There are musicians who have made a decisive contribution to the evolution of jazz music while remaining in the “background”. The second row of the line-up, which is classically reserved for the heart that gives vital rhythm to the band: the drums and percussion.

Dom Um Romao is one of these. Considered one of the greatest Brazilian jazzmen (ranking second after Tito Puente in a 2000 poll), he collaborated with artists such as Cannonball Adderley, Gil Evans, Jorge Ben Jor, Sergio Mendes, and Astrud Gilberto, but especially with the Weather Report (from “I Sing The Body Electric” to “Mysterious Traveller”) with whom he finally achieved well-deserved worldwide fame.

It couldn’t have been otherwise since at 12 years old he was playing on the street corners of his native Rio de Janeiro with rudimentary instruments he built himself. His musical background was rich with the ancestral rhythms of Africa filtered through Brazilian culture and spirituality.

The album I present to you today is “Hotmosphere”. Produced by Dom Um Romao himself and recorded between January and February 1976 for Pablo Records.

This Latin Jazz record contains ten tracks ranging from covers of Milton Nascimento, Duke Ellington, Baden Powell, and Antonio Carlos Jobim, but also includes “Amor En Jacuma” written by Romao himself.

The session musicians are top-notch, but I’ll mention only the most famous names: Claudio Roditi on the trumpet and flugelhorn, Sonny Fortune on the saxophone, Ricardo Peixoto on the acoustic guitar, Ron Carter on the double bass, Steve Kroon on the percussion, and Celia Vaz for the arrangements. Also worthy of mention are the sensual vocals of Sivuca, Julie Janeiro, and Gloria Oliveira.

In “Escravos de Jo” (M. Nascimento) a slave laments the monotony of work and life. The percussion underpins the Hard Bop brass and the choirs of Celia Vaz, Sivuca, and Dom Salvator.

The melodic “Mistura Fina” is a cover of a popular dance very well known in Brazil. The smooth and charming bossa nova rhythm allows this piece to glide away very pleasantly.

The standard “Caravan” (D. Ellington) is interpreted in a samba style with brass and percussion dominating the scene.

“Spring” (R. Peixoto) is played with a Brazilian rhythm called choro infused with a Hard Bop atmosphere. Dom explained that he compared this piece to a beautiful day for the feeling of lightness it can convey to the listener.

“Pra Que Chorar” (B. Powell/ V. de Moraes) has a samba rhythm. The voices of Sivuca, Janeiro, and Oliveira play with the brass. Also very beautiful is the piano solo by Dom Salvator.

“Amor En Jacuma” is a bossa nova through which Romao tells us the story of a man who takes his girlfriend to a town called Jacuma, where they can finally live their love free from any interference.

“Cisco Two” is an excellent composition arranged by the talented Celia Vaz. This beat called baiaio is typical of northeastern Brazil. The piece is characterized by a change in rhythm turning into jazz rock and psychedelia.

“Tumbalele” is a typical Brazilian Carnival melody. Dom also called it "Samba de Rua" as it was dedicated to his native Rio de Janeiro.

“Piparapara” is characterized by the interplay between composer Roditi on trumpet and Peixoto on guitar. This Brazilian rhythm is called lundu and is performed with a jazz fusion interpretation.

The album closes with “Chovendo Na Roseira” (A. C. Jobim) which Celia Vez enhances with an orchestral arrangement imbued with a great breathing atmosphere.

Romao, with his style and technique, has opened new horizons for other great Brazilian percussionists like Airto Moreira, Naná Vasconcelos, and Paulinho da Costa.

Enjoy listening from your DottorJazz.

Tracklist

01   Escravos De Jó (04:03)

02   Mistura Fina (03:05)

03   Caravan (05:09)

04   Spring (03:30)

05   Pra Que Chorar (04:40)

06   Amor Em Jacuma (05:25)

07   Cisco Two (04:06)

08   Tumbalelê (03:17)

09   Piparapara (03:50)

10   Chovendo Na Roseira (03:14)

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