Juan Megna Group
Mariwô Project
“Juan is brilliant in his work as a leader and composer. I always knew about his great talent and ability as a drummer, but I was very surprised to hear such an original, pleasant, well-finished, and tasteful work written by this fellow musician. Thank you for sharing your art and long live this project."
(Edu Ribeiro, Brazilian Grammy Award. Drummer and Composer)
"Great compositions and very well-played arrangements.
You used the influence of the Afro-Brazilian elements in a very musical way. It was a pleasure listening to your music."
(Jovino Santos, Brazilian leading pianist and composer)
"I enjoyed Juan's playing and compositions. Excellent band too!"
(John Riley, lead drummer, Village Vanguard Orchestra, NY, jazz educator)
Mariwô project is an album comprised mainly of Juan Megna's compositions.
The music is mostly inspired by traditional melodies and rhythms from the Afro-Brazilian religion called Candomblé, where different cultures from the African Diaspora are syncretized in their ceremonies.
In addition, some Argentinian rhythms, such as milonga, and chacarera are present in Juan Megna’s compositions and arrangements.
Mariwô
Mariwô. is the palm-three leave that Ogum uses to dress in the rain forest. It represents the Orixá's protection and a perpetual signal of Ogun's immense power.
In the live version, the song is preceded by a Hamunha Candomble "toque".
The "toque hamunha", or "hamunha rhythm" is part of the repertoire of the liturgical Candomblé drums known as "atabaques". This rhythm has its origins in the Candomblé Jeje nation. Its function during the Candomblé celebrations known as "xirê" is to indicate the entry of the devotees, as well as the end of the ceremony. Candomblé is an Afro-Brazilian religion that blends elements from different nations brought from Africa during the diaspora period between the seventeen-century and nineteen-century. In its ritual, three drums are utilized. The names of these drums are “atabaques”. One of these drums, the “Rum - drum”, the lowest of the three ones, improvises under different rhythms played by the other two drums, called “Rumpi”, medium pitch drum, and “Lé”, the highest pitch drum. In addition, a “Gān”, like the Brazilian “Ago-go” cowbell, plays constant rhythm patterns.
Juan Megna wants to thank to masterdrummers Italossy Alexandro and Alison de Souza from the Ilê Àse Oyá Orìrí. They were taught by master drummer Edinho de Gantois, following a line of knowledge years that was passed orally through generations.
Paô
Paô is a composition inspired by a Candomblé salutation addressed to their saints.
The melody is based on a rhythmic pattern that resulted in an "odd time" Maracatú rhythm. Maracatú is a popular genre practiced mostly in the Brazilian state of Pernambuco.
Fára Ogunjá
Fára Ogunjá is a melody based on the rhythm pattern known as vassi, present also in other Afro-diasporic ensembles.
This composition includes a traditional tune dedicated to the orixá Ogum, the trailblazer. The melody is sung in the last section of the melody.
The orixá Ogum is associated with war, innovation, technology, and the element of iron. In the Candomblé tradition, his color is blue.
Si Estuvieras
Si Estuvieras is a composition by Luis Perez dedicated to his late grandmother Aurora Antelaf.
“Milonga Campera” or “Countryside Milonga” is a style played in Argentina, Uruguay, and the southern region of Brazil. In its traditional form, this declamatory genre related to poetry reminds the nostalgic landscape of the Argentinian Pampas or plain lands.
Amarelinha
Amarelinha is a composition inspired by the Afro-Brazilian rhythm called Ijexá played in Candomblé ceremonies.
The Ijexá rhythm is commonly played to worship the Orixá Oxum, associated with freshwater, fertility, art, and beauty.
Oxum is the orixa that looks for the child's and baby's well-being. This is why the melody has an infant character.
The name "Amarelinha" refers to the hopscotch game, making a pun between the Oxum's color - yellow - and the game's name.
The "Coda" section is a tune or "Cantiga" dedicated to Oxum.
Coisa No2
Coisa No. 2 is a Moacir Santos composition released in his LP “Coisas”. Juan Megna’s arrangement was inspired by another arrangement, performed by the great Brazilian artist Joāo Bosco on the album “Mano Que Zueira”. This version is a 12/8 up-tempo performed by Bosco’s voice and acoustic guitar. Megna’s version is basically a transcription adapted to his group.
The solo section is a tribute to an Argentinian musician, "el Chango" Farías Gomes, where Megna attempts to emulate the same collective improvisational approach.
The Owl Look
The Owl Look is a composition based on the “Daró” or “Ilú” Candomblé rhythm.
This rhythm is dedicated exclusively to the deity Oyá. The owl is associated with Oyá, who always looks attentively at her devotees with love and care. This melody is dedicated to my dearest Iyálorixa Tatiana de Aben Athar and my loving wife Karine.
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