Craig Einhorn - Choros (2005)

"A down-and-dirty way for Americans to get a feel for choro," writes Craig Einhorn in the notes to his new CD, "is to drink two beers rather quickly and sing 'Give My Regards to Broadway.'" The Brazilian music form choro is derived from Euro-dances such as polkas and waltzes, loosened up by African slaves, and literally means "to cry" in Portuguese. What Einhorn means is that, like everything that comes out of Brazil, from bossa nova to forro to bikini bottoms on the beach, it swings.

Not all classically trained guitarists can pull this off, which is why some performances of the most famous choros, those written by Heitor Villa Lobos, can sound stiff in the wrong hands. But Eugene's Einhorn (who also overdubs electric bass and various percussion) has the touch, and with advice from Edson Oliveira and assistance from Kenny Sokoloff, Joaquin Espinoza, and Samba Ja's Brazilian-trained Jake Pegg on various percussion instruments, has put together a rich yet intimate survey of music by 20th century Brazilian and Argentine composers, including Villa Lobos, Baden Powell, and the famous "Tico-tico no Fubá" popularized by Carmen Miranda and Walt Disney. A treat for fans of guitar and world music. - Brett Campbell


Choros, South American music for the Spanish Guitar. Several years ago Craig Einhorn completed a CD, entitled Obras, with special guiest Mason Williams. Now Einhorn has focussed his energy on the guitar music of Brazil and Argentina. Einhorn plays classical guitar, electric bass and percussion. three other percussionists were also used. The following are the Choros CD liner notes: Brazilian choro (also known as chorinho) has been considered urban popular music since its emergence in the late 19th century. It developed out of the performance of European dance forms, including polka, valsa (waltz), mazurka, and others, and is performed by groups of musicians with various guitar-like instruments. Musicians gather for jam sessions called rodas de choro, or choro circles. In choro's early development the melody was often played on flute but around 1900-1920 this role was passed to the bandolim (mandolin.) Choro means "to cry," and it is almost certainly that the sentimental nature of the Brazilian style, adapted to European dance music that led to its name. Choro is also a way of phrasing and in this sense the word applies to several types of Brazilian music. A choro ensemble is called a "regional de choro." Choro is also performed by solo instruments like piano and guitar.

The solo guitar choro was the inspiration to create this CD. Originally I planned to record Choros as set of solo guitar pieces. But in the summer of 2004, I was hired to perform at the Fiesta Latina in Springfield, Oregon, and had to assemble a group with a bassist and percussionist. For this CD recording, I decided to play the bass parts myself on an electric bass and to add various percussion instruments to nearly all the faster works, which hopefully brought to these choros a refreshing energy. When I was about to record the percussion on Milongueo del Ayer and Sons de Carrilhões, I had my friend Jeanette Grittani, who is a singer and songwriter and was traveling from Canada to Mexico as an unexpected houseguest for two days. She owned a sweet sounding medium size djembe. I liked its sound and I recorded with it.

Tracklist:

01. Grauna
02. Dengoso
03. Milonga In D Minor
04. Choro Tipico
05. Divagando
06. Chorinho
07. Sons De Carrilhoes
08. Tango No. 3
09. La Primavera
10. Po De Mico
11. Milonguea Del Ayer
12. Valsa-Choro
13. Tico-Tico No Fuba
14. Quizas, Quizas, Quizas
15. Danza Brasilera
16. Retrato Brasilleiro