people writing about alex's works

"SobTodosOsAspectos"
O compositor brasileiro Alex Saba nasceu em 1958 no Rio de Janeiro. Começou a tocar violão com a idade de 8, e agora toca guitarra, baixo, teclados, flautas e percussão. Sendo também um fotógrafo profissional, ele tem feito a concepção de capas de discos desde 1979. Para se juntar à sua actividade profissional com a sua paixão musical, fundou sua própria gravadora independente - Brancaleone Records / Design. Como músico, Saba foi inspirado por diferentes artistas, principalmente "Chick Corea", "Philip Glass", "Mike Oldfield", "Frank Zappa", "Keith Jarrett", "Keith Emerson", "Peter Gabriel", "Philippe Saisse "e pelo seu guitarrista favorito" Philipe Catherine "," Al Di Meola "e" Jan Akkerman ". discografia Saba inclui quatro discos:" Angel's Dream "(1996)," Missa Universalis "(2000)," Sob todas as circunstâncias "(2007), e o seu mais recente trabalho -" Electro Suite & Homenagens "(2009) O álbum revisto aqui -." Sob todas as circunstâncias "(em Português:" Sob Todos os Aspectos ") - é a trilha sonora original para um peça de teatro de Horácio Rodrigues e Tereza Amoedo. A música foi totalmente produzida, composta, arranjada e executada por Alex Saba. O disco traz ainda duas faixas-extra originais que não pertencem à trilha sonora, além de um bônus-track de vídeo com alguns actos da peça. Trabalhada em torno de melodias estranhas e harmonias inusitadas, a música de Alex Saba não é fácil de assimilar. Para aqueles que, no entanto, têm a mente aberta e ouvidos sensíveis, é realmente instigante e inspirador. Seu estilo pode ser etiquetado de qualquer coisa, desde a Sinfônica Étnicas;. partir Exotic ao concreto, com muitos outros gêneros a música de Alex Saba é fortemente experimental, cerebral, mesmo acadêmica, colocando-o entre os compositores, como "Philip Glass", "Mike Oldfield", " Pekka Pohjola "," Wim Mertens "," Rautavaara "e" Arvo Pärt. Algumas faixas misturam elementos da música do leste europeu, com flautas de bambu ameríndia e percussão afro-americanos, como em "Beginning" (com um clima "Tropical" e no uso da voz como elemento concreto musical), "Solitude" (com o som de pessoas andando nas ruas e marcada por uma batida de coração) e "Angústia" (este mais tarde fez um solo de guitarra improviso sobre um tema quase irreconhecível de "Frédéric Chopin"). Outras faixas são intensas, assustadoras e alarmantes. Quando assisti o vídeo-track, elas são perfeitamente sincronizados com os movimentos realizados pela atriz no palco, criando uma relação de sinergia entre som e imagem que aumenta a sua expressão dramática. Este é o caso de "Medo", que pode ser definida como a agonia em forma de música, e "Desespero", em que a turbulenta atmosfera claustrofóbica do ambiente urbano é reproduzido por cacofonias e ruídos de vibração, enquanto que os efeitos da guitarra passam a idéia que a música está sendo cortado por uma faca (uma sugestão para uma solução suicida?). Duas das melhores faixas são a "Paralisia" e "Raiva". Sobre "Paralisia", um acorde de teclado longa é congelado no tempo, para apoiar um órgão de igreja minimalista, que é seguido por vozes gótico - uma combinação de "Philip Glass", com "Arvo Pärt. "Raiva" é uma dança espanhola, com guitarras acústicas típico flamenco e castanholas. O círculo se fecha com "O Retorno" - um pedaço cheio de sons relaxantes de xilofones, carrilhões, e violinos - que traz sentimentos de alívio e esperança, contrastando com o clima opressivo das faixas anteriores. Fãs de Rock Progressivo que preferem algo mais próximo convencional Symphonic Prog ficarão realmente felizes de ouvir as faixas extra "What We Never Say" (que se assemelha a "Camel" e bandas da cena Canterbury) e "Tubular Ways" (claramente inspirado por "Mike Oldfield "). A música de "Sob Todos Os Aspectos" pode não ser "fácil" para se agarrar na primeira audiência, mas vai ser inspirador para muitos músicos, especialmente aqueles envolvidos na composição da trilha sonora. Os membros da banda e colaboradores envolvidos são: Alex Saba - violões, guitarras acústica, elétrica e sintetizada, teclados, percussão e flautas; André Saba - vozes em "O Início", Sandra - Coração Esquerdo em "Solidão"; Vox Anoyma - coro em "Paralisia", pessoas desconhecidas do Rio de Janeiro - rua sons de "solidão" ...
