, a cover of 'Comin' home baby', which features an astonishing baritone sax contribution by Widor Santiago"

Feedback