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DUKE (s i n g l e) {Otac​í​lio Melga​ç​o} [duration 07​:​59]

by Otacílio Melgaço

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1.

about

D U K E ( s i n g l e )

O t a c í l i o M e l g a ç o

[duration 07:59] all rights reserved

"DUKE" (and "ECO" and "LACAZ")
form a Triptych (of Singles).
Respectively are dedicated to
Wesley Duke Lee, Umberto Eco, Guto Lacaz.

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The artist Otacílio Melgaço has two official curators in the virtual world. A curator (from Latin: ´curare´, meaning ´to take care´) is a manager or overseer. Traditionally, keeper of a cultural heritage institution (e.g., gallery, museum, library or, as the present case: sound archive) is a content specialist charged with an institution's collections and, highlighting the context in force here, involved with the interpretation of personal (heritage) material. Both, Mr. Paz and Mr. Campbell, are, therefore, reviewers of the Melgacian works. To learn more about their missions, tasks, assignments and responsibilities by means of valuable informations regarding the compositional process, the performative rhizomes and other special features, just click the following link: otaciliomelgaco.wixsite.com/preamblebypsp
(O.M.Team; P r e l u d e)

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"´One, Two, Three ... Free´ is the revealing count that opens such frantic sonic piece. The challenging and daring Melgacian jazz under its peculiar wall of sounds. Acoustic and topic electronic elements intertwine obsessively in a cutting, ripping, sharp, high-pitched/treble & acute mixture/mixing. I have used the term before (in other reviews) and I do it again: ´Petard´ is a fairly accurate definition.

Some very important details should be focused. Among many, I´ll freely quote one, two, three:

1- Differently than is usual in jazz, when there are instruments in the first performative plan while others serve them support ... until, taking turns, all have enjoyed the spotlight; Otacílio Melgaço creates a resonant compaction/densification that elevates improvisation to a more juncture level. In this light, he brings a structural perspective of classical music for his interventions in the polished jazzistic genre;

2- O.M. suggests ringing mass blocks that are - out of the blue - interrupted by discrepant breaks and catapult us toward ´timespatial´ undulations. This prism feeds successive harmonics dimensions that unveil exciting dynamics to the attentive listener;

3- We are face to face with a multitude of instruments, without any propensity to follow conventions. Organ (which resonates canonical), saxophones (orbiting ´quadrophenic´ channels), trumpets (with wah wah), string quartet, electronic noise, ..., and of course, drums (a dynamo!): all that´s available - either in timbre multiformity, either using effects that turns aside us from the original sources, generating new coloraturas -, all will be an incendiary tool for the composer and multi-instrumentalist.

Witty, Wesley Lee, elegantly and sardonically, had the habit of uttering: ´The truth can not be told, only revealed´ - making mention to the transcendent universe that so marked his work. So with Melgaço (and ´DUKE´), revealingly.

post scriptum

Curio | One of the O.M.´s side projects, is the band
Baal des Quat'z'arts.

otaciliomelgaco.wix.com/baal4arts (official site)

In its world premiere show - in the city of Belo Horizonte, the first sonic Piece from the repertoire presented was a Melgacian partnership with Johann Wolfgang von Goethe, ´Das Tagebuch´. That night, the music was dedicated to ... Wesley Duke Lee." (Pablo S. Paz; Argentinean musicologist)

"Cosmopolitanism, refinement, versatility, synchronicity, multiplicity, iconoclasm, controversy, irreverence, irony. Mr. Lee crucial features seem impregnate this Single. The honored claimed to be a ´magical realist´. A vibrant ´DUKE´ can be framed thereby: magically realistic, realistically magical.

Highlighting (on disc cover) the ´graphic sculpture´ also made by Otacílio Melgaço - under his designing designer vertebra. He works here as a doer of ideograms." (Caio Campbell; Anglo-Brazilian semiologist and musician)

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I - Wesley Duke Lee (1931 - 2010) was a Brazilian visual artist.

Lee was a grandson of Americans and Portuguese and started his learning of art in the drawing course of São Paulo Museum of Art, in 1951. In the following year, he moved to the United States to study in the Parsons and in the AIGA, in New York, until 1955. Then, he knew the works of Robert Rauschenberg, Jasper Johns, Cy Twombly and the Pop art in general. Back to Brazil, Lee quit the advertising career and studied painting with Karl Plattner, joining Plattner in a trip to Italy and Austria until 1960. Lee also travels to Paris, where he attends classes in the Académie de la Grande Chaumière and in the atelier of Johnny Friedlaender.

