Alfredo Dias Gomes / Press

“Em 25 anos de carreira, Alfredo Dias Gomes adquiriu um vasto currículo. Já trabalhou com Lulu Santos, Kid Abelha, Ivan Lins, Hermeto Pascoal e muitos outros nomes de peso. Para marcar a sua importante trajetória, ele está lançando o CD instrumental Jam, em que mostra sua expertise no jazz rock. O disco tem somente músicas autorais, entre elas as boas faixas “Dream Aria”, “High Speed” e “The Night””

“Baterista tarimbado, Alfredo Dias Gomes completa 25 anos de carreira e lança “JAM” (independente,seu nono disco. Com apenas oito faixas, todas compostas por ele – e pouco mais de 38 minutos de duração – o disco de Alfredo conta com apenas dois instrumentistas além dele: Julio Maya (guitarra) e Marcos Bombom (contrabaixo e “baixolão”). Por ideia de Alfredo, os três tocam jazz rock, gênero que ele abraçou plenamente e pelo qual se deixou influenciar e entusiasmar. Desde a década de 1960, mas sobretudo por volta do início do século 21, músicos de rock passaram a incluir alguns atributos do jazz em suas composições. Assim, dedicaram maior capricho a suas composições, permitindo-se inclusive a improvisos. Resumindo: jazz rock é o gênero musical que mescla, principaEm “JAM”, Alfredo consegue a proeza de traduzir com sua bateria o espírito libertário do baterista panamenho Billy Cobham, músico que ele muito admira. Mr. Cobham começou tocando jazz rock co”

“Em 1993, após tocar em discos e shows de cantores como Ivan Lins, o baterista Alfredo Dias Gomes decidiu priorizar inteiramente a carreira solo, embora, àquela altura, o músico carioca já tivesse lançado um single, Serviço secreto (1985), e o álbum solo Alfredo Dias Gomes (1991). Celebrando 25 anos de independência artística, o compositor e baterista – filho do dramaturgo e novelista baiano Dias Gomes (1922 – 1999) com a também novelista mineira Janete Clair (1925 – 1983) – lança o álbum solo Jam neste mês de janeiro de 2018. Jam é album solo, o nono título da discografia individual do músico. Só que, neste disco produzido pelo próprio Alfredo Dias Gomes, o artista toca bateria e teclados na companhia dos músicos convidados Julio Maya (guitarra) e Marco Bombom (baixo e acoustic bass guitar). Bombom, para quem não liga o nome ao som, foi baixista da Conexão Japeri, banda com a qual Ed Motta se lançou no mercado fonográfico em 1988, ou seja, há 30 anos.”

“Alfredo Dias Gomes – Pulse Alfredo Dias Gomes’ sixth full length solo effort, Pulse, follows up his most recent effort Looking Back with a ten song jazz fusion instrumental collection that stands as one of the finest modern statements from this often unfairly maligned genre. Devotees of simpler forms have often decried jazz fusion and its practitioners as skilled technicians more interested in conveying their virtuosity than making listeners feel or engaging their imaginations. This charge can certainly not be leveled at Gomes with a straight face. These are evocative, deeply felt performances with a surplus of skill and Gomes is accompanied by a crack band of sympathetic collaborators who help him realize the massive potential inherent to such a project. Pulse is a musical thrill ride, but it’s also a personal statement from a musician and composer capable of transforming material from other sources into something uniquely his own. Pulse opens with “The Other Side”, a b”

“Brazilian drummer and songwriter Alfredo Dias Gomes has established a much deserved reputation as one of the world preeminent percussionists, but his most recent collection Pulse shows an exponential growth in his songwriting promising to take him to a higher level than before. Pulse is Gomes’ sixth solo album and his explorations in jazz/fusion territory have produced a varied and inspired body of work pulling from Gomes’ composing talents and covering songs from iconic performers in the genre. The latest album features two originals alongside compositions from artists as varied as Larry Coryell and the recently deceased Alphonse Mouzon, among others. These are, naturally, instrumentals, but even music lovers who generally reject such virtuosic exercises should find much to love on this intensely musical outing. The opening song “The Other Side” shows off their sparkling interplay without ever being self indulgent. The main movers musically are the guitar, drumming, and tenor”

"Tributo a Don Alias” é o novo de um já veterano da cena instrumental carioca, Alfredo Dias Gomes. Em 1978, então aos 18 anos, o baterista recebeu o convite de Hermeto Pascoal para se juntar a seu grupo. Muitos shows e um disco (“Cérebro magnético”, 1980) depois, diplomou-se na universidade de música livre e universal e seguiu carreira, incluindo trabalhos em estúdio e palco com gente da MPB e do pop. Em seus projetos solo, a trilha sempre foi o jazz, como confirma agora nesse sétimo disco, no qual, como que fechando um ciclo, Alfredo volta a outro personagem fundamental em sua história. Percussionista e baterista nova-iorquino, Don Alias (1939-2006) passou um período no Brasil nos anos 1970 e era o professor de Alfredo quando aconteceu o encontro com Hermeto. Um dos líderes do grupo de fusion Stone Alliance, Alias também tocou com, entre outros, Herbie Hancock, Miles Davis,

