P l y w o o d

O t a c í l i o M e l g a ç o

[duration 41:02] all rights reserved

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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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"Guitar, double bass, drums.
Acoustic. Made from woods. Fusionated.

Barbara Januszkiewicz once said ´Jazz vision is the fusion of music and art a real paradox of same-yet different. Here we play in exchanges, like the hardness of the key of C# major and from the softness of Db major - capturing, reflecting and improvising.´ Visions. These are the overlaid ´images´ that I see when ´I look Plywood´. Sounds. This is the sonic landscape that bewitches my ears when I am enraptured by all that irresistibly captures me, reflects me ... involving me in heterodox improvisations ... such as here - through a great (unconventional) power trio." (Pablo S. Paz; Argentinean musicologist)

"Plywood is a sheet material manufactured from thin layers or ´plies´ of wood veneer that are glued together with adjacent layers having their wood grain rotated up to 90 degrees to one another.

Above, a clear definition serves as substrate to a Melgacian metaphor that brings to perfection (and how Otacílio himself metamorphoses multitudinous sequences of scalar notes into harmonic strata is masterful proof of) the sonorous meaning of such multilaminar album." (Caio Campbell; Anglo-Brazilian semiologist and musician)

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I - A curiosity: along the album, there are times when we can hear people clapping. It was a small number of guests, minimum in quantity, who accompanied the recording and, in an alternative sound capture (made from a smartphone and not in the same room where the instrumentalists were playing), was caught the reaction they had to the performances (applauses immediately interrupted because they were not exactly welcome at that very moment, obviously). Then, at the post-production, Melgaço inserted this unusual participation in three passages of the definitive work. In a reference to the structure of the band, a trio. [Caio Campbell´s Note]

II - A typical plywood panel has face veneers of a higher grade than the core veneers. The principal function of the core layers is to increase the separation between the outer layers where the bending stresses are highest, thus increasing the panel's resistance to bending. As a result, thicker panels can span greater distances under the same loads. In bending, the maximum stress occurs in the outermost layers, one in tension, the other in compression. Bending stress decreases from the maximum at the face layers to nearly zero at the central layer. Shear stress, by contrast, is higher in the center of the panel, and zero at the outer fibres;

III - Barbara Morrison Januszkiewicz (1955) is an American painter, artist's filmmaker and a creative activist who is best known for her stylistic independence; however, has associations with the pop art movement, conceptual art and avant-garde elements. She specializes in watercolor painting in a hybrid style that blur the line between drawing and painting. Her 21st-century works on paper to date is the truest of hybrid style by crossing two central elements of American postwar art: color field painting and Abstract expressionism.

...for purposes of pragmatism and clear exegesis,
Wikipedia was the main 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.