David Ganc - English
Flautista, saxofonista e arranjador

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DAVID GANC devotes himself entirely to the flute on CALDO DE CANA-’sugarcane juice’-his second solo CD

‘Quality’ and ’sensitivity’ are adjectives that immediately come to mind when savoring this juicy CALDO DE CANA , where DAVID GANC has given us his best. Other words are needed to capture the full flavor of David’s latest CD-the second solo recording in his prolific career-like ‘refined’, ‘inspired’, ‘joyful’, and ‘Brazilian’. The latter taken to its highest musical power.

The flute occupies center stage through all cuts of Caldo de Cana. David puts aside his sax (the foundation of Baladas Brasileiras, his first solo CD) for this musical moment and gives himself over entirely to the flute-a rare event on the Brazilian disc market. A return to his roots, to the instrument he first started playing at the age of 7. Back then, nothing but Renaissance music on the recorder. When he was 14, David picked up the transverse flute, along with Brazilian classical music. At 16 he met Jaques Morelenbaum, who invited him to join A Barca do Sol, a group with which David recorded 3 records in the 1970s. David later left ‘A Barca’ and traveled to Boston, where he earned his degree in Professional Music at Berklee. Since his return to Brazil, David Ganc’s solid career has included participations on over 100 records, encompassing such notable names in Brazilian Music as Caetano Veloso, Gal Costa, Beto Guedes, Luiz Melodia, Elba Ramalho, Simone, Moraes Moreira, João Bosco and many others.

The best of the Brazilian musical accent is well represented in every sip of this caldo de cana. Right from Geraldo Vandré’s “Fica Mal com Deus,” in an arrangement that combines musical sophistication with the sounds of the barren Brazilian agreste. “This is my tribute to Quarteto Novo, the group that played with Vandré in the 1960s. Its members were all great names: Hermeto Pascoal, Heraldo do Monte, Airto Moreira and Theo de Barros. For me, the roots of Brazilian instrumental music.” Soloing on flutes in C and G, David is accompanied by Leandro Braga (piano), Ronaldo Diamante (bass), Márcio Bahia (drums), and Mingo Araújo (percussion) as well as by the strings of the Quarteto Guerra Peixe.

Nivaldo Ornelas’ “Divertimento” comes on second, with piano, (Leandro Braga), cello (Iura Ranevsky) and flute taking their turns all alone or accompanying this beautiful melody woven together by different moods. The title cut, up next, was written by David back in 1978. It is dedicated to Zé da Flute. “Back then, I went around with Zé a lot. He’d just arrived from Recife to release Alceu Valença’s first record,” recalls David, who wrote the harmony for “Caldo de Cana” in 1999. The happy zest of Northeast Brazil is felt in the percussion instruments of Mingo Araújo and on João Lyra’s guitar.

Memento/Catavento, cut 4, is what David calls a “mantric maracatu.” The piece was composed by Nando Carneiro, who also provides the guitar. “When my 10-year-old son Daniel heard the flute notes that precede this music, he said he could see the colors changing right in front of him. Do you suppose an adult can still see colors being changed by music?” asks David. A bit more romantic in its seasoning, “Noturno” is another lovely composition by Nivaldo Ornelas, dedicated to his friend David Ganc in 1986. We hear the pure sound of flute and piano (by Monique Aragão), sometimes doubling up on the melody, at other times dueling it out or providing counterpoint for each other.

The rhythm changes radically in “Na Tradição do Frevo,” written by David in partnership with Vittor Santos. A tribute to Teca Calazans and to David’s many other friends in Recife. Márcio Bahia keeps things rolling on the drums. The polished melody of the seventh cut, “Impressão de Choro,” evokes the style of singer and composer Guinga-to whom pianist Leandro Braga (accompanying David on the disc) paid homage when he composed the tune. “True to its title, it’s an impression of Brazilian choro that captures the emotion of a ‘live recording’,” says David.

Written by Nando Carneiro, the next cut-”Vó Argemira”- has a cozier feel. “Nando and I have been friends since back in the days of ‘A Barca do Sol’. He suggested we not record the guitar. Instead, we created a unique sonority between the flute and Zeca Assumpção’s singing acoustic bass,” David explains.

The samba “Pro Marçal” is cut number 9. “I’ve wanted to record this samba by drummer César Machado and Fernando Merlino for a long time. I was surprised it’d never been recorded by woodwind instruments before, like the melody calls for,” says David. Great spotlight performances by Artur Maia on bass, Vittor Santos on trombone and Leandro Braga on solo piano.

Caldo de Cana ends with Tom Jobim and Aloysio de Oliveira’s “Inútil Paisagem,” intricately arranged by Vittor Santos. To interpret it, David Ganc overdubs nine tracks: piccolo, two flutes in C, two flutes in G, two alto saxes, and two tenor saxes. Accompanying him, Cristiano Alves plays two clarinet and Bass Clarinet. Produced by David Ganc, Caldo de Cana was recorded between April and June 1999 at Drum Studio in Rio de Janeiro. Design by Gringo Cardia.

The Musicians

Caldo de Cana gathers 20 top musicians from Rio’s musical scene, some of them bandleaders with their own CDs. Talents like: Leandro Braga (2 CDs), Zeca Assumpção (Egberto Gismonti’s bass player), Artur Maia (Gilberto Gil’s bass player), Vittor Santos (Big Band Leader / 2 CDs), Monique Aragão (5 CDs), and Márcio Bahia (Hermeto Paschoal’s drummer).

Caldo de Cana was produced by David Ganc himself, was recorded between april and june of 1999 at the Drum Studio and the CD cover design is by Gringo Cardia.

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