tag:blogger.com,1999:blog-17501835278455641202024-03-04T20:13:56.153-08:00The Brazilian SoundBrazilian music news, essays and interviews by Chris McGowanUnknownnoreply@blogger.comBlogger58125tag:blogger.com,1999:blog-1750183527845564120.post-69961084770911088552022-01-29T20:22:00.005-08:002022-01-29T20:26:59.418-08:00Elza Soares<p style="text-align: center;"> <a href="https://blogger.googleusercontent.com/img/a/AVvXsEgs4Ktr2jFIR3wOzBaDWj5EIe_M8KeaQAVs-KZXHVdZegMKICT3tS3nCROn00NEpk0DTvghUcR9KnL7dk10mWi8jchQQjoI0leCcs-9_HHLDvBpimRpyhh29tD4pZBkyWzJvlJGGC6IMZkq2AShFx1Vhg-LWYO1zmZ8B1bJEkXZMRB4DQvMFALCvFn5NQ=s1200" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1200" height="213" src="https://blogger.googleusercontent.com/img/a/AVvXsEgs4Ktr2jFIR3wOzBaDWj5EIe_M8KeaQAVs-KZXHVdZegMKICT3tS3nCROn00NEpk0DTvghUcR9KnL7dk10mWi8jchQQjoI0leCcs-9_HHLDvBpimRpyhh29tD4pZBkyWzJvlJGGC6IMZkq2AShFx1Vhg-LWYO1zmZ8B1bJEkXZMRB4DQvMFALCvFn5NQ=s320" width="320" /></a></p><p></p><p>Samba singer Elza Soares passed away on January 20 in Rio de Janeiro at the age of 91. She was born in 1930 in the favela of Moça Bonita (now Vila Vintem) in <span style="color: black;"></span>the neighborhood of Padre Miguel in Rio.<br />Elza Gomes da Conceição rose from poverty to stardom in Brazil and had a career that spanned seven decades and included 35 albums. She had a powerful, dramatic voice that she sometimes mixed with a raspy growl that earned her comparisons to Louis Armstrong. Soares explored many types of samba, as well as jazz, bossa nova, MPB, rock and electronic music. She was one of the first Brazilian singers to mix samba with scat vocals in her debut album, <i>Se Acaso Voce Chegasse</i> (If You Happen to Show Up). released in 1960. Soares won many honors in her lifetime, including a Latin Grammy award for Best MPB Album for <i><a href="https://pt.wikipedia.org/wiki/A_Mulher_do_Fim_do_Mundo" title=""> <span style="color: black;">Mulher do Fim do Mundo</span></a> </i>(Woman at the End of the World, 2015).<i> </i>She had four Latin Grammy nominations for other works. In 2016, she sang in the opening ceremonies of the 2016 Olympic Games in Rio de Janeiro.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEg-Xbcrn5QFjXrQPoTGQDPZycS6oESkUJucRbMUoEIFxb3jhZCvzhkl94CZhFPdsQyJSFmaM1tw_tKXpd2A0cgFe-m4_7CFY8-ekTjdnD8OcMtnWz-Jy2hq2mEkb7-cRIqEeSlK11WwumhQp-m6jYCh0ZlZyF1okXw5D7ZrmvHFDqPF2MbPi_SSzB3FlA=s1100" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1100" data-original-width="1100" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEg-Xbcrn5QFjXrQPoTGQDPZycS6oESkUJucRbMUoEIFxb3jhZCvzhkl94CZhFPdsQyJSFmaM1tw_tKXpd2A0cgFe-m4_7CFY8-ekTjdnD8OcMtnWz-Jy2hq2mEkb7-cRIqEeSlK11WwumhQp-m6jYCh0ZlZyF1okXw5D7ZrmvHFDqPF2MbPi_SSzB3FlA=s320" width="320" /></a></div><div style="text-align: center;">Elza Soares in 1970.</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-58855809983102589252019-07-11T19:19:00.006-07:002022-01-27T19:57:28.183-08:00So Long, João Gilberto<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-GNqFstBSFnZ08XsT_MeiBp8YMoJEUs23df4SA0m7f72jTul6TqgepEZx5-bjeTW2nagXWleSRpwLlXfhu6RRupGWcC5W4vuWoKlkpR3pOQnT_yYyhyphenhyphen1upVOI8ngesRRmivZgfTI-sMaJ/s1600/Gilberto_WEB.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="501" data-original-width="700" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-GNqFstBSFnZ08XsT_MeiBp8YMoJEUs23df4SA0m7f72jTul6TqgepEZx5-bjeTW2nagXWleSRpwLlXfhu6RRupGWcC5W4vuWoKlkpR3pOQnT_yYyhyphenhyphen1upVOI8ngesRRmivZgfTI-sMaJ/s320/Gilberto_WEB.jpg" width="320" /></a></div>
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<span style="font-family: inherit;">The world lost one of the greatest musicians of the twentieth century with the passing of João Gilberto do Prado Pereira de Oliveira, aka João Gilberto (1931-2019), who died on July 6. </span></div>
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The Brazilian singer-guitarist was one of the leading figures of bossa nova, which became one of the world's most beloved musical styles in the 1960s, its standards widely performed and recorded by jazz and pop musicians. Gilberto invented bossa's characteristic beat and introduced its subdued vocal style. Indeed, it is quite possible the genre would never have existed without Gilberto's innovations.</div>
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<span style="font-family: inherit;">Bossa nova was a new type of samba in which the genre’s
rhythmic complexity was pared down to its bare essentials, transformed
into a different kind of beat. It was full of unusual harmonies and
syncopations, all expressed with a sophisticated simplicity. Sometimes small
combos performed bossa; but it was ideally suited to a lone singer and a
guitar. Thanks to Antonio Carlos Jobim, the genre's foremost songwriter, bossa also had a harmonic richness previously heard only in classical music and modern jazz. This “new fashion” or “new way” (the approximate translation of “bossa
nova”) of singing, playing, and arranging songs was born in Rio de Janeiro in
the mid-1950s.</span></div>
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<span style="font-family: inherit;">Gilberto’s highly syncopated style of plucking acoustic guitar
chords— nicknamed <i>violão gago </i>(stammering
guitar) by some—introduced a type of rhythm that resembled a cooled and slowed
samba but was very difficult to play. “He was the only one who could do that
beat at first,” said Brazilian music critic Zuza Homem de Mello, quoted in my book <i><a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil</a></i> (co-authored with Ricardo Pessanha). “After time
others could, too.”</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWW1O_fA1J0nt1bM9I_qMGXd5v3ezCiVWwcSXPHZfPBfXqMKhpVJxxvJ30lRCl0cg9sYR5lIGEa8QDVo9hUfIWceMy_8Scb-2tnguBxw19gVAmmE9PJlYxQhEDGm31UlAPhqV0GnGUfgyB/s1600/joao+gilberto+1970.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="825" data-original-width="1100" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWW1O_fA1J0nt1bM9I_qMGXd5v3ezCiVWwcSXPHZfPBfXqMKhpVJxxvJ30lRCl0cg9sYR5lIGEa8QDVo9hUfIWceMy_8Scb-2tnguBxw19gVAmmE9PJlYxQhEDGm31UlAPhqV0GnGUfgyB/s320/joao+gilberto+1970.jpg" width="320" /></span></a></div>
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<span style="font-family: inherit;">According to guitarist-songwriter Oscar Castro-Neves in <i>The Brazilian Sound</i>, Gilberto’s guitar style was “a decantation of the main elements of what samba was, which made bossa nova more
palatable for foreigners and the rhythm more easily perceived. He imitated a
whole samba ensemble, with his thumb doing the bass drum and his fingers doing
the <i>tamborins</i> and <i>ganzás</i> and <i>agogôs.</i> The rhythm was right there with his voice and guitar alone.
You didn’t feel anything was missing.”</span></div><div class="indent"><span style="font-family: inherit;"> <br /></span></div>
<div class="indent">
<span style="font-family: inherit;">João’s singing was new as well. Both voice and guitar were
simultaneously melodic and highly rhythmic, as he syncopated sung notes against
guitar motifs. “The way he phrases is incredible,” said Castro-Neves. “The
guitar would keep the tempo going and he would phrase in a way that was
completely free, atop that pulsating rhythm. The way his phrases would fall—he
would delay a chord here, put a note there—was very hypnotic. And he had a blend between the volume of his voice and the
volume of the guitar. He could emphasize a note in the vocal and it would be like
completing a chord on the guitar. Suddenly the voice really complemented the
harmonic structure of the chord.”</span></div>
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<span style="font-family: inherit;">Gilberto sang quietly, subtly, with a low-pitched,
smooth, precise voice without vibrato, as if whispering an extremely intimate
secret to the listener alone (Miles Davis was quoted as saying that Gilberto
“would sound good reading a newspaper.”). Gilberto was not a notable songwriter, but his interpretations of Jobim's and others' songs transformed them and gave bossa nova its musical structure. </span></div>
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<span style="font-family: inherit;">Gilberto debuted his new guitar style in two songs on vocalist Elizeth Cardoso’s 1958 LP <i>Canção do Amor Demais</i> (Song for an
Excessive Love), which lacked other attributes of the nascent genre, however. Then, in July, 1958, Gilberto released the first bossa-nova single, “Chega de Saudade” (written by Antonio Carlos
“Tom” Jobim and Vinícius de Moraes). He followed that with the first bossa-nova album, also called <i>C</i><i>hega de Saudade</i>, in 1959.</span></div>
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<span style="font-family: inherit;">After <i>Chega de Saudade</i>,
Gilberto recorded two more successful albums that were further benchmarks for the new genre: <i>O Amor, o Sorriso e a Flor</i> (Love, a Smile, and a Flower) in 1960
and <i>João Gilberto</i> in 1961. These
albums included both new bossa tunes and bossa interpretations of old standards
by composers like Dorival Caymmi and the sambistas Bide and Marçal.</span></div>
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<span style="font-family: inherit;">Bossa nova reached a global audience with the soundtrack of the film <i>Black Orpheus</i> (in 1959) and the 1962 release of Stan Getz and Charlie Byrd's instrumental <i>Jazz Samba</i> album, which yielded the hit single "Desafinado." Gilberto teamed with Stan Getz and Jobim on the Grammy-winning, bestselling 1964 album <i>Getz/Gilberto</i>, which included "The Girl from Ipanema," which featured a vocal duet between Gilberto and his wife Astrud Gilberto. The latter was a massive worldwide hit and is now one of the most recorded songs of all time. </span><br />
<span style="font-family: inherit;"><br /></span>
<span style="font-family: inherit;">João Gilberto became one of Brazil and the globe's most influential musicians over the last sixty years, with his impact on Brazilian popular music, jazz and international music.
