MusicMuse

Into the History Swing

2011-09-02T08:09:00.000-07:00

Joyce Moreno, the famous Brazilian singer and songwriter will debut her TV Show “No Compasso da Historia” (Into the History Swing) on this coming September 4^th at the MultiRio.
It is a very interesting Tv program about songs that tell the Brazilian History. See the delightful video about the program.
More information on the Joyce Moreno’s blog http://outras-bossas.blogspot.com/

The Brazilian Jazz (07.

2011-08-29T10:09:00.001-07:00

Bocato

Itacyr Bocato Junior, Bocato (S. Bernardo do Campo, SP, 1960) is a trombonist, composer and arranger with a high quality and creativity. Since his teenager he played in school bands which gave him the passion for this instrument (trombone). That passion led him to study composition and conducting at USP (University of Sao Paulo). His talent opened doors to him play with many important MPB singers as Rita Lee, Ney Matogrosso, Roberto Carlos, Elis Regina and others.
Soon Bocato started his own band , Banda Metalurgica that in 1982 released a wonderful album ("Metallurgical Band"/1982) with extremely dynamic and exciting horn arrangements and mixing swing rhythms of Choro, MPB, samba, fox and traditional jazz..
From the Band Metallurgical he still worked with the Banda do Bloco, in 1987 and then he lifted his first solo career, the album "Dream of an Anarchist" (1987). Since then he has recorded 10 albums and also had participated in many jazz festivals in Montreux, Moscow and Zurich.
Bocato actually plays in shows Tvs, dedicate his free time for new musical projects and you can always see him in shows, mostly, in Sao Paulo.

Bocato is another important Brazilian Jazz musician.

His discography:

1985 Lixo atômico - Bocato e Banda Bloco
1987 Sonho de um anarquista
1988 Conserto para um trombone quebrado
1989 Abruxa-te
1989 Aqui jazz Brazil
1990 Ladrão de trombone
1996 Bem dito
1997 Tributo a Pixinguinha
2000 Samba de zamba
2001 Acid samba
2004 Cacique Cantareira - Elo Music/Boitatá
2008 Hidrogênio

“Esperando Edmundo” (Bocato), Banda Metalurgica (1982)

“Samba Miles” (Bocato), Cacique Cantareira (2004)

“Grazie a Dio” (Bocato), Cacique Cantareira (2004)

“Rir Pra Não Chorar” (Pixinguinha), Tributo a Pixinguinha (1997)

cherished albums (06/74

2011-08-22T15:58:00.000-07:00

MADE IN BRAZIL
“Made in Brazil” (1974)

Made in Brazil was a rock band born in the Pompéia, a neighborhood in Sao Paulo during 1967. The band had only one proposition: been a genuine Brazilian rock band. The cult of the rock, one of the most popular music genres on the planet, found in Made in Brazil a strong and resounding echo.
Cornelius Lucifer, the singer brought it blood and passion in his interpretations. Celso Vechchione Kim, the guitar leader, burned with strong energy all the band's songs, Oswaldo Vecchione on the bass and backing vocals held the pace with a great beat, and Junior Rolando Castello in the drums give the complete “mojo".

Sequins, pants bell mouth and long hair. The Made in Brazil was based in heavy rock in Brazil during the dictatorship era in this country and also during the end of the last echoes of the 60s counterculture, and also during the last Tropicalia’s sight..

The Pompeia’kids really wanted to play everything is in the highest possible volume with rock balance.
Theire first album released in 74 they demonstrate virtuosity and creativity. Few Brazilian rock bands, was able to produce the Made in Brazil and having in their front stage a voice so sharp and refined as Cornelius.
Made in Brazil , with they cul Banana Record, detonated the 70s with their premiere.

Made in Brazil (1974)

Oswaldo Vecchione – Contrabaixo e vocal de fundo
Celso “Kim” Vecchione – Guitarra solo, Pedal wha wha e Fuzz, Violão de 12 cordas e Vocal de fundo
Cornélius – Vocalista
Junior – Bateria e percussão
Fenilli – Percussão, efeitos e vocal de fundo
Scavazzini – Teclados, piano e órgão

Special Guests:
Antônio M. de Medeiros “Babalú” - Guitarra base
Daniel Salinas - Piano ( “Doce” e “Você já foi vacinado? “)
Bolão- Solos de Sax e Flauta ( “Uma longa caminhada” )

Ficha Técnica:
Supervisão Geral
Coordenação Geral: Antônio de Lima
Coordenação Artística e Direção de Estúdio: Oswaldo e Celso e Mário Buonfiglio
Arranjos: Oswaldo e Celso (Base) e Daniel Salinas (Metais e Cordas)
Regências: Daniel Salinas
Técnico de som: Edgardo Alberto Rapetti
Gravação e Mixagem: Estúdios da RCA/ SP em 16 canais
Masterização: CIA de Áudio/ SPLeonardo Costa
Arte: Tebaldo

“Anjo da Guarda” (Osvaldo Vecchione)

“Aquarela do Brasil “ (Ary Barroso)

“Tudo Bem - Tudo Bom” (Osvaldo Vecchione / Noronha)

Cheers to Inezita Barroso!

2011-08-07T18:02:00.001-07:00

Inezita Barroso this week celebrates 60 years of her musical career.

She is an extraordinary woman of Brazilian music, born as Ines Magdalena Lima on March 1925 in São Paulo. Today, at 86 years old years, she has one of the most enduring television shows of Brazilian TV, the musical show Guitar, My Guitar (Viola, Minha Viola) at TV Culture since 1980. Beyond this point in his career, Inezita Barroso is one of the most expressive singers of Brazilian country music. Her career was started on the 50s after studying guitar and viola at a conservatory and even getting a degree in Library Science at USP.
Her first recording it was in 1951 when she recorded Ronda (Paul Vanzolini) and Moda da Pinga (Ochelsi Laureano Torres and Raul). Since then until today, she has 80 albums recorded tirelessly since the age of 78 rpm to CDs.
The importance of this singer is in here role having established, throughout her career, an immeasurable value of a great set of songs that she sang and turned the core of the Brazilian country music. Conveying it through her albums and her weekly TV show.
Congratulations to this wonderful artist.

Luar do Sertão (Catulo da Paixão Cearense / João Pernambuco)

De Papo Pro Ar (Joubert de Carvalho e Olegário Mariano)

Maringá (Joubert de Carvalho)

missed diva

2011-08-01T03:45:00.000-07:00

ANA LUCIA

Ana Lucia is a singer since I first heard I became captivated by her beautiful and gracefully voice. She recorded her first album in 59 along when Bossa Nova was born.

She passed by the Brazilian music scenario as meteor leaving behind a beautiful trail of light and engaging melody. She recorded 03 albums from 59 to 64, participated in the historic concert of Bossa Nova at Carnegie Hall in New York and her songs are always included in several Bossa Nova albums collections.

The fact is that in 64 Ana Lucia decided to abandon her career and dedicate herself to a marriage and family stile life.
Her absence, since then, is lamented by those who enjoyed her talent and many from the next generations got surprised as they know her through her records and don’t understand, why she stop to sing.
Last week I read the singer Joyce Moreno’s blog (http://outras-bossas.blogspot.com/)that Ana Lucia passed.
Here is my requiem for Ana Lucia. She brought and still brings delight to her listeners .She sung soul melodies made during the Bossa Nova sunrise.
Ana Lucia, your beauty is eternal.

“Balanço do Mar” (Boscoli/Menescal), Ana Lucia e Oscar CastroNeves, 1962.

“Ah Se Eu Pudesse”(Roberto Menescal / Ronaldo Bôscoli) Ana Lucia e o Quarteto Oscar Castro Neves, 1962

Cheiro de Saudade (Djalma Ferreira / Luis Antônio), Ana Lucia, 1959

Chora Baião, Antonio Adolfo's new album.

2011-07-26T08:41:00.000-07:00

Ernesto Nazareth, Oscar Peterson, Guinga, Chico Buarque and Baião by the optic of a fine and subtle pianist.

The Antonio Adolfo’s subtle, agile and determined piano is back bringing rejoice and a happy surprise in his new album “Chora Baião”(AAM Music-2011), produced and arranged by Antonio, and mixed by Alex Moreira.

The cover features a beautiful semi-abstract image made by Bruno Liberati. In this image there is a spiral inside the eye. This view symbolizes a move of diving inside as the moment that Antonio is living. This disc is even clearer showing the link that Antonio Adolfo has been promoting since his latest album “Here and There” (2010), which is to connect with his initial musical career ( the Trio 3D). Not as a remake or a nostalgic redemption, but as an opening of a new possibility in his own music. It is very clear on “Chora Baião” the flow of the Trio’s musicality mingling with his genuine musical realm, which has always been working with Brazilian musical elements into a jazzy atmosphere.

