In review--Accordion from the South
World
Toninho Ferragutti
O Sorriso da manu
Borandá
When I think of South American accordion music, my thoughts
usually gravitate towards Argentine tango and the late Astor Piazzolla. However, many wonderful South American
folkloric music centers on the accordion brought to Latin America originally by
Italian and German immigrants. Brazil
certainly has its share of folkloric traditions in which the accordion plays a
key role. Brazilian accordionist Toninho
Ferragutti and his quartet (accordion, clarinet, percussion, and bass) team of
with a chamber ensemble of strings and piano as they explore forró and choro
dance songs along with an abstract version of flamenco on the recording O Sorriso da manu.
Delightfully playful and contemplative in turns, listen to Flamenta with its lively castanets and
the titular track with its klezmer-style clarinet. When I listen to this recording, I’m reminded
more of Finnish accordionist and composer Maria Kalimeni than Piazzolla. The music here falls on the brighter side
with little tension, even during the staccato passages. The instruments fit together like tongue and
groove construction and the conversation with the clarinet and accordion
reminds me of Galician music. No matter how you look at it, this is world music
in the broadest sense with romantic interludes to faraway places and exotic
musical phrases and textures. Ethereal
one minute and spirited the next, I’m enjoying listening to Ferragutti’s
compositions since I usually hear his talent gracing the albums of some of
Brazil’s hottest talent. And now we know why Ferragutti is in high demand.
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