<span style="font-family: inherit;">For more on Gilberto and bossa nova, please visit the bossa-nova chapter in <i><a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">The Brazilian Sound</a></i>. The book has been quoted in various </span>João Gilberto obituaries, including these:<br />
</span><br />
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><a href="https://www.nytimes.com/2019/07/06/arts/music/joao-gilberto-dead-bossa-nova.html">The New York Times: "João Gilberto, an Architect of Bossa Nova, Is Dead at 88" (by Ben Ratliff)</a>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><a href="https://www.smithsonianmag.com/smart-news/remembering-bossa-nova-pioneer-joao-gilberto-180972578/" style="font-family: inherit;"><span style="font-family: inherit;">Smithsonian magazine: </span><span style="background-color: white; font-family: inherit;">Bossa Nova Became a Turning Point in Brazilian Culture. João Gilberto Helped Launch It (by Jason Daley)</span></a></span></span></span><br />
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</span></span>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><a href="http://downbeat.com/news/detail/joaeo-gilberto-dies-at-88">Downbeat: João Gilberto, the Voice of Bossa Nova, Dies at 88 (by Allen Morrison)</a></span></span></span></div><div class="indent"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"> </span></span></span></div><div class="indent"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><a href="https://www.vice.com/en/article/43jkwg/the-best-bossa-nova-songs-joao-gilberto">Vice: You Need to Listen to More Bossa Nova (by Rob Arcand)</a></span></span></span></div><div class="indent"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"> </span></span></span></div><div class="indent"><a href="https://www.irishtimes.com/culture/music/jo%C3%A3o-gilberto-father-of-bossa-nova-dies-aged-88-1.3949212"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;">The Irish Times: Joao Gilberto, father of bossa nova, dies aged 88</span></span></span></a></div><div class="indent"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"> </span></span></span></div><div class="indent"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"> </span></span></span><br />
<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"></span>
<span style="font-family: inherit;">Also see:<br /> <a href="https://www.huffpost.com/entry/blame-it-on-the-bossa-nov_b_148597">The Huffington Post: Blame It on the Bossa Nova (by Chris McGowan)</a> and <i><a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html">The Brazilian Music Book</a>, </i>my collection of interviews with Gilberto peers like Antonio Carlos Jobim and Carlos Lyra. </span></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKzoTyYHI2LkBCeyvrrjfMeQ22gJ_sWl63UbJ6bo6wXFZfjKJKKqtItgtCFKxzMrII5Y2IgOhbdCKotpMRkhLp8FAX1S7AhXO-UV7UtR6saJ7D0mzptC5ZRQP7sJGVqZmflNwNe5NZeCmm/s1600/the+brazilian+sound+3rd+edition+2009.jpg" width="224" /></span></a></span></span></span></span></span></span></div>
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</span>
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<div style="text-align: center;">
<i><span style="font-family: inherit;"><a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">The Brazilian Sound: Samba, Bossa</a></span></i></div>
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-family: inherit;"><a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html"><span style="font-family: inherit;"><i>Nova </i><i>and the </i><i>Popular Music of </i><i>Brazil</i></span></a>
</span></span><br />
<div style="text-align: center;">
<span style="font-family: inherit;"><span style="font-family: inherit;">(Temple University Press)</span></span></div>
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<div style="text-align: center;">
by Chris McGowan and Ricardo Pessanha
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;">The leading guide to Brazilian music in the English language is available worldwide in paperback (above) and as an updated Kindle ebook with color photos (below).</span></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvC_cnOv396y8wItHMO79wNKpJaJuNj7ofjKMODnAvk9_ipwif0C3KVlP3Fnx3fDQ6zkCTa_vWOL8A-K_aqCWXcUhhRerWYENiOGA2KvXle3T6X8R-Ooe9mTlEFw1G-SwH8F3Q29B66FKe/s1600/cover_TBS_new.jpg" width="213" /></span></a></span></span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><i><span style="font-family: inherit;">Also see:</span></i>
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<a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html" style="font-family: inherit;"><span style="font-family: inherit;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEzYdQ_b4HKRIKIp2wFMEj-URRY3_3-rW-I-o051Z9eSQXUeJu2m50zdzude9IskYA1raN61ropkUu0c8D1JNSsnJRE73ZyZKGe4eWw61ems9s0Gj7iTAtdqNx0sVySmhH35us9rcF8eon/s1600/TBMB+Cover+Photos+4.jpg" width="204" /></span></a>
</div>
<div class="separator" style="clear: both; text-align: center;">
<i>T<a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html">he Brazilian Music Book:</a></i></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;"><i><a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html">Brazil's Singers, Songwriters, and</a></i></span></span></span></div>
<span style="font-family: inherit;">
</span>
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<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: inherit;"><span style="font-family: inherit;"><a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html"><i>Musicians Tell the </i><i>Story of Bossa</i></a>
<br />
</span></span></div>
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<span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><span style="font-family: inherit;"><a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html"><i>Nova,<i>MPB & Brazilian Jazz & Pop</i></i></a></span></span></span></span></div>
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<span style="font-family: inherit;">_______
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-37403542763218366272019-01-19T21:37:00.002-08:002019-01-20T17:34:19.453-08:00O Rappa Co-Founder Marcelo Yuka Has Left Us<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBlU_9FHrH9Mb7br3IRZKuFzn-aXL9ra4GgeT_D3-64Uy0uzyLPfj4SaFkNxedyN6SA-Ua5Bb18E-G2h6Dt0KwgZhFKuJo3r7XDL8u-F1qFz2UevWbOUNdjk2xvEPCcTid3VTxZ9u77jUu/s1600/marcelo-yuka-04012019192236570.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="305" data-original-width="460" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBlU_9FHrH9Mb7br3IRZKuFzn-aXL9ra4GgeT_D3-64Uy0uzyLPfj4SaFkNxedyN6SA-Ua5Bb18E-G2h6Dt0KwgZhFKuJo3r7XDL8u-F1qFz2UevWbOUNdjk2xvEPCcTid3VTxZ9u77jUu/s320/marcelo-yuka-04012019192236570.jpg" width="320" /></a></div>
<span style="font-size: x-small;">Marcelo Yuka</span></div>
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R.I.P. Marcelo Yuka, one of the founders of the popular Brazilian band O Rappa,
which mixed together reggae, rock, hip hop, dub and pop. Yuka (Marcelo
Fontes do Nascimento Viana de Santa Ana) died of a stroke at the age of
53 in Rio de Janeiro. He was a drummer and songwriter who was renowned
for his socially conscious lyrics and political activism.<br />
<br />
In 1993,<span style="background-color: white;"> reggae musician Papa Winnie was going to play in </span>Brazil and need a local backing band. He
picked four people -- Nelson Meirelles, Marcelo Lobato, Alexandre Menezes
and Marcelo Yuka -- to perform with him. After Papa Winnie's shows were over, the four
decided to stay together and they invited Marcelo Falcão to join them as their vocalist. The group debuted with the eponymous <i>O Rappa</i> (1994). They found success with <i>Rappa Mundi</i> (1996), produced by legendary rock producer Liminha, and <i>Lado B
Lado A</i> (1999), produced by Chico Neves except for two tracks (including the title cut) produced by Bill Laswell. <br />
<br />
Yuka became a
paraplegic after being shot in a robbery in Rio in 2000. He left O Rappa
the following year, because of artistic differences with lead vocalist
Marcelo Falcão (Yuka went on to form the group F.U.R.T.O. in 2004). Yuka was O Rappa's most important songwriter while with them and penned many of the group's most memorable songs, including
"Todo Camburão tem um Pouco de Navio Negreiro", "Me Deixa", and "Minha Alma (A Paz que Eu Não
Quero)" e "Pescador de Ilusões." O Rappa stopped performing in 2018 and has no current plans to return.<br />
<br />
Yuka's most recent release was <i>Canções Para Depois Do Ódio</i> in 2017 on Sony Music.<br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/qNwRxJe29I8/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/qNwRxJe29I8?feature=player_embedded" width="320"></iframe></div>
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</div>
<div style="text-align: center;">
"Minha Alma"</div>
<br />
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</div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
<div style="text-align: left;">
</div>
<div style="text-align: left;">
For more information on Brazilian music, see my books <a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html"><i>The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil</i></a> and <a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html"><i>The Brazilian Music Book</i></a>.</div>
<br />
_______</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-35672629746136070292018-07-13T15:48:00.000-07:002019-01-19T21:38:01.905-08:00An Olympian Night Life: Rio de Janeiro's Top Ten Clubs for Live Music<br />
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<br />
<div style="text-align: center;">
<b>by Chris McGowan</b></div>
<br />
Rio de Janeiro has one of the most
vibrant musical scenes on the planet, and includes both the incredible street
celebration of <i>Carnaval</i> and a multitude of nightclubs for all tastes. <i>Cariocas</i>
(natives of Rio) are generally gregarious, love music and aren’t shy about
dancing, and the city’s nightlife is dynamic. Many of the hottest music spots
are in the historic neighborhood of Lapa, a once neglected area that has been
transformed into a musical mecca. Rio is associated with the birth of <i>samba,
choro</i> and <i>bossa nova</i>, and its clubs offer lots of other styles as
well.<br />
<br />
In terms of music, there are many
Brazils. Samba is the most famous musical genre and it comes in several
varieties. Its infectious rhythms can make anyone get up and dance, yet one can
also enjoy it in folksy <i>pagode samba</i> jam sessions with musicians and
listeners seated around a table crowded with cold beer. For mellow evenings,
there is sophisticated, subtle bossa nova (think Tom Jobim and João Gilberto),
the instrumental pleasures of choro (usually played on acoustic guitar, flute
and <i>cavaquinho</i>), and a wide spectrum of Brazilian jazz.<br />
<br />
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<div style="text-align: center;">
Exterior of Carioca da Gema, in Lapa</div>
<br />
<i>MPB </i>mixed strong melodies, rich harmonies and eclectic
influences beginning in the 1960s and ‘70s and is still going strong (Milton
Nascimento, Gilberto Gil and Caetano Veloso are mainstays). A new generation of
female singer-songwiters (Ana Carolina, Bebel Gilberto, Maria Rita and others)
are creating much of the best MPB these days and mixing it freely with
international pop.<br />
<br />
The thundering rhythms of <i>maracatu</i>
drums from Recife, the raucous Afro-Brazilian sounds of <i>axé music</i> (Ivete
Sangalo, Claudia Leitte), and the playful, electronic beats of <i>tecnobrega</i>
(Gaby Amarantos) liven up Brazilian dance floors.
