The only world-class jazz vibraphonist to double on harmonica (and vice versa), Hendrik Meurkens is not only a major artist on those two instruments, but he has long had an overlapping dual career in straight ahead jazz and Brazilian music. “I’m from Hamburg, Germany, which is neither a jazz nor a Brazilian music city. It all started for me with some random records that I found in my parents’ collection. I became interested in both jazz and Brazilian music at the same time, whether it was Lionel Hampton, Milt Jackson or João Gilberto. Brazilian music is so beautiful that it is hard to resist. The harmonica works very well in that style.”
Hendrik toured and recorded with Harry “Sweets” Edison and Buddy Tate in 1986 and led his first album in 1989 which was his earliest set of Brazilian music. His six CDs for the Concord label in the 1990s gave him fame in the United States and he has led over thirty albums to date.
Having taken a break from Brazilian music in recent years to play more bop-oriented jazz dates, Hendrik Meurkens decided that it was time to return to Brazil with Samba Tonto. “Portinho is really the reason for the album. He is a legendary Brazilian drummer who came to the United States early on with the first wave of Brazilian musicians in the 1960s and has worked with Harry Belafonte, Gato Barbieri, and Paquito D’Rivera among many others. He is on several of my Concord recordings and we recently reconnected. Portinho has a unique style and sound, and he makes everything sound hip.” Pianist Misha Tsiganov has been in Hendrik’s Brazilian band for nearly 20 years and is an indispensable part of this album. Bassist Eduardo Belo, a Brazilian who lives in New York, recorded previously with Hendrik on a pair of albums led by pianist Roger Davidson. Flutist Laura Dreyer, who is also a talented alto-saxophonist, is an old friend of Hendrik’s and a major asset on four of this album’s songs. Trombonist Justus Heher, who is on seven numbers, is originally from Germany. “I love his sound. It’s a bit like Urbie Green’s, non-brassy and very velvety. Justus has perhaps the best trombone sound in the business these days.” In addition, strings arranged by Dario Eskenazi are featured on “The Summer Knows” and “A Lullaby for Benny.”
“The whole album is about playing beautiful songs,” says Hendrik. Samba Tonto begins with João Donato’s joyful “Know It All.” Donato had the knack for writing tunes that musicians love to improvise on, and Wes Montgomery recorded this one decades ago. Michel Legrand’s classic ballad “The Summer Knows” features Hendrik’s quietly emotional harmonica with the strings and a nostalgic atmosphere created by Tsiganov on his Fender Rhodes. “Herb’s Samba” is a tribute to the kindness of Herb Alpert. “I was booked at Herb’s Vibrato Grill in 2020 but, due to COVID, everything was cancelled. He decided to pay all of the musicians out of his own pocket which I thought was very noble of him.” The catchy original features Heher on trombone playing the melody along with warm solos from Hendrik on vibraphone, Tsiganov, and Heher.
Rodgers and Hart’s “My Romance” may be 90 years old but, as with every superior standard, it is timeless. Hendrik contributes a particularly tasteful statement with backing by the trio. His “Samba Tonto” is an energetic samba in 7/4 time. The blend between trombone and harmonica is quite attractive, Tsiganov takes a rewarding solo, Portinho swings the group in his inimitable fashion, and the result is a happy romp. “A Lullaby for Benny” is a contrast, a dreamy ballad with vibes, trombone, Fender Rhodes and strings that was written for Hendrik’s grandson Benny.
The rhythmically exciting “Chorinho for Nico,” written for Hendrik’s other grandson, has a tongue-twister melody expertly played by its composer on harmonica and flutist Laura Dreyer. Antonio Carlos Jobim’s underrated piece “Surf Board” not only includes both flute and trombone but Hendrik having spots on both vibes and harmonica. The soothing and thoughtful “Chelsea Nocturne” was originally recorded by Hendrik in 1996 on harmonica; this new version has his strongest vibes solo of the project along with a short statement from Heher.
This version of the standard “Bye Bye Brasil” has an optimistic feel and conveys the excitement of looking forward to future adventures along with a bit of melancholy at the thought of leaving Brazil. The blend between harmonica and trombone during the ensembles, the concise solos, and the accents and groove set by Portinho combine to make this into one of the song’s most rewarding versions. Samba Tonto concludes with “Choro em Casa.” “Casa” means “at home,” a title that fits since it was written by Hendrik during the COVID period when he was isolated. The infectious piece, which has spots for flute and harmonica, serves as a playful ending to one of Hendrik’s most memorable Brazilian albums.
Hendrik Meurkens, who performs regularly in New York and teaches at Berklee, sums up his hopes for the future: “I want to keep on keeping on. If I can play the music I like on my instruments and have an audience, that’s my goal. I want to continue creating beautiful music that stays and hopefully will still sound good many years from now.”
Scott Yanow, jazz journalist/historian