In “Chora Baião” the music of Antonio Adolfo reworks songs from two renowned Brazilian composers from Rio de Janeiro, Chico Buarque and Guinga. The album becomes a gift to the work of these two musicians when you listen to the beauty and the smoothness of the arrangements presented with a virtuous performance of Antonio Adolfo (piano), Leo Amuedo (guitar), Jorge Helder (bass), Rafael Barata (drums) and Marcos Suzano (percussion). The Brazilian jazz singer, Carol Saboya, appears on three tracks with her delicate and delicious voice.
In the set of 11 songs are many precious moments. In “Hey Parrot Give Me Your Foot”(Guinga), the initial track, brings a lurking tambourine, the piano and the silence who dictates the pace. Pure jazz. In "Lump in My Throat" (Guinga) the piano sings samba-canção while the clean guitar of Leo Amuedo hosts the music as a daydream. There are many precious fragments piled up in this delightful album.
The careful treatment given to Chico Buarque’s music demonstrates an interesting reverence that Antonio has to the composer. Reverence and affection. In "Rio’s Two Brothers Hill" (Chico Buarque) the beautiful melody wins a suspended frame by the piano while the cuica kepts echoing in the background. In the "Drop of Water"(Chico Buarque) the music loses its drama and won an unrevealed lightweight and, it can be said, became danceable.

Antonio still presents in his new album three of his own music, two unreleased before.The title-track "Cry Baião"(Antonio Adolfo) with energetic rhythms of syncope that reminds of Ernesto Nazareth bouncing in a jazz ballad, where once again the silence sew into the tense moment of the music. The small "Tearful Blues"(Antonio Adolfo), with just a minute and twenty-seven seconds of duration, translates into a whisper an absolute Antonio Adolfo in an Oscar Peterson genial way and release.The recovery of "Whipping"(Antonio Adolfo) (originally recorded the album Homemade, 78) is like a mandatory rereading viewing album. Perhaps because in 78 when Antonio Adolfo possibly introduced the frenetic in his own way to make jazz music, as well as elements of Northeastern music. The Quartet and the Master dominated and did very, very great.

- Cries the Baião!

“Gota D’agua”(Chico Buarque)

“Di Menor” (Guinga/Celso Viafora)

Teletema (Teletheme)

2010-09-20T11:02:00.000-07:00

60Years of Brazilian TV.

Brazil, Brazil (2

2010-09-07T07:42:00.000-07:00

Today is September 7th, 2010, the balloons floating in the city cloudy sky, where I am, only because of a ballooning championship. Diogo Oliveira, my friend and partner, a Brazilian Bassist Player and composer who lives in Miami, just sent me a video he made to celebrate the Brazilian Day here in Muse Music. Is a brand new record of his solo version of Aquarela do Brasil (Ary Barroso) amended, in sequence, with Trem Caipira (Villa Lobos) and "If Charlie Parked Met Pixinguinha"(Diogo Oliveira).

Viva Brazil!!!

Long live music!!

Brazil Brazil

2010-09-03T07:12:00.000-07:00

September, yellow-green colors over the nation born 510 years ago.
As a tribute to my brazilian friends and readers who are in Florida, USA, Europe, Asia, Africa, China (Maguinha !!!), Oceania, South America, and finally to all my readers and friend here in this Brasil, listen to Cida Lima singing "Isto Aqui É o Que È"(Ari Barroso)
Cida Lima is a local singer, from Jacareí, Vale do Paraiba, SP, Brazil.
She has a tuned voice, lived during de 90s in South Florida and now brightens the Vale do Paraiba's cultural scene.

Geraldo Maia

2010-06-23T12:38:00.000-07:00

Geraldo Maia is a singer and songwriter from Pernambuco,Brazil, who owns beautiful voice with a sweet northeastern accent. He recorded his first album during 1987 and after he went to Portugal where he lived for ten years. He returned in 1999 bringing with him an album, "Green Water/Agua Verde" released at the same year.
His music bring an harmonious elegance with a great sense of the basic Brazilian rhythms such as coco, samba and baião.
Below you can read the interview that I did with him last month.
You can also listen to some of his beautiful songs of his impressive discography.

http://www.geraldomaia.com.br/

1. How did music come into your life?
Since I was young I had the "intuition" that I would become a singer. My first "singing school" was the bathroom. I used to sing a lot in the shower, imitating Maria Bethania; I knew Rosa dos Ventos lyric by heart. Then, people started talking about my voice, and that was kind of giving me the north, in a way…

2. When did you learn to play the guitar?
In my early teens. We were a group of young people very interested in music, and got inspired by the local sources, specially The Ave Sangria, from Marco Polo, a band that marked a generation. Although the group had broken up when I was entering adolescence, I was crazy about them, the songs, the attitude, rebellion, and, in particular, the iconic and iconoclastic figure of Marco. That’s how I learned to play guitar, so playful, in the binge, through osmosis. Then, much later I did try to systematize some study, some knowledge.

3. What did come first: the singer or the composer?
The singer, but the composer came almost simultaneously. At that time of adventure and youthful transgressions, I composed a lot, along with a friend, Edezel. Then I went into a phase, only interpreter, which lasted decades. Only recently, I came up with the CD recording Peso Leve, my first recorded copyright.

“Tenho Onde Morar”(Luiz Gonzaga/Dario de Souza) Samba do Mar Quadrado (2004)

4. On your home page you talk about the impact when attending a Caetano Veloso’s concert at "Geraldão" in the '70s. First of all, excuse me for the ignorance, is Geraldão a theater in Recife? And what impact the show has had on you?
"Geraldão" is a gymnasium, like a little Maracana. It used to have a lot of shows there. I went to see Caetano in 72 or 73, I do not remember for sure. But he had at that time returned from his exile. This show marked me very deeply. I will never forget him singing 'Assum Preto' on the guitar. He made a few grunts from the verses, something very guttural. Then someone in the audience shouted "Yeah, suck on it, you queer!" He left the stage, the lights lit up, there was confusion and anxiety until he was escorted back to the stage by the police, and he made a brief, yet angry speech against close mindedness and continues the show. Everything caused a deep impact on me. I was 13 to 14 years old and was a restless teenager, unhappy and problematic. Without knowing exactally how or why there was a possibility of freedom, a silver lining amid during the repressive dictatorship, then in full resurgence of the “Medici” era.

5. You own a very strong voice. You call yourself a self-taught, but I wonder if you've done singing lessons or something like that, and how you take care of your voice.
Since very young I took vocal technique classes, voice lessons, correct use of the diaphragm and other stuff. I had some great teachers, including when I was in Portugal. Even nowadays I do the exercises at least once or twice a week, to keep the voice "in place". But my best school was listening to my idols, attempting to how they work their voice.

6. How do you define your music?
In a succinctly way, I would say that I make contemporary Brazilian popular music with a certain 'accent' from Pernambuco.

“Sodade de Pernambuco”(Manezinho Araujo) Samba de Sao Joao (2004)

7. What do you think of jargon MPB (Popular Brazilian Music)? Is your music a MPB?
Like all jargon, generalizes and flat, leaves out many subtleties, but, broadly speaking, I think, yes, MPB. Only that I am a very restless guy, then those labels fit me more than I fit into them, you know that? I hate frameworks, movements, trends, labels and anything that might be cause for confinement. The grace for me is to have the freedom to be exactly pop today and 'cheesy' tomorrow, grace is getting out with your armor unscathed.

8. You are a Samba composer?
No, but I have an 'instinctive' attraction with the genre.

9. Do you agree that in Brazil there is a barrier, or trend, which poses the musical production of the Northeast in a less privileged level than the one made in Rio or Sao Paulo?
Without the slightest doubt. Rio de Janeiro and Sao Paulo are hegemonic centers, and end up calling the shots, trends and everything. This imposition, in the end, is supported by the mainstream media. That also maintains that hegemony.

10. You lived almost a decade in Portugal: how do you see the standardization of Brazilian music over there? Is there a positive aspect on it?
I think there is still a valid and prevailing vision of Brazil (the land of samba, carnaval, football, sensuality, and so on ..., in spite of the efforts of some people to the contrary.That was in part what made me to come back to Brazil, because I started getting tired of singing to gringos who only wanted to hear samba, bossa nova sang in English, preferably, and all those standars of 'old' Brazilian music.