<br />
<br />
You can go rural and romantic with
the <i>sertanejo</i> genre, the local country music that is now the country’s
most popular style. Or you might want to get down with <i>funk carioca</i>, raw
and provocative dance music from the favelas, or Brazilian rap, Electro or
Brazilian rock. Musically, there’s something for everyone. I give descriptions
of Brazil’s different styles and leading artists in my books <a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html"><i>The Brazilian Sound</i></a> (an introduction) and <a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html"><i>The Brazilian Music Book</i></a> (a collection
of interviews).<br />
<br />
Here is a listing of ten memorable
venues in Rio, mostly in Lapa, Centro (downtown) or the Zona Sul (South Zone).
Call to confirm what style is playing and when the music starts, or ask the
concierge at your hotel to call for you. The <i>O Globo</i> newspaper also has
listings. Some clubs close on Sundays and Mondays. Most of these establishments
have cover charges, usually the equivalent of U.S.$5 - $20, and expansive menus
of great food.<br />
<br />
Lapa and Centro have more than their
share of crime. Take a taxi or Uber to your club and take one back to your
hotel. Don’t wander far from your destination, unless you know your way around
and are in a group.
<br />
<br />
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<div style="text-align: center;">
<text-align: center="">
Rio Scenarium</text-align:></div>
<div style="text-align: center;">
<text-align: center=""> </text-align:>
</div>
1. The picturesque <b>Rio Scenarium</b>
has atmosphere to spare: the beautiful three-story club has exotic antiques,
masks and costumes as décor. The live music features samba plus jazz and MPB.
One can shake it to samba on the first floor or watch the action from a grand
balcony while enjoying a potent <i>caipirinha</i> or cold Brazilian beer. Open
Tue-Sat.<br />
Rua do Lavradio 20, Centro (close to Lapa); 3147-9000/9001/9002<br />
http://www.rioscenarium.art.br (Portuguese/English)<br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> </span>
<br />
2. The <b>Vinicius Show Bar</b> is
an inviting spot devoted to the sublime, mellow sounds of bossa nova and named
for poet/lyricist Vinícius de Moraes, who teamed with Tom Jobim on classics
such as “A Garota de Ipanema” (The Girl from Ipanema”) and helped inspire and
popularize the genre. One might also hear a little MPB or samba on some nights.
<span lang="PT-BR" style="font-family: "times new roman" , serif; font-size: 12.0pt;">Open
Sun-Sat.<br />
Rua Vinícius de Moraes 39, Ipanema; 2287-1497 / 2523-4757</span><br />
<br />
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<div style="text-align: center;">
Carioca da Gema</div>
<div style="text-align: center;">
<br /></div>
3. <b>Carioca da Gema</b> arrived in
Lapa in 2000 and helped start the revitalization of the dilapidated
neighborhood. The small, intimate club boasts beautiful brickwork and a grand
hardwood staircase, and hosts some of the top names in samba, as well as
musicians from other genres (jazz saxophonist Léo Gandelman often teams with
various vocalists). The place is packed on weekends; Monday is an especially
good time to visit. Open: Mon-Sat.<br />
Avenida Mem de Sá 79, Lapa; 2221-0043<br />
http://barcariocadagema.com.br (Portuguese)<br />
<br />
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<div style="text-align: center;">
Bip Bip</div>
<br />
4. If you blink you might miss the
tiny <b>Bip Bip</b> bar, which is located close to Copacabana Beach and is a
fun place to catch pagode samba played casually around a table. Greats like
vocalist Beth Carvalho sometimes stop by for samba on weekends. You can catch
choro on Mondays and Tuesdays, and bossa nova on Wednesday night. Open most
nights.<br />
Rua Almirante Gonçalves 50, Copacabana; 2267-9696<br />
<br />
5. <b>Fundição Progresso</b> is a
larger space where well-known musicians play everything from MPB to rap to
reggae to sertanejo. <br />
Rua dos
Arcos 24, Lapa; 3212-0800<br />
http://www.fundicaoprogresso.com.br (Portuguese)<br />
<br />
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<div style="text-align: center;">
Estudantina Musical</div>
<div style="text-align: center;">
<br /></div>
6. <b>Estudantina Musical</b> is a
landmark for those who love ballroom dancing to the sounds of samba, forró and
other Brazilian styles.<br />
Praça Tiradentes 79, Centro; 2232-1149<br />
<br />
7. <b>Trapiche Gamboa</b> is housed
in a lovely old building and has great live samba for dancing (and occasionally
choro). Open Tue-Sat.<br />
Rua Sacadura Cabral 155, Praca Mauá; 2516-0868<br />
http://www.trapichegamboa.com (Portuguese)<br />
<br />
8.In <b>Clube dos Democráticos</b>, samba fills the dance floor most nights. <br />
founded many decades ago as a Carnaval appreciation society. Wednesday nights
explore the frisky northeastern forró style. Wed-Sat from 11pm.<br />
Rua do
Riachuelo 91, Lapa; 2252-4611<br />
http://www.clubedosdemocraticos.com.br (Portuguese)<br />
<br />
<br />
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<div style="text-align: center;">
<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">
</span>
Lapa 40 Graus</div>
<br />
<br />
9. <b>Lapa 40 Graus</b> is a
three-story club with all types of music: samba, choro, forró and sertanejo.
Live music Wed-Sun.<br />
Rua do Riachuelo 97; 3970-1338, 3970-1334<br />
http://www.lapa40graus.com.br (Portuguese/English)<br />
<br />
10. Astrophysicists who love to
party or just those who like exotic nightspots should check out<b> 00 (Zero
Zero)</b>, an upscale spot housed inside Gavea’s planetarium. There’s a lounge,
a dance floor and a mezzanine level where you can enjoy sushi. Live musicians
and DJs play everything from samba to MPB to electro to reggae and jazz. Sunday
is a gay afternoon/night. Open: Tue-Sun.<br />
Planetário da Gavea, Avenida Padre Leonel Franca 240, Gavea; 2540-8041.<br />
<br />
Also worth checking out:<br />
<b>Leviano</b> (Lapa): electro, samba, jazz.<br />
<b>Saúde): no
cover; samba.<br />
Casarão Ameno Resedá </b>(Catete): electic.
And check out the DJs here:<br />
<b>Casa da Matriz </b>(Botafogo): DJs: wide mix of music.<br />
<b>Fosfobox</b> (Copacabana): DJs: wide mix of music.<br />
<br />
For more information on Brazilian music, see my books <a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html"><i>The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil</i></a> (an introduction) and <a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html"><i>The Brazilian Music Book</i></a> (a collection
of interviews).<br />
<br />
<br />
<br />
<div style="text-align: left;">
<b>(originally published August 2, 2016 in <i>The Huffington Post</i> and updated in July, 2018).</b></div>
<div style="text-align: center;">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-28397254903168477872018-07-11T11:02:00.002-07:002018-07-13T15:34:53.930-07:00Lenine Brings His Musical Bridge to Central Park<center>
<a href="http://images.huffingtonpost.com/2014-07-15-leninemartin.jpg"><img alt="2014-07-15-leninemartin.jpg" height="192" src="https://images.huffingtonpost.com/2014-07-15-leninemartin-thumb.jpg" width="400" /></a><br />
</center>
<div style="text-align: center;">
<b>by Chris McGowan</b><br />
<b> </b>(published July 18, 2014 in <i>The Huffington Post</i>) </div>
<br />
The Maurício de Nassau bridge in Recife is a replica of a bridge in
Amsterdam and a reminder of when Holland ruled northeastern Brazil in
the early 17th century. It is also the inspiration for “The Bridge”
concert series featuring Brazilian singer-songwriter Lenine and
Holland’s Martin Fondse Orchestra. After having toured Europe and the
Americas, the show will arrive at Central Park’s Summerstage Festival in
New York on July 19th.<br />
<br />
For Lenine, crossing the bridge is a metaphor for leaving one’s
proverbial island, connecting with others, and broadening one’s
horizons, which he explored in the song “The Bridge” on his album <i>O Dia Em Que Faremos Contato</i>
(The Day We Make Contact). Lenine’s songs span various musical islands
and are difficult to categorize. He is at the vanguard of Brazilian rock
and pop and is also an heir to the great eclectic tradition of
post-bossa nova artists like Gilberto Gil, Djavan and Milton Nascimento,
who established their careers in the 1960s and ‘70s. For Brazilian
music fans that aren’t fond of the <i>sertanejo, funk carioca</i> and
romantic samba that currently dominate the pop charts in that country,
Lenine’s music is a welcome continuation of the work of the “MPB”
generation of songwriters like Gil and Nascimento who like to blend
strong melodies with rich harmonies, unexpected fusions and poetic
lyrics.<br />
<br />
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<br />
Lenine’s polyglot songs seamlessly weave together rock, digital
effects and the rhythms, instruments and poetic inflections of his
hometown Recife. He shifts between being a lyrical, reflective
troubadour and a rocker who vigorously plucks and strums an acoustic
guitar, seeking a “dirty sound” full of overtones and syncopation. With
the guitar, Lenine has invented a rousing funky beat that defies
boundaries. Sometimes, Lenine veers into <i>mangue beat </i>territory with aggressive songs that mix electronic effects with strains of northeastern genres like <i>maracatu </i>and <i>embolada</i>.
