MARCOS NIMRICHTERBy Monica RamalhoHe was still a thirteen-year-old boy and there he was laying his hands on the black and white keys of the piano ready to play another choro. The only difference at that moment, some nine years after his nine years of solfege and harmony lessons, was the band in the back and the audience in front of him. And that was pretty much how Marcos Nimrichter’s professional debut happened. Later on, he would unveil the magic of the accordion by himself.Some points call immediate attention in Nimrichter’s musical path: his beginning at a very young age in the complex choro world, his solid classical music education, and the plurality of sounds he achieved during the following years by playing with a great variety of artists such as Chico Buarque, Dori Caymmi, Zé Ketti, Jorge Ben Jor, Cássia Eller, Moacir Santos, Caetano Veloso, Elza Soares, Mauro Senise, Pascoal Meirelles, Martinho da Vila, Márcio Montarroyos, Armandinho, Stanley Jordan, Michel Legrand, Al Jarreau and Wynton Marsalis.In his first solo album, Marcos Nimrichter reveals himself as a virtuous alquemist of the sounds, well balancing doses of samba, jazz, frevo and other brazilian rhythms. He also makes clear he knows really well how to combine timbres by recruiting real masters in his instruments. We are talking here about musicians like Toninho Carrasqueira (flute), Paulo Sergio Santos (clarinet), Aloysio Fagerlande (fagot), Carlos Prazeres (oboe), and Phillip Doyle (French horn), all from the Villa-Lobos Quintet.The horns are present in most of the tracks of Nimrichter’s album, which was originally released by the label “Niteroi Discos†and later reissued by “Biscoito Finoâ€. Marcos Nimrichter’s musical lab is filled with pieces of his own creation, but many other masters did their experiments in it. Among them there are the flutist Andrea Ernest Dias, the percussionist Marcio Bahia, the bassist Zeca Assumpcao, the trumpetist Jesse Sadoc, the saxophonist Marcelo Martins and the guitarist Rodrigo Campello.“I normally think about composition and arrange as one thing. It is how I see classical and popular music as well†says the pianist, accordionist and compositor Marcos Nimrichter. His difficult to spell and pronounce name was inherited from his German grandfather, who marries his Brazilian grandmother. Marcos is the son of a fluminense* with a mineira**, and everything might as well be explained by that: he carries to his music this multiple and wide-ranging genetics.* a person born in the Brazilian state of Rio de Janeiro
** a person born in the Brazilian state of Minas Gerais
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