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CD
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NA 5220CD
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"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 succeeded 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."
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LP
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NA 5220LP
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LP version. "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 succeeded 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."
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CD
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NA 5195CD
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"Prelúdio is the third album Now-Again Records will issue from the thrilling, young Brazilian guitarist Fabiano do Nascimento. Produced by Mario Caldato, Jr. and Luther Russell and engineered and mixed by Caldato and Jason Hiller, this album features do Nascimento's longtime drummer Ricardo 'Tiki' Pasillas. It is the first album of solely do Nascimento's own compositions and, like his previous albums Dança dos Tempos and Tempo dos Mestres, follows folkloric Brazilian music, Brazilian jazz, bossa-nova and samba as experienced through the mind and able fingers of an expansive musician, combing the heady '60s and '70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brazilians for generations. Do Nascimento was born into a musical family, from lineage that stretches back to his great-grand-father Ladario Teixeira, a blind saxophonist who contributed to the re-creation of the instrument by adding more keys to the older incarnation of the instrument in the early 20th century. He was born in Rio de Janeiro and grew up there and in Sao Paulo, where he found inspiration in his uncle, the late Lúcio Nascimento, bassist and composer in Leny Andrade's band Bom de Três. While he came from a musical pedigree, he's largely self-taught, largely in the service of an overarching mission to showcase the folkloric music of his home country as he continues to develop possibilities for language of the guitar itself. His studies ramped up after he moved to Los Angeles in 2001. His first champion was Aloe Blacc, who worked with do Nascimento over the years, including his work on his debut album Shine Through for Stones Throw Records. His collaborators now include Madlib, multi-instrumentalist Sam Gandel, Innovative Leisure chanteuse Claude Fontaine and legendary Brasilian percussionist, bandleader, songwriter and catalyst Airto Moreira. Moreiera states that Nascimento is 'Brazilian but (his mind is) from a place in Brazil that is not common. Fortunately, we still have some musicians who like to play music and who like to touch the instrument and who like that energy! You see, because that's the most important thing in music. The energy. That's why I love to play live. And that's why I'm playing with Fabiano.'"
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LP
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NA 5195LP
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LP version. "Prelúdio is the third album Now-Again Records will issue from the thrilling, young Brazilian guitarist Fabiano do Nascimento. Produced by Mario Caldato, Jr. and Luther Russell and engineered and mixed by Caldato and Jason Hiller, this album features do Nascimento's longtime drummer Ricardo 'Tiki' Pasillas. It is the first album of solely do Nascimento's own compositions and, like his previous albums Dança dos Tempos and Tempo dos Mestres, follows folkloric Brazilian music, Brazilian jazz, bossa-nova and samba as experienced through the mind and able fingers of an expansive musician, combing the heady '60s and '70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brazilians for generations. Do Nascimento was born into a musical family, from lineage that stretches back to his great-grand-father Ladario Teixeira, a blind saxophonist who contributed to the re-creation of the instrument by adding more keys to the older incarnation of the instrument in the early 20th century. He was born in Rio de Janeiro and grew up there and in Sao Paulo, where he found inspiration in his uncle, the late Lúcio Nascimento, bassist and composer in Leny Andrade's band Bom de Três. While he came from a musical pedigree, he's largely self-taught, largely in the service of an overarching mission to showcase the folkloric music of his home country as he continues to develop possibilities for language of the guitar itself. His studies ramped up after he moved to Los Angeles in 2001. His first champion was Aloe Blacc, who worked with do Nascimento over the years, including his work on his debut album Shine Through for Stones Throw Records. His collaborators now include Madlib, multi-instrumentalist Sam Gandel, Innovative Leisure chanteuse Claude Fontaine and legendary Brasilian percussionist, bandleader, songwriter and catalyst Airto Moreira. Moreiera states that Nascimento is 'Brazilian but (his mind is) from a place in Brazil that is not common. Fortunately, we still have some musicians who like to play music and who like to touch the instrument and who like that energy! You see, because that's the most important thing in music. The energy. That's why I love to play live. And that's why I'm playing with Fabiano.'"
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CD
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NA 5146CD
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"Tempo dos Mestres (Time of the Masters) is the second album from the tireless, young Brazilian guitarist Fabiano Do Nascimento. It finds its roots in the depths of the Amazon rainforest, passed down through generations of Native Brazilians, and is imbibed by the Afro-Brazilian culture that arose after Portuguese colonization. This blend is not new in Brazil, and is represented musically by great Brazilian musicians both known and celebrated -- the guitarist Baden Powell and catalyst Hermeto Pascoal, both direct influences on Do Nascimento -- and less exposed, like the experimentalist Carioca, one of Do Nascimento's mentors, and the Brazilian psychedelic pioneer Lula Cortes, whose album Paebiru rewrote Brazilian rock's history in 1975. It is the third Brazilian album released on Now-Again, following Seu Jorge and Almaz and Do Nascimento's debut Dança dos Tempos. Do Nascimento's is joined on Tempo dos Mestres by his long time percussionist, Ricardo 'Tiki' Pasillas on trap drums and percussion, and Sam Gendel on saxophone and flute. Vocals are performed by Thalma de Freitas and Carla Hasset. These tracks were recorded live in the studio with no overdubs, straight to 2" analog-tape, and only sparingly mastered to focus on the subtleties of the performances. Do Nascimento's fans include legendary percussionist Airto Moreira, who recorded Dança dos Tempos and can be found playing live with Do Nascimento. 'He's Brazilian but (his mind is) from a place in Brazil that is not common.' Moreira states. 'Fortunately, we still have some musicians who like to play music and who like to touch the instrument and who like that energy!' Do Nascimento takes his music, and his place in Brazil's lineage, seriously, and he often travels the vast country, spending time in the rainforest, living life as it was lived in the distant past, while studying with still living masters as he searches for new directions of the path trod by the geniuses whose influence abounds in contemporary music, but whose names are still unfamiliar. 'Being a musician -- feeling, studying, experiencing, living music -- this comes first, right?' Do Nascimento questions. ' Second, we hope that the depths of knowledge in the music from the masters before us can be shared more, each time, to the younger generations coming.' In Tempo dos Mestres Do Nascimento answers himself with a beautiful entry into the evolving language of timeless Brazilian music."