He may mix samples and filters with gentler folk styles. And he can
evoke Peter Gabriel with soulful vocals, driving rhythms and big bass
lines reminiscent of Tony Levin’s work. While Lenine carries Recife
within him, he is a musical gypsy, at home in the Northeast, in Rio de
Janeiro, and in foreign lands.<br />
<br />
All the while, his lyrics are full of humanitarian sentiments and a
romantic futurism informed by authors like Ray Bradbury. His words
reference both contemporary reality in Brazil and images from science
fiction. Lenine is a prolific songwriter whose work has been recorded by
many leading Brazilian artists, a performer who frequently appears on
others’ recordings, and an in-demand arranger and producer. His own
albums, which he toils on for long periods, appear about every two to
four years. He is a musician’s musician in Brazil and considers himself a
craftsman. He is as popular in France as in Brazil and has appeared at
WOMAD and many other festivals in Europe. And he has won five Latin
Grammy awards.<br />
<div style="text-align: center;">
<br /></div>
Oswaldo Lenine Macedo Pimental was born in 1959 and grew up in
Recife, the capital of Pernambuco, which is noted for many musical and
cultural traditions. He was named in honor of Vladimir Lenin as his
father José Geraldo Pimentel was a devoted communist who idolized the
Russian revolutionary leader. José liked to stay at home listening to
music rather than attending Catholic mass with his wife, and Lenine hung
out with his father on Sundays and listened to Brazilian music, jazz
and classical. He also absorbed Recife’s own diverse local music
and—during his adolescence — heavy doses of Led Zeppelin and prog rock,
Frank Zappa, and the talented musicians connected to Milton Nascimento
nicknamed the Clube da Esquina (Corner Club) — and he was on his way to
becoming the singular musician that he is today.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbPhMWE0njbvo9y8YVlhS0vD_kPRD5XiiKW0m9_IJqiOOChNa9i-Vb3N02iDCouwNUFkTQHd9hR53RepwekC07vJAEk2FoYTMM5rj5NNKcJhxz_9fdKRO-IJArRhK8AevuRGrCyvCXJ6OX/s1600/cd-lenine-o-dia-em-que-faremos-contato-935-D_NQ_NP_629111-MLB20481197082_112015-F.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbPhMWE0njbvo9y8YVlhS0vD_kPRD5XiiKW0m9_IJqiOOChNa9i-Vb3N02iDCouwNUFkTQHd9hR53RepwekC07vJAEk2FoYTMM5rj5NNKcJhxz_9fdKRO-IJArRhK8AevuRGrCyvCXJ6OX/s320/cd-lenine-o-dia-em-que-faremos-contato-935-D_NQ_NP_629111-MLB20481197082_112015-F.jpg" width="320" /></a></div>
<br />
The aforementioned <i>O Dia Que Faremos Contato</i> (1997) was a
major step in Lenine’s evolution and earned him a Prémio Sharp award in
Brazil for best New MPB Artist. He also won the award for Best MPB Song
for “A Ponte” (The Bridge), written with Lula Queiroga, which sets his
poetry against swirls of electronic noise, contains samples of
repentistas Caju and Castanha, and features a stormy chorus (“Nagô,
Nagô...”) backed by distorted power chords on electric guitar. By
contrast, “O Marco Marciano” (The Martian Landmark) is a contemplative
tune in which Lenine doubles his falsetto eerily over a ten-string viola
(a type of steel-string guitar that is a mainstay of <i>cantoria</i> and <i>música caipira</i>). The lyrics evoke Ray Bradbury’s novel <i>The Martian Chronicles</i>,
as Lenine sings of a “history of Mars buried by the ephemeral dust from
storms” and a “Martian landmark with a person’s face, with the ruins of
streets and cities” visible from the moons Phobos and Deimos.
Throughout the album, Lenine mixes rock and pop with strains of <i>coco</i>, embolada, maracatu, <i>aboio</i> and various audio effects.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC5ZfcSQlmiofhaOtcomueKLBiCe34J2i1qKpoV8heYYPJIMA7G7CSVJ7VCzOf5kcTBlxEIyieqkCZfaRS8Q-632FhTmwme4uhNyRMVjXBvzohsSP7XTQBxUUEf3FeZmkKwGkWNoQjCbFU/s1600/maxresdefault.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="882" height="126" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC5ZfcSQlmiofhaOtcomueKLBiCe34J2i1qKpoV8heYYPJIMA7G7CSVJ7VCzOf5kcTBlxEIyieqkCZfaRS8Q-632FhTmwme4uhNyRMVjXBvzohsSP7XTQBxUUEf3FeZmkKwGkWNoQjCbFU/s320/maxresdefault.jpg" width="320" /></a></div>
<div style="text-align: center;">
Julieta Venegas and Lenine </div>
<br />
<i>Na Pressão</i> (Under Pressure) in 1999, produced by Tom Capone
and Lenine, was another strong effort, selected by André Domingues in
his book <i>Os 100 Melhores CDs da MPB</i> (The 100 Best MPB CDs).
Naná Vasconcelos, a venerable figure in modern jazz who is also from
Recife, supplies most of the percussion on the album. On the title
track, his talking drum, bombo turco and caxixi back Lenine’s ten-string
viola, which creates a northeastern mood that turns edgy and dramatic.
The reflective “Paciência” (Patience) is one of Lenine’s most beautiful
songs, and “Relampiando” (Lightning Striking) is a touching piece of
social criticism. “Jack Soul Brasileiro” is a rhythmic tour de force, a
primer in syncopation that fuses various elements. A few seconds of
maracatu rural drumming open the song, and then Lenine strums his
trademark funky groove on guitar and adds incredibly rhythmic singing
that summons the tongue twisting wordplay of embolada. A version with a
fuller arrangement is available on his <i>Acústico MTV</i> album.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLAna_eSbVLgteCPq0wXyFRsbIsQebTf31oF3fCW65FCy6rXSI61os_NEA997xgn0GS7HTIZbOVIskO3Bdb4FqIltcqL3AnJJ4j-vr_PEoqPcH7cuoGAbo6XlpHWojCviZ9FdmnAEd-3Ka/s1600/lenine+cristina+braga.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLAna_eSbVLgteCPq0wXyFRsbIsQebTf31oF3fCW65FCy6rXSI61os_NEA997xgn0GS7HTIZbOVIskO3Bdb4FqIltcqL3AnJJ4j-vr_PEoqPcH7cuoGAbo6XlpHWojCviZ9FdmnAEd-3Ka/s320/lenine+cristina+braga.jpg" width="320" /></a></div>
<div style="text-align: center;">
Lenine (left) and Cristina Braga (right) </div>
<br />
<i>Falange Canibal</i> in 2001, continued Lenine’s fusion of the
acoustic and the electronic, and won the Latin Grammy Award for Best
Brazilian Contemporary Pop Album. <i>Falange Canibal</i> had more
guest artists than any of his previous albums, including
composer-keyboardist Eumir Deodato, members of the O Rappa and Skank
bands, Frejat (of Barão Vermelho), singer-songwriter Ani DiFranco,
trombonist Steve Turre, and drummer Will Calhoun and guitarist Vernon
Reid from Living Colour. Lenine’s subsequent albums, such as <i>Lenine InCité, Lenine Acústico MTV</i>, and <i>Labiata</i> have won further awards. Yet such success did not lead Lenine to become a more commercial artist. Rather, in 2011, he released <i>Chão</i>
(Ground), a beautiful, mellow, minimal album that has no percussion and
incorporates ambient sounds from birdcalls to teakettles to typewriters
to footsteps on gravel to heartbeats. Certainly, Lenine is taking
Brazilian popular music across his metaphorical “bridge” to new
horizons.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2jT5q0eE2Kk1z0Ch2n-2UmvcdqgfwwXUSQXEGjnnVQrCrbCcQtSP8z6X7AX8Q5UEP52V-giCsHb10pWHkUj5bnCrs-Dbf1LwDYmzXFJKPaP1HiJdeeVkXFV70cCGbA_NErvsTC4L4QI5H/s1600/Lenine-Martin-Fondse-Orchestra.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="506" data-original-width="779" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2jT5q0eE2Kk1z0Ch2n-2UmvcdqgfwwXUSQXEGjnnVQrCrbCcQtSP8z6X7AX8Q5UEP52V-giCsHb10pWHkUj5bnCrs-Dbf1LwDYmzXFJKPaP1HiJdeeVkXFV70cCGbA_NErvsTC4L4QI5H/s320/Lenine-Martin-Fondse-Orchestra.jpg" width="320" /></a></div>
<div style="text-align: center;">
Martin Fondse (left) and Lenine (right).</div>
<div style="text-align: center;">
<br /></div>
Band leader Martin Fondse, who leads the orchestra appearing with
Lenine, is a Dutch pianist and composer who has won awards for his
orchestral work and film scores. His work mixes jazz and many other
musical styles, and he has collaborated with Peter Erskine, Terry
Bozzio, George Duke, Vernon Reid and Pat Metheny, among others.<br />
<br />
<i>There is an extended profile of Lenine and interview with him in my book <a data-rapid-parsed="slk" data-rapid_p="3" data-v9y="1" data-ylk="elm:context_link;itc:0" href="http://brazilianmusicbook.blogspot.com/" rel="nofollow" target="_hplink"><i>The
Brazilian Music Book: Brazil’s Singers, Songwriters, and Musicians Tell
the Story of Bossa Nova, MPB, and Brazilian Jazz and Pop</i></a>.</i><br />
<div style="text-align: center;">
<i>_______ </i></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-26124878994598958732018-07-11T10:23:00.002-07:002022-08-15T22:48:01.565-07:00Gaby Amarantos: The Muse of Tecnobrega Boosts Brazil's Latest Musical Export<div style="text-align: center;">
<b>by Chris McGowan</b><br />
(published November 9, 2011 in <i>The Huffington Post</i>)</div>
<br />
Singer Gaby Amarantos and DJ João Brasil’s <i>tecnobrega</i>
version of Antonio Carlos Jobim’s “Águas de Março” (Waters of March) is
either an innovative interpretation for the dance floor or a
desecration of one of the greatest songs of the 20th century. Or both.
The recording can be heard on YouTube and downloaded from numerous
online stores or sites. It is an example of the dance-oriented
tecnobrega style, which emerged in the last decade in Belém, the capital
of Pará state in the Amazon, and is the latest Brazilian music export
to enliven European clubs. It also carries the “mashup” touch of DJ João
Brasil, who is from Rio and now resides in London.<div style="text-align: center;"><br /></div>
<br />
Gaby (or “Gabi”) is the current “queen of tecnobrega,” being the
style’s most prominent female star, and a new ambassador for her state’s
regional music. She has led the band TecnoShow since 2002 and appeared
on nationally popular Brazilian television shows like <i>Domingão do Faustão</i>.
The full-figured vocalist was born in 1980 and grew up in Jurunas, a
poor neighborhood on the outskirts of Bélem. Amarantos wears sexy,
outlandish outfits that are surreal in a low-budget Lady Gaga way.
Usually, she performs with a supporting cast of similarly clad dancers.<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
Jobim’s “Águas de Março” was first recorded in 1972 and is a
Brazilian and global standard. The late jazz critic Leonard Feather termed it
“one of the 10 most beautiful songs of the century.” Jobim and Elis
Regina recorded it with an unforgettable duet on Elis & Tom (1974),
often cited in polls as the most popular Brazilian album of all time.
