Once, in a conversation with the great guitarist, composer and producer João de Aquino, he uttered the following phrase, which never came out of my head: “Brazil is like a giant tree; if you shake it, it does not stop falling good guitarists. “ In this sort of endless “species”, what about this fertile soil that has already given us Garoto, Baden, Dino, Meira, Raphael, Dilermando, Pernambuco, Guinga, Turíbio, Rosinha and João Gilberto?
Proving once again its inexhaustible power of renewal, that tree gave us, for some years now, another phenomenon: João Camarero, who from his first album was no longer a promise, but a welcome and confirmed reality.
Camarero’s second virtue is not to shy away from presenting his compositions.
Since Raphael Rabello (on the seven strings) and Marcus Tardelli (no six), there had appeared no one who played combining so much pressure and clarity on absolutely every note, every sentence, every rythm.
It is as if the great masters of the past had cleared and opened glimpses in an unknown musical canebrake. It would be pointless for a guitarist today to simply retrace the footsteps of his predecessors and get lost, not knowing where to go in this “open canebrake.” João Camarero has already found his way.