11. How was your life away from Brazil?
Aside from this aspect of the work itself, which I was getting tired with the passage of time, I loved, loved Portugal and, in particular, the region where I lived. I spent the first year in Lisboa and then went to live in Albufeira, Algarve, a region of beautiful beaches, almost tropical climate and a very cosmopolitan area, a beautiful place, fantastic quality of life. I made good friends. I have great memories from there. And things sounded all too familiar, my parents are Portuguese, I have dual citizenship, always lived with the accent, some customs and such.

12. The fact of having lived many years out of Brazil, when you came back, at some point, did you get the feelling of being a tourist in Brazil?
Yes, coming back was a difficult process, especially on the artistic side. I left Recife in 1990, President Collor era, and I returned in 1999 after the outbreak of the swamp beat and the premature death of Chico Science. I found a very different city from what when I left.

“Olinda”(Jose Antonio Madureira/Carlos Pereira Filho) Agua Verde (1999)

13. How is the Lusitan contribution or influence in your work?
Not sure. Perhaps it is a more subtle, indirect, perhaps a little in my diction, the choices of repertoire, which eventually emphasize a certain melancholy in spirit; something that, perhaps, has to do with the Lusitanian soul, the universe through the gloomy “fado”.

14. Your musical compass ranges from traditional samba to maracatu Zen, or the samba trip hop, the other popular rhythms with extreme facility. How do you explain this aspect?
I think I have answered part of this question before. I have a concern, something that I was born with, that I consider one of my best virtues, it is the aspect of freedom, able to transit through seemingly antagonistic structures. Some people see this as a defect, a lack of unity, coherence and such.

15. You could say that the album, “Agua Verde” (1999) was fertilized in Portugal and was born in Recife?
Exactly! It has even been recorded there, most of it. And it is an album entirely stripped free of any commitment, I sing it in an entirely random, intuitive, no strings ...

16. How did you find "Sejam bem-vindos”, by Cartola, performed in "Verde Agua”?
I took to Portugal a wealth material on tape (they were still alive!) and in one of those tapes there was him talking and singing, an interview to a radio. And he was singing “Sejam benvindos”.
“Sejam Benvindos”(Cartola) “Agua Verde”(1999)

17. Is it correct to say that on your album "Astrolabio" (2001), you musically translated what the new and exciting thing you found in Recife after returning from Portugal?
Exactly. While Verd'água was a reunion with myself, 'Astrolabio' was very difficult disc to produce and that ended up reflecting all my restlessness and desire to reinsert myself into the Pernambuco scene. I think it is a kind of confusing CD, despite moments that I consider it singular.

18. Is Recife a special city?
Despite the difficulties, some of them chronic, historical; on the artistic side, the city, especially from the 90s to today, always seems to be under the "umbrella" of species of concern, people are constantly in search of something, of making art, giving a voice to their projects, ideas etc.. In that manners, yeah, it is special ...

“Estrada”(Geraldo Maia/Paulo Marcondes) Peso Leve (2008)

19. In "Samba do Mar Quebrado" (2004) and "Samba de Sao Joao" (2007), mainly are works of historical research. How did these projects happen? What motivated you to make this connection with the past? Is it something that goes beyond your personal memory?
The 'Samba do Mar Quebrado' would not be an album of samba, but turned into it, half of that came randomly. Actually, I was in Rio, thinking about making my next record, and I used to talk to João Falcão a lot about the shape of the work, the possible paths. I went back to Recife and began researching the repertoire at the Fonoteca at Fundação Joaquim Nabuco. With Renato Phaelante’s help, friend and great researcher of folk music, I got a few sambas of Luiz Gonzaga, who seemed very unique and atypical in his work. The idea of making an only samba CD came from there. Then I continued this research with Renato, which resulted in 'Samba de Sao Joao'. Both works rescued several old songs, which is something I am very proud of it. But it has nothing to do with my personal memory, but much more with a possible construction of identities, facets of my artistic personality and a kind of nostalgic bias which is known to inhabit me.

20. How important was it to publicize your work and participation in the soundtrack of the excellent film "Lisbela and the Prisoner" (2004)?
It was a very important experience, especially having recorded alongside Yamandú.
“Sao Jorge” (Publius/Magrao) Lundum (2009)

21. How do you produce your work? Are you on the control of the distribution of the albums? Do you have any idea on how many copies have sold?
Yes, I control (almost) everything. My sister takes care of part of the distribution to the stores, but I am in charge of the whole process.

22. The copyright issue has recently created a strong reaction from expressive artists, such as Joyce Moreno, Antonio Adolfo, Ana de Hollanda and Mario Parahyba, challenging the new law of copyright that the government wants to deploy. Do you havean opinion about it?
No, I need to learn them urgently.
“Santa Luzia”(Geraldo Maia/Nilton Jr.) Lundum (2009)

“Pega o Peixe” (Geraldo Maia/Paulo Marcondes)

23. What do you think about the "free download" music from the Internet?
I think it is okay, I'm not against it. I am against the fetishes, having 700 songs on an I-pod and not hearing to any of the songs right ...

“Um Samba”(Henrique Macedo/Paulo Marcondes) Samba do Mar Quadrado (2004)

“Ronca o Bizouro na Fulo”(Joao Pernambuco/Stefana de Macedo) Samba de São Joao (2004)

24. Your last two albums "Peso Leve" (2008) and "Lundum" (2009) present more of your authorial side. Is this a new process in your life, or it is just now that you felt confident, comfortable, in presenting this aspect of your work?
It is a new process, and I love it, but, being quite frank, I feel better as a performer, it sounds as if it is more real, you know ...

25. Is there a new album coming? What prospects do you have for this year?
No, for now I want to work the 'Lundum'. New Cd, I believe, only for next year.

world cup

2010-06-08T13:36:00.000-07:00

world cup. football (soccer) art. music.
I made this clip with pictures from google images and with a music from Jorge Ben (one of Brazilian songwriter that made several songs celebrating soccer).
All of this to celebrate the Soccer World Cup that begins next Friday in Africa, land where many of good and beautiful music was originated

mariana martin

2010-05-30T15:44:00.001-07:00

Mariana Martin is another Brazilian musical pearl based in Miami, which I enjoyed meeting her during the period that I lived there.

Above you can see her presentation in a local TV accompanied by guitarist Ivo de Carvalho.

In the other video, in a relaxed moment, Mariana and the guitar player and songwriter Cezar Santana play a delicious Jam at her house.

diogo brown

2010-05-26T05:24:00.000-07:00

Diogo Brown is a bass player and composer from Niterói , Brazil, who lives , at least, for two years in Miami.
He recorded a beautiful album "Daqui Pro Mundo" in 2008, with his own compositions and an great version of a classic Brazilian folk music "Mulher Rendeira".
Diogo frequently has appeared in many shows in Miami and New York. In addition he keeps a Funk Jazz Quartet and a Samba Groove Band, he also plays with several Bossa Nova and Samba Jazz musicians at the East Coast; and he a menber of the Lanzallamas Monofonica Band, a band that calls itself as an Afro-Latin-Ameirca-World-Beat -Mezcla Jazz Band.

Tiê

2010-05-21T05:53:00.000-07:00

Tiê.

Young singer and songwriter from São Paulo, Brazil.

She released her first album last year..

Tiê from Tietê? Beautiful voice, beautiful singer.

Airto Moreira, Virada Cultural (Cultural Turnover), São Paulo

2010-05-16T17:18:00.000-07:00

Saturday, May 15, 2010. Old Down Town, São Paulo, Virada Cultural. São Paulo.
The freezing night didn´t came; the amazing big crowd warmed the atmosphere of the Paulicéia (São Paulo) night.
I watched what I could: The Hermeto Paschoal performance d following by Airto Moreira and Flora Purim performance.
After, my friends went to see Céu performance, I walked by the almost dark streets, between the old buildings of the big metropolis, there was so much excitement and so many shows in one only place, the old down town.
I wandered into the subway thinking about how good it is to the world to have musicians such as Hermeto Pascoal and Airto Moreira, and how good is to have music.

In the video below , a very similar video of a piece of Airto Moreira’s performance at the Virada Cultural (Cultural Turnover) at the Anhangabau Valley n Sampa (São Paulo).

dani gurgel

2010-05-14T10:42:00.000-07:00

Dani Gurgel, young singer and songwriter from São Paulo, is a great voice from the new generation of Brazil. Listen how sweet it is her voice and her music.

O Amor / Love

2010-05-09T14:12:00.000-07:00

Eduardo Montagnari "O Amor /Love" (Paul Constantinides / Eduardo Montagnari).
Video from the release cd "Dajabuticaba" show in Maringá (2009).