Gaby’s interpretation of “Águas de Março” is brassy and sometimes
strident, and there is none of the sensitivity present in the great
performances of the song. Producer DJ João Brasil’s accompaniment is
stripped down, with a synthesizer that sounds like a toy keyboard (which
it probably was). The samba/bossa beat is gone, replaced by
tecnobrega’s simple, snappy rhythm, delivered via drum machine. Jobim’s
great harmonies are mostly missing in action. “Águas de Março” is such a
national classic that the tecnobrega version is almost as outrageous as
when Jimi Hendrix tore up the “Star Spangled Banner” on the electric
guitar at Woodstock. Defenders of the song will most likely fit it into
Brazil’s <i>Tropicalista</i> tradition of cannibalizing musical standards and styles, and mixing erudite and popular, the high and the low brow.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<center>
</center>
Tecnobrega emerged early in the new century and is popular in the
north and northeast of Brazil. Its birthplace of Belém has always been a
musical world unto itself, a steamy, equatorial port city located
almost 2,000 kilometers from Rio de Janeiro. Belém and nearby Marajó
Island are the home of <i>carimbó</i>, a lively Afro-Brazilian song-and-dance form that dates back over 100 years. And <i>lambada</i> and its instrumental version, <i>guitarrada</i>, appeared there in the late 1970s. Tecnobrega’s name comes from a fusion of <i>tecno</i> (techno music) and <i>brega</i>,
which means “tacky” and also refers to cheesy romantic music. In Belém,
brega was embraced and eventually evolved into a style called “brega
pop,” of which Banda Calypso was the most successful exponent.
Tecnobrega resulted from a fusion of brega pop with electronic music.
Some songs have highly accelerated tempos, reaching 170 beats per
minute. DJ João Brasil has given “Águas de Março” a spare, minimalist
production compared to many tecnobrega tunes, which can be bombastic.
The style originally reached European dance floors in late 2009 when
English DJ Lewis Robinson took tecnobrega recordings to BatMacumba club
events in London’s Notting Hill.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
Tecnobrega is noteworthy for having created a new musical business
model, one that has gotten rid entirely of record companies and radio
stations. Tecnobrega artists take advantage of cheap available
technology, often using personal computers as home studios. Composers
freely allow the DJs or producers to copy the music and sell it on CDs
that cost as little as $1.50 apiece. The “pirates” become distributors,
and the artists gain exposure (but usually zero royalties) through the
distribution of their work to the public. The DJs work at huge <i>festas de aparelhagem</i>
(sound system parties), which move from location to location, and they
can turn unknown songs into instant hits. The shows can include smoke
machines, laser displays and giant video screens. There are an estimated
4,000 such events per month, or more, in greater Belém.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
Hitherto anonymous artists become well known overnight and can put
together bands that may consist of just a keyboardist and vocalist, and
go to play at the sound system events and in clubs. Musicians make their
money from live performances, not from recordings, except those they
sell themselves at shows. Recorded music has become a smaller share of
an artist’s income in the rest of the world as well, but in Belém the
transition has been greatly accelerated. The new model is so successful
in Pará that tecnobrega artists release several hundred albums per year.<br />
<br />
Whatever one thinks of tecnobrega, it is part of the ongoing fusion
of electronic dance music with Brazilian styles that has also resulted
in the creation of <i>funk carioca</i>, Brazilian hip hop, and <i>tecnoforró</i>.
Many in Brazil find tecnobrega unmusical and unlistenable, yet many
others there and overseas are dancing to it. How would Jobim have
reacted to Gaby’s interpretation of “Águas de Março”? I don’t think he
would have liked tecnobrega. But I’m pretty sure he would have been
amused by Amarantos and pleased with the incredible diffusion of his
compositions, so many decades later.<br />
<div style="text-align: center;">
_______</div>
<div style="text-align: center;">
<br />
Check out these related YouTube links: <a data-rapid-parsed="slk" data-rapid_p="2" data-v9y="1" data-ylk="elm:context_link;itc:0" href="http://www.youtube.com/watch?v=Vw7_dQkL1Vg" rel="nofollow" target="_hplink">Gaby Amarantos and DJ João Brasil, “Águas de Março”</a>, <a data-rapid-parsed="slk" data-rapid_p="3" data-v9y="1" data-ylk="elm:context_link;itc:0" href="http://www.youtube.com/watch?v=srfP2JlH6ls%3Cbr%20/%3E" target="_hplink">Tom Jobim & Elis Regina (live), “Águas de Março”</a> and <a data-rapid-parsed="slk" data-rapid_p="4" data-v9y="1" data-ylk="elm:context_link;itc:0" href="http://www.youtube.com/watch?v=bxyNGhOLbYs" rel="nofollow" target="_hplink">Banda Tecno Show with Gaby Amarantos, “Principe Negro.”</a><br />
<br />
My book, <a data-rapid-parsed="slk" data-rapid_p="5" data-v9y="1" data-ylk="elm:context_link;itc:0" href="http://www.thebraziliansound.com/the.htm" rel="nofollow" target="_hplink">The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil</a>,
written with Ricardo Pessanha, is available now in print and digital
editions. It discusses the music of Belém, <i>lambada, guitarrada</i> and
<i>tecnobrega</i> at greater length, along with other Brazilian music genres.<br />
<div style="text-align: center;">
_______ </div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-7985915658153920682018-07-11T08:44:00.000-07:002018-07-12T18:37:09.109-07:00Naná Vasconcelos: Storytelling with Percussion<div class="headline js-headline" style="text-align: center;">
<h1 class="headline__title">
<a data-rapid-parsed="slk" data-rapid_p="1" data-v9y="1" data-ylk="elm:context_link;itc:0" href="http://images.huffingtonpost.com/2016-03-16-1458091562-2917720-MI0001339609.jpg" rel="nofollow"><img alt="2016-03-16-1458091562-2917720-MI0001339609.jpg" height="400" src="https://images.huffingtonpost.com/2016-03-16-1458091562-2917720-MI0001339609-thumb.jpg" width="283" /></a></h1>
</div>
<div style="text-align: center;">
<b><span style="font-size: small;">by Chris McGowan</span></b><span style="font-size: small;"> </span><br />
<span style="font-size: small;">(published on March 16, 2016 in </span><i><span style="font-size: small;">The Huffington Post)</span></i></div>
<div style="text-align: center;">
<br /></div>
Naná Vasconcelos, a Brazilian percussionist who left his mark on
global music, passed away on March 9 at the age of 71 in Recife.
Vasconcelos gained critical acclaim for his work with Egberto Gismonti,
Codona, and the Pat Metheny Group. He won the <i>Downbeat</i> magazine
Critics Poll in the category of percussion from 1983 to 1991 and was a
tremendously influential figure in jazz and Brazilian music.<br />
<br />
Vasconcelos was a master of the <i>berimbau</i>, a musical bow from
Bahia with a single metal string and a resonating gourd, which he
turned into a unique solo voice. His peer Airto Moreira called him “the
best berimbau player in the world.”<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkSzyNNEPK6hOi9VuDLQzwKnzTz_pycSrcgiI8X15C6qhkvNuOKFBpq9Yu4Vl4dlbUcrz1ZL1u7c2ZoPGAyKJOk5SnHxQqha0y4Icrh61uzFo7gOQYEvwhg_lOvUGCHybYIfZhDyqhb-1p/s1600/nana+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="320" data-original-width="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkSzyNNEPK6hOi9VuDLQzwKnzTz_pycSrcgiI8X15C6qhkvNuOKFBpq9Yu4Vl4dlbUcrz1ZL1u7c2ZoPGAyKJOk5SnHxQqha0y4Icrh61uzFo7gOQYEvwhg_lOvUGCHybYIfZhDyqhb-1p/s1600/nana+1.jpg" /></a></div>
<br />
He was also adept with most other Brazilian percussion instruments,
which he combined with layered vocals, handclaps and body percussion. He
created irresistible rhythmic waves or engaged in spirited dialogues
with other musicians. Sometimes he created dense atmospheres of sound,
in which rustles, rattles and rumbles moved with captivating
rhythms or clashed in unearthly cacophony.<br />
<br />
“He went beyond keeping time and creating just a mood, his thing was
deep—he created a sense of place and time in music. When you heard him
play, you understood something more about the music. He dove into the
story of each song and gave you a reason to stay on. Very few
percussionists can do that,” comments Grammy award-winning jazz vocalist
Luciana Souza.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtTnj53S6sAFFRbynXYZWPN4-2M62WhTOuLkRmZg10MnDV7yWsPvHYyrdLcVNcPUhkrwM4wBvWXFzz_bN4WrWoPSkJQgsrMlnjRFbty1UgvNFrS62RcgFeyOgdF_vFvcHl54vTRgYODaM1/s1600/0724383344451_600.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtTnj53S6sAFFRbynXYZWPN4-2M62WhTOuLkRmZg10MnDV7yWsPvHYyrdLcVNcPUhkrwM4wBvWXFzz_bN4WrWoPSkJQgsrMlnjRFbty1UgvNFrS62RcgFeyOgdF_vFvcHl54vTRgYODaM1/s320/0724383344451_600.jpg" width="320" /></a></div>
<br />
Vasconcelos’s collaborations with leading figures from free jazz and
fusion put him at the forefront of the world’s percussionists. Naná
generated such a distinctive voice with his percussion that he was able
to hold his own in duos and trios with musical heavyweights. He teamed
with Egberto Gismonti on <i>Dança da Cabeças</i> and <i>Duas Vozes</i>, with Don Cherry and Collin Walcott for three Codona albums, with Pat Metheny and Lyle Mays on <i>As Falls Wichita, So Falls Wichita Falls</i>, with Jan Garbarek and John Abercrombie on <i>Eventyr</i>, and with Milton Nascimento and Herbie Hancock on <i>Miltons</i>.<br />
<br />
Juvenal de Holanda Vasconcelos (Naná was his nickname) was born on
August 2, 1944 in the coastal city of Recife, which is home to a rich
musical heritage that includes genres like <i>maracatu</i> and <i>frevo</i>.