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LP
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NA 5146LP
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LP version. Includes download code. "Tempo dos Mestres (Time of the Masters) is the second album from the tireless, young Brazilian guitarist Fabiano Do Nascimento. It finds its roots in the depths of the Amazon rainforest, passed down through generations of Native Brazilians, and is imbibed by the Afro-Brazilian culture that arose after Portuguese colonization. This blend is not new in Brazil, and is represented musically by great Brazilian musicians both known and celebrated -- the guitarist Baden Powell and catalyst Hermeto Pascoal, both direct influences on Do Nascimento -- and less exposed, like the experimentalist Carioca, one of Do Nascimento's mentors, and the Brazilian psychedelic pioneer Lula Cortes, whose album Paebiru rewrote Brazilian rock's history in 1975. It is the third Brazilian album released on Now-Again, following Seu Jorge and Almaz and Do Nascimento's debut Dança dos Tempos. Do Nascimento's is joined on Tempo dos Mestres by his long time percussionist, Ricardo 'Tiki' Pasillas on trap drums and percussion, and Sam Gendel on saxophone and flute. Vocals are performed by Thalma de Freitas and Carla Hasset. These tracks were recorded live in the studio with no overdubs, straight to 2" analog-tape, and only sparingly mastered to focus on the subtleties of the performances. Do Nascimento's fans include legendary percussionist Airto Moreira, who recorded Dança dos Tempos and can be found playing live with Do Nascimento. 'He's Brazilian but (his mind is) from a place in Brazil that is not common.' Moreira states. 'Fortunately, we still have some musicians who like to play music and who like to touch the instrument and who like that energy!' Do Nascimento takes his music, and his place in Brazil's lineage, seriously, and he often travels the vast country, spending time in the rainforest, living life as it was lived in the distant past, while studying with still living masters as he searches for new directions of the path trod by the geniuses whose influence abounds in contemporary music, but whose names are still unfamiliar. 'Being a musician -- feeling, studying, experiencing, living music -- this comes first, right?' Do Nascimento questions. ' Second, we hope that the depths of knowledge in the music from the masters before us can be shared more, each time, to the younger generations coming.' In Tempo dos Mestres Do Nascimento answers himself with a beautiful entry into the evolving language of timeless Brazilian music."
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CD
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NA 5121CD
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"Dança dos Tempos is the debut album from thrilling, young Brazilian guitarist Fabiano do Nascimento, and it features legendary percussionist Airto Moreira in his first album project in over ten years. Dança dos Tempos follows folkloric Brazilian music as experienced through the mind and able fingers of an expansive musician, not yet thirty years old, and combines the heady '60s and '70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brazilians for generations. It is the second Brazilian album released on Now-Again, following Seu Jorge and Almaz. Moreira, the bandleader, songwriter and producer who recorded a bevy of titles under his own name, with his wife Flora Purim, and whose resume contains the names of -- seriously -- every musician worth mentioning from America or Brazil from the past 50 years -- plays percussion on the album and is joined by do Nascimento's long time drummer, Ricardo 'Tiki' Pasillas on trap drums. Do Nascimento and Kana Shimanuki handle vocals on what is otherwise an airy instrumental album that allows the guitarist's virtuosity to shine through originals, folkloric Brazilian songs, and select covers by the likes of Pascoal and Powell, both formative influences on the guitarist. These duets show the camaraderie that two master Brazilian musicians -- of two different generations, but of the same spirit -- share with comrades of ages past as they imagine music for the years to come. These tracks were recorded live in the studio with no overdubs, straight to 2" analog-tape, and only sparingly mastered to focus on the subtleties of the performances."
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LP
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NA 5121LP
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2021 repress; LP version. "Dança dos Tempos is the debut album from thrilling, young Brazilian guitarist Fabiano do Nascimento, and it features legendary percussionist Airto Moreira in his first album project in over ten years. Dança dos Tempos follows folkloric Brazilian music as experienced through the mind and able fingers of an expansive musician, not yet thirty years old, and combines the heady '60s and '70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brazilians for generations. It is the second Brazilian album released on Now-Again, following Seu Jorge and Almaz. Moreira, the bandleader, songwriter and producer who recorded a bevy of titles under his own name, with his wife Flora Purim, and whose resume contains the names of -- seriously -- every musician worth mentioning from America or Brazil from the past 50 years -- plays percussion on the album and is joined by do Nascimento's long time drummer, Ricardo 'Tiki' Pasillas on trap drums. Do Nascimento and Kana Shimanuki handle vocals on what is otherwise an airy instrumental album that allows the guitarist's virtuosity to shine through originals, folkloric Brazilian songs, and select covers by the likes of Pascoal and Powell, both formative influences on the guitarist. These duets show the camaraderie that two master Brazilian musicians -- of two different generations, but of the same spirit -- share with comrades of ages past as they imagine music for the years to come. These tracks were recorded live in the studio with no overdubs, straight to 2" analog-tape, and only sparingly mastered to focus on the subtleties of the performances."
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