(Comments by Marcelo Trotta)
"Under All The Circumstances" 
The Brazilian composer Alex Saba was born in 1958 in Rio de Janeiro. He started to play acoustic guitar at the age of 8, and now plays guitar, bass, keyboards, flutes and percussion. Being also a professional photographer, he has been designing record covers since 1979. To join his professional activity with his musical passion, he founded his own independent label – Brancaleone Records/Design. As a musician, Saba was inspired by different artists, mainly “Chick Corea”, “Philip Glass”, "Mike Oldfield”, “Frank Zappa”, “Keith Jarrett”, “Keith Emerson”, “Peter Gabriel”, “Philippe Saisse”; and by his favorite guitarists “Philipe Catherine”, “Al Di Meola” and “Jan Akkerman”. Saba’s discography includes four records: “Angel’s Dream” (1996); “Missa Universalis” (2000); “Under All The Circumstances“ (2007); and his most recent work - “Electro Suite & Tributes” (2009). The album reviewed herein – “Under All The Circumstances” (in Portuguese: “Sob Todos os Aspectos”) – is the original soundtrack for a stage play by Horácio Rodrigues and Tereza Amoedo. The music was entirely produced, composed, arranged and performed by Alex Saba. The record also brings two original extra-tracks that do not belong to the soundtrack, plus a bonus video-track featuring some acts of the play. Crafted around strange melodies and unusual harmonies, the music of Alex Saba is not easy to assimilate. For those, however, who are open-minded and have sensitive ears, it is really instigating and inspiring. His style may be tagged of anything from Symphonic to Ethnical; from Exotic to Concrete, with many other genres enclosed in between. The music of Alex Saba is strongly experimental, cerebral, even academic, placing him among composers like “Philip Glass”, "Mike Oldfield”, “Pekka Pohjola”, “Wim Mertens”, “Rautavaara” and “Arvo Pärt”. Some tracks mix elements from Eastern-European music with Amerindian bamboo flutes and Afro-American percussion, like on “Beginning“ (with a “Tropical” mood and the use of voice as a concrete musical element); “Solitude“ (with sounds o people walking in the streets and marked by a heart beat); and “Anguish“ (this later made of a guitar solo improvisation over an almost unrecognizable theme of “Frédéric Chopin”). Other tracks are intense, frightful, and alarming. When watched on the video-track, they are perfectly synchronized with the movements performed by the actress on stage, creating a synergetic relationship between sound and image that increases their dramatic expression. This is the case with “Fear“, which can be defined as agony in form of music; and “Despair“, on which the turbulent and claustrophobic atmosphere of the urban ambient is reproduced by cacophonies and vibrating noises, while guitar effects pass the idea that the music is being cut by a knife (a suggestion for a suicidal solution?). Two of the best tracks are “Paralysis” and “Anger”. On “Paralysis“, a long keyboard chord is frozen in time to support a minimalist church organ that is followed by gothic voices – a combination of “Philip Glass” with “Arvo Pärt”. “Anger“ is a Spanish dance, with typical Flamenco acoustic guitars and castanets. The circle is closed with “Return“ - a piece full of relaxing sounds of xylophones, chimes, and violins - which brings feelings of relief and hope, contrasting with the oppressive mood of the previous tracks. Progressive Rock fans who prefer something closer to conventional Symphonic Prog will be really happy listening to the extra tracks “What We Never Say“ (which resembles “Camel” and bands of the Canterbury Scene) and “Tubular Ways“ (clearly inspired by “Mike Oldfield”). The music of “Under All The Circumstances” may be not “easy” to grasp at first hearing, but it will be inspiring for many musicians, especially those involved in soundtrack composition. Band members and collaborators involved inAlex Saba are: Alex Saba - Acoustic, Electric, and Synthesized Guitars, Keyboards, Percussion and Flutes; Andre Saba – Voices on “The Beginning”; Sandra – Left Heart on ”Solitude”; Vox Anoyma – choir on “Paralysis”; Unknown people of Rio de Janeiro city – street sounds on “Solitude”...  (Comments by Marcelo Trotta)
Bom dia, Saba!

