Lee Ritenour’s newest album, Brasil, finds the jazz icon touring to São Paulo with co-producer Dave Grusin to immerse themselves within the nation’s wealthy musical heritage. Carried out and composed by a few of São Paulo’s prime musicians, the album is 10 songs showcasing Rit’s ardour for the guitar. The result’s pure syncopated ecstasy.

How far do you and Dave Grusin return?
He goes again to the very starting for me. I’ve recognized Dave since I used to be 18, however I knew about him earlier than that as a result of he was the most well-liked and revered TV and movie scorer in Los Angeles once I was in my late teenagers and early 20s. I watched exhibits like “I Spy” and “The Identify of the Recreation,” and cherished Howard Roberts’ taking part in. He was an important jazz guitarist and studio musician with an outstanding sound. There can be a chase scene with 5 minutes of music and this guitar participant blowing excessive of those chase scenes – that was Howard Roberts!

I requested my dad, “Who is that this composer with this guitar participant blowing all around the prime of this music?” It was Dave. Later, I received a gig with Sergio Mendez and Brazil ’66. Dave was the power behind these early hits, so the connection occurred by means of Sergio. Later, I used to be taking part in on the Baked Potato with drummer Harvey Mason. Harvey stated, “Let’s name Dave.” I stated, “Dave isn’t going to play with us…” However positive sufficient, he began coming each Tuesday night time. After that, I began doing all of Dave’s movie and TV work and dealing with pop artists. He’s been on nearly all of my data. Dave loves guitar and all the time options guitarists on his tasks as a result of it’s such an emotive instrument.

What gave you and Grusin the thought to supply Brasil?
I believed it could be an excellent time to revisit Brazilian music. I believed, “Perhaps there’s a solution to file with the fellows down there.” We might have performed the challenge in L.A. and received the most effective gamers, however to go down there and put ourselves of their surroundings was an entire totally different factor.

I saved listening to about new expertise there, so I began choosing songs primarily based on these artists. The highest studio musicians in Brazil are simply pretty much as good as the highest guys in L.A., New York, and Nashville. They’re the crème de la crème – nice gamers who can bend and go together with you. They add the flavour of the place they’re from, which is Brazil. We labored with an unbelievable drummer, Edu Ribeiro, guitarists Chico Pinheiro and Celso Fonseca, and an important singer, Tatiana Parra. It was a first-class challenge.

You and Chico play so effectively collectively on “Stone Flower.”
I first recorded that tune on A Twist of Jobim in 1997. Chico is such an important jazz participant and singer. I believed it could be enjoyable to do this tune with him and have each of us.

How do Brazilian rhythms affect your jazz taking part in?
The important thing phrase is rhythm. Ever since I used to be a child, I’ve cherished the rhythmic side of the guitar. I grew up whereas Motown was occurring, and I used to be getting known as as a session musician for many R&B work. Working with Quincy Jones, the place rhythm was crucial factor, fell over into Brazilian music’s affect on me. I discovered to play Bossa Nova songs as a youngster and I’ve all the time been fascinated with the rhythmic side of Brazilian music.

Speak about your Sadowsky LS-13.
For years, I used to be a Gibson man – I nonetheless am. I had a Customized Store Lee Ritenour L-5 that received cracked on a flight. After that, I used to be leery about bringing it on the highway. Roger Sadowsky stated, “Why don’t you strive considered one of mine?” He offered me with an LS-13 and a few his jazz guitars. I put flatwound strings on the LS-13, which was the right alternative for the highway and recording. On Brasil, the electrical stuff you hear is the LS-13, and it travels with me all around the world.

It’s very ethereal and vivid sounding. Is it utterly stable?
There’s a hole half proper down the middle, which provides it a little bit little bit of a chamber. However for probably the most half it’s 90 p.c stable. I didn’t even take into consideration what guitar I’d use on the album. Between the LS-13 and my Yamaha Classical NCX2000, I knew I’d be lined.
The Yamaha was an excellent match with the opposite acoustic performers.

Once I wasn’t taking part in the Yamaha, Chico ended up utilizing it on the primary observe. Celso Fonseca ended up utilizing that guitar on his tune, “Meu Samba Torto.” On “Stone Flower,” I’m taking part in the LS-13. Chico is utilizing the Yamaha. I bear in mind calling up Yamaha and telling them, “Your Yamaha is all around the file in a number of methods (laughs).”

This text initially appeared in VG’s September 2024 subject. All copyrights are by the writer and Classic Guitar journal. Unauthorized replication or use is strictly prohibited.