Guinga is a acrobat of tones; his music sounds light and weightless, with strange-sounding harmonic progressions representing something really new in Brazilian music. He continues to develop the classical Brazilian music of a Heitor Villa-Lobos, the chôro of a Garoto and the bossa nova of a Tom Jobim, and distils a new essence out of it.
He himself designates his work on this music with the play on words that gives this CD its name: Roendopinho (roendo = gnawing, chewing and pinho = pine wood – also a slang word for guitar). It is a metaphoric term that stands for the scars and markings that arise during the creative process of composing with the guitar.
Space does not allow a complete listing of the famous interpreters of his songs. Some of the most important names are Ivan Lins, Sérgio Mendes and Chico Buarque.
With the 15 titles of this CD, Guinga presents new pieces - like the Chôro ("Chôro No. 2"), liberated from his otherwise so constant rhythmical language, or the Ellingtoniana, in which one seems to hear "In A Sentimental Mood" by Duke shimmering through. But there are also well-known, older works like the complex, jazzy "Cheio de Dedos" (Many Fingers) and the wonderfully elegiac "Lendas Brasileiras" (Brasilian Legends), on which he collaborated with one of Brazil's best poets and text authors, Aldir Blanc.
The high art of Guinga is the art of enabling virtuosity to sound unobtrusive; complexity appears as the unforced, magical flow of music.
The CD presents one of the best composers of Brazil, but also a magnificent guitarist who reveals a wonderfully intimate kaleidoscope of his oeuvre with the fifteen pieces presented here.