Hendrik Meurkens (meets Manfredo Fest) - Dig This Samba

‘Dig This Samba’ was recorded as part of a live session for radio broadcasting at Saarlandischer Rundfunk in Saarbrucken, Germany over a period of three short days and finds both Meurkens and Fest in top form. Each of the eleven songs on this album is a true gem, carved from a moment of inspiration that only the notion of the two distinct worlds of Brazil and jazz could provide.

Admittedly, when it comes to Brazilian jazz, the harmonica isn’t the first instrument to spring to mind. Somehow, brazil’s curious blending of the diverse African, European, Japanese and American cultures which brought it the guitar, bandolim, cavaquinho, accordian, piano and a host of percussion instruments, couldn’t find room for the harmonica and that’s why the world needs Hendrik Meurkens.

Meurken’s ability to mirror the full range of emotion by drawing upon the passionate characteristics of his harmonica is the bedrock of his relationship with Brazilian music and an important insight into his creativity.

In Meurkens’ hands, the rich bluesey tradition of he harmonica becomes perfectly suited for Brazilian music, and his distinctive style gracefully matches both the language’s intonation and its lilting qualities word by word, translating each phrase through his instrumental prism to create a rainbow of colours and tonal shadings.

And with this album, it’s only half the story. The other half is the black and white of it all, courtesy of Brazilian pianist, Manfredo Fest.

Meurkens met Manfredo during his early years of recording in the US. And the two gravitated musically in the same direction. So, while it was no real surprise to see Henrik Meurkens listed as a special guest on Fest’s Amazonas CD, few would have guessed that the invitation would eventually lead to this exciting album.

Manfredo Fest’s intriguing, jazzy style has become a metaphor for a distinctive hybrid of Brazilian/ American jazz. You might, for instance, easily compare Fest’s open handed piano style to say Oscar Peterson, George Sharing and Bill Evans, than say Antonio Carlos Jobim, all who were early influences.

And certainly Fest’s eloquent melodic interventions and his always active left hand invite such comparisons. But Fest has something more to offer; an uncanny sense of Brazilian rhythm and syncopation. These elements are so well ingrained that it has led him to instruct others in the nuance of Brazilian jazz piano. However, no such direction was needed when these tow superb musicians began to record this project. Seldom have two such complimentary talents created such a lasting testament to true Brazilian jazz.

Meurkens also unveils his marimba skills on both ‘Madison Square’ and ‘Frajola,’ thus expanding his musical voice. You’ll also find his playing vibraphone on three tracks including ‘A Ilha’ and ‘Seu Acalento.’