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Meeco Perfume e Caricias

With his second album “Perfume e Caricias” (Portuguese for “Perfume and Caresses”), the German-French composer and producer MEECO dips into the calmest, most relaxed level of jazz you could imagine. The name says it all: Meeco [...]

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Meeco Perfume e Caricias


With his second album “Perfume e Caricias” (Portuguese for “Perfume and Caresses”), the German-French composer and producer MEECO dips into the calmest, most relaxed level of jazz you could imagine. The name says it all: Meeco found the ideal partner for his new work, both acoustically and visually speaking, for his new oeuvre: the Brazilian vocalist Eloisia, who on a number of occasions has branded the famous French group “Nouvelle Vague” with her intuitive, sensuous voice. The very first bars of the opener “Cabelos ao vento” transport the listener to a distant dreamland and are reminiscent of the supreme art of Chick Corea’s “Return to Forever” with that exceptional singer Flora Purim. Surrounded by the elite of American Old School jazz musicians, Meeco has successfully created another masterpiece which not only whets the appetite for relaxed jazz, but truly invites you on to the comfortable sofa to switch off from your busy day. On 24th September this profound album will be in the stores here. “My music is first and foremost an emotional thing,” the composer explains his method of working. “I sit at the piano and let my feelings flow spontaneously. The essential passages for me are the ones where I get in touch with my feelings and that directly create a soundtrack for the pictures in my head.” And these pictures are clearly about love and poetry. With “Perfume e Caricias” Meeco has entered his listeners’ hearts; we present you a work that feels fragile, intimate and almost private. The internationally acclaimed debut album “Amargo Mel” was a cross-border, multicultural CD; “Perfume e Caricias” on the other hand follows a clear line from the first to the last note: calm, almost impressionist-style compositions, intentionally without percussion, but with such a sensitive and virtuous use of instruments that we never miss the drum beats. And of course above it all there are Eloisia’s poetic lyrics and her singing, tenderly stroking our ears.   Meeco, who was born in Berlin, has once more succeeded in enlisting great names from the American jazz scene to support him and his recordings in New York. One could be forgiven for thinking that he had crept into the international jazz world through the back door. This young composer-producer, just thirty-four years of age, has worked alongside some of the most famous jazz musicians in the world (Ron Carter, Hubert Laws, Eddie Henderson, David “Fathead” Newman, Charlie Mariano and David Friedman).   Once again, the legendary trumpeter Eddie Henderson (Herbie Hancock, Art Blakey’s Jazz Messengers, and McCoy Tyner) is in on the act. The most endearing piano parts are played by Kenny Barron (Dizzy Gillespie and People Time with Stan Getz), with several Grammy nominations and four times in succession awarded the title “Best Pianist” by the Jazz Journalists Association (JJA). Buster Williams is one of the most prestigious jazz bassists around; Meeco succeeded in winning him for the recordings. Previous stations along Buster’s way were Betty Carter, Sarah Vaughan and Nancy Wilson in the 60s, and later Miles Davis, Herbie Hancock, Wayne Shorter, Art Blakey, Tony Williams and many more. The prestigious studio ensemble is further enriched by James Moody, the 85-year-old flautist (Dizzy Gillespie, Charles Mingus, Eddie Jefferson and others), whose classic “Moody’s Mood for Love” Amy Winehouse did a version of on her debut album “Frank”; and Vincent Herring, who performed with jazz greats including Lionel Hampton, Horace Silver, Art Blakey, Nat Adderley and Freddie Hubbard.   On this new album as on the first, Meeco, who studied classical and jazz piano, kept a low profile as a musician. What is most important to him is how his compositions are interpreted; as producer he leaves the presentation to the best of the best. This distance allows him as director to achieve the very best possible results of sound and atmosphere.

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