Anyone who favors things Brazilian will take to it. Or even those who simply love good music.
Grego Applegate Edwards, Gapplegatemusicreview
23 October 2017
Michala Petri, Marilyn Mazur, Daniel Murray, Brazilian Landscapes
https://3.bp.blogspot.com/-F-1a-mVH2HE/We3xo42dnEI/AAAAAAAAY_w/PzBBXZ87rDYJY8vUM_WM800WX5ZalahegCLcBGAs/s320/71yqIzR4QLL._SL1000_.jpg
Some music to appreciate fully you have to let breathe inside of you for a space. That is true certainly of Michala Petri, Marilyn Mazur and Daniel Murray's Brazilian Landscapes (Our Recordings 6.220618). It needs to breathe inside your musical mind because it has a beauty made up of unusual parts that in turn form an unusual whole.

To start there is the instrumentation and the musical personalities at hand. Recorder, classical guitar and percussion? That in itself is unusual. And then the peopling of the instruments is special. Marilyn Mazur has been for years a very accomplished and innovative percussionist. She shows on this recording that she is ever more resourceful and brilliant in her use of congas and all sorts of percussive instrumental possibilities. Michala Petri plays a very vibrant and contemporary kind of recorder sounding. In her hands it is an instrument of jazzy provenance, very fluid and timbrally diverse. Classical guitarist Daniel Murray plays in a fully blossomed contemporary manner that takes into account the rich tradition of Brazilian and jazz-oriented possibilities without being unaware an unversed in the state-of-the-art stylistic parameters of the classical guitar art per se.

Put these three together with some very ingenious and moving arrangements that allow for and sound with a jazz-like spontaneity. The interactions of the three within the well-worked out arrangements gives us an unusual sonic depth and presence that plays out fully and meaningfully.

And then there is the repertoire, a good mix of classics and lesser know Brazilian classics and lesser known pieces along with a few nice Daniel Murray originals. The Brazilian derived fare includes songs and works by Antonio Carlos Jobim, Egberto Gismonti, Hermeto Pascoal, Heitor Villa-Lobos, plus Paulo Porto Alegre, Paolo Bellinati, Ernesto Nazareth, and Antonio Ribeiro. All of the material has substance and the Brazilian tinge both rhythmically and otherwise.

The result spans chamber classical structure-form and Brazilian jazz heat and drive.

It is beautiful. It needs a few hearings to encompass and then you are there. That is, if you respond to it like I did. I cannot say that there is anything quite like it. Anyone who favors things Brazilian will take to it. Or even those who simply love good music.

Very recommended. A sleeper but a keeper!
Posted by Grego Applegate Edwards at 7:22 AM https://resources.blogblog.com/img/icon18_edit_allbkg.gif
Labels: brazilian chamber classical-jazz, brazilian music for recorder classical guitar and percussion, michala petri marilyn mazur daniel murray brazilian landscapes gapplegate music review
Grego Applegate Edwards, Gapplegatemusicreview

Refinement and inventiveness in "Brazilian Landscapes"
Camila Frésca, Concerto Brazil
28 September 2017
Refinamento e inventividade em “Brazilian Landscapes”

