Rosewood Café
Margaret Herlehy oboe
Fusion lovers will enjoy the PARMA recordings debut of oboist Margaret Herlehy in this fresh, new collection of Latin-inspired jazz. Uniquely, oboe is the central instrument in each composition. Herlehy not only meets the demands of such a challenge but exceeds them. “Choro Negro” is a prime example. To the ear it should register as Brazilian, or even French, but it becomes something altogether different. The result, while experimental, is quite sensible leading the listener to wonder why he or she hasn’t heard the oboe in this capacity before. “Café 1930” is Herlehy’s opportunity to showcase her versatility with incredible depth in this introspective and solemn romanze. The other end of the spectrum is the fun and vibrant “Diabinho Maluco,” a flute and oboe duet reminiscent of the woodwind agility demonstrated in J.S. Bach’s great instrumental suites but delivered with the swagger of a modern Latin dance. On eight of the nine tracks appears guitarist David Newsam a regional powerhouse in the latin, jazz, and classical guitar community and a colleague of Herlehy at the University of New Hampshire. With Rosewood Café Margaret Herlehy is serving something exploratory and quite palatable. Enjoy!
Listen
"These are enigmatic studies of Brasilian music, none of which are the easiest nuts to crack, but Miss Herlehy’s insightful colours have the measure of their limpid introspection and fantasy… quite memorably so."
Track Listing & Credits
| # | Title | Composer | Performer | |
|---|---|---|---|---|
| 01 | Pé de moleque | Celso Machado | David Newsam, guitar; Margaret Herlehy, oboe | 2:25 |
| 02 | Naquele tempo | Benedito Lacerda, Pixinguinha & Fabio Oliveira | Henrique Eisenmann, piano; David Newsam, guitar; Fernando Brandao, flute; Margaret Herlehy, oboe; Negah Santos, pandeiro | 4:11 |
| 03 | Choro negro | Paulinho Da Viola & Fernando Costa | Henrique Eisenmann, piano; Margaret Herlehy, oboe | 4:48 |
| 04 | Quebra-Queixo | Celso Machado | David Newsam, guitar; Margaret Herlehy, oboe | 5:00 |
| 05 | Algodão doce | Celso Machado | David Newsam, guitar; Margaret Herlehy, oboe | 2:09 |
| 06 | Diabinho maluco | Jacob Do Bandolim | David Newsam, guitar; Fernando Brandao, flute; Margaret Herlehy, oboe; Negah Santos, pandeiro | 2:41 |
| 07 | Paçoca | Celso Machado | David Newsam, guitar; Margaret Herlehy, oboe | 4:25 |
| 08 | Sambossa | Celso Machado | David Newsam, guitar; Margaret Herlehy, oboe | 3:19 |
| 09 | Café 1930 | Astor Piazzolla | David Newsam, guitar; Margaret Herlehy, oboe | 7:00 |
Pé De Moleque, Quebra Queixo, Algadao Doce, Pacoca, Sambossa from Musiques populaires brésiliennes © Editions Henry Lemoine, Paris
NACHELE TEMPO © Warner Music Brasil
CHORO NEGRO © 2004
DIABINHO MALUCO Written by Jacob do Bandolim © BMG Music Publishing Brasil LTDA
CAFÉ 1930 From Histoire du Tango © Editions Henry Lemoine, Paris
Margaret Herlehy plays a Laubin Oboe made of Brazilian Rosewood
All Songs Recorded at CedarHouse Sound in North Sutton NH
Producer Margaret Herlehy
Engineer Gerry Putnam
Mastering Gerry Putnam, CedarHouse Sound
© Margaret Herlehy, All rights reserved.
Executive Producer Bob Lord
Executive A&R Sam Renshaw
A&R Chris Robinson
Audio Director Jeff LeRoy
Engineering Manager Lucas Paquette
Design & Marketing Director Brett Picknell
Design Ryan Harrison
Artist Information
Margaret Herlehy
Margaret Herlehy was born into a musical family in New Rochelle, NY in 1959. Growing up, she recalls an attic filled with her grandfather’s instruments as her experimental playground where she would spend hours figuring out popular tunes on them. At the suggestion of her middle school band director, she started playing the oboe and began playing professionally alongside her teacher Lois Wann at the age of 16.
Notes
ROSEWOOD CAFÉ is the culmination of a two-year collaboration with Boston-based Brazilian jazz musicians featuring the oboe as a lead voice in the popular instrumental music of South America. Margaret Herlehy explores the qualities of her instrument that brings a freshness to this genre in her debut album.
Special thanks to David for planting the seed for this project and introducing me to the music of Celso Machado, to Fernando for his coaching and sharing his talents, to Henrique and Negah for their inspirational playing, to Ali and Diana for their love and support, my family and friends for their encouragement, to Gerry for his great ears and technical skill and to my mentor and dear friend Lois Wann who taught me the power of shaping a phrase.
— Margaret Herlehy