After returning to Brazil, in 1963, Lee begins to work with young artists and performed the happening O Grande Espetáculo das Artes ("The Great Spectacle of Arts" in Portuguese) at the João Sebastião Bar, in São Paulo. That was considered one of the most pioneer happenings in Brazil.

With Maria Cecília, Bernardo Cid, Otto Stupakoff and Pedro Manuel Gismondi, among others, he tried to establish a group dedicated to magic realism. In 1966, he joined a group named "Grupo Rex" but it lasted only until 1967.

W.D.L. died on September 12, 2010, in São Paulo, at the age 78, due to pulmonary aspiration and cardiac arrest;

II - There´s another DUKE which, by the way, is essential in jazz history, Mr. Ellington. Edward Kennedy "Duke" Ellington. Indirectly we can consider him mentioned by Otacílio Melgaço.

...for purposes of pragmatism and clear exegesis,
quotes have Wikipedia as a source...

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Between two parentheses...
(Atonalism, Twelve-Tone, Serialism, Musique Concrète... Acousmatic. Eletroacoustic. Magnetic Tape. Expressionism, New Objectivity, Hyperrealism, Abstractionism, Neoclassicism, Neobarbarism, Futurism, Mythic Method. Electronic...Computer Music, Spectral, Polystylism, Neoromanticism, Minimalism and Post-Minimalism...are addressed by Melgaço. Paradoxically New Simplicity and New Complexity also.
Art Rock, Free Jazz, Ethnic Dialects, Street Sounds are occasional syntax elements.
All the possibilities mentioned above and others that were not mentioned are the usual accoutrements of the composer/instrumentalist to establish his ´babelic´ glossary. We can prove this in a short passage of a single composition up along the entirety of a conceptual phonograph album. All distributed over a career and idiosyncratic records. Have we a universe before us and I propose to see it through a telescope, not a microscope.
I propose not handle very specialized topics here. Otherwise would be, with the exception of musicians and scholars, all hostages of a hermetic jargon. Because more important is to present Otacílio Melgaço to the general public and not to a segment of specialists. Faction of experts not need presentations, depart for the enjoyment beforehand. For this reason there is no niche here for intellectual onanism and encrypted musical terminology. The reason for these parentheses is to establish such elucidation. The non-adoption of technicalities leads to more panoramic, amplifier reviews. Are You always welcome. Those who do not dominate contemporary music and are introduced to the world of ubiquitous O.M. [autodidact and independent artist who, being more specific, does not belong to schools or doctrines; artist who makes Music and that´s enough; music devoid of labels or stylistic, chronological, historical paradigms or trends] and Those who belong to the métier and turn to enjoy propositions they know and also delving into advanced Melgacian sound cosmogonies...
I conclude poetically. ´Certeza/Certainty´ by Octavio Paz. ´Si es real la luz blanca De esta lámpara, real La mano que escribe, ¿son reales
Los ojos que miran lo escrito? De una palabra a la otra Lo que digo se desvanece. Yo sé que estoy vivo Entre dos paréntesis.´ If it is real the white light from this lamp, real the writing hand, are they real, the eyes looking at what I write? From one word to the other what I say vanishes. I know that I am alive between two parentheses.
We´re all more and more a-l-i-v-e now.)
- P.S.P.

credits

released March 3, 2016

Hear more here:
soundcloud.com/otaciliomelgaco

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O t a c í l i o
M e l g a ç o {conception | composition | arrangement | synopsis | instrumentation | orchestration | engineering & sound design | art design | production | direction}

Special Guests: Nausícaaa Ensemble | Zycluz Quartett

Estúdio Yoknapotawpha/BR + Unidade Euromobile

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Otacílio Melgaço Belo Horizonte, Brazil

Composer, Arranger, Conductor, Multi-
Instrumentalist
from
Minas Gerais,
Brazil.
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Official (English) Site
otaciliomelgaco.wixsite.com/omenglish
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"Music is like a bewitched Mistress." (Paul Klee)
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