Alex Saba (in his own words) is only a composer. But he also plays many instruments. His main axe is the guitar (acoustic, electric or synth, 6 or 12 strings, fretless or fretted), but he also plays bass, mandolin, keyboards, flutes (recorders and bamboo) and many other exotics as quenacho, kalimba, pandeiro, matchbox and so on.

But the most important thing for him is to transmit experiences, emotions, past, present and future.

Alex begun playing acoustic guitar at age 8, but as many children, soon stopped. Five years later he pick it again, when were invited by his father to play at church. It was not the ideal place to try “new sounds” as he recalls, but he made new arrangements for old songs in almost three years playing there.

Waiting for the right moment to start his solo career, he plays with many different groups and formations and makes a lot of friends too. But in his projects he plays alone - the most difficult part – he composes his own songs and did all the “dirty” work (like recording and fixing the equipments), but there are no concessions in it: he plays what he wants.

After many hard work, he finished the first CD - ANGEL'S DREAM – a daring project involving only one person in all stages (Alex composed, played, recorded, mixed, produced and designed the cover - to be completely honest, his great friend Beto Frega played piano and synth on 2 tracks). Alex used the facilities from his own personal studio (Aquilante). This CD is eclectic – like Alex – with jazzy ballads, classical acoustic guitar’s pieces and a bit of rock, blues, bossa nova and progressive-rock.

ANGEL'S DREAM is more then a solo projects, it is a solitary-project. “Only this way I couldn’t blame others for any fault. If anything get wrong the responsibility will be all mine.” – reminds Alex, but nothing went wrong.

His second effort was MISSA UNIVERSALIS (or Music for the Modern Mass) a CD with themes for an actual Mass. A return to his origins. Once more Alex composed and arranged all songs and played all instruments, but with only one acoustic guitar’s track. All others were planned to be played by an orchestra in a live situation. By now these CD is been played as it is in some churches during the Mass.

Alex had written (and played) the score for the theatre play by TEREZA AMOÊDO and LUIZ HORÁCIO. This sounds are being played at stages in Rio de Janeiro and Europe this year.

This work is the most complex Alex was involved. The play treats 6 emotions (fear, solitude, anguish, anger, despair and paralysis) plus a "return". Here he choose feel instruments to use. Each one the main axe of the theme, like ANGUISH, with an emotional solo distorted electric guitar or SOLITUDE a flute trio with percussion, actualy the sound of his wife’s heart.

Alex will  soon release the CD with the themes plus two more extra tracks.

But Alex is now involved in the work of Tolkien. He is writing and recording what he call: "The original Sound Track for The Book Lord Of The Rings". This project will be recorded by Alex Saba, The Petit Brancaleone Orkestra and nine soloists.

He is also working with television themes, DOCUMENTARIE MUSIC is a possible title for an album with the songs he wrote for TV.

There is always something new to come.

Angel's Dream was record live direct to a two-track digital DAT recorder in the Aquilante Studio - Rio de Janeiro - Brazil. Aquilante is his personal studio and it's where he does all his musical work.

Except for the two tracks where his brother Beto Frega plays the piano, He played all the instruments and recorded to a computer using the Cakewalk Pro Sequencer software. After that, he added the guitars with no editions or overdubs while recording to the DAT recorder. The reason of all this was to bring the listener the actual live guitar sound with no tricks (what you heard is what was played). This kind of live recording is not common, but he think that it is very boring to listen to an album recorded entirely with computers. In this CD you can listen to mistakes. There is no problem with mistakes. People fail and the major problem is that many don't recognize that.

The songs in the album tell stories about people, love and life. The use of synthesizers make it possible to work like an orchestra - with violins, brass and percussion - or like a rock band - drums, bass and keyboards. You could listen to a minueto played by synthesized guitar or to an orchestral work for children's ballet called "The Cicada and The Ant Suite".

All songs are originals (registered by BMG Arabella) except the first part of the minueto (written by Roberto de Viseo) and a free arranger made for "Malagueña de Lecuona". He used many different guitars but the main axe is one built specially for him and it is connected to a synthesizer. This kind of set up made it possible to play up to twelve synthesized sounds plus the guitar sounds at once. Of course it is a bit hard to discover which synthesized sounds was played live, but if you listen closer you can discover the true one. Regarding the guitar's sounds you have no choice but to say: it's live.

Progressive Music is something different from the Progressive Rock of the 70's. For him it is not only mix classic music and rock. It is not only a mix. Progressive Music must came from the heart. Must go directly to the listener's heart. There's no other way. Once more his words: "I did that and I am very pleased to bring to you the results of this work. It was made from my heart to your heart."

The fourth track is the GLORIA follow by CREED. Then come OFFERING and CONSECRATION when the percussion starts a new feeling in the Mass: bread now is the holy meat of the Son of God and wine is the blood of Christ.

OUR FATHER is the prayer God teach us and LIVE LONG AND PROSPER a song for the community in the celebration of their fraternity.

COMMUNION is the second most important moment in the Mass. Now people partake the Holy Communion. They go in silence, but return with God in their hearts and could dance returning to their seats.

CLOSING HYMN ends the Holy Ceremony and is the same theme as LIVE LONG AND PROSPER with few changes. After you could rear the long version of PENITENTIAL ACT and a completely different version for CONSECRATION. This song has more then 20 years. I used to play it (only with acoustic guitar) at Church.

I used many different instruments to record these songs. Some were exotics, like the Indian Tablas some are well known like the piano. In common the desire to praise God and His creation.

All income from the sales will revert to an Orphan’s Institution in Rio de Janeiro - Brazil.

The issues are difficult and long, with a heavy theme that made him get involved in full work. The influence of Neil Young is not directly perceived, but much of what he did, as was Neil's ideas for the film Dead Man with Johnny Depp. Some songs were entirely improvised and recorded it while they were submerged in the dark world of SobTodosOsAspectos. It can be seen more easily the influence of Philip Glass in more orchestrated songs where insistent loops unfold in order to engage the listener.

This album was initially released as a limited edition of 200 numbered copies and only for download services like iTunes, but due to the success of the downloads, he sent him to his American distributor for inclusion in the catalogs of the big stores.