Juan Megna Group : Mariwô Review
by Steven Miller
Juan Megna’s Mariwô is a vibrant celebration of Afro-Brazilian and Argentinian musical traditions, artfully blended with the improvisational language of modern jazz. The album’s seven tracks form a setting of intricate rhythms, melodic depth, and exceptional interplay between musicians. Megna’s artistic vision and technical mastery of these rhythmic melodies have a strong grounding in the Afro-diasporic influences of Candomblé and the emotive power of Argentinian forms like the chacarera and milonga. Mariwô transcends genres while staying deeply rooted in its cultural origins; this is world music with modern jazz improvisations.
The cultural and historical context of Megna’s vision can be heard in the Afro-Brazilian title track, and other compositions draw inspiration from the Candomblé tradition, with rhythms like Cabula, Daró, and Ijexá forming the backbone of the music. Megna’s use of the “atabaques” drum ensemble highlights his connection to Afro-Brazilian ceremonies, adding authenticity and reverence to his arrangements.
The album’s Argentinian influences shine in “Si Estuvieras” and “Amarelinha,” revealing the fusion of Brazilian and Argentinian traditions, evoking the rhythmic landscapes of the Pampas and celebrating poetic forms like the Milonga Campera.
Jazz innovation can be found in Megna’s compositions, as they are grounded in Brazilian and Argentinian textures, and the modern jazz harmonies and improvisations are textures and solos within those rhythmic interplays.
“Mariwô” opens the album with a catchy, folklike riff-based melody, immediately captivating listeners with its world music character. Megna’s drumming showcases layered textures, dynamically interacting with the syncopated bassline and soloists. The chemistry between bassists Leonardo Lucini and Megna anchors the piece, creating a groove that remains engaging throughout. The composition’s expansive sections each have distinct energy, illustrating Megna’s skill as a composer and arranger.
“Paô” is a rhythmic tour-de-force built around a maracatú rhythm in odd time, this track brims with Brazilian passion and rhythmic complexity. The 12/8 pulse is steady yet nuanced, serving as the foundation for a rhythmic saxophone solo by Tedd Baker and a harmonically rich guitar accompaniment by Shawn Purcell. The guitar solo displays fluidity and harmonic ingenuity while remaining firmly within the groove, and Megna’s drumming captures the essence of Afro-Brazilian traditions with intricate inner syncopations.
“Fára Ogunjá” incorporates a traditional melody dedicated to the orixá Ogum, symbolizing strength and innovation. The vassi rhythm drives the piece, and Megna’s drumming emphasizes the polyrhythmic complexity of the Afro-Brazilian tradition. The interplay between Baker’s saxophone and Purcell’s guitar, with their modern jazz influences, merges beautifully with the rhythm’s raw world energy. David Sacks’ trombone adds an additional layer of richness to the track.
“Si Estuvieras,” features Emmanuel Trifílio on bandoneon. This ballad is a stunning homage to Argentinian tradition, adding a layer of textural warmth. Megna’s sensitive drumming complements Trifílio’s phrasing, creating an atmosphere that celebrates the many textures of world music.
“Amarelinha” is a playful track inspired by the Ijexá rhythm, often associated with the orixá Oxum. The melody, evoking an engaging charm. The song is enriched by José Luiz Martins’ keyboard and piano performance. His solo showcases a dialogue between his left and right hands. The track builds to a robust saxophone solo by Tedd Baker, heightening its joyful energy and rhythmic undercurrent.
Megna’s arrangement of Moacir Santos’ composition “Coisa No. 2,” pays homage to João Bosco’s version, while adding an Argentinian flair with collective improvisation inspired by “El Chango” Farías Gómez. Alisson Crockett’s vocals are warm and expressive, with crisp, clear accents that enhance the track’s emotional resonance.
Closing the album with a tribute to the deity Oyá is “The Owl Look.” This composition features the Daró rhythm, associated with attentiveness and care. Dedicated to Megna’s Iyálorixá and his wife, the track combines spiritual depth with vibrant melodic interplay, embodying the watchful and loving presence of Oyá.
The album as a whole is brought to life as a performance in collaboration. The Juan Megna Group excels in its ability to clearly maintain the rhythm traditions and frame them with jazz adornments. The ensemble is Tedd Baker (saxophone) and Shawn Purcell (guitar), bringing a modern jazz sensibility to the forefront. With José Luiz Martins (keyboard/piano) and Leonardo Lucini (bass) creating a rhythmic and harmonic foundation with rich texture. Guest artists Emmanuel Trifílio (bandoneón), David Sacks (trombone), and Alisson Crockett (vocals) add unique layers to the ensemble. Megna’s role as bandleader, composer, and arranger is evident in the seamless cohesion of the music, balancing individual rhythms with collective synergy.
Mariwô is an enthralling blend of world music tradition, innovation, and collaboration. Juan Megna’s deep respect for Afro-Brazilian and Argentinian music is matched by his modern jazz sensibilities, resulting in a project that offers a unique perspective on the syncretic power of world music. Each track offers a unique perspective on the syncretic power of rhythm and melody, making this album a must-listen for anyone interested in the intersection of Afro-Brazilian and world musical traditions with jazz artistry.
Juan Megna: Website
Juan Megna Group
Mariwô
September 6, 2024
Self-Released