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| 1. | Fabiana
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| 2. | Soir Bresilien
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| 3. | Bom Dia
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| 4. | Tristezas Do Amor
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| 5. | Eu Sinto Saudade Dela
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| 6. | Ela Me Ama
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| 7. | Contemplaçáo
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| 8. | Samba Para Minhas Crianças
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| 9. | Patient Soul
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| 10. | I Remember Your Smile
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| 11. | Abia
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Roger Davidson, piano
David Finck, bass
Paulo Braga, drums
And special guest
Marivaldo dos Santos, percussion
On his widely praised 2005 album Rodgers in Rio, Roger Davidson set Richard Rodgers standards in bossa settings, led by his tuneful, jazz-inspired piano playing. Now, in BOM DIA (Portuguese for "good day2"), he weds his own songs to a full range of samba rhythms, from the percussive Carnaval style to the delicate murmur of the bossa nova. Here is a must-have album of romantic jazz, a love poem to Brasil - a country that has produced some of the world’s most bewitching tunes.
Uniting the same trio which includes legendary drummer Paulo Braga and first-call jazz bassist, David Finck, BOM DIA is a world class recording.
James Gavin - Liner Notes
Leon Zervos - Engineer
Will Schillinger - Engineer
For those of you who enjoy instrumental Brazilian music played with passion, skill and literacy, you've come to the right place on pianist Roger Davidson's Bom Dia. An extraordinary player and composer, with classical training and plenty of jazz chops, Davidson, bassist David Finck and the exceptional Brazilian drummer Paolo Braga breeze through a full set of the pianist's original compositions, all with a fresh yet traditional approach to the sunshine and sensual happiness so extant in samba and bossa nova music. There's nothing lazy or complacent with Davidson's approach, as he's reaching for the inner soul, warm depth and laid back experience that makes the Brazilian lifestyle unique. Of the more energetic numbers, the quick "Fabiana," hard Carnival-time dance accents on the title track, and lively refrains of "Ela Me Ama" reflect the party season in Rio. In a more jazzy tone is the "Samba Para Minas Criancas" which acknowledges the styles of both a vibrant Marcos Valle or bouncy Chick Corea, while two-fisted chords, limber and joyous, identify "I Remember Your Smile." The program goes in and out of love, despair, bittersweet finality, hope and finally redemption. This is achieved via the inserted serene, contemplative and graceful numbers programmed opposite the upbeat tunes, and as such works in a single listening session. Davidson is on top of his game throughout, Finck is virtually flawless, and Braga is, simply put, a precise and congenial rhythmic master and spell caster. A recording that is easily recommended, it is likely Davidson's finest in a relatively obscure but substantive multi-faceted music career.
---Michael G. Nastos, All Music Guide
Roger Davidson
Active Decade: '00s
Genre: Jazz
A flexible and diverse acoustic pianist who lives on the East Coast, Roger Davidson has a long history of playing both European classical music and straight-ahead bop (on top of being knowledgeable of various styles of Latin music, including Afro-Cuban salsa, Argentinean tango, and Brazilian samba). As a jazz improviser, Davidson has favored a very lyrical and melodic approach. Bill Evans (the pianist, not the saxman) is a major influence, and Davidson's jazz playing also brings to mind pianists like Red Garland, Hank Jones, Wynton Kelly, and Tommy Flanagan; in other words, the more accessible bebop and hard bop pianists of the 1950s and '60s who swung passionately but brought a strong sense of melody and lyricism to the table. Although Davidson's classical training comes through when he is playing straight-ahead jazz, he has no problem swinging or improvising; Davidson is able to compartmentalize, improvising spontaneously in a jazz setting and faithfully sticking to what is written in a Euro-classical setting.
Born in Paris in 1952 to a French mother and an American father, Davidson moved to New York City when he was a baby and has spent most of his life in the northeastern part of the United States. The '70s found the pianist earning a master's degree in composition from Boston University and a master's in choral conducting from Westminster Choir College in Princeton, NJ. After that, Davidson spent some time in Germany (where he studied voice at the Lichtenberger Institute) but returned to the northeastern U.S. and once again lived in Boston (where his activities ranged from directing a chamber orchestra to composing religious choral music). His interest in jazz was strong, however, and one of the people who encouraged that interest was the late producer Helen Keane (who was best-known for managing and producing Davidson's idol, Bill Evans). In the late '80s, Keane produced an album-length jazz demo cassette for Davidson, although she didn't live long enough to produce an official album for him. Nonetheless, Davidson went on to record some jazz albums that were released commercially, including the Latin-influenced Mango Tango. Between 2002 and 2004 Davidson recorded jazz for the independent Soundbrush label; his Soundbrush dates during that period included Ancient Voyage and Rodgers in Rio (an album of Brazilian jazz arrangements of standards by the famous Tin Pan Alley composer Richard Rodgers). Soundbrush was also where, in 2002, Davidson and Argentinean bassist Pablo Aslan (of Avantango fame) teamed up as the Tango Project and produced a tango-minded CD titled Amor por el Tango (Love for the Tango).
---Alex Henderson, All Music Guide |
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