The Age of Trios (06)

2010-05-04T07:26:00.000-07:00

MILTON BANANA TRIO
(1963-1984)

Milton Banana Trio was few Trios that emerged in the early 60s that remained for more than 20 years. Not always with the original lineup, but certainly , with the command of the drummer , from Niteroi, RJ, Milton Banana.
Milton Banana (1935-1999) was a celebrated Bossa Nova drummer. His drum was quickly adapted to the smooth and sophisticated style required by Bossa Nova.
He is the drummer of the historic album "Chega de Saudade" (Joao Gilberto, 1959) and also the drummer from the album "Getz / Gilberto" (1963) which became one of the most played and sold in that period with the historical record "Garota de Ipanema" sung in English and Portuguese by Astrud Gilberto.
Milton formed his trio in 1963 with musicians and close friends, Wanderley (piano) and José Alves (bass). The trio recorded 20 albums.
Milton Banana Trio always sought to sambajazz versions of Bossa Nova and MPB songs. In his last album, recorded at 83, "Pass Line" , there is a beautiful version of "Sampa" (Caetano Veloso).
The Trio also dedicated 03 albums to the work of Chico Buarque, Tom Jobim Vinicius and Vinicius de Moraes. The series has the name, "To My Friend ..."
Listen to songs from the album "The Trio" from 1968.

Sá Marina (Antonio Adolfo/Tiberio Gaspar)

Segura Este Samba

Bom Tempo

PRIMO TRIO (1964-67)

The Primo Trio was from Porto Alegre, Rio Grande do Sul, led by the pianist Joao Peixoto Primo Antonio , with Tancredo Oliveira on bass and Luis Sergio Pacce on drums.
Notably it is possible to see on the Primo Trio´s albums the classical shaping influence of the pianist Joao Primo and also, the clarity and elegance of the arrangements of the songs they recorded.
The trio recorded two albumsç the first "Primo Trio (65) and other" Sambossa "(66).
Two fine examples from this period.
Listen to songs from first album Primo Trio.

Nosso Tema (Ary Barroso)

O Samba Está Bom (Luis Bittencourt / Jairo Argileo)

Feitio de Oração (Vadico / Noel Rosa)

RIO 65 TRIO (1965-1966)

The Trio Rio65 was formed during 1965, in Rio de Janeiro, by the restless Edson Machado (drums) and Don Salvador (piano); and by the quiet Sergio Barroso (bass).
The meeting of these musicians took place in the Beco das Garrafas, the powerfull drums of Edson Machado attracted Don Salvador, as well as his piano swing attracted Edson; and Sergio Barroso held the wave.
The Trio recorded two fine albums. The first "Rio65 Trio" (1965) and the second in 1966, "The Hour and Turn of MPM," an allusion to modern popular music.
The Trio Rio65 was characterized by outbursts arrangements that made them a significant group of that period.
The eclipse between Edson Machado and Don Salvador allowed them to do these two albums, then each one formed his own group.

Meu Fraco é Café Forte (Dom Salvador)

Desafinado (Newton Mendonça / Tom Jobim)

Tem Dó (Baden Powell / Vinicius de Moraes)

Nostalgic Albums (10/1973)

2010-04-27T18:27:00.001-07:00

ROBERTO SILVA
SAUDADE EM FORMA DE SAMBA (1973)

Roberto Silva is a Samba singer. He was born in 1930 in Rio de Janeiro. He was known as Samba Prince during the 40s. He was famous because of his indolent and syncopated interpretation style, especially inspired by Orlando Silva and Cyro Monteiro.
Among the the 40s and 50s Roberto recorded about 350 songs on 78 rpm and also 20 LPs. He got away from the musical scene since the early '60s. During 1973 it was released an album with a nice collection of various songs recording by him.
Roberto was a great sambista ,recollected , finally, at the 70s first hours.

Saudade Dela (Ataulfo Alves)

Maria Tereza (Altamiro Carrilho)

Morena boca de ouro (Ary Barroso)

EDUARDO GUDIN
EDUARDO GUDIN (1973)

Eduardo Gudin (singer and songwriter from São Paulo) was already a talented violinist when he was only a teenager. At 16 years old he was playing with Elis Regina at the Show Fino da Bossa, during 1966. During 68 he participated at the TV Record Musical Festival with a finalist music, “Cry of a Lived Love" (Walter Carvalho / Edurado Gudin), with Hermeto Paschoal arrangements.
Eduardo was dedicated to musical studies and also accompanying renowned artists at the beginning of his career. Was only in 73 that he managed to record his first album.
With original compositions and revealing a passionate samba dancer and charming, it is assumed that the resistance his suffered for being a samba singer from São Paulo.
This album brings Eduardo partnership with Paulo Cesar Pinheiro and backing vocals of the singer Jane Moraes.
As the beautiful album cover, the album brings a tender samba as you can hear at a bar table in São Paulo, or better, in Rio de Janeiro, or much better, in Brazil.

A Velhice da Porta-Bandeira ( Eduardo Gudin - Paulo Cesar Pinheiro)

E la´ se Vao Meus Aneis ( Eduardo Gudin - Paulo Cesar Pinheiro)

Deixa Teu Mal (Eduardo Gudin - Paulo Cesar Pinheiro)

MARTINHO DA VILA
PELO TELEFONE (1973)

In 1973, Martinho da Vila, singer and samba songwriter that had appeared during 69 was recording his fifth album. At this point he already had some big successes in his baggage as "Petit Bourgeois", "Why Money?" and "Who Is from the SeaDon’t Get Seasick '. He also, did so quiet and mild, very sensual, balance and broad popular sambas.
During this time Martinho was paving the basis of the fact that his is now one of the great samba songwriter in Brazil.
In "On the Phone," Martin brings back what is known as the first samba ever done in history, "Pelo Telefone" by Donga and Mauro de Almeida.
It also brings a samba with a rapid identification “Do not Cry My Love Do not Cry" and yet, an unheard of the fledgling songwriter, Joao Nogueira (Beto Razor).

Não chora, meu amor (Martinho da Vila)

Pelo telefone (Mauro de Almeida - Donga)

Beto Navalha (João Nogueira)

PAULINHO DA VIOLA
NERVOS DE AÇO (1973)

Paulinho da Viola, in 1973, was already a respected songwriter assessed by the MPB and also as a gem Sambist . Recording albums since 1965, with the success of the recordings with Elton Medeiros (Rose Gold / Roda de Samba), with the huge success of "It was a river that flows in My Life" and, after two albums recorded and released in 71, and the success of "Dance of Solitude" in 72. Well, in 73 Paulinho recorded an intimate and painful album. With songs sculpted with such rawness, who wisely are crowned with the beautiful version of a Lupicineo Rodrigues classic : "Nerves of Steel".
"Do you know , what it is , dear sir
To love a woman
And see her in the arms of another man? "

Comprimido (Paulinho da Viola)

Nervos de Aço (Lupicínio Rodrigues)

Cidade Submersa (Paulinho da Viola)

JAIR RODRIGUES
ORGULHO DE UM SAMBISTA (1973)

The singer Jair Rodrigues, from Sao Paulo, in 1973 solidified his solo career after spending the '60s singing and performing in duet with Elis Regina in the TV program O Fino da Bossa.
Awarded with the success of Disparada (Geraldo Vandre / Theo de Barros) in 66, since then Jair Rodrigues identified himself as a powerful and versatile singer. Singing sambas, jazz and even regional and western music.
On 73 Jar already recorded the fifteenth album of his career, of those, 03 recorded with Elis Regina. "Pride of Sambista" brings the singer and vibrant surroundings with the beautiful samba-plot "TemCapoeira" (Batista da Mangueira), brings an interesting version of "The Child's Gate" (Teddy Vieira / Louie) and many other beautiful sambas interpreted by a great and singular samba singer.

Sou da Madrugada (Gilson de Souza / Wando)

Tem Capoeira (Batista da Mangueira)

Orgulho de Um Sambista (Gilson de Souza)

The Age of Trios (05)

2010-04-23T10:26:00.001-07:00

JONGO TRIO

(1965-1969)

Jongo Trio was formed in Sao Paulo, during 1965, by the pianist Cido Bianchi, who played at the Stardust nightclub, by the bassist Saba (who played in the nightclub Baiuca) and the drummer Toninho (who played with Pedrinho Mattar).
The Jongo has a great success at night clubs and throw the Bossa Nova’s circuit in Sao Paulo (Arena Theatre, Cave Nightclub, Theatre Paramount and the TV show, Fino da Bossa). They followed for two years Elis Regina and Jair Rodrigues shows.
One of the striking features of the Jongo Trio is, besides the excellent musicianship, the beautiful vocal tuning of the three musicians, very greatly appreciated and used invariably, by the trio, in their records.
In 69 the group disbands, but soon a new line appears with the name Jongo Trio and Company, who recorded at 70 and 72.
To the posterity there is the beautiful album recorded in 1965.