As a youth, he learned to play the drums of maracatu as well as most
other Brazilian percussion instruments, and became adept with the
berimbau, an instrument associated with the martial art <i>capoeira</i>.<br />
<br />
In the late ‘60s, he toured with Gilberto Gil and was part of
Quarteto Livre with northeastern singer-songwriter Geraldo Azevedo. For a
time he was part of the seminal Som Imaginário band, which mixed
Brazilian music, jazz and rock and backed Milton Nascimento. His playing
caught the attention of saxophonist Gato Barbieri, with whom he started
touring. He subsequently spent a few years in Paris and while there
worked with disturbed children in a psychiatric hospital, using music as
a form of creative therapy. His experiences there would inform his
work: Vasconcelos saw how music could transform and improve people’s
lives. During this era, he found time to record his first solo album, <i>Africadeus</i> (1973).<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
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<div style="text-align: center;">
Naná Vasconcelos and Milton Nascimento</div>
<div style="text-align: center;">
<br /></div>
Towards the end of the decade, he toured and recorded with Egberto Gismonti on albums such as <i>Dança das Cabeças</i>
(Dance of the Minds) in 1977, which was released in eighteen countries
and sold more than two hundred thousand copies according to the ECM
label, an impressive sum for nonvocal experimental music.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
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<div style="text-align: center;">
Collin Walcott, Don Cherry, Naná</div>
<br />
In 1979 he formed Codona with trumpeter Don Cherry and percussionist
Collin Walcott. The trio released three highly regarded albums for ECM
that mixed free jazz and cross-cultural improvisation.<br />
<br />
<br />
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<div style="text-align: center;">
Don Cherry, Collin Walcott, Naná</div>
<br />
Vasconcelos expanded his audience greatly when he played percussion
and sang with the Pat Metheny Group, beginning with Metheny and Mays’ 1981 <i>As Falls Wichita, So Falls Wichita Falls</i>. “He was a total joy to work with,” keyboardist Mays told me in an interview for my book <i>The Brazilian Sound</i>.
“One of the things that I most enjoyed about playing with Naná was that
he was interested in working with me as a synthesizer player to come up
with combination textures that neither of us could do alone. He took
things a step further, using his voice together with his instrument and
with my instruments. Naná broadened our soundscape, and he added
charisma, another focal point of attention on stage.”<br />
<br />
On his website, Pat Metheny adds, “In addition to being one of the
best percussionists in music, Naná was an amazing, wonderful person.
Everywhere he went (berimbau always nestled on his shoulder) he made
friends and brought an infectious joy to the people around him. His
laugh was contagious and his ability to bring happiness to any situation
spilled over to the bandstand.”<br />
<br />
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<div style="text-align: center;">
Naná (top left) with Pat Metheny (center)</div>
<br />
Vasconcelos also appeared on Metheny’s <i>Offramp</i> and <i>Travels</i>,
before moving on to other projects. Along with releasing his own
albums, Vasconcelos enhanced the works of many artists, in and out of
Brazil. One noteworthy example is Lenine’s <i>Na Pressão</i> (1999),
on which Naná played shakers, a talking drum and other instruments on
the album’s dramatic title track. He also recorded with Brazilian
musicians Marisa Monte, Caetano Veloso, Alceu Valença, Eliane Elias,
Joyce, Toninho Horta, Luiz Bonfá, Badi Assad and Mônica Salmaso, along
with those mentioned above and many others.<br />
<br />
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<div style="text-align: center;">
Egberto Gismonti and Naná Vasconcelos</div>
<div style="text-align: center;">
</div>
<br />
In addition, Vasconcelos recorded and/or performed with Miles Davis,
Art Blakey, Tony Williams, Ralph Towner, Paul Simon, B. B. King, the
Talking Heads, Leon Thomas, Jean-Luc Ponty, Jon Hassell, Harry
Belafonte, Claus Ogerman, Ginger Baker, Jack DeJohnette, Carly Simon,
and the Yellowjackets.<br />
<br />
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<br />
Nana’s many fine solo works, such as <i>Saudades</i> for ECM (1979), <i>Bush Dance</i> (1986), <i>Rain Dance</i> (1989), <i>Storytelling</i> (1995) and <i>Chegada</i> (2005) are like sound encyclopedias, beautiful elaborations of rhythmic and textural possibilities. His album <i>Sinfonia and Batuques</i> won a Latin Grammy award in 2011 for Best Native Brazilian Roots Album.<br />
<br />
Vasconcelos returned every year to Recife to take part in Carnaval
celebrations and lead a large group of maracatu drummers and singers,
one of his many projects that supported Afro-Brazilian culture. When he
died, these and other local musicians paid musical tribute to him in a
procession through the streets of Recife, on the way to where he was
buried.<br />
<br />
Brazilian keyboardist, composer and music educator Antonio Adolfo
reflects, “He grew tremendously when he traveled and lived outside
Brazil. He developed a tremendous technique mixed with all his cultural
background—presenting the berimbau to the world along with all his work
with percussion in general—and became one of the most important
percussionists of all time.”<br />
<br />
<div style="text-align: center;">
_______</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-40498564083897060572018-07-10T16:13:00.002-07:002018-07-12T08:13:33.785-07:00Luciana Souza: A Bossa Nova Baby Makes Her Mark in the Jazz Realm<!--[if !mso]>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGAfN1W9iUT9oqhP7ZofdzIqoa0AZTX1luZjamyZH3fsc4s55SVrHU8tzeMMmuWSHMT_y4Ct4D-nKxZpxqhCoa8XXdn_rlCWyVYIU3p9FOkrVEj9w8N5wDgh_U2Suf1sfFLqMcnw23Gk4g/s1600/Luciana_Souza%252BBrazilian%252BSinger.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1032" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGAfN1W9iUT9oqhP7ZofdzIqoa0AZTX1luZjamyZH3fsc4s55SVrHU8tzeMMmuWSHMT_y4Ct4D-nKxZpxqhCoa8XXdn_rlCWyVYIU3p9FOkrVEj9w8N5wDgh_U2Suf1sfFLqMcnw23Gk4g/s320/Luciana_Souza%252BBrazilian%252BSinger.jpg" width="248" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"><b>by Chris McGowan</b><br />(published January 4, 2014 in <i>The Huffington Post</i>)</span></div>
<div class="MsoNormal" style="background: white; line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; vertical-align: middle;">
<br /></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">In 2013, Luciana Souza gained a place among the world’s top
contemporary jazz singers by earning not one but two Grammy nominations,
for <i>The Book of Chet </i>(for Best Jazz Vocal Album) and <i>Duos
III</i> (Best Latin Jazz Album). The 47-year-old Brazilian vocalist now
has a total of six Grammy nominations, a distinction that has gone largely
unrecognized in her native country. She has also appeared on Herbie Hancock’s
Grammy-winning <i>River: The Joni Letters</i> and works by Bobby
McFerrin, John Patitucci, Till Brönner and Argentine composer Osvaldo Golijov,
to name a few, and performed with several symphony orchestras. Souza sings with
a quiet intensity and — in <i>The Book of Chet</i> and <i>Duos
III</i> — favors spare, stripped-down arrangements. Her voice is clear and
perfectly in tune, with a beautiful tone, and her phrasing is often daring,
even startling. She’s a vocalist who once said “each phrase for me has a
certain gestalt” and she invites you to savor both the notes and the spaces
between them. Souza is spectacular in a João Gilberto kind of way — you have to
listen attentively to appreciate all the nuances.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Souza’s artistic influences include Gilberto (who invented
bossa nova’s guitar beat and introduced a low-key vocal style) and singers like
Chet Baker, Carmen McRae and Joni Mitchell. She’s a child of bossa nova and
jazz in more ways than one. Souza was born in São Paulo to songwriter parents
(Walter Santos and Tereza Souza) who were part of the bossa nova scene in their
city and later founded Som da Gente, a small independent record label dedicated
to Brazilian jazz and instrumental music, which included the great composer and
multi-instrumentalist Hermeto Pascoal on its roster. At home she was surrounded
by the music of her parents and their musician friends. “Music was everything,
music was the bread maker, music was the dream, music was hopeful; it was
humor, it was the language that was spoken at the house. My father being a
guitar player, he never left his guitar; he was constantly playing. It was
happy, it was fun,” Souza recalls.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Walter wrote commercial jingles to pay the rent, and he
started using little Luciana in the recordings when she was just three years
old. She says, "</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">I
think they detected early on that I could sing in tune and I was musical and I
had a facility for learning melodies and learning language. So they encouraged
me and the recording studio was like the living room to me. It was an extension
of everything we did. We sang at home, we sang in the studio. They would teach
me a melody, and I just loved it."</span></div>
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<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"></span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">At age 18, Souza moved to Boston to attend the Berklee
School of Music. There, she developed her talents as a singer as well as her
abilities as an educator — she eventually joined Berklee’s faculty and after
that taught at the Manhattan School of Music in New York. Since 1992, she has
released 11 albums, and won her first four Grammy nominations with <i>Brazilian
Duos</i> (2003), <i>North and South</i> (2004),<i> Duos II</i> (2006)
and <i>Tide</i> (2010). </span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">She has interpreted Brazilian standards,
recast songs by great American songwriters as bossa nova (<i>The New Bossa Nova</i>)
and boldly devoted entire albums to musical interpretations of poets (<i>The
Poems of Elizabeth Bishop and Other Songs</i> and <i>Neruda</i>).
Along with way she married bassist-producer Larry Klein, with whom she has a
young son; they moved to Los Angeles in 2006. He produced both <i>The Book
of Chet</i> and <i>Duos III</i>. Souza has now been living in the
U.S. for nearly thirty years, and is glad about her choice. “I came here — to
Berklee, to Boston, to New York, and L.A. — because this is the music I want to
make. I want to be in the environment, I want to be with the musicians, I want
to speak this language; I need to be here.” She adds, “As much as I miss
Brazil, I find that here I can really be myself.”</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Her two recent Grammy-nominated albums reflect Souza’s musical
vision and her versatility. <i>The Book of Chet </i>is an homage to
jazz trumpeter-vocalist Chet Baker (1929-1988), who was a major influence on
many bossa nova musicians, and includes songs recorded by him such as “The
Thrill is Gone,” “Oh You Crazy Moon,” “The Very Thought Of You,” “You Go To My
Head” and “Forgetful.” The song choices were an attempt to capture the breadth
of his career, rather than to compile his biggest successes.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">“I was obsessed with him when I was in graduate school at
the New England Conservatory,” Souza comments about Baker. She says:</span> "<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">And
then twenty years later I came across one of [his] biographies and then his
autobiography and <i>Let’s Get Lost</i> [the 1988 documentary about Baker].
And it came back to me — why did I love him so much? And I got all the records
out. His voice moves me so deeply...the way he sings...It’s so pure, so direct,
so unadorned. To me, there’s an incredible, quiet, calm sadness. He’s like a
kindred spirit, musically and vocally."</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">On <i>The Book of Chet</i>, “The Thrill Is Gone” (not
to be confused with the B.B. King song of the same name) is particularly
haunting, with Souza’s rather somber vocals over hypnotic repeating figures on
bass and guitar, while “The Very Thought of You,” with Souza’s luscious
rendering, is another of the album’s many high points.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> Luciana Souza and her husband Larry Klein</span></div>
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<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">The Book of Chet</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> and <i>Duos
III</i> were released the same day and both were direct live recordings
with few instruments. However, while the former album is consistently
understated and introspective, with slow tempos that push the envelope, <i>Duos
III </i>ranges across a variety of genres, including bossa nova, baião,
some lively sambas (like “Tim Tim Por Tim Tim” and “Doralice,” both with
impressive scatting) and the wordless singing of “Dona Lu,” written for Souza
by Pereira.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">On <i>Duos III</i>, the third in a series, Souza
performs duets with three renowned Brazilian guitarists — Romero Lubambo, Marco
Pereira and Toninho Horta — as she interprets Brazilian compositions, most of
them standards, from composers like Antonio Carlos Jobim (four selections),
Haroldo Barbosa, Dorival Caymmi, Gilberto Gil, Ivan Lins, Djavan, Dominguinhos
and Cartola, as well as Pereira and Horta.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Souza likes the combination of voice and guitar “because
it’s how I grew up and because of my dad doing that.” She adds: "</span><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">The
guitar doesn’t sustain and the sound decays and dies; it allows for silence.