“Born in Rio de Janeiro, Alfredo Dias Gomes first started playing instrumental music professionally when he was 18, playing at Hermeto Pascoal’s band. He recorded the album Cérebro Magnético and performed countless shows, with highlights at the II São Paulo Jazz Festival and Rio Monterrey Festival. Alfredo has played and recorded with several important instrumental musicians. Tribute a Don Alias is his seventh solo album. His full discography dates clear back to 1985 including six previous titles, all which qualify him and then some for the task of taking on the legendary work of Don Alias. It’s hard to know what you’re going to get unless you’re used to an artist, especially if they’re playing the music of someone you don’t even know. It’s best to hear it chronologically, but in the case of some they don’t have that opportunity. If not, consider a release like this one as an introduction to Don Alias. You’ll find that it’s done with complete faith to the origina”

“At times, the explosive energy on Alfredo Dias Gomes' new album Looking Back could light up the sky. On his cover of Chick Corea's "Nite Sprite," Gomes' frenzied, rapid-fire drumming leaps out of the speakers; it's a relentless burst of speed and precision, delivered with perfection by an artist who has mastered his craft. It is exhilarating, especially when Yuval Ben Lior's chunky, electrifying riffs and Widor Santiago's robust saxophone similarly pick up steam. On the surface, Looking Back is an homage to Gomes' favorite jazz artists, the ones who expanded his imagination. But Gomes transcends the art of producing a tribute effort. These aren't just note-for-note renditions, but are truly dazzling performances. Gomes' version of Stanley Clarke's "Silly Putty," displays the bracing skills of Gomes and his backing musicians. Marco Bombom's relentlessly funky bass drips with sweat; he cuts a breathtaking groove. Guilherme Dias Gomes' trumpet comes in hot as well and Lior's guitars”

“Q: When did you start playing the drums. A: I started studying drums in 1970 with 10-years-old. I had classes with good Brazilian teachers and the opportunity to study with percussionist/drummer Don Alias when he visited Brazil in '76 and '77 with the Stone Alliance group. Q: When did you become interested in jazz? A: Jazz has always been present in my home because of my big brother, who studied trumpet and listened to jazz. But when I started studying drums, I used to like rock music. After, I learned Brazilian rhythms and the next level could only be jazz. Q: You have three Chick Corea covers on your latest effort, Looking Back. What is it about that group which appeals to you the most. A: The first time I saw Chick Corea live was in 1976, when he played at a festival in São Paulo. I was very impressed with this show, especially with the compositions. I believe that 200 years from now, people will be listening to Chick Corea as”

“Alfredo Dias Gomes first started playing instrumental music professionally when he was 18, playing at Hermeto Pascoal’s band. He recorded the album Cérebro Magnético and performed countless shows, with highlights at the II São Paulo Jazz Festival and Rio Monterrey Festival. Alfredo has played and recorded with several important instrumental musicians, such as Márcio Montarroyos, Ricardo Silveira, Torcuato Mariano, Arthur Maia, Nico Assumpção, Guilherme Dias Gomes, Luizão Maia, and others. Tribute To Don Alias is his seventh solo album. This is pure enjoyment for the sake of it, and even if you don’t like tribute albums, that takes nothing away from such a great homage. It’s jazz in the first place, so you also have-to appreciate the work of drummer Don Alias to know what you are hearing. Then it is worth every second of your time, and you see that it’s not copycat cover affair at all. And the modern flavor of Gomes makes it all-the more interesting. While he sticks to t”

“On Tribute To Don Alias, Alfredo Dias Gomes’ drums are followed by a band composed by Widor Santiago (tenor sax), Yuval Ben Lior (guitar), Lulu Martin (keyboards) and BervalMoraes (bass). The album also includes participation from Marco Lobo, who was part of some of MPB’s most influential bands, having worked with Milton Nascimento, Maria Bethania, Caetano Veloso, Gilberto Gil, Marisa Monte, Lenine, Virgínia Rodrigues, and others, aside from developing several projects along with the drummer Billy Cobham. Don Alias will forever be recognized for his work at the vanguard of the fusion movement.He played with Dizzy Gillespie, Nina Simone, JacoPatorius, David Sanborn, and Joni Mitchell, Miles Davis, Herbie Hancock, Tony Williams, Pat Metheny, Jack DeJohnette, and many others. Because Alfredo Dias Gomes can play with the likes of them all. He holds his own at all-of the tracks and does a spot-on percussion job. It’s almost spooky how close it sounds to the originals but with a Gomes”