Eternidade (Luis Chaves / Adilson Godoy)

Garota Moderna (Evaldo Gouveia / Jair Amorim)

Arrastão (Edu Lobo)

JOÃO DONATO E SEU TRIO

(1962-1963)

During 1962 when Donato after expending 04 years in the United States returned to Brazil, his head was immersed in Jazz and, at the same time, visualizing the Bossa Nova explosion. These facts led him to form a trio with Tião Neto (bass) and Milton Banana (drums).
They recorded the album "Muito A Vontade" (1962) that is considered the first Joao Donato album playing only the piano and also with nine of his compositions from the 12 recorded.
In 63 the Trio returned with the excellent "The Very Modern Bossa". The album brings "Indio Perdido" (Joao Donato) who years later Gilberto Gil did lyrics and transformed it into "Common Place/Lugar Comum".
Joao Donato Trio is striking and modern. Bring the restless piano Donato, tenderness d Banana’s drums and amalgam tonalfrom Tiao Neto’s bass.

Muito À Vontade (João Donato)

Outra vez (Tom Jobim)

Índio perdido (João Donato)

JORGE AUTUORI TRIO
(1966-1970)

Autuori, drummer from Pernambuco (?) compared to Milton Banana because of his light and engaging style playing Bossa Nova and Jazz Samba.
Listen to their albums you can perceives clearly the domain and his classic technical.
Between 67 and 70 the Trio recorded three albums. The, Jorge Autuori Trio, Vol.01 (1967), Jorge Autuori Trio, Vol.2 (1968), by Mocambo Records, and Ovalo (1970) by RCA Victor.
In none of the three albums are the pianist and bassist credits.
Excessive personalism or produtcion failure?
Anyway, is a great sound. Listen to Jorge Autuori Trio.

Capoeira De Oxalá ( Luiz Carlos Sá)

Zazueira (Jorge Ben "Jorge Benjor") -- Que Pena (Jorge Ben "Jorge Benjor") -- País Tropical (Jorge Ben "Jorge Benjor")

Tem Mais Samba(Chico Buarque De Hollanda

Nostalgic Albums (09/1973)

2010-04-20T11:13:00.000-07:00

The experimental, the anti-conventional, the bold.....

WALTER FRANCO

“CABEÇA”(1973)

THE COVER: A fly over a white background. THE CUT OF THE RATIONAL. NOTHING HAS VALUE, EVERYTHING HAS.

Son of the poet Cid Franco ,Walter Franco (Sao Paulo, 1945), musician and composer, became known during the period that he study at the EAD (School of Dramatic Art), USP. One of his first creations was music for plays of his colleagues. His songs, unconventional, caught the attention of TV Tupi who used one of his songs as a Soap Opera musical theme, Hospital, during 1971.
During this year he recorded a single and had outstanding participation in the III University Festival of São Paulo, Walter came to have a music championed by Geraldo Vandré (Does not Burn a Dream).
Walter Franco was born in a period and in a place that he could be easily influenced by Bossa Nova, by Rock’n’Roll and by Jazz. He looked uneasy in his musicianship a formal language differently. Text and music dissociated, interacting randomly. Whispers, dissonance and passages of great intensity noise.
Influenced by concrete poetry Walter Franco in 1972 caused uproar in VII Fic, TV Globo, and Rio de Janeiro when he presents the classic "Head/Cabeça" (Walter Franco). The music lasts for 6 minutes and repeatedly sings the word "head" "head," know that it could explode, "or not."
In 1973 he released the debut album "Head."
Considered avant-garde by some and despised by many music critics, in fact Walter Franco has always taken an attitude foreign to all this. Never engaged in an aesthetic movement or music or released guidelines discuss.
Lonely and curious, he made his musical and poetic discourse at a time when thinking of doing something like that was impossible, and Walter did.
His work still has an innovative character.
"Let Me Mute/Me Deixe Mudo" is a synthesis of Concrete-musical performed extremely interesting and very impressive.
Walter Franco's head, the head brother.
“Me Deixe Mudo”(Walter Franco)

“Cabeça”(Walter Franco)

“Mixturação”(Walter Franco)

TOM ZÉ
TODOS OS OLHOS”(1973)

THE COVER: The intention was to be a marble over an anus (Ass Eye). The picture used, given the same idea, was a marble over a woman’s lips.
Composer, singer and arranger born in Irará (Bahia), Tom Ze learned music listening to the radio in his homeland during his childhood. He spent his youth at the University of Bahia in Salvador, where he studied music and learned, among other things, to play piano and cello, and also harmony and composition. During this period, the early '60s, he met Caetano Veloso, Gilberto Gil, Maria Bethania and Gal Costa, with whom set up a group for the shows "We, for example" and "Old and New Bossa/Nova Bossa Velha. He left for St. Paul with his friends and participated in the show "Arena Sings Bahia".
During 67 and 68 he participated actively in the Tropicalia movement. He took part of the historical record "Tropicalia or Panis Et Circus" (1968) and at the same year he won the Festival de MPB de São Paulo with the hymn "Sao Paul, My Love/Meu Amor"
Tom Zé released his first album in the same year, "Rozemblit.
During 1973 he released his fourth album "All Eyes/Todos os Olhos".
"All Eyes" is a remarkable album in Tom Ze’s career, is the moment where his restless composer and singer breaks and reached a plateau in the music and partly to a more radical and innovative style.
Using a musicality and sometimes dissonant and distorted tunes, it is certain that the free vein of the composer spent for "All Eyes" and offers us an interesting overview of music.

“Complexo de Épico” (Tom Zé)

“Augusta, Angélica e Consolação”(Tom Zé)

“Botaram Tanta Fumaça”(Tom Zé)

CAETANO VELOSO
“ARAÇÁ AZUL”(1973)

THE COVER: The navel. The lyric immersion to the Earth.

During 72, Caetano Veloso, who has just arrived from his exile in Europe, decided to make an experimental musical work immersed in the period in which he sought to isolate a course in Bahia. Beholding his musical career, it is understood that at that moment the composer and singer lived a kind of cartelism. Surfing and dreaming about different musical and lyrical possibilities ranging from whistling, with his poems and Souzandrade poetry, and with unconventional musical instruments (cymbals, drumming on his chest and inventions of Walter Smetak – musical instrument inventor from Bahia).
This is a very one album in the composer's discography; an experimental disc that caused some discontent from his record label Polygram, which immediately after its launch recalled the album due to the large number of discards and withdrew from the catalog.
The album soon became a cult, revered by a loyal legion of fans, and was resumed on 87 when he returned to earn interest to a wider audience.
Araçá Blue/Azul is a kind of example to understand the important things rolled in the early '70s. The album refers in itself as a desire for freedom inserted into the social and political context of that period
Caetano put things in a pot , "crazy" things (experimental), from the 60/70 and that usually appeared only one in one album track, or in a small piece, and recorded an entire album with all this . The conventional is only a small piece.

“Sugar Canes Fields Forever”(Caetano Veloso)

“De Conversa/Cravo e Canela”(Caetano Veloso/Milton Nascimento e Ronaldo Bastos)

“Gilberto Misterioso”(Caetano Veloso)

The Age of The Trios (04)

2010-04-15T08:04:00.000-07:00

COPA TRIO
(1962-1964)

The Copa Trio was founded in 1962 by the bass player Manuel Gusmão, the trio was completed by Joao Palma (drums) and Toninho Oliveira (piano). But because of logistical factors, in the same year Joao Palma and Toninho Oliveira were replaced, and the trio became composed by Manuel Gusmão (1927-2006) on bass, Dom Um Romão (1925-2005) on drums and Dom Salvador (1938) on the piano, the famous formation that made famous the Copa Trio.
The Copa Trio accompanied Elis Regina in her first show at the Little Club, in Bottles’ Alley (Beco das Garrafas). T
The Trio is cited by Ruy Castro (in the book "Chega de Saudade") when report the incident at the Hotel Danubio , Sao Paulo, who refused to receive Dom Um Romao and Dom Salvador as guests because of their color.
The Copa Trio recorder a single (78 rpm) and participate in compilations such as "Bossa at Paramount (63)" and "Is Time of Modern and Popular Music" (64).
Manuel Gusmão remained beyond the Trio Copa and the Copa 5 group, which is the basis set and arranging set of the anthological Jorge Ben’s album “Samba Esquema Novo "(1963).
The Copa Trio existed for a short time but it was flashing. Its components followed different paths, as Don Salvador and Dom Um Romao would form their own trios and ensembles; Manuel Gusmao played with the 3D Group (Antonio Adolfo), lived in the United States, and played with Joao Donato, but unfortunately there is not many recorded albums of this great bassist as well as from the Copa Trio.
Listen to the only track that I have formed the Copa Trio from the album “Is Time of Modern and Popular Music"

"Meu Fraco é Café Forte (Dom Salvador / Manuel Gusmao).