The guitar can be very percussive, very melodic, and very harmonic, obviously.
All these different possibilities in terms of orchestration can happen with
just one instrument. So it is my favorite instrument but also it comes from the
Brazilian tradition. A lot of these songs were written on guitar, we can do
them in the original keys, and it just colors the music in a certain way, gives
it the right color, the right timbre."</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">She adds, “and the people that I play with are very able and
agile and most of them really have this sensibility in terms of improvisation.”
Each of the three guitarists has a quite different approach, technically and
artistically. “You take the same exact guitar and give it to Romero or Marco or
Toninho, for example, and they sound completely different. Marco is almost an
intellectual with the guitar; he’s a romantic, so he brings that kind of heavy
heart, but is full of technique and thought” while “Romero is all fire, all
rhythm, completely improvisatory.”</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Regarding Toninho Horta, she comments that in “the lineage
of Brazilian music, Toninho gets a chapter as a songwriter, as a lyricist, as a
guitarist. He’s innovative in every way. His sense of harmony is unlike that of
any other Brazilian — the most refined, advanced and modern thing in Brazilian
music that I know of.” She teams with Horta, known to many Americans for his
work with both Milton Nascimento and Pat Metheny, on four songs, including his
own “Pedro da Lua” and “Beijo Partido.”</span></div>
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<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">Duos III</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt;"> and <i>The
Book of Chet</i> were recorded after a nearly three-year break while Souza
focused on being a new mother. “At this point in my life it was very important
to put out those two records because I hadn’t made a record [in a while] and it
just made sense to come out very quiet and very strong.” About her six total
Grammy nominations, Souza says, “It feels good. It talks about all the
possibilities for small artists. Only one [album] was done for a major record
label [Verve], and five others for independents. It’s sort of an homage to my
parents, because they were an independent record company.”</span><br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">_______ </span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt;">_______ </span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-87288209415152131742018-07-10T15:50:00.001-07:002018-07-12T09:22:26.440-07:00Brazilian Harpist Cristina Braga Explores Samba, Jazz and Love<br />
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<b>by Chris
McGowan</b><br />
(published November 21, 2013 in <i>The Huffington Post</i>)</div>
<br />
The first recordings of samba occurred nearly one hundred years ago and of
bossa nova more than fifty years ago. Neither genre has ever been associated
with the harp, but lately the venerable stringed instrument has expanded its
presence in Brazilian popular music thanks to Cristina Braga, who is the first
harpist with the Teatro Municipal symphonic orchestra in Rio de Janeiro and a
crossover artist who freely roams between classical music, samba, bossa nova
and even rock and roll. Along with recording sixteen albums, the 47-year-old
Braga has performed or recorded with Brazilian music luminaries Gal Costa,
Marisa Monte, Ana Carolina, Zeca Baleiro and Lenine, with the rock band Titãs,
and on the <i>United Kingdom of Ipanema</i> DVD with bossa icon
Roberto Menescal and Andy Summers (The Police).<br />
<br />
Braga’s new album <i>Samba, Jazz and Love</i> (Enja Records, 2013)
features her vibrant, virtuoso harp playing and sultry, breathy vocals in
impeccable renderings of samba and bossa classics. The flugelhorn and
vibraphone, two other instruments seldom heard in those genres, are also part
of the mix, performed by Jessé Sadoc (who also plays trumpet) and Arthur Dutra,
respectively. The album was produced by Braga’s husband Ricardo Medeiros, a
double bassist whose dynamic bass lines underpin the overall sound. And Joca
Moraes adds just the right rhythmic embellishments of <i>alfaia</i>drums
(commonly used in <i>maracatu</i>) and the <i>pandeiro</i> (Brazilian
tamborine).<br />
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The original concept of the album was very simple. Braga comments, “We wanted
to make samba, jazz and love (laughs). We wanted to do something more
spontaneous. The instruments were recorded in twelve hours.” Bossa nova, which
is an offshoot of samba, supplied part of the repertoire and there are four
songs by Antonio Carlos Jobim alone.<text-align: center=""> Medeiros adds, "We thought of doing something about samba. The album has various
sambas and songs that talk about samba: ‘Só Danço Samba’ (I Only Dance Samba)
by Jobim, ‘Desde Que o Samba É Samba’ (Since Samba Is Samba) by Caetano Veloso,
and ‘Samba e Amor’ (Samba and Love, by Chico Buarque). We do these sambas in
our own way, with different instruments. And with the harp, which isn’t used in
popular music as a principal instrument."<br />
<br />
The harp creates a different musical universe for the samba and bossa standards
on the album, adapting bossa’s familiar plucked guitar chords and expanding the
tonal palette and harmonic range. “I think the way the harp is played
transforms the music. It becomes different, with the harmonics made by the harp
and by the way Cristina plays as a harpist. To not imitate another instrument,
but to really be another instrument,” says Medeiros. “For example, the chords
of the harp can be really large. With the harp it’s very natural to do a chord
with five octaves, something that few instruments can do.” </text-align:><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEwLB0Kimt8JNjJj7719Hj0Z1ZHcDuVrargH5msfQ0RTVcO-9Dmc_HLNGg3L4VDmlhfgfRXFP2HtgVapasZFPTi76ghTj5ku9ntWEayFClRu6HgVGBRMtYJRfxSapJOP_AvJqaFJ7q7TIG/s1600/cristina+braga+and+ricardo+medeiros.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="467" data-original-width="700" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEwLB0Kimt8JNjJj7719Hj0Z1ZHcDuVrargH5msfQ0RTVcO-9Dmc_HLNGg3L4VDmlhfgfRXFP2HtgVapasZFPTi76ghTj5ku9ntWEayFClRu6HgVGBRMtYJRfxSapJOP_AvJqaFJ7q7TIG/s320/cristina+braga+and+ricardo+medeiros.jpg" width="320" /></a></div>
Cristina Braga and Ricardo
Medeiros</div>
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Medeiros continues, “The harp can make a very big sound. A
lot of harmonics appear. Many times we go to the studio to mix and the sound
technician tries to take things out to make a clean sound. And we say, ‘No, the
harp is like this. You can leave it full.’ Another thing is that the
improvisations and the language of the harp are different. Many people who hear
the improvisations that Cristina does think, ‘Wow, how great, that’s something
really different.’ "</div>
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When Braga first played samba, it felt strange to play it on the harp. “I
didn’t play samba, not at all. To me, samba with a harp seemed
like chantilly [whipped cream]. I was playing my harp like a guitar.
Ricardo turned to me, ‘But Cristina, you play harp. Why imitate the guitar?’, " she recalls.</div>
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Braga’s harp playing gives a new twist to these standards, as does the
interplay of her instrument with Dutra’s vibraphone on many numbers, such as a
dreamy, delicate version of Robert Menescal’s “O Barquinho” (The Little Boat)
and a flawless rendition of Jobim’s “Desafinado” (Off-Key). “When this new
album came about, I had this idea in my head of playing the harp with the
vibraphone, with the trumpet, of mixing instruments that have a lot of
harmonics,” says Braga. “Desafinado” is a classic that launched bossa nova
worldwide via Stan Getz and Charlie Byrd’s recording on <i>Jazz Samba</i> in
1962.</div>
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Medeiros notes that the song has "a very difficult harmony, principally on
the harp, where there’s a lot of modulation. And it’s difficult to sing also,
but it’s a fascinating song. When we thought about doing this album, we wanted
to do something with ‘Desafinado.’ We fell more and more in love with the song,
when we transferred the harmony to the harp, when we made the arrangement for
the group. All the research was fascinating; it was a great process.The band,
all of whom are fine musicians, get to stretch out with more extended soloing
in a haunting, compelling instrumental version of the lesser known gem “Triste
de Quem,” composed by Moacir Santos and Vinícius de Moraes (bossa nova’s most
important lyricist), and recorded in 1963 by Elizeth Cardoso.<br />
<br />
The album opens with “Love Parfait,” a new tune composed by Medeiros and
lyricist Bernardo Vilhena that evokes a nostalgic Parisian ambiance. "In
the beginning, I was trying to do something very simple, a simple melody with a
dense harmony. I did the first part twenty years, when I was living in London
and my son was born. I had an inspiration and thought that it was a perfect
love. I worked with Bernardo on the second part, and his idea of doing a
section in French was the key. It became a song that suggests a French café,
antiquity." <br />
<br />
One of the most compelling songs is Jobim’s lilting “Chovendo na Roseira”
(sometimes titled “Children’s Games” in English), an instrumental version
highlighted by Sadoc’s honeyed trumpet soloing, Dutra’s hypnotic vibraphone
playing and Braga’s lively harp work, which ranges from ethereal to slightly
edgy. “The first time I heard Jobim was on an album with “Chovendo na Roseira,”
which I thought was really beautiful,” recalls Braga. <i>Samba Jazz & Love</i> also
includes Jobim’s “Canta Mais” (Sing More), Candéia’s “Preciso Me Encontrar” (I
Need to Find Myself) and the album’s only English tune, “Rio Paraiso” (Paradise
River) by Alberto Rosenblit and Paulinho Tapajós. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl5fs7UHWjq1JJ-Tll9S1XRTq0BDHqm4EsUAM6sriZFrLxdJi98Ax0vywIeYNsxU0-1qPNKVEQB4MbKUkyggOIego1NbNzRdLTEVTcttoAOZ6VMpAXAzmnPdauwZhpJcT10TwR4DIERiSE/s1600/cristina+dado+ricardo+medeiros.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl5fs7UHWjq1JJ-Tll9S1XRTq0BDHqm4EsUAM6sriZFrLxdJi98Ax0vywIeYNsxU0-1qPNKVEQB4MbKUkyggOIego1NbNzRdLTEVTcttoAOZ6VMpAXAzmnPdauwZhpJcT10TwR4DIERiSE/s320/cristina+dado+ricardo+medeiros.jpg" width="320" /></a></div>
Cristina Braga, Dado Villa-Lobos, Ricardo Medeiros </div>
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Braga often surprises the listener with her rhythmic approach on the harp to
many songs, as in the overtly jazzy, energetic “Só Danço Samba”; another
example (not on this album) is her powerful "A Floresta Amazônica."
