Trombonist Felipe Brito Set To Release Debut Album

Trombonist and composer Felipe Brito melds Afro-Brazilian and Native-Brazilian
sensibilities with modern jazz language for his scintillating debut, “Não Deixe para Amanhã”

NEW YORK CITY, N.Y. – Dr. Felipe Brito is a trombonist, composer, and educator of the highest caliber whose varied and studded resume speaks volumes on his behalf. As a performer, Brito has shared the stage with the likes of Branford Marsalis, Joe Lovano, Raul de Souza, Nils Landgren, Eddie Montalvo, and Bobby Sanabria, among a plethora of others. Brito’s experiences on and off the bandstand have culminated in his professorship at Southeast Missouri State University, where he serves as both the Director of Jazz Studies and the Assistant Professor of Trombone. Brito has likewise held notable positions beyond the realms of jazz, having been principal trombonist for the Cleveland Opera Theater Orchestra, and performing with both the Canton Symphony and Erie Philharmonic. These myriad professional experiences within the realms of classical and jazz music ultimately meet at the intersection of Brito’s life and heritage as a Brazilian. Here, his passion and in-depth prowess for the Afro-Brazilian and Native-Brazilian musical traditions merge with his mastery of Western music to create a meld that respects these separate traditions while weaving a tapestry with their distinctive threads. Uniting with his colleagues from Brazil, Brito assembles a menagerie of original compositions that exemplify this convergence of styles with his debut, Não Deixe para Amanhã. 

The album’s title, Não Deixe para Amanhã, is a phrase in Brito’s native tongue, Portuguese, that translates as “Don’t Put Off Until Tomorrow”. This phrase is held dear by the bandleader, as it is one that he would hear regularly from his mother while he was growing up in Brazil. For Brito, this phrase specifically evokes a call to bravery and courage. “My mother reminded me [with this phrase] to be courageous and have goals,” Brito says. “I have applied that approach to music and my career in general. I was brave enough to become a professional musician, learn English later, and move to the US to continue my education and career.” Brito further elaborates that this phrase and the mentality it inspires is what drove him to create and curate this album, as it leant him the valor and determination to set the goals at its inception that enabled its completion. 

Musically, Não Deixe para Amanhã leans into a variety of specific elements of the Brazilian tradition that have, to much of the American music world, remained underrepresented or simply generalized over. This album integrates subgenres within Afro-Brazilian and Native-Brazilian music into the modern jazz language while simultaneously holding to the crux of what gives these subgenres their identity. Examples of this can be heard in the more widely familiar traditions found on the album, such as samba and bossa nova, and in the traditions that have remained thriving relatively under the radar, such as maracatu and alujá.

Brito’s compositional ideation on this album began with rhythm. In many cases, this would start with Brito identifying a rhythmic pattern to use, and then experimenting with adaptation and variation of that rhythm in the formation of melody. Harmonically, Brito pulls almost entirely from the rich library of jazz theory, and manipulates and styles both melody and harmony with knowledge of the verdant history of jazz trombonists who have preceded him. Examples of this compositional style can be readily heard throughout the piece “Vai”, which Brito wrote through experimenting with variation upon the standardized samba rhythms and reapplying these variants to the melody. While the track’s title literally translates as “Go”, Brito explains the deeper subtext: “The word vai tells you to not overthink it and just go for it.” This carpe diem attitude is captured well in the piece’s structure and build, which begins tense, climbing chromatically, before eventually resolving into a samba-jazz fusion. Another notable use of layering and adapting groove can be found in the song “Aos Amigos Da Vida”, which translates as “To My Friends”. The piece’s creation stems from the camaraderie on the bandstand that the title evokes. The melody was taken from an improvised samba that Brito used to play in Cleveland with the Paulo Costa Trio. Once the melody with its unique rhythmic quality was nailed down, Brito layered this upon the maracatu groove that is readily heard in the drums and bass. “Pegado” showcases the paramount musical importance of the African Diaspora and its various cultures on the music of Brazil. “The syncopated rhythms from the African Diaspora are present in Brazilian samba, maracatu, American R&B, and funk music,” Brito says. “In Brazil, we hear a lot of Black American Music; I grew up listening to James Brown, Earth, Wind, and Fire, Stevie Wonder, Marvin Gayle, Aretha Franklin, Luther Vandross, and many others.” This song seeks to pay homage to the influence of the African Diaspora while leaning into an addictive, hard-driving funk groove. 

For Brito, much of the brilliance of this album is owed to the contributions of his peers. Notably, the album features Brito’s long-standing friend and Latin GRAMMY winner, saxophonist Raphael Ferreira, whom Brito has known since 2007. “I have always wanted to be like him,” Brito praises. “He is a fantastic musician, educator, and composer. It was great to work with him and the rest of the band.” The band in its entirety comprises Brito’s companions from Brazil: Fabio Leandro (piano), Jackson Silva (bass), Rodrigo “Digão” Braz (drum set), Raphael Ferreira (saxophone), and the bandleader Dr. Felipe Brito (trombone, composer, producer). The album also features the arranging contributions of Frank Cano and Victor Cavazos, and was engineered by Latin GRAMMY winner, Adonias Sousa, Jr. 

With Não Deixe para Amanhã, Brito makes a pronounced contribution to the language and stylings of the oeuvre of jazz. By interlacing with utmost authenticity and creative ingenuity multiple diverse traditions, Brito audibly showcases the artistic flourishing that occurs when cross-pollination of ideas, sounds, and cultures is given opportunity to bloom. 

Não Deixe para Amanhã (Don’t Put Off Until Tomorrow) releases independently on September 6th, 2024

Source: Higher Level Media/Outside in Music

Featured Image Credit: José de Holanda