“Rio de Janeiro, Brazil – July 28, 2017 – The memory of a great artist can never be forgotten so long as their music continues to shine and fellow creatives continue to find solace in their work. That will forever be the case when it comes to the late percussionist Charles “Don” Alias, who passed away in New York City in 2006. Since then Alfredo Dias Gomes has wondered how he could pay tribute to the drummer. He found a way with the album Tributo a Don Alias. The repertoire includes several of Alias’ compositions, including “Georgia O,” “Sweetie-Pie,” and “Vaya Mulatto.” The album finishes with a solo done by Alfredo Dias Gomes himself, honoring the percussionist. “This album is a homage to the great percussionist and drummer Charles ‘Don’ Alias, whom I had the privilege of meeting and learning from during his stay in Brazil. Don Alias was my great jazz and fusion teacher. His strong style, the way he played…I picked all that up from him. My career started”

“Alfredo Dias Gomes’ latest solo album, Pulse, is the sixth release since the Brazilian born drummer struck out on his own in order to better follow his vision of jazz fusion music. The ten track release has a couple of originals, but the remaining eight cuts show off Gomes’ obvious deep knowledge of the genre and his appreciation for the artistic heavyweights who came before and cleared a path for him to follow. They are instrumentals, but they are rife with melodies and eye-popping displays of musical skill. The production surrounds the players with warmth and clarity while the compositions, in general, maintain a resolute focus and never lapse into self-indulgence. Gomes has made a jazz fusion album that’s not just accessible to genre fans, but anyone who loves physical, intelligent, and even quite moving compositions. The musicality of the songs is apparent from the first track onward. “The Other Side” has a lot of lively attitude and keeps things moving briskly back an”

“Jazz fusion, long since passed its commercial heyday, remains a viable genre vehicle for many top flight musicians. South American born drummer and percussion Alfredo Dias Gomes has logged time and miles with various bands during his career before embarking on a series of solo albums that mine the deep, challenging tradition of fusion in a way few modern artists do. His sixth solo album, Pulse, is a ten track release including two originals from Gomes’ fertile musical imagination and a remaining eight contributions from a variety of sources both famous and more obscure. Despite the daunting reputation of complexity for the form, these aren’t instrumentals designed to appeal to a narrow group of listeners. Instead, the ten tracks bubble over with melody, effervescent textures, and features a variety of instruments deployed in recognizable and crowd-pleasing ways. The opening one two punch of “The Other Side” and “The Funk Waltz” are a knockout blow to begin things. The band”

“that inspired him throughout his career in his album Looking Back, a labor of love to Chick Corea, Stanley Clarke, Billy Cobham, and more. His powerful drum beats match every saxophone note and guitar riff. Gomes also bravely adds his signature drum exhibitions to his heroes' works, making them more alive and pulsating. "Red Baron" is like a melting pot of electrifying riffs, sizzling saxophone, and ferocious drum beats where everything is in sync, creating something splendid that would make Cobham proud. Guitarist Yuval Ben Lior, saxophonist Widor Santiago, and Gomes each have their own shining moments in the track. It's jazz fusion taken to a whole new level with each instrument showing off different intensities without overshadowing each other's unique sound. "Nite Spite" begins with fast and feisty drumming that later merges effortlessly with energetic saxophone and emphatic riffs. Gomes masterfully demonstrates how he has sharpened his craft in this cover.”

“Rio de Janeiro, Brazil – February 7, 2018 – Alfredo Dias Gomes wasted no time getting into music. At 18 he was drumming in Hermeto Pascoal. From there he went on to play with the likes of Márcio Montarroyos, Ricardo Silveira, Torcuato Mariano and many more. But after years of playing for others, he decided it was time to do his own thing. Half a century later he’s still going strong as a solo artist and celebrating with his ninth studio album, Jam. Gomes is no stranger to hard work. Since 2015 he’s released an album a year. Jam follows in suit delivering his signature fusion of jazz and rock with eight brand new tracks. Several feature his friend and musician champs Julio Maya and Marco Bombom. From “The Night” through “The End,” each track brings forth a great whiff of energy, precision, and charm. Alfredo Dias Gomes’ ninth studio album, Jam, is available now. Those interested in reviewing the album or interviewing him about his lengthy career can get in touch via”

“The latest effort from drummer Alfredo Dias Gomes finds him Looking Back at his musical heroes and creative inspirations. It's a true labor of love, wherein Gomes and his cast of top-drawer musicians equal or even surpass the individual qualities of the originals. Gomes just doesn't just echo their instrumental complexities but adds a personal flair to them. These aren't simply recreations but invigorating performances that highlight what made them brilliantly memorable to begin with. Widor Santiago's scorching saxophone immediately grabs the spotlight in "Red Baron"; it pushes the song forward with indelible hooks. Gomes' powerful, punchy drums adds weight to the funky rhythms as guitarist Yuval Ben Lior's ferocious riffs light up like fireworks. This is when a tribute transcends its initial mission; Gomes' version of "Red Baron" proudly stands on its own. The chemistry between Gomes and his band and guest artists fuel most of the album, which collects one highlight after another. N”