EMBALO TRIO
(1965)

The Embalo Trio was formed by Roberto Torres Mancilha (piano), Faud Solomon Sobrinho on drums and Everson Augusto da Silveira on bass.
There is not much information about this trio, their origin and provenance.
But in the only album recorded by the Trio during 1965 you can glimpse the beauty of their musical style embedded by Bossa Nova, Toada and Jazz Samba.
The Embalo Trio is another jazzy jewel of this period that flourished in Rio de Janeiro and part of São Paulo during the 60s.
Listen to the album in full.
Embalo Trio: three figurines, colorful piece of paper cut from the keyboard of Roberto Mancilha, the winning tone and emotion by Everson Augusto bass , and rhythm with the Faude Solomon’s drums.

EMBALO TRIO (1965)
O Embalo Trio era formado por Roberto Mancilha Torres no pinao, Faud Salomão Sobrinho na bateria e Everson Augusto da Silveira no baixo.
Pouco se sabe a respeito deste trio, sua origem e procedência. Porém no único registro deste Trio feito na luz do ano de 1965 pode-se vislumbrar a beleza do trio em sua musica. Imerssos na Bossa Nova, na Toada e no Samba Jazz; o Embalo Trio é outra jóia deste período jazistico que floresceu no Rio de Janeiro e parte de São Paulo durante os anos 60.
Escute o álbum na integra.
Embalo Trio: três figurinhas, papelzinhos coloridos recortados pelo teclado preciso de Roberto Mancilha, ganhando tom e emoção com o baixo de Everson Augusto e ritmo com a bateria de Faud Salomão.

01 - Canção da Terra (Edu Lobo / Ruy Guerra)

02 - Diz (Walter Santos / Tereza Souza)

03 - Só Tinha Que Ser Com Você (Tom Jobim / Aloysio de Oliveira)
Das Rosas (Dorival Caymmi)
Você (Roberto Menescal / Ronaldo Bôscoli)
Samba do Avião (Tom Jobim)
Primavera (Carlos Lyra / Vinicius de Moraes)
Saudade (Silvio César)
Minha Namorada (Carlos Lyra / Vinicius de Moraes)
Garota de Ipanema (Tom Jobim / Vinicius de Moraes)
Consolação (Baden Powell / Vinicius de Moraes)
Só Danço Samba (Tom Jobim / Vinicius de Moraes)

04 - Chuva (Durval Ferreira / Pedro Camargo)

05 - Nordeste (Everson Silveira / Faud Salomão / Roberto Torres)

06 - Eu Vivo Num Tempo de Guerra (Edu Lobo / Gianfrancesco Guarnieri)

07 - Resolução (Edu Lobo / Luis Fernando Freire)

08 - Venha Ser Feliz (Edu Lobo / Gianfrancesco Guarnieri)

09 - Chegança (Edu Lobo / Oduvaldo Viana Filho)

10 - Giramundo (Luis Carlos Sá)

Nostalgic Albums (08/1973)

2010-04-13T13:09:00.000-07:00

PESSOAL DO CEARÁ
(EDNARDO, RODGER E TETTY)
“MEU CORPO/MINHA EMBALAGEM
/TUDO QUE É VIAGEM”(1973)

In Fortaleza, Ceara, since the 60's a musical fermentation was occurring in the city bringing together young musicians soaked by rock’n’roll , counter culture and also with the local musical and poetic literary tradition.
The community’s meeting points was between Architecture Coolege of Fortaleza and the downtown Anisio’s Bar.
People from Ceará (Pessoal do Ceara) was a invented product by the producer Val Do Moracy with the idea to offer to the public a local version of the Novos Baianos.
Indeed Ednardo, Rodger and Tutty were musicians who knew each other and eventually sang together and played compositions from each other.
But there wasn’t a community cohesion among them as the Novos Baianos’s community. The group actually wasn’t a real group, but in the best sense, was a modern sample of the musical production , at that time, resolutely in Fortaleza, Ceará.
The fact itself brought up the the musical beauty of Ednardo,a singer and songwriter of major expression. Brought the beautiful and perennial voice and sweet tune of the singer Tutty and the expressive compositions of Rodger Rogério.
The album has an impressive lyrical beauty, brings creative arrangements of the Bossa Nova musician Salvanini Hareton, who followed the imperative keynote mixing folklore themes with rock and pop music themes, yet , giving a intense sweetness climate.
Terral (Ednardo)

Curta Metragem (Rodger Rogério / Dedé -José Evangelista)

Falando da Vida (Rodger Rogério / Dedé -José Evangelista)

FAGNER
“MANERA FRU-FRU” (1973)

During 73, the singer from Ceará, Fagner who arrived in Rio on 72 after getting off from the Brazilian central regions winning contests with his derisively, oiled and moving voice.
Coming from an environment where music flourished from Belchior, Fagner became notorious with Elis Regina recording his song "Mucuripe (Belchior / Fagner) in72’.
With his prestigious the doors of Phillipsopened to the singer /songwriter who recorded ' Manera Fru Fru" bringing out especially urban Northeast songs.
The album produced by Roberto Menescal and arranged by Ivan Lins had appearances by Nana Vasconcelos (percussion) and the fine singer Nara Leão.
Fagner brought a repertoire where he sings folk versions as "Corner of Tiê" (with Nara Leão), regional classics as "The Ultimate Stick Arara (Venancio / Corumba / José Guimarães) and other Northeastern rhythms merged with rock and pop rhythms as the title song "Manera Fru Fru Manera" (Take it Easy FruFru) (Fagner / Ricardo Bezerra).
Último Pau-de-arara (Venâncio / Corumba / José Guimarães)

Pé de Sonhos (Petrúcio Maia / Brandão) with Nara Leao

Manera Fru Fru Manera (Fagner / Ricardo Bezerra)

DOMINGUINHOS
“FESTA NO SERTÃO” (1973)

Dominguinhos is as a Luiz Gonzaga’s godson , who won from Luiz Gonzaga an accordion after Luiz saw him playing in the street in front of a hotel in Recife. Dominguinhos was only 8 years old. Dominguinhos since his childhood played the accordion. He arrived in Rio de Janeiro with 14 years old and started to play in the street, at parties, concerts and restaurants.
His great skill and dexterity playing the accordion made him earn the admiration that he needed to perform on radio shows and consequently recording albums, as in fact, he did during 1964.
After recording three albums in 66’, Dominguinhos returned to Pernambuco where he remained for some years. At 73’ he returns to Rio and to the recording market bringing his own song and developing a bolder style in which the same time that printed especially northeastern rhythms brought innovation incorporating new urban music accents. Since then Dominguinhos started to record and play in concerts with traditional MPB artist as Gilberto Gil, Gal Costa, Chico Buarque and others.
Amor estou voltando (Dominguinhos)

Festa no sertão (Dominguinhos)

Homenagem a Pixinguinha (Dominguinhos)

QUINTETO VIOLADO
“BERRA-BOI” (1973)

After the 72’debut album the group from Pernambuco, Quintet Violado, returned in 73’with the same smooth musical style and at the same time with the frenetic a northeast musical regional treatment, so refined and cohesive.
MarceloMelo (guitar), FernandoFilizola (viola) mLucianoPimentel (percussion), Toinho Alves (bass) and Sando (flute) followed forward transforming regional rhythms in urban music. Also spread this musical genre to urban societies, in the Brazilian music scene.
In this album the group recorded their own compositions and brings an unprecedented a Dominguinhos’s song.
The track "Embrace Hermeto" demonstrates the group link with the contemporary music at that moment. Hermeto Paschoal, musician, composer, Northeastern pianist connected to jazz, at that time was starting his solo career shining in the U.S. and Europe.
Vaquejada (Toinho Alves / Luciano Pimentel / Marcelo Melo)

Abraço ao Hermeto (Sando / Toinho Alves)

Forró do Dominguinhos (Dominguinhos)

The Age of The Trios (03)

2010-04-07T09:36:00.001-07:00

BOSSA TRÊS
(1961-1966)

