Born at Rio de Janeiro - Brazil in 1958, he begun playing acoustic guitar at age 8. Played with many schools groups
until formed his own band (Hora do
Rush) with his son's godfather Beto Frega on keyboards. The band had some success
playing only original instrumentals songs. At this time he studied classical guitar with
Mr.Sergio de Pinna and
composition with the Ukrainian maestro Vladimir Ostrovsky), but the four members of the group took different pathways
and Alex begin his solo career.
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.
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.
There is always something new to come.
(To my grandfather Darcy Saba and my great friend Júlio Gamarra)
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."
(Music for the Modern Mass)
There is a completely different approach in this record from his first album. This is a conceptual album with the
songs following the rite of a Modern Mass.
The CD start with INTROITUS, a song to follow the community entering the Church with the welcome’s Priest, then KYRIE ELEISON and PENITENTIAL ACT when we think about our fails and sins. There is another version of the PENITENTIAL ACT at the end of the CD, in fact the original composition. It was improvised, with a great feeling – I was really inspired when I played it - but too long to be used in a Mass, so I shorted this version and used it at track 3 and put the long one at the end.
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.
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.
All income from the sales will revert to an Orphan’s Institution in Rio de Janeiro - Brazil.
Alex was invited by the writer
Rodriguez and actress,
dancer and therapist Teresa
Amoedo to help them
with the soundtrack of the
piece they were rehearsing.
Alex saw the opportunity to
write music in
a completely different
view of what was
doing then. Opportunity
to draw on some ideas
that developed yet
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.
|Electro Suite & Tributes|
This album was made
with much pleasure and fun.
It may not seem an but
it is a light and fun album,
where Alex toyed with the
idea of electronic music
sometimes as purely
acoustic. It all started with
the classic version
Zarathustra that was
commissioned by American
musician Danny Kayle
for a tribute to
(unreleased). From there,
Alex met electronics and
other issues ended
his suite, an
imaginary journey of a young
man searching for
himself for four
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.