Um disco de música instrumental brasileira para a formação de flauta doce, percussão e violão. Assim é Brazilian Landscapes, gravado em dezembro de 2016, em Copenhagen, e que chega agora ao mercado brasileiro. O trabalho reúne Michala Petri, flautista dinamarquesa que possui prestigiada carreira internacional como solista e camerista; a percussionista e compositora norte-americana Marilyn Mazur, parceira de grandes nomes do jazz como Miles Davis; e o excelente violonista brasileiro Daniel Murray. A ideia do CD é do também violonista e produtor Lars Hannibal, que conheceu Murray em 2014, em Viena, durante a Classical Next. “Seu toque pessoal e arrojado chamou minha atenção. Imediatamente pensei na possibilidade de combinar o violão do Daniel com a maneira de tocar da Michala, além disso complementada com a incrível sensibilidade e inventividade de Marilyn Manzur, que eu sempre admirei em muitos outros trabalhos. Nos anos seguintes nos encontramos algumas vezes na Dinamarca e fomos amadurecendo este projeto tão especial”, escreve ele no livreto que acompanha o disco.
http://concerto.com.br/imagens/0-daniel_murray_foto_gal_-opido_gde.jpg
Daniel Murray [Divulgação / Gal Oppido]
Tem razão Lars Hannibal em se impressionar com Daniel Murray. O jovem violonista, compositor e arranjador é um dos grandes nomes do violão brasileiro de sua geração. Ex-aluno de Edelton Gloeden e Paulo Porto Alegre, aos 15 anos conquistou o segundo lugar no Concours Internacional de Guitarre de Trédrez-Locquemeau (França). Desde então, sua atividade como solista e camerista só tem se incrementado. Daniel possui uma carreira intensa e tem um duo com Paulo Porto Alegre, é integrante do Trio Opus 12 e do Quarteto Tau. Da mesma forma, sua curiosidade em explorar diferentes repertórios já o levou a gravar música contemporânea (ele se especializou em técnicas estendidas para o violão), discos autorais e outro dedicado a Tom Jobim, com arranjos próprios. Isso sem falar nos trabalhos de câmara e colaborações com outros artistas. Daniel, aliás, é um ótimo arranjador, como fica evidente neste disco, do qual é autor de todos os arranjos.
“Nas nossas divagações passeamos por muitos lugares procurando peças que tivessem em comum a mesma expressão musical, tanto brasileira como clássica europeia”, afirma Lars Hannibal sobre a pesquisa para seleção do repertório do disco. “Como músico, o que mais me fascinou na música brasileira foi a enorme variedade de ritmos e expressões que você não acha nem no jazz nem na música clássica da Europa”, completa. Nas peças selecionadas para o disco, pode se perceber algumas vertentes da composição brasileira. Uma delas é a de compositores que são ao mesmo tempo mestres do violão brasileiro: Paulo Porto Alegre, cuja peça Sonhos, em duas versões, abre e fecha o disco; Paulo Belinatti, com Jongo e Pingue-Pongue; e o próprio Daniel Murray, autor de Cauteloso e de Canção e dança. Há também mestres da música instrumental brasileira: de Hermeto Pascoal é a lúdica São Jorge; de Egberto Gismonti, um compositor muito apreciado pelos violonistas, temos o frevo Karatê e a linda A fala da paixão; um nome tanto inusitado na seleção é o de Ernesto Nazareth, com a deliciosa Fon-fon numa excelente versão. Há ainda dois dos maiores nomes da música brasileira: na seara popular, Tom Jobim, que comparece com Olha Maria, em sensível leitura para flauta e violão; e, de Villa-Lobos, temos os Choros nºs 2 e 5. Completa o disco as Oito miniaturas, de Antonio Ribeiro. Se o compositor mineiro não se encaixa exatamente em nenhuma das categorias anteriores, sua música dialoga perfeitamente com o restante do repertório. As peças são originais para piano, mas aqui parecem feitas desde sempre para flauta e violão – bem como estão longe de soar um eruditismo acadêmico, apresentando-se em perfeita combinação com as demais obras do disco.
Brazlilian Landscapes é um disco feito com um cuidado evidente, que vai da seleção das peças, passa pela gravação e pelo acabamento gráfico dos materiais, chegando aos arranjos e à interpretação. A sonoridade é bonita e original, e o resultado geral, bastante inventivo.  (28/9/2017) Por Camila Frésca

English Translation
Refinement and inventiveness in "Brazilian Landscapes" (9/28/2017) By Camila Frésca

A disc of Brazilian instrumental music for the formation of flute, percussion and guitar. So is Brazilian Landscapes, recorded in December 2016, in Copenhagen, and that now comes out on the Brazilian market. The work includes Michala Petri, a Danish flutist who has a prestigious international career as a soloist and chamber musician; the American percussionist and composer Marilyn Mazur, a partner of jazz greats like Miles Davis; and the excellent Brazilian guitarist Daniel Murray. The idea for the CD is also from guitarist and producer Lars Hannibal, who met Murray in 2014 in Vienna during Classical Next. "His bold, personal touch caught my eye. I immediately thought of combining Daniel's guitar with Michala's playing style, complemented by the incredible sensitivity and inventiveness of Marilyn Manzur, whom I have always admired in many other works. In the following years we met a few times in Denmark and we have been maturing this very special project, "he writes in the booklet that accompanies the album.

