In the career of an artist, the first record as a leader is highly important. Sometimes, even too much, because what is at stake often shatters outburst and spontaneity. However, while most musicians tense up, Nelson Veras relaxes. The Brazilian climate on which he was brought up has surely a lot to do with it. He therefore pushed the doors of the studio in Amiens last January without any particular fear, accompanied by Malik, Stéphane Galland and Harmen Fraanje. Daniel Yvinek went with them, the engineer Philippe Teissier du Cros welcomed them. “I had nothing planned before starting the recording” admitted Nelson with a knowing smile. “I wanted each musician’s personality to express itself as good and as free as possible.” This is one of the reasons he did not want a bassist for this session. “The absence of bass led us to improvise more. I had no idea, but I really liked the challenge. It was an adventure!” Such an attitude would panic many record companies…”The label has been very attentive from the start and this is the reason why I am with them today. They let me do what I wanted”.

However, a vigilant ear saw to the work, the one of his buddy Yvinek. He corrected, suggested, his advices were often followed. “We needed this neutral listening, beyond the fire of action. Without it, we would have done anything”, admits Nelson.

Malik’s voice and flute, the tempos and silences of the drummer Stéphane Galland (Aka Moon), the suggestions of Harmen Fraanje’s (whom he met with Hein Van de Gein) organ and Fender Rhodes, all this passes through the soft madness of these four dreamers, bound together by a strong connivance.

The music provokes through its languor, even disturbs through its extreme sensuousness and we end up adoring its gracefulness. This balance can be explained by an atypical preparation. As they arrived in the studio, Nelson and his band have been playing for two days, rehearsing what should have been the content of the record. Ideas burst out and the stress diluted in a dense and sometimes “trash” music, as agreed by the band leader. “All the contrary of what could be heard at the end!” These 48 hours served as outlet, the remaining session being only the fruit of the abandoned fear at the start of the session, when the recording tapes did not yet run.

The route which led him from Salvador de Bahia, where he was born in 1977, to Amiens was long, rich and chaotic. Discovered in 1991 by the film director Frank Cassenti and Pat Metheny during the Marciac Festival, he drew the attention of another great musician, Aldo Romano, with whom he recorded when he was only 19. In the meantime, while his name was already circulating in jazz clubs, he took a break during a year in Brazil, in order to finish his high school study, find again his family, make some sport and convince himself that he had the makings and the desire to become a professional guitarist. His reputation became known in Paris and every one wanted to have him…

Lee Konitz, Romano, Dominique di Piazza, Jean-Louis Matinier…They were all attracted by the softness of the persona and his awaking talent during each meeting. However, he took his time before definitely throwing himself into the frantic rhythm of a professional musician life. “At the time, I sabotaged myself. I used to refuse concerts because I did not feel like going out. Since then, things are different, I understand that each experience brings something”. Each of these stories are partly to be found in his eponymous album. Each note takes him a bit further away, today in Brazil to record with Steve Coleman and tomorrow with Mark Turner on European roads…..