Guitarist Juarez Moreira hails from the land-locked Brazilian state of Minas Gerais. But even when you consider the area’s impressive list of talented musicians, including Milton Nascimento, keyboardist Wagner Tiso, fellow guitarist Toninho Horta and legendary songwriter Ary Baroso, its impossible to ignore Moreira’s other American roots: The ones that tie him to new traditions in the new world of contemporary jazz.
His international recording debut is ‘Bom Dia’ (Good Morning), which drew this response from Nascimento: “Juarez Moreira is one of the best guitar players of all time. He’s also a great composer. His work takes me on a trip to paradise.” Thirteen of the 14 songs are original, the single deviation reserved for Jobim’s “Sabiá,” tenderly delivered with romantic grace on Moreira’s solo acoustic guitar.
Electric or acoustic, Moreira’s eloquent style and timing set him apart from other guitarists and ‘Bom Dia’ is the living testament of one man carrying and nurturing his talent to fruition. The songs paint musical panoramas, at once relaxing, joyous, sustaining. Emotion from six strings and a creative musical mind.
Moreira pays homage to his influences, but meter and melody are at the center of his inspiration: “Samba Pra Toninho” finds Moreira and Horta sharing the spotlight with more than a passing reference to Pat Metheny. “Choro Jazz” builds on that traditional song form with a jazzy, swinging style to recall Joe Pass. “Baião Barroco” perfectly incorporates the syncopated country-dance rhythm with such elegance that it’s difficult to determine where one characteristic ends and another begins. Guitarist Horta adds: “Moreira’s music is contemporary, although difficult to label because of the extensive panel of Brazilian musical forms.”
Smooth jazz performers are unlocking the jazz world’s stoic gates to a wider audience and ‘Bom Dia’ sails past them with ease. Juarez Moreira has delivered a five-star recording, worthy of addition to a select list of landmark recordings for Brazilian jazz.