Parabéns pelo seu novo trabalho, acabei de fazer a primeira audiência e gostei muito, excelentes solos de guitarra e muito boas passagens de teclados, já está aprovado escutarei outras vezes para indicá-lo para alguns amigos. muito bom esse trabalho, parabéns.

um abraço Helder

"Thanks Alex!
BTW, I enjoyed your "Electro Suite" very much. I'd like to congratulate you for the quality of the album production and especially for truthful interpretation of Japanese classical music, which repeatedly amazes me at each listen. Bravo!"
Tatsurou Ueda
Musea Records

Alex SABA est le compositeur, arrangeur, producteur et principal interprète de "Angel's Dream", opus paru en 1996. Notre homme se révèle comme un musicien talentueux, tant à la guitare qu'aux claviers ou autres programmations. Sa musique s'apparente à un rock Progressif électronique emmené par une six-cordes nerveuse. "Missa Universalis " (2001) révèle une approche différente, puisque la musique était prévue pour être jouée live par un orchestre.

Abstract Logix.com

I released three CDs since 1996. All instrumentals. The first one Angel's Dream it's more eclectic with progressive rock, jazz, bossa nova and a Ballet Suite. The second (Missa Universalis) is intent for a modern catholic mass and is more classical or "word music" oriented. The new one it's the original music for a theatrical play and has three bonus track and a video with highlights of the play. I also have a fourth one, but this wasn't released as industrial CD. It is a limited edition of 200 CDs, hand made and with electronic musics for download. CD Baby do the job and it's excelent doing that, but I want more and AbstractLogix it's what I'm searching for.
Be in peace
Alex

Musea Records

Alex SABA is the composer, arranger, producer and main performer of "Angel's Dream", a record issued in 1996. He proves to be a talented musician, both playing the guitar and the keyboards and even for programming. His music can be described as electronic Progressive rock led by an energetic guitar. "Missa Universalis " (2001) has a diferent approach, as the music was intended to be played live with an orchestra.

http://www.musicstack.com/item.cgi?item=2154401&find=alex+saba

Alex SABA is the composer, arranger, producer and main performer of Angel’s Dream, a record issued in 1996. He proves to be a talented musician, both playing the guitar and the keyboards and even for programming. His music can be described as electronic progressive rock led by an energetic guitar.

André Campos da Rocha
(State: RJ Country: Brasil)

Caro Alex Saba, estou viajando pela sua página ouvindo Angel's Dream. Sabe, cara, uma das maiores dádivas que a vida me concedeu foi um dia ter tido a oportunidade de ouvi-lo. Angel's Dream é um CD que carrego comigo para todos os lugares em que estou; ouço-o mesmo que ele não esteja no aprelho de CD. Ele está em minha alma juntamente com outras produções humanas de grandiosidade como os romances de Machado de Assis, Kafka, Sartre; as músicas de Beethoven, a poesia de Manuel Bandeira e Fernando Pessoa, tc. Poderia escrever páginas sobre o que de bom a humanidade produziu; no entato, uma delas cabe ao se trabalho - e principalmente a Angel's Dream. Força sempre e produza mais e mais.

http://voiceprint.com.br/gtrbook/9.htm

(1996) “Angel’s Dream”: primeiro disco do guitarrista. Um álbum excelente que pode ser definido como rock progressivo 100% instrumental com algumas pitadas de jazz-rock. São 17 faixas: quase 70 minutos. Além das belas composições, gostei muito do que está escrito na contra-capa: “Nobody sings Nothing”.

http://www.kinesiscd.com/storeframe1.htm?brazil.htm

A one-man instrumental effort, more new age than rock, with Alex Saba playing keyboards, flutes, guitars, and percussion. This is incidental music for the Christian Mass, but includes musical influences from outside the tradition.

http://www.musicstack.com/item.cgi?item=10039610&find=alex+saba

New one from Alex. More focused on keyboards than the previous, still with a progressive touch, but also more influenced by the likes of GOBLIN and ethnic sounds as well.

http://progressive.homestead.com/BRAZILREVIEW.html

Electric guitar based work with additional synths and digital sounds to complete the score. The compositions for guitar are all quite interesting. The additional sounds are all ok too, but sti might have been much better if they were played by more interesting music instruments and by participating musicians. Synths often limit a bit the feeling of surrounding space, becoming a personal space instead. But here the full basic concept of compositions remains nice. The concept reminded me at Vietgrove or at a Latin version of Schicke- Führs- Fröhling.

