Ted and Pablo
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"World Music Review"

WORLD MUSIC REVIEW
Sounds of Brazil, via Southland
[HOME EDITION]
Los Angeles Times - Los Angeles, Calif.
Author: Don Heckman
Date: Jun 2, 2006

Here's an idea for some of the Southland's numerous music presenters: In your quest to showcase music from
around the world, don't overlook the diverse performers and ensembles available right here in Southern California.

That thought kept persisting during the performance Wednesday by Ted Falcon and the Los Angeles Choro
Ensemble at the Vic in Santa Monica. One of the first presentations in the venue's dedication to unusual
programming in the new "Fission Wednesdays" series, the Choro Ensemble's performance was enhanced
by guest singer Katia Moraes, ukulele player Marvin Falcon and flutist Rebecca Kleinmann.

Choro is often labeled the "New Orleans jazz of Brazil" and there are similarities, most notably in the brisk rhythmic
swing, the fast- paced, improvisation-like melodies and the melting pot blend of African rhythms with European
harmonies. But choro icons such as Pixinguinha and Jacob do Bandolim took the music into even more adventurous
arenas, in the process creating a uniquely Brazilian form of expression.

Ted Falcon, who is not Brazilian, is nonetheless fascinated by choro and has spent years dedicating himself to
the music with an outsider's passion. His performance at the Vic offered selections from his new album,
"Memorias do Brasil," a fascinating assemblage of classic choro and new originals driven by his mandolin and violin
skills and rich compositional insights.

Among the highlights: a dynamic solo-driven romp through Do Bandolim's "Assanhado" featuring Mitchell Long's
electrifying playing of the cavaquinho (a small four-string guitar), and Falcon's own "Choro Novo," with its combination
of complex harmonies and shifting rhythms.

The guest performers added more spice to the proceedings. Marvin Falcon (Ted's jazz musician father) called for
a musical shift of gears with a Hot Club of France-inspired jazz take on "Lady Be Good." Kleinmann's warm toned,
lyrical flute offered a colorful contrast to the fast-paced clarinet work of Andy Connell.
And Moraes' singing, as always, was a virtual definition of the passion that is an implicit part of Brazilian music.


Credit: Special to The Times
Reproduced with permission of the copyright owner. Further reproduction or distribution is prohibited without permission.

- Los Angeles Times


"Ted & Pablo --Review"

Initially getting acquainted with Ted Falcon and the Los Angeles Choro Ensemble a couple years ago while pursuing performing artists for a regional jazz festival, we've had the pleasure of keeping touch with the brilliant young American musician who's as convincing at Brazilian styles as it gets. His solo recording debut, Memorias do Brasil was nothing short of spectacular, and it was apparent then, the promising Californian was on his way to something really big.

Part serendipity part destiny, Falcon would cross paths with another amazing musician in 2006, Brazilian harmonica wizard Pablo Fagundes, whose own personal goals of border-broadening would not only be equally compulsive, but originating from the opposite geographical direction. North meets south and south meets north, while the two happened to be gigging near each other in New York City. Happy coincidence, Pablo's invitation for Ted to visit him in his homeland, the very region the American bandolimist yearned to visit, allowed an immersion and sharing of his own American pedigree (Blues, Jazz, Rock) on Brazilian soil. For six months, he enjoyed the opportunity to completely absorb the country's rich cultural heritage, and hang with musicians in a real life musical "laboratory."

Seeking opportunities to hone his already mature skills in choro, samba, and forró on Brazilian soil, Falcon traded his own background in American music, and the two have been able to produce a fine recording of the melding in "Transcontinental Music Express." Texturally, harmonica perfectly complements the mandolin. The forward motion of breath pushing line and phrase fills and contrasts the balance of percussive pluck and tremolo in soprano/alto register magic. Also wielding violin on some of the tracks, wind and bowed string form yet another magnificent ballet of sonic color. Interestingly, the violin is quite rare in Brazilian popular music.

Combine the wonderfully proficient accompaniment (the duo backed by some excellent supporting musicians) with some great arranging and composition and we experience all the elements necessary for a great CD. From the dynamic opening track "Partiu do Alto" (penned by Pablo) to the "summary" closing group-effort blues, "Quebra-mola Blues" we get a solid compilation of songs. Particularly engaging are Falcon's own songs "Baião Furacão,""Solamente," and "Zitta's Song" demonstrating an amazing ear for memorable melody. His writing is vibrant; these tracks really stood out both in performance and composition.

Not to dismiss the Brazilian classics on the CD, Ernesto Nazareth's timeless "Odeon," Honorio Lopes' "Lingua de Preto," and Luperce Miranda's " Picadinho à Baiana" are nothing short of indigenous treasures, music straight from the heartland and treated with respect. It's terrific to hear these and then hear the same instrumentation stretched to the American songs like David Grisman's "Barkley's Bug." The transition is seamless and convincing.

We'll enjoy hearing more from Ted and Pablo in the future; hopefully together as this partnership has obviously been mutually beneficial.


