Chords for John Patitucci presents new album "Irmãos de Fé" (HD)

_ _ [C] _ [G] _ _ _ _ _
[D] _ _ When I was [G] about 13, I heard a record that Chick Corea had made, [Bb] and Aierto was the drummer.
[Eb] It was called Lies of Feather.
[C] I loved the way Aierto played from the beginning, _ _ _ _ _ and later on, I guess it was 1981 or something
[Ab] like that, [Eb] I wound up playing with him.
I mean, I moved to LA at that point.
I was [Bbm] playing with all these [Fm] jazz musicians, and Joe Farrell got me to gig with Aierto.
_ _ I remember going up to Aierto's house in Santa Barbara, and he said, okay, this is the way
you do [G] this, and he showed me [Gm] some of the basic styles, and then we just started playing.
And for me, it was a big education.
You know, [D] there's [Bb] stuff from Bahia, [Cm] like Baiao, and then there's Partido Alto, and there's
Samba, and there's Massa Nova, and there's Samba Canção, and all these things that
you can study.
_ _ _ _ _ _ _ _
_ All the [D] rhythms that came from Africa, [G] wherever those [Cm] people were taken against their will,
they [D] changed the music forever [G] and made it much better.
_ [Cm] _ _ _ _ _
_ _ _ [D] There's an [G] irony there, something that was horrible and [Gb] shouldn't have happened _ [Gm] changed
the course [D] of music history everywhere [G] those people went.
And Brazil was a very unique pairing, [Fm] because in _ [Cm] that case, the [Am] way the rhythms [Gm] and the
harmonies and the melodies [Am] were [G] sort of intertwined sounded different than what [Fm] happened in Cuba
or in Venezuela and [G] some other places.
[Cm] _ Even among the guys who were known for the [G] Massa Nova, like [C] Jobim, we [Ab] do Olja Maria on
this [D] record [Ab] that he wrote with Chico Buarque, who's [Bb] an amazing composer [Cm] who's well-represented
on [Gm] this recording.
You know, Chico [Db] Buarque's lyrics were [G] unbelievable, very deep [Cm] poetry, _ and Jobim wrote things [Gm] that
were also symphonic, too.
_ _ [Gb] He was quite expansive, actually, in his writing.
He [Fm] wasn't just writing little [G] songs.
_ _ [Cm] _ _ _
A lot of those tunes [Gm] have really deep harmonic [Gb] implications that are really profound.
[D] They're [Fm] like _ [G] classical music, you know.
_ [Cm] _ _ _ _ _
[Gm] _ [Eb] When [Ab] I was growing up, you know, [G] in the 60s and then the 70s, my brother and [D] I bought
a lot of records.
[Gm] _ The story that [D] comes to mind is my [G] mother, who didn't know anything about jazz.
[Cm] She was [Fm] Italian-American from Brooklyn, [G] very intense woman, [A] but she [Bb] loved her kids a lot,
and she [Cm] would say, well, what do you want for Christmas?
[D] We'd go, what?
[G] There's this Coltrane record, Ma, I really [Fm] want it.
She would go and get it.
So, like, [Bm] our house was [Ab] kind of wild on Christmas morning.
My three younger [Bbm] sisters and my brother and I were opening up these records, [G] putting on
train, [D] blasting, you know, that record Black Pearls, where [Gm] he's just [Fm] like totally [Bb] obliterating
[Eb] standard tunes and like stretching on the harmonic [Db] things and playing these sheets of
[G] sound, and [Cm] that was our house.
_ _ _ [Gm] _ _ _
For me, this is [Gb] a great opportunity.
You hear my music [Fm] on vinyl again.
[Eb] It's really exciting to me because [D] it's something [Cm] that, I think, [Gm] because of Rogério's input
in the way, Yotam is [Gb] also a historian of Brazilian music.
He has eight [Fm] million Brazilian tunes.
[F] He's just [Cm] in love with the music.
So because of the three of us, how much [Gm] we love this music, I think it's actually come
[Gb] together in a very interesting [D] way with the stories [Fm] of the songs and the lyrics.
[G] It became much [Eb] larger in the last couple of [Cm] days for me.
_ [Gm] _ I'm really excited about the way it came out.
[Gbm] _ [D] _ _ _ _ [Fm] _ _ _ [G] _ _ [C] _ _ _
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