http://www.secrel.com.br/jpoesia/agtereza.html

A peça de um ato e de apenas uma artriz-diretora foi montada a partir de texto produzido por Luiz Horácio Rodrigues, dramaturgo, jornalista e escritor. Não há sequer uma palavra em toda apresentação, apenas um grito, apenas música de Alex Saba, apenas luz, apenas Tereza Amoêdo encarnando dor em estado bruto.

http://www.rockprogressivo.com.br

An interview with Alex Saba (september 1997) after the release of his first album to Lanzarini from the http://www.rockprogressivo.com.br site (portuguese only).

http://www.rockprogressivo.com.br/sominterior/art_eng.htm

Released in 1998, this album (Angel's Dream) is the first official album from the guitarrist/keyboardist Alex Saba. Except for two of the 17 tracks - "Dick Tracy" and "702", recorded with keyboardist Beto Frega - all others were composed, arranged, produced, recorded, mixed and played by Alex Saba

"Angel's Dream" is an instrumental album outstanding by the beatiful guitar solos (recorded live, without any kind of studio's overdubbing) where we can note influences from genius like Jan Akkerman and Steve Hackett, among others.
Hello Alex!
I´m sorry that I haven´t answered your mail I have been moving.
I got Your CD´s and I think they where very mystic and nice.
I have never heard anything like it before. Cool.
This will be a short mail cause I´m mailing from my school and there is a cue of people waiting.
Until next time

Stefan Högström (from Vocal Six)

http://www.rockprogressivo.com.br/sominterior/art_eng.htm

This (Missa Universalis) is the second album of Brazillian composer and multinstrumentist Alex Saba. Based on the actual parts of a catolic Mass, with diverse influences of Eela Craig, Spooky Tooth & Pierre Henry, Peter Gabriel, Dave Brubeck e Duke Ellington, this work is a step ahead his first work.

The progressive rock enciclopedia GIBRALTAR, call this album one of the best example of the fusion between styles: classic, rock and word music, resulting in a great word fusion work, where oriental and ocidental instruments are mixed together without fear to create an unique sound, remembering Philip Glass and Mike Oldfield, with a little touch of Peter Gabriel.

Here Alex don't use his electric guitar, there is only one track with acoustic guitar, but lots od the most diverse instruments as bamboo flutes, kalimba and synthesyzers. This work is being accepted and recognized as a new mark in the word fusionmusic.

 

New Brazilean Progressive Music Review Page

* ALEX SABA
All the best rec.
Alex Saba : Angel's Dream (1996)**

Electric guitar based work with additional synths and digital sounds to complete the score. The compositions for guitar are all interesting. The additional sounds are all ok too, but might have been much better if they were played by more interesting music instruments and by participating musicians. Synths often limit a bit the feeling of surrounding space, becoming a personal space instead. But here the full basic concept of compositions remains nice. The concept reminded me at Vietgrove or at a Latin version of Schicke-Führs-Fröhling.
Tracks chosen for possible airplay : "Parkino", "Harlekin", "Minueto", "The untold sory of Arthur the King".

Webpage at
http://www.soundclick.com/bands/alexsaba.htm
Contact :
alexsaba@pobox.com
Other review at
http://www.cranium.co.nz/catalog/A_1558.htm
Webpage of second release with reviews and sound at
http://www.cdbaby.com/cd/alexsaba
Other soundfiles at
http://www.soundclick.com/bands/alexsaba_music.htm
Review of second CD at
http://www.innerlightproductions.com/missa.htm
* All The Best Rec. Alex Saba : Angel's Dream BRAZ,1996)**
Tr.7, "Harlekin" 5 min
Tr.15, "Minueto (part 1 & 2)" 4 min
Personal homestudio guitar composition based instrumental relaxed prog

Contact :
alexsaba@pobox.com
Reviewer: Nayla Dahan

Looking for news on the web I found this guy and his nice CD!So different his songs! I'd like to try being at a church listening this songs! Meanwhile, I'm listening all the great songs at home, here in Brazil.
Dear Alex,

thank You so much for perfectly staggering ANGEL'S DREAM and MISSA UNIVERSALIS.
We are glad to touch creation of such brilliant artist as You.
Your wonderful music is real and important discovery for us.
Yes, we are at opposite sides of planet, but we fell equally.
Thank You for piece of Your heart, contained in Your music.
Very best wishes from Siberia.