Selections:

1. Partiu do Alto
2. Baião Furacão
3. Odeon
4. Estamos Aí
5. Solamente
6. Barkley's Bug
7. Três Estrelinhas
8. Língua de Preto
9. Zitta's Song
10. Picadinho à Baiana
11. Quebra-mola Blues

Genre: Brazilian(World)
Released: July, 2007
Colaboration website: Ted and Pablo

CD Purchase information Elderly Music and CD Baby

Artist website: Ted Falcon

- Jazzmando.com


"TED & PABLO--TEMPLE BAR review"

Multi-instrumentalist Ted Falcon grew up hearing Luiz Bonfá, João Gilberto, Sérgio Mendes, and other Brazilian music around the house. His father, a professional guitarist who was Ted's main musical influence was always playing Villa-Lobos, possibly the most famous South American classical composer. Recently while in NYC jamming in the Village, Ted met harmonica player Pablo Fagundes. The next night at Joe's Pub, Ted invited Pablo to sit in on a tune, and as they say... Their new release Transcontinenal Music Express, including original compositions can be found by contacting Ted at www.myspace.com/tedandpablo.
At Temple Bar joined by Fabiano Nascimento on 7 string guitar, Ted and Pablo create a dynamic experience on stage. Focusing on their passion for choro music, these players build a visual and evocative environment. Choro is perfectly wedged between the future and the past with its immediacy and great melodies. Regardless whether on violin, mandolin, or cavaquinho, Ted's playing is effortless and displays his dexterity on an elevated level. Ted and Pablo's take on "Estamos Aí," by Mauricio Einhorn, Durval Ferreira and Regina Werneck, has a contagious groove, and on "Partiu do Alto" by Pablo Fagundes, Ted's mandolin and Pablo's gorgeous harmonica combine to form a rhythmic feast. They step off the stage and perform in the middle of the crowd to dancing, clapping and pure joy. Closing the set with "Asa Branca", by Luiz Gonzaga/Zé Dantas, and "O Ovo", by Hermeto Pascoal, Ted and Pablo have shared their passion and made new fans in doing so.
- L.A. JAZZ SCENE--November 2007


"Reviews for Memórias do Brasil"


Reviews for Memorias do Brasil


www.losangelestimes.com
Don Heckman---The Los Angeles Times

"Ted Falcon's performance at the Vic offered selections from his new album, Memorias do Brasil, a fascinating assemblage of classic choro and new originals driven by his mandolin and violin skills and rich compositional insights."

www.brazzilmag.com
Bruce Gilman---Brazzil Magazine

"Constantly changing color, character, and perspective, the recording takes listeners to the heart of choro. From Pixinguinha to Hermeto Pascoal, the music is tightly organized, each player contributing a clearly-defined personality to his role. There is not a low point in the entire program, and the players' musicianship and enthusiasm for this venture shines through every bar."

www.jazzmando.com
Ted Eschliman----jazzmando.com

"This CD sets the standard for an American-born effort to promote this genre north of the equator. Instrumental music like this, with the power to well tears sans the utility of lyrics is what makes the music of Brazil some of the most compelling in the world."

www.mandolincafe.com
Scott Tichenor---mandolincafe.com

"Wow! What a great recording. Superb choro. As someone that has played and listened to this music for quite some time I was thrilled at his selections, the quality of the recording and the players he's assembled. Ted has it down. This guy sounds completely like the real deal. The tone, the timing, the note selection..."
- various reviews/ short quotes


Discography

Transcontinental Music Express--Ted and Pablo 2007

Ted Falcon CD's
Falcon's Quest--1995
Toreador--2000
The Jamie Papish/Ted Falcon Ensemble--2002
Memorias do Brasil--2006

Photos

Bio

Mandolinist/violinist Ted Falcon hooks up with harmonica virtuoso Pablo Fagundes in a program of Brazilian and American music.

The new CD, Ted & Pablo—Transcontinental Music Express, recorded in Brazil, includes many original compositions as well as references to the great composers of both countries such as Ernesto Nazareth and David Grisman.

Ted Falcon, an American, first discovered his passion for Brazilian music when he heard choro at home listening to his father playing the guitar music of Villa-Lobos. He has dedicated himself to the study of the mandolin and choro for the past 7 years, recording a Brazilian instrumental CD, Memorias do Brasil, and writing a mandolin book, Retratos do Brasil. He is also one of the few innovators on the violin, an instrument rarely used in Brazilian popular music. In many different trips to Brazil, Ted has performed with some of the biggest names of Brazilian music, including Armandinho, Gilberto Gil and Epoca de Ouro. In the U.S., Ted has played with David Grisman and Mike Marshall, and has recorded with Ben E. King and Suzanne Vega.

For his part, Pablo Fagundes, a Brazilian, fell in love with the blues, an American style that has many fans in Brazil. Today he works to consolidate his instrument, the harmonica, in Brazilian music, developing research and giving lessons in the Escola de Choro Raphael Rabello in Brasilia. In Brazil, Pablo performs with Pe de Cerrado, a group dedicated to various styles of Brazilian regional music, as well as with the Quarteto Camara, a group that explores Brazilian music, jazz and blues. He has also played with the Brazilian All Stars Blues band, opening for B.B. King, and recently at the Mandolin Symposium in California, played with David Grisman and Mike Marshall.

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www.myspace.com/tedandpablo