Lars Hannibal is right to be impressed with Daniel Murray. The young guitarist, composer and arranger is one of the great names of the Brazilian guitar of his generation. Former student of Edelton Gloeden and Paulo Porto Alegre, at age 15, he won second place at the International Guitar Competition of Trédrez-Locquemeau (France). Since then, his activity as soloist and camerista has only increased. Daniel has an intense career and has a duo with Paulo Porto Alegre, is a member of the Trio Opus 12 and the Tau Quartet. Likewise, his curiosity in exploring different repertoires has already led him to record contemporary music (he specialized in extended guitar techniques), record albums and another dedicated to Tom Jobim, with his own arrangements. Not to mention the camera work and collaborations with other artists. Daniel, by the way, is a great arranger, as is evident in this album, of which he is the author of all the arrangements.

"In our ramblings we went through many places looking for pieces that had the same musical expression, both Brazilian and European, in common," says Lars Hannibal on the research for selection of the disc repertoire. "As a musician, what fascinated me most about Brazilian music was the enormous variety of rhythms and expressions that you do not find in jazz or classical music in Europe," he adds. In the pieces selected for the album, one can perceive some aspects of the Brazilian composition. One of them is that of composers who are at the same time masters of the Brazilian guitar: Paulo Porto Alegre, whose piece Dreams, in two versions, opens and closes the disc; Paulo Belinatti, with "Jongo" and "Pingue-Pongue"; and Daniel Murray himself, author of "Cauteloso" and "Canção e Dança". There are also masters of Brazilian instrumental music: Hermeto Pascoal, "São Jorge"; Egberto Gismonti, a composer very appreciated by the guitarists, "frevo", "Karate" and beautiful "A Fala da Paixão"T; a name so unusual in the selection is Ernesto Nazareth, with the delicious "Fon-fon" in an excellent version. There are also two of the biggest names in Brazilian music: Tom Jobim, who attends Olha Maria, in a sensitive reading for flute and guitar; and from Villa-Lobos, we have Choros Nos. 2 and 5. Complete the disc the Eight miniatures, by Antonio Ribeiro. If the composer from Minas does not fit exactly into any of the previous categories, his music dialogues perfectly with the rest of the repertoire. The pieces are original for piano, but here they seem to have been made for flute and guitar ever since - as well as being far from sounding scholarly scholarship, presenting itself in perfect combination with the other works of the disc. Brazililian Landscapes is an album made with an obvious care, that goes from the selection of the pieces, through the recording and the graphic finishing of the materials, arriving at the arrangements and the interpretation. The sound is beautiful and original, and the overall the result is quite inventive. (9/28/2017) By Camila Frésca
 
Camila Frésca, Concerto Brazil

recorder superstar Michala Petri is always a pleasure
James Manheim, AllMusic (US)
14 September 2017
All Music (USA)
An album of Brazilian recorder music perhaps seems unacceptably obscure, but recorder superstar Michala Petri is always a pleasure, and this little collection offers many charming moments. Much of the music was arranged from piano pieces or other instruments, but there are a few recorder originals, and one work, the delightful Pingue-Pongeu of Paulo Bellinati is for any pair of instruments. The key of the album´s success is that Petri modulates the sound of her instrument to produce a seemingly artless sound that fits the folklike nature of most of the melodies here. A few pieces call for virtuoso effects, but for the most part the focus is on Petri´s singing tone. Several of the Brazilian giants, including songwriter Antonio Carlos Jobim and composer Heitor Villa-Lobos, are included. The bulk of the music is semi-popular, following in the lines of thoughts Villa-Lobos laid down. Percussion is added on some of the more rhythmic numbers (and most of them are rhythmic). Sample Cauteloso by Daniel Murray, purely Brazilian despite of the name, who is a classic example of the choro genre first exploited by Villa-Lobos decades earlier, just slightly expanded chromatically. The OUR Recordings engineering team achieves impressive results with the tricky recorder-and-guitar duos. Recommended. 
James Manheim, AllMusic (US)