She observes, “Even today, if people think about a concert with harp, they
think it’s going to be a classical thing, a beautiful, very sweet thing. And
when we start playing the more rhythmic things, people go, “Huh? You can also
do this with the harp?”<br />
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“I try to do something different, something harpistic, something Brazilian,”
concludes Braga. “The harp is an instrument that has a long history. I think
it’s great that it has the form of the map of Brazil.”<br />
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<i>For many years, Braga also taught harp at the Federal University of Rio de Janeiro (UFRJ)
and in 2003 she founded one of the most intriguing musical festivals in the world,
the Festival Vale do Cafe. The ten-day event takes place in the historic,
verdant “Coffee Valley” located over the mountains and about two hours from
Rio. Instrumental music of many types (including classical, choro, regional and
jazz) and traditional folkloric music and dance are performed in the valley’s
small towns and in grand settings at 19th century coffee plantations.</i>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-38952757799054778292017-12-04T10:13:00.000-08:002017-12-04T10:16:19.744-08:00Antonio Adolfo: Hybrido<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr2LM30p0dPkajSq4xC2TMIa7bS4ugzY8_E6O7LEEq0AMaTSD0dBgkfJhzaFFOOZH1jPS_hknZ_Dd6QeQHKiQlbpqbaoZw40sFLOWTQiFVvB52oWmeZliQM3KMQN0BjQdpWzTX4YvXV1k3/s1600/24131247_10214088025610435_1262383215281317879_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr2LM30p0dPkajSq4xC2TMIa7bS4ugzY8_E6O7LEEq0AMaTSD0dBgkfJhzaFFOOZH1jPS_hknZ_Dd6QeQHKiQlbpqbaoZw40sFLOWTQiFVvB52oWmeZliQM3KMQN0BjQdpWzTX4YvXV1k3/s320/24131247_10214088025610435_1262383215281317879_n.jpg" width="320" /></a></div>
<span style="background-color: white; color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;"><br /></span><span style="background-color: white; color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;">Kudos to Antonio Adolfo, who just received a Grammy nomination for the best Latin Jazz album for <a href="https://www.amazon.com/exec/obidos/ASIN/B06XTZD29Z/ref=nosim/braziliansound-20"><i>Hybrido – From Rio To Wayne Shorter</i></a>. On it, Adolfo interprets standards by Shorter, including "Speak No Evil" and "E.S.P." Antonio is backed by the likes of Lula Galvão (electric guitar) and Jorge Helder (double bass). Shorter is a legendary composer and saxophonist who played with Art Blakey and Miles Davis before co-founding the fusion group Weather Report. He has also collaborated with Milton Nascimento and other Brazilian musicians for decades. Adolfo is a master of fusing jazz and Brazilian styles, has composed MPB standards such as "Sá Marina" (Pretty World), and has been an important figure in Brazilian music since the 1960s. Here, he adds his usual deft touch to some great material. Highly recommended. The album was also nominated for a "Latin Grammy" award in 2017 in the Best Latin Jazz/Jazz category. Available from: </span><span style="background-color: white; color: #1d2129; font-family: "helvetica" , "arial" , sans-serif; font-size: 14px;">AAM Records, 2017.</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-73859457637900594792017-05-15T11:19:00.002-07:002017-08-26T09:43:08.421-07:00Olá Brasil<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6q8f3xbgsRMKiuRj5JTjT0ZFYT5D4GiExkH059xp8Awy11R8CnHSojazIHQsTFSv3420zX8qtYJfX33s15JoptAqNN9PbtnVawZ3BUSBpD-iO8g0SLzTKhsa2d7s_F2BbHboTwSwTZu5Z/s1600/Starbucks+Ola%25CC%2581+Brasil+CDnts.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="282" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6q8f3xbgsRMKiuRj5JTjT0ZFYT5D4GiExkH059xp8Awy11R8CnHSojazIHQsTFSv3420zX8qtYJfX33s15JoptAqNN9PbtnVawZ3BUSBpD-iO8g0SLzTKhsa2d7s_F2BbHboTwSwTZu5Z/s320/Starbucks+Ola%25CC%2581+Brasil+CDnts.jpg" width="320" /></a></div>
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In 1999, I wrote the liner notes for a Starbucks Coffee compilation CD, <i>Olá Brasil: Rhythms of Joy and Longing</i>. It focused on bossa nova and MPB and was quirky in its mix of tunes but fun to listen to. Pink Martini's "Brazil" (their version of Ary Barroso's landmark <i>exaltation samba</i> "Aquarela do Brasil") was the most unconventional pick while Elis Regina and Antonio Carlos Jobim's "Águas de Março" and Luiz Bonfá's "Manhã de Carnaval" were conventional yet gratifying choices. The CD is available used from Amazon and elsewhere. The CD liner notes can be read below, followed by a few music videos of the selections.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcKo0WuredPLTlv2iXmfQ_OzdavNSOSROCtQPEi3JrxI_628s5ZZOx8TnN-0BVHUUwxv4wbcpM8Qne5r34q8MJYfujxNKlVBfoXerEpeD3IK7XOLHmUKdXa9g_ZMOPS6tf48UEmlwTbNzu/s1600/Starbucks+Ola+Brasil+CD+6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcKo0WuredPLTlv2iXmfQ_OzdavNSOSROCtQPEi3JrxI_628s5ZZOx8TnN-0BVHUUwxv4wbcpM8Qne5r34q8MJYfujxNKlVBfoXerEpeD3IK7XOLHmUKdXa9g_ZMOPS6tf48UEmlwTbNzu/s320/Starbucks+Ola+Brasil+CD+6.jpg" width="320" /></a></div>
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<i>Videos of Song Selections</i></div>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/WQYxEhieYxs/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/WQYxEhieYxs?feature=player_embedded" width="320"></iframe></div>
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Vinícius Cantuária, "Amor Brasileiro"</div>
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Elis Regina and Antonio Carlos Jobim, "Águas de Março"</div>
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Pink Martini performing "Brazil" ("Aquarela do Brasil")</div>
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<b><br />Read about Brazilian Music</b></div>
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<b><a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">The Brazilian Sound: Samba, Bossa Nova<br /> and the Popular Music of Brazil</a></b><i><br /> </i>by Chris McGowan and Ricardo Pessanha (Temple University Press) </div>
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(the leading guide to Brazilian music in English;</div>
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available on Amazon worldwide)<i></i></div>
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<b><a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html">The Brazilian Music Book: Brazil's Singers, Songwriters<br /> and Musicians Tell the Story of Bossa Nova,<br /> MPB and Brazilian Jazz and Pop</a></b></div>
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by Chris McGowan </div>
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(interviews with iconic figures from Jobim</div>
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and Airto to Djavan<b> </b>and Gal Costa)</div>
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<b>__________________</b></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-18751124398744463632016-09-24T14:53:00.002-07:002017-08-26T09:45:10.456-07:00Fundo de Quintal in L.A.<div class="separator" style="clear: both; text-align: center;">
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Fundo de Quintal, the founding fathers of the rootsy style of samba called <i>pagode</i>, will make a rare Southern California appearance on Sunday, October 9th at the Samba Brazilian Steak House in Redondo Beach, a beach town in the greater Los Angeles area. The musicianship of these veteran <i>sambistas</i> is formidable and the samba they play is not to be confused with the contemporary romantic pop samba also called pagode. For more information, call Brazilian Nites Productions at (818) 566-1111 or see the links at the bottom of this blog.</div>
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<i>Here is an excerpt about the group from </i>The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil<i>, which I co-authored with Ricardo Pessanha:</i></div>
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It all started in the mid-1970s, when a group of musicians
associated with the Carnaval bloco Cacique de Ramos started getting together
for a <i style="mso-bidi-font-style: normal;">pagode</i>, a party where people
played samba. Every Wednesday night, Bira, Ubirany, Sereno, Almir Guineto,
Neoci, Jorge Aragão, and various other talented musicians united for beer,
appetizers, and samba in the bloco’s rehearsal space. The atmosphere was
informal, the mood collective. The music, often based in the old <i style="mso-bidi-font-style: normal;">partido alto</i> style, featured improvising
by the singer and the singing of the refrain by everyone else. It was more like
being back at Tia Ciata’s house, a musical gathering of friends. There was no
distinction between players and audience.</div>
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In addition, the samba being made in Ramos added some new
instrumental twists. Sereno introduced the <i style="mso-bidi-font-style: normal;">tan-tan</i>,
a type of atabaque, which replaced the larger and heavier surdo. This was more
practical for spontaneous samba get-togethers, as the tan-tan could be carried
more easily on buses, the mode of transportation for Rio’s working class. Almir
Guineto added a banjo, which was louder than a cavaquinho and better for
open-air gatherings. Ubirany started playing a hand-held repique, called a <i style="mso-bidi-font-style: normal;">repique de mão</i>, and dispensed with the
customary use of drum sticks. And Bira played the pandeiro in unusual ways. The
sound was intimate and earthy, with new percussive textures. Their lyrics were
unpretentious, focusing on situations from their daily life. </div>
<div class="indent">
<br /></div>
<div class="indent">
They changed the sonority of samba, they brought back the
‘batuque,’ the instrument played with the hands,” said Beth Carvalho. Brazil’s top samba record producer Rildo Hora told us, “Beth
invited me to go to Cacique to listen to the songs and the different percussion
that they were playing there. I liked what I saw and heard so much that I
talked to Beth and we decided to do something that changed the way people sang
and played samba in Rio: we invited those Cacique percussionists to play on
Beth’s next album.”</div>
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<br /></div>
<div class="indent">
The albums <i style="mso-bidi-font-style: normal;">De Pé no Chão</i>
(Feet on the Ground, 1978) and <i style="mso-bidi-font-style: normal;">Beth
Carvalho no Pagode</i> (1979) brought the compositions and playing of the Ramos
musicians to the Brazilian public for the first time. Several of those
musicians formed the Grupo Fundo de Quintal (Backyard Group), which—with
Carvalho’s help—secured a recording contract with RGE and released their debut
album <i style="mso-bidi-font-style: normal;">Samba é no Fundo de Quintal</i> in
1980. </div>
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<br /></div>
<div class="indent">
The Ramos composers helped to revitalize the <i style