Born during the jazz effervescence at the Beco das Garrafas in the early 60s; the Bossa Tres was born in 61 of the meeting of Luis Carlos Vinhas (piano), Tiao Neto (bass) and Edison Machado (drums).
Luis Carlos Vinhas (1940-2001) was a pianist of the first hour of Bossa Nova style and had an inventiveness compulsive on his keyboard, Edison Machado (1934-1990) with his samba in the dish standed with his drums its subtlety sound the Trios’s music, and finally the Bass of Tiao Neto (1932-2001) pulsated through the scattered notes on the piano and rhythmic percurssion with ease and precision.
Bossa Three exudes polished jazz samba.
The Trio made precious moments with their musical style.
The Bossa Three released six albums: "The Three Bossas (1962)," Three Bossa & Friends "(1962)," Bossa Three in Form "(1965) and" Bossa Tres "(1966) are the only albums Trio. Duo also made two other "Three Bossa and Jo Basile" (1962) and "Bossa Three and Lennie Dale" (1962).
The Bossa Three in 64 went to the U.S. and just returned with Luiz Vinhas who invited Octavio Bailly Jr (bass) and Chico Batera (drums) to replace Tiao Neto and Edison Machado.
The Bossa Three lasted until mid-66.
Edison Machado formed the famous Edison Machado Quartet.
Luis Vinhas played and arranged for various artists as Bethania and Elis Regina, and released solo albums.
Tiao Neto was part of Bola Sete Trio and accompanied exponents of Brazilian music as Joao Gilberto and Tom Jobim in concerts, tours and recordings.

Tema Bossa Três (Tião Neto)

Céu e mar (Johnny Alf)

Só saudade (Tom Jobim)

Influência do jazz (Carlos Lyra)

BOLA SETE TRIO (1966)

Bola Sete, born Djalma de Andrade (1923-1987) was a Brazilian guitarist extremely significant in the contemporary scenario of Brazilian Jazz. His style still influence musicians from many generation. It's obvious his guitar style influence on Caetano Veloso last album “Zii and Zie”.
Bola Sete however is not worth remembering as he should be. His work is very significant and his talent is incomparable.
However, because he was one of the first Brazilian musician of his generation to leave Brazil and settle down in the U.S. (from the 17 albums he recorded, only the first in 1958, was made in Brazil).
Bola Sete never distanced itself as an expression of genuine Brazilian Music.
In 1966 he worked his musicality as a trio meeting with Tiao Neto (bass), the same from Bossa 3, and Paulo Magalhaes (drums). They recorded a single album: “Authentic”.
On this album the Bola Sete Trio emerges in a repertoire that transcribes a mixture of styles ranging from choros as "Brejeiro" and "Odeon" by Ernesto Nazareth, tunes like "Consolation" by Baden Powell, marches as "Quindin Ya Ya"(Ary Barroso) as the regional "Pau de Arara" (Luiz Gonzaga / Gulo de Moraes) and "Mulher Rendeira" among other topics.
The result is an album full of colors and creative hues strumming Bola Sete’s guitar and the serene and superbly conduction Tiao Neto and Paulo Magalhães.

Brejeiro (Ernesto Nazareth)

Consolação (Baden Powell)

Quindim de Iaiá (Ary Barroso)

Pau-de-arara (Guio de Morais - Luiz Gonzaga)

Nostalgic Albums (07/73)

2010-04-01T10:15:00.000-07:00

the blow of Rock at a point of America, in a clear moment ....

RAUL SEIXAS
"KRIG-HA-BANDOLO" (1973)

Eu devia estar contente
I should be glad
Por ter conseguido tudo o que eu quis
For having achieved everything I wanted
Mas confesso abestalhado
But I confess stupidly
Que eu estou decepcionado
I'm disappointed

The singer and songwriter from Bahia, Raul Seixas (1945-1989) during 72 after recorded an alternative album “Gran-Order Kavernista” started his solo career that transformed him into a rock and counterculture in Brazil.
The album "Krig-ha-bandolo" features strong elements of popular and pop culture (the title is a reference to Tarzan, comic book from the 50s), mixed with mystical, esoteric and hippies references.
Raul started a rock foundation immersed in broad perspective of light music.
This album marks the beginning of the partnership of Raul with Paulo Coelho, it features the duo songs: "King Solomon's Mines," "Hour of the Passing Train," "Al Capone", "Rockxixe" and "Dog Vulture."
The great success of the album was "Ouro de Tolo/Golden Fool" a song that criticizes the middle class dream of consume while speaks of flying saucers. It was an anthem of counterculture in the 70s and a genuine Brazilian pop ballad.
"Mosca na Sopa/Fly in the Soup" is another great success and clearly shows the elastic capacity of Brazilian music in mix rhythms, here we see rock embarked on Primitive African rhythms.
“Krigh-Ha-Bandolo” is primal Raul scream in the ear of the '70s.

“Mosca na Sopa”(Raul Seixas)

“Metamorfose Ambulante”(Raul Seixas)

“Ouro de Tolo”(Raul Seixas)

SÉRGIO SAMPAIO "EU QUERO BOTAR MEU BLOCO NA RUA" (1973)

Sergio Sampaio (1945-1994) in 73 releases his first solo album after the huge success in the International Music Festival 72 with the song “Eu Quero Botar Meu Bloco Na Rua”. The album "I Want My Put my Block on the Street" functioned as an anticlimax of his early success. To the media, at the time, it expected to find in each track of the new album hits like "I want ...”
But the musical /poetry of Sérgio Sampaio revealed a face on "I Want to Put My Block In The Street" which is not at all his modernist fury, his critical acidity and untouched bolero.
Sergio Sampaio’s music is valuable, did not gain the ears of the body but left a strong record of the period they were created.
Sérgio Sampaio: the torment and the joy of a crazy moment, the lyrical and the poetic during 1973. All washed down with wine, rock and bolero.

“ Lero, Leros e Boleros”(Sergio Sampaio)

“Labirintos Negros” (Sergio Sampaio)

“Eu Quero E Botar Meu Bloco na Rua” (Sergio Sampaio)

SOM IMAGINARIO
“A MATANÇA DOS PORCOS
/The Slaughter of Pigs" (1973)

Som Imaginario was a band build around the musicality mining of Milton Nascimento and the Clube da Esquina. So, being as what it was the Novos Baianos to the Tropicalism; the Som Imaginario was a musical exponent of that creative moment of Brazilian music made in Minas Gerais. Obviously, like any music made with various shades that blend local rhythms with foreigners rhythms, easily expands from its geographic boundaries.
Som Imaginario during 1973 recorded their third and latest album, "The Slaughter of Pigs."
In this album the keyboardist Wagner Tiso becomes the musical arrangements. The band core is around Wagner Tiso (keyboards), Tavito (guitar), Robertinho Silva (drums) and Luis Alves (bass).
Still, there were participations of former members as Frederick (guitar) and Zé Rodrix (flute); and the participation of Milton Nascimento, Golden Boys and Danilo Caymmi.
In "The Slaughter of Pigs" is very clear the influence of the progressive rock; it music sometimes sounds as Pink Floyd. But the album, anyway, is still original; it is a mostly instrumental album that brings a wealth of jazz, rock, psicodelic and regional rhythms with mastery.
The Som Imaginario was a band of “beasts”, as it was said during the 70s about great musicians.

Armina – Som Imaginário – (Wagner Tiso)

A Nº 2 – Som Imaginário – (Wagner Tiso)

Mar Azul – Som Imaginário – (Wagner Tiso & Luiz Alves)

SECOS E MOLHADOS
SECOS E MOLHADOS (1973)

The band's debut album "Secos e Molhados" features arrangements connected with the folk rock and some Brazilian folk rhythms; it brings the poetic vein of Joao Ricardo mixed with the acoustic and electric tunes and the feminine voice of Ney Matogrosso.
This set of skills, facts and factors resulted in a strong and vibrant album, which still brings the freshness of the time it was created. The early 70s, exact ally: 1973.
At this time Brazil was emerging from Tropicalismo, the Jovem Guarda, the Protest Music and other Bossas transmuted into MPB; and also, immersed in the radioactive range of Western rock and pop music.
Joao Ricardo, Ney Matogrosso and Gerson Conrad did in 73 the music which reflects much of what happened at that time.
The album was a smash hit and "Sangue Latino" (João Ricardo / Paulo Mendonca) was one of the most performed songs that year.