4 out of 5 stars
Alex Robinson, Songlines UK
04 September 2017
Brazil´s modern classical music, given the focus it deserves.
This decidedly erudite CD is like a classically tinged Codona trio album for the new millennium. Like Don Cherry and Nana Vasconcelos´s Codana, Brazilian Landscapes witnesses an encounter of strings, wind and percussion – provided by the masterful classical guitar of Brazilian Daniel Murray, Denmark´s foremost recorder player Michala Petri and virtuoso New York percussionist Marilyn Mazur. The trio devote themselves entirely to a repertory of modern Brazilian classical compositions. Which include Villa-Lobos`” Chôros No 5”, the hauntingly melancholic and modal “ Olha Maria by Tom Jobim, the staccato and joyful frevo “Karate” by jazz composer Egberto Gismonti, tunes by Hermeto Pascoal and Antônio Robeiro, and original material by Daniel Murray himself.
Those looking for soothing South American sounds will likely be disappointed by this release. Brazilian is one for lovers of serious music, who will find a wealth of exquisitely played, rich, sophisticated pieces that never grate or jar in their virtuosity or experimentalism but that are stimulating enough for the highest of brows.
Alex Robinson, Songlines UK

Colourful program with Brazilian music for recorder, guitar and percussion, in bright and sensual performances of a rare spontaneity.
Remy Franck, Pizzicato, Luxemburg
11.08 2017

Michala Petri in Brasilien
Ein weitgehend gutgelauntes, manchmal leicht melancholisches Programm spielen Michala Petri und ihre Kollegen auf dieser SACD. Es sind kleine Stücke (das längste dauert 7 Minuten), die ihre Wurzeln in der facettenreichen brasilianischen Volksmusik nicht verleugnen.
Die Interpretationen sind farbig und sensuell, rhythmisch oder kantabel. Das spieltechnische Niveau ist hoch, aber Michala Petri, der brasilianische Gitarrist Daniel Murray und die amerikanische Schlagzeugerin Marilyn Mazur dringen vor allem tief in die Musik ein und bleiben dabei wunderbar spontan und frisch. 
Colourful program with Brazilian music for recorder, guitar and percussion, in bright and sensual performances of a rare spontaneity.
Remy Franck, Pizzicato, Luxemburg

close your eyes, and imagine yourself beneath an amber moon…”
Jerobear, Weekly newspaper editor in Cheshire, England.)
10 August 2017
This fascinating CD is nominally classical with jazz influences, but you could call it world because of the rhythm, which leans towards the Latin. It’s a quiet and reflective album.
The percussion plays varying roles in the music, coming to the fore in places and dropping back in others. There’s a sense of fun about much of the album — it’s probably engrossing to watch live — and in more than one place the percussion puts us in mind of the Jungle Book, with a playful, but not too intrusive, tribal feel to it. The jazz side is a mix of easy listening and the freer sound of more upbeat jazz: Barbara Thompson/Paraphernalia’s Wilde Tales is one comparison we thought of.
But it’s neither of those of course, and its classical leanings give it intensity; as the PR says, it’s classical “with the seductive and ingenious and multi-layered music of Brazil”.
Producer Lars Hannibal writes in the sleeve that he wanted to combine Brazilian rhythm with Western classical and jazz, which never normally include those rhythms, though he points out that Chopin was popular in the Brazil and was incorporated into the indigenous sounds, so the harmonic origin for bossa nova was Chopin.
The musicians are Michala Petri, recorder; Marilyn Mazur, percussion; Daniel Murray, guitar, and the three play the music of Antonio Jobim, Ernesto Nazareth, Egberto Gismonti and Heitor Villa-Lobos among others, as well as incorporating some of the regional sounds of Brazil.
It is slightly introspective, but the record company website implores: “Please don’t stream it! You’ll miss the full intimacy of the masterful engineering … set up a pitcher of caipirinhas, close your eyes, and imagine yourself beneath an amber moon…”
It’s out on Our Recordings: 6.220618. Buy direct from them. You can try here: 
Jerobear, Weekly newspaper editor in Cheshire, England.)

