Doug
de Vries
is a Melbourne based guitarist whose latest release A
Knot In The Wood is the fruit of a study visit to Brazil.
Although so-called purists might tend to deride anything that
is created outside its source of inspiration, this work should
give any open-minded listener pause for thought. Its obvious
that Dougs love affair with Brazilian music is a deep-rooted
one, not just a jazz guitarist playing bossa nova.
Indeed A
Knot In The Wood is informed by an array of colours that range
from northeastern sounds to samba to MPB to chorro, an ebullient,
melodious semi-improvised style that can be traced back to the
mid 19th century and that seems to predate American jazz. Backed
by a stellar cast of musicians which includes percussionist Niko
Schaubke, Dougs acoustic guitar mastery transcends
his technique to create a natural personal language of beauty.
This is further borne out by his excellent emotionally centred
vocals on the whispery Gema. Half
the numbers also feature the warm singing of Diana
Clarke who sings in both English and Portuguese. With authentic
percussion instruments, the distinctive ring of the cavaquinho
or the swinging northeastern lilt of the accordion threading through
original as well as familiar themes such as the incomparable Noites
Cariocas which opens the CD, this work displays a quality
quite rare in projects of this type - emotional honesty.
Perhaps we
can gain a better perspective of Dougs creativity if we
listen to the recent re-release of his Free
Range which was recorded in 1992. This is a much jazzier
session with the guitarist shifting between acoustic and subtle
electric modes, more extended improvisations and the beautifully
expressive vibes of Craig Beard
on a couple of tracks where one may be reminded of the classic
piano-vibes duets that took place between Gary
Burton and Chic Corea
during the 70s.
In addition the superb interplay between percussionist
Niko Schaubke is a consistent delight throughout. The Brazilian
connection is also strong with Doug giving a masterly chorro interpretation
of Pixinguinhas 1
a 0. What surprises even more is the emotional cogency
with which the preceding Chorinha Toccatina
is expressed, an original solo guitar piece that could sit quite
comfortably next to the classics of the genre. In fact 9 of the
11 songs here are the handiwork of Mr de Vries himself and they
are all distinguished by a melodic fecundity that eludes all but
the great musicians. If further proof is needed just listen to
how the closer, Thelonious Monks
masterpiece Crepuscule With Nellie
is fluently translated to guitar. Richard Jasiutowicz
Feb 2003