Sebastiana, the third solo album of the Brazilian pianist, composer and arranger Ricardo Bacelar, is a Latin American synthesis of Brazil. Rhythmic textures and characteristic timbres were subjected to the harmonic structures` sway of the Brazilian music, which lacked, until then, a visit of its closer brothers.

The disc presents a Venezuelan rhythm called “Sangueo”, interpreted with cumaco and mina drums, coming from the central portion of that country, evidencing African rhythms influences. We implemented a mixture with “Coco”, from the composition Sebastiana, by Rosil Cavalcanti (1915-1968). Famous representative of the Northeastern Brazilian music, the song Sebastiana names the disc. The work was very successful in Brazil in the voice of Jackson do Pandeiro (1919-1982) having been originally recorded, in 1953. Another visited rhythm is the “Vallenato”, derived from the Colombian coast. Named by some as an ancestral musical genre of the ancient province of Padilla, with Spanish colonization and Afro-Colombian slaves’ records, the “Vallenato” spread through Ecuador, Panama, Venezuela, Argentina, Mexico and Paraguay. Traditionally, it is performed by using the acordeon diatônico (diatonic accordion), guacharaca and caja vallenata (vallenata box). The “Vallenato”, recognized as Intangible Cultural Heritage of Humanity by UNESCO, is incorporated, on the disc, to the Brazilian baião A Volta da Asa Branca, by Luiz Gonzaga (1912-1989) and Zé Dantas (1921-1962). O Rei do Baião (The King of Baião), Luiz Gonzaga, imprinted a strong mark on the Brazilian music. Latin rhythms are subtly placed, as if they were spices, in the arrangements conception. The “Bomba” is a musical genre of Puerto Rico, brought by slaves who came from the West Indies, derived from Africa’s west coast. It is performed with drums made from barrels that used to store goat leather, adjusted by turnstiles, screws and wedges.

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