I enjoyed this attempt to highlight a particular crossover movement
Lark Reviews,- UK
24 July 2017
A light and enjoyable collection of music from a variety of Brazilian composers this CD seeks to demonstrate the links and interplay between the classical world (represented by Villa-Lobos) and the popular (represented by Jobim) to form a “third stream” of popular music with classical influences taken up by contemporary Brazilian composers. None of this music was known to me and I enjoyed this attempt to highlight a particular crossover movement, although at times I might have wished for a slightly more varied instrumentation to cover a whole CD.
Lark Reviews,- UK

So convincing are these performances.
perkustooth, NewMusicBluff (US)
17 July 2017
Petri Goes Brazilian
Since her debut in 1969 at the tender age of 11 Danish born recorder virtuoso Michala Petri has been one of the finest masters of the recorder.  This ancient instrument, a forerunner of the flute, has existed since the Middle Ages and has amassed a huge repertoire and Petri seems to have demonstrated mastery over all of it and has been an advocate and promoter of new music for her instrument as well.  She has inspired composers to write new works for her and she continues to entertain audiences and has assembled an ever growing discography of startling range and diversity.  Nearly single handed she has managed to honor past repertoire and firmly ensconce this instrument in the 21st century.
In this release, produced by Lars Hannibal (himself a fine guitarist and frequent Petri collaborator) Petri takes on the music of Brazil and, despite the fact that recorders have seldom found their way into the music of this geographic region, she delivers a convincing and hugely entertaining program on this disc.  Along with Marilyn Mazur on percussion and Daniel Murray on guitar the listener is given an entertaining cross section of Brazilian music ranging from the more classically oriented work of Heitor Villa-Lobos (1887-1959) and Ernesto Nazareth (1863-1934) to the smooth jazz/pop sounds of Antonio Carlos Jobim (1925-1994) and Egberto Gismonti (1947- ).  In between are included works by the album’s guitarist Daniel Murray (1981- ) and a few names unfamiliar to this reviewer including Paulo Porto Alegre (1953- ), Paulo Bellinati (1950- ), Hermeto Pascoal (1936- ), and Antonio Ribero (1971- ).
There is a remarkable unity in this Danish production which stems from a meeting between producer Lars Hannibal and Daniel Murray in Vienna in 2014.  Hannibal’s ear found a kindred spirit whose musicality is a good match for that of Petri.  And like a good chef he added the delicate and necessary spice of the tastefully understated (but extraordinary) percussionist Marilyn Mazur to create a unique trio that sounds as though they’ve played together for years.  Here’s hoping that they’ve secretly recorded enough material for a second album.
All the tracks appear to be transcriptions though the transcriber is not named (I’m guessing they’re collaborative).  What’s nice is that there is nothing artificial or uncomfortable about these arrangements.  The overall impression left is that of a skilled ensemble and listeners encountering the original forms of these works might well assume those to be the transcriptions.  So convincing are these performances.

One last thing.  The sound.  This super audio CD release was engineered by Mikkel Nymand and Preben Iwan and the sound is fabulous.  I don’t have a machine that can read the super audio tracks on this hybrid disc but what I can hear is a lucid recording which embraces the subtleties of this unique ensemble.  Enjoy! 
perkustooth, NewMusicBluff (US)