“Sangue Latino” (Joao Ricardo/Paulo Mendonça)

“Primavera nos Dentes” (Joao Ricardo / Joao Apolinario)

“Fala” (Joao Ricardo / Joao Apolinario)

The Age of The Trios (02)

2010-03-29T11:39:00.001-07:00

BOSSA JAZZ TRIO
(1964-1969)

The Bossa Jazz Trio is Amilson Godoy on the piano, Jurandir Meirelles on the bass and Jose Roberto Sarsano on the drums.
The Bossa Jazz Trio brings the exhilarating joy of Amilson’s piano contrasting with to the low and discreet Meirelles’s bass and the amazing rhythms of Sarsano’s drums.
The Trio Jazz Bossa was formed during 1964. Theyt recorded their first album in 65 (Bossa Jazz Trio).
The Trio played ,for a period, in the show Fino da Bossa (Elis Regina and Jair Rodrigues) and accompanied Elis during a tour in Venezuela, Argentina and France.
The classic lineup of Amilson portrays itself forcefully in Bossa Jazz Trio music, as in his arrangements and starts piano. All done with beauty and elegance.
The Bossa Jazz Trio lasted until 69; they recorded two fine albums (65/68) and participated in many others.
The name of the trio is what the really played; pure Bossa Jazz.

“Balanço Zona Sul”(Tito Madi)

“Canto de Osanha”(Baden Powell/Vinicius de Moraes)

“Maria Moita”(Carlos Lyra/Vinicius de Moraes)

“Dá-me”(Adilson Godoy)

BANZO TRIO
(1964-1966)

The Banzo Trio was formed between 1963 or 1964, in Rio de Janeiro.
The Banzo Trio had Nelson Racy on the piano, strumming with fluency at the keyboard. He was accompanied by a drummer and a bass player. The names of the musicians is not identified in the Album that I have (A Show of Bossa Bossa Copa/1965) and I did’nt find no records of the name of the members of the Trio in the research that I conducted.
Anyways the Banzo Trio recorded an EP in 1965 (Banzo Trio), an Long Play in 1966 with the singer Lita (Lita with Banzo Trio) and participated in the compilation album "A Show in Bossa Bossa-Cup" in 06 tracks.
The group clearly reflects the inclusion of Bossa in Jazz.
Listen

Garota Moderna (Evaldo Gouveia / Jair Amorim) Banzo Trio

Gente (Marcos Valle / Paulo Sergio Valle) Banzo Trio

Samba Sem Pim-pom (Evaldo Gouveia / Jair Amorim) -- Sambou Sambou (João Donato / João Mello) -- Samba da Minha Terra (Dorival Caymmi) -- Só Danço Samba (Tom Jobim / Vinicius de Moraes) Lita & Banzo Trio

Eu Só (Maurício Einhorn / Arnaldo Costa / Clóvis Mello) Lita & Banzo Trio

Antonio Adolfo and Carol Saboya

2010-03-24T10:43:00.000-07:00

"Lá e Cá/Here and There"
Antonio Adolfo and Carol Saboya (2010)

Antonio Adolfo and Carol Saboya are releasing their new album "Lá e Cá" / Here and There."
The album features a pleasant surprise: the Antonio Adolfo’s Jazz explosion; which translates into precise and precious arrangements mixing Jazz and Brazilian rhythms.
Not that this is something new in his work, but it happens on this albums as it was.
It brings a fresh atmosphere.
Antonio Adolfo with his refined style accompanied by a great quartet (Leo Amuedo, guitar / Jorge Helder, bass / Rafael Barata, drums / Sergio Trombone, trombone) he created the right environment for the crooner ’s voice; Carol Saboya sings jazz, sambas and bossas with a tender tenacity and smooth voice.
You hear the album "Cá e Lá/There And Back" as if you were listening to a concert in a pocket bar; there is a pleasant intimate atmosphere.
There are pleasant surprises like the inédita "Minor Chord" (Antonio Adolfo), masterful versions of Cole Porter (Easy to Love, So in Love and Every Time We Say Good Bye), Dizzy Gillespi (A Night in Tunisia) and Thelonious Monk (Round Midnigth).
Weaving all this musicality, Carol’s voice comes quiet and absorbing.
A beautiful moment of the Brazilian jazz, full of freshness and creativity: "Lá e Cá" / Here and There"

Also, a significant participation of Alex Moreira (BossaCucaNova) in mixing and engineering recording.
Below, Antonio Adolfo’s text talking about every track on the new album.
And yet, listen to two songs from the album.

Ps: To more information about the album and Antonio Adolfo: www.antonioadolfo.com

This new CD picks up where we left off with the critically acclaimed 2007 release, Antonio Adolfo and Carol Saboya Ao Vivo/Live.
In 2009, after our performance at the Jazz Impressions Concert presented by South Florida Jazz at the Rose & Alfred Miniaci Performing Arts Center, Carol and I came up with the idea of recording something similar to what we had presented there with a quartet before a wonderful audience. The song list was based on the 2007 CD and also included some tunes that appear on this Lá e Cá/Here and There CD.
Then, during my visit to Rio in December 2009, we went into a studio and recorded the songs for the new CD with several great Brazilian musicians as if we were performing live. I feel that’s the very best way to play music, and that’s what we’ve done on Lá e Cá.

1. Cascavel (“rattlesnake”) is a song I composed in 1974. Since then it has been played and performed by many different musicians.

2. All the Things You Are is a lovely song that I normally use as one of the first examples in my classes on how to phrase in a Brazilian way. It carries a very rich and seductive combination of harmony and melody and can become very Brazilian if we apply certain phrasing techniques. This tune has inspired other Brazilian composers to write melodies based on a very similar harmony; in fact, I include a short interlude from one of those beautiful melodies, “Amazon River” (by Dori Caymmi and Paulo César Pinheiro), in my solo.

3. Minor Chord is one of my most recent compositions—written less than a year ago—and it has only minor chords. I’d never written a song with only minor chords before. But, as you can hear, “minor chord” doesn’t necessarily mean sad chord or sad music.

4. A Night in Tunisia – Since I started playing jazz, when I was 17, this song has captivated me, perhaps because of the terrific combination of jazz and Latin that composer Dizzy Gillespie created.

5.Time After Time – The Chet Baker recording of this song enthralled me—and many other Brazilian musicians and composers—during the 1950s/60s. It is safe to say that his vocal interpretations (including the one for “Time After Time”) have influenced an entire generation of musicians in Rio/Brazil who, at that time, invented one of the most important Brazilian musical styles: the famous Bossa Nova.

6. Easy to Love – Cole Porter was also one of the most important composers of all times, admired by, among others, Antonio Carlos Jobim. I, too, am a passionate admirer of Cole Porter’s music. Our interpretation of “Easy to Love” recalls the sound of what we used to play in the nightclubs of the Beco das Garrafas (Bottles’ Alley) in Rio, where Brazilian musicians got together to play and discuss jazz during the 50s/60s period.

“Easy to Love”(Cole Porter)

7. Sabiá – The only track with a song exclusively by other Brazilian composers (Antonio Carlos Jobim and Chico Buarque), “Sabiá” is an example of the beauty found in Brazilian music, not necessarily just Bossa Nova. The original lyrics are so beautiful and talk about saudade, a feeling of loneliness and mixture of happiness and sadness found in many Brazilian songs.

“Sábia” (Chico Buarque/Antonio Jobim)

8. Lullaby of Birdland, by the great pianist/composer George Shearing, a genius of jazz piano, who created the George Shearing style. We did this song together with Jobim’s little-known “Garoto,” in the choro style. Combined, the two songs are an example of what Brazilian musicians play in the Gafieiras (popular dance parties), normally with groups comprised of a rhythm section plus horns, especially the trombone.

9. So in Love – Here we are with Cole Porter again, interpreted by the quartet plus Carol, phrasing very Brazilian as with the other songs. The combination of melody/harmony recalls, at some moments, the Jobim style.

10. ’Round Midnight – Written by another genius of the piano, Mr. Thelonious Monk. This is one of the most beautiful jazz ballads I’ve ever heard or played. I became even more enamored of the song after watching the film with the same title.

11. Every Time We Say Goodbye/Nuvens Douradas – A very passionate melody combined with a harmony that allowed me to create a very soft Brazilian arrangement, especially effective when combined with Jobim’s “Nuvens Douradas” (Golden Clouds).

12. Toada Jazz (O Retirante)/Night and Day – “O Retirante” (title of the original vocal version with lyricist Tibério Gaspar), one of the first tunes I ever wrote, ends the album in an instrumental interpretation by the quartet. Back when I wrote this, I was listening to a lot of Bill Evans—another genius of the piano. Maybe the chords he used in his tune “My Bells” had influenced me. Here I’ve combined “O Retirante” with another great Cole Porter tune, “Night and Day.”