Interesting take on the mandolin's sonic qualities in this CD Review of Richard Galliano's "Luz Negra" (All About Jazz), describing the mandolin's assumed state as "percussive." Certainly, it bears this; in Bluegrass commonly discussed is the quality of "chop." In this context, Brazilian master Hamilton de Holanda's dynamic playing style includes some powerful pounding, but we trust his linear traits aren't lost on the reviewer.

We still like to promote mandolin as a melody instrument. Plectrum instruments in general fight this image. We pluck, and remain at the mercy of the tempering of our Right Hand/Left Hand coordination and the finger control capable of maintaining the sound, where our wind-playing brethren all need do is blow harder to sustain the tone.

We have our work cut out for us forging sustain, but it certainly can be done! We just have to put in a bit more effort.

Quote: "De Holanda's inclusion is inspired. The combination of accordion and mandolin is a perfect marriage of opposites, in which the mandolin's mercurial, non-sustained, percussive sonorities perfectly complement the langorous, drawn-out notes of the accordion. Galliano and De Holanda's counterpoints bring a shimmer to "Tangaria" and the tenderly romantic "Sanfona," and they duel fiercely on the manic head charge "Fou Rire" and swaggering "Sertao."

Yes, in comparison, the accordion is stereotypically "drawn out." Nothing like the drama of a good tango to display this, either.

Read full review: Luz Negra

Posted by Ted at February 22, 2007 6:05 AM