Serge Tikhanoff.
Radio Penguin.
Cranium Music

ALEX SABA - Angel's Dream (1996)
Genre: Progressive

Brazilian guitarist with an album of instrumental pieces. Alex Saba plays electric, acoustic & synth guitars, synthesizers, keyboards & did all the programming. Plus he also produced, arranged, composed, recorded & mixed all songs in his own studio. Should appeal to fans of guitarist Steve Hackett.

ALEX SABA - Missa Universalis (2001)
Genre: Progressive

The compositions are based on Alex Saba's own interpretation of the different parts of the Mass, alike the Vaticano II, with the determination to take off the "mold" of the musics played in the Catholic Churchs, where Alex played acoustic guitars for many years 25 years ago. Alex Saba played all instruments like a small orchestra of traditional (acoustic guitar, violins, clarinet and French horn) e exotics (pan flute, bandoneon, "sandman") instruments. Also with the support of percussive instruments (timpanis, tablas, congas and drums). The recordings took place between Nov/98 and Nov/99.
Já ouvi as duas obras.

A primeira ainda não a irei comentar pois só ouvi uma vez, e isso nunca é tempo suficiente quando se trata de progressivo. A segunda "Missa Universalis", já ouvi mais vezes. E devo dizer que fiquei muito favoravelmente surpreendido. É um trabalho belíssimo, em que a harmonia prevalece de princípio ao fim. Não pude deixar de me lembrar do excelente grupo francês Wapassou, numa versão moderna e digital.

Aliás, a única crítica que eu creio que se pode fazer ao álbum é exactamente a predominância de teclados digitais, o que, para um amante incondicional do prog dos anos 70, não faz esquecer os teclados analógicos.

Creio, aliás, que se tivesse oportunidade de usar instrumentos do género do Moog, do Mellotron ou do Hammond, entre outros, o seu trabalho facilmente teria o reconhecimento que, inegavelmente, eu creio que merece.

Os meus mais sinceros parabéns!
Miguel Gentil Gomes
Inner Light Productions is honored to have some of its photos used on a CD of beautiful music produced by Alex Saba in Rio de Janeiro. This wonderfully talented musician not only produced this CD, but also composed, arranged, and executed the music -- it is simply excellent!

Copies of this CD can be purchased directly from Alex; all proceeds from the CD are earmarked for an orphanage in Brazil so your purchase will help needy children there.

Since receiving this CD, I have listened to it dozens of times; I never get tired of it. The music Alex shares with us through this medium is true "inner light for the ear." Do yourself -- and some Brazilian children -- a big favor, and buy "Missa Universalis" today!
CD Baby

"Saba's second album, Missa Universalis, is a far superior release, though it's arguably less "Progressive" and more into the "World Music" genre.

This is a suite intended to be performed at a Catholic Mass.

The instruments are very varied in this work, and the performance is much tighter than in Angel's Dream (his first album).

Saba has all but abandoned the guitar for this album (except for one acoustic guitar track).

"Consecration" is almost oriental sounding with its wood flutes and gongs, but also uses tablas and tympani for percussion and tubular bells for harmonies.

Saba melds these cross-cultural sounds together perfectly into a very nice piece.

"Communion" somehow manages to fuse a Pierre Moerlin-style marimba and a Philip Glass counterpoint arpeggio into another excellent composition.

The other piece of this album on the sampler is "Closing Hymn", not quite as memorable as the other two cuts, but also a good piece.

Based on these samples, I would definitely recommend this album, though not if you're only looking for '70's symphonic prog. It's definitly not that.

The music is all instrumental, so if you're concerned about it being too preachy, don't be."

Fred Trafton - The New Gibraltar Encyclopedia
"Alex Saba is a composer and multi-instrumentalist from Rio de Janeiro - Brazil. His works mix different styles, but always instrumental, no words, straight to the heart."

Sandra Florencio
Reviewer: Music By Mail Denmark

This is music (Missa Universalis) for people who like keyboard based compositions, pastoral flavors, toying with instruments timbers, quiet symphonic moves. It could be tempting to put it in the new age mould but several listenings will reveal the secret flower hidden in a lot of small details. I gave it 4 stars because I wish Alex would have shifted tonalities and rhythms more often so as to further attract the listener's curiosity instead of relying on some kind of repetitive feeling. But anyway, some people like it like this and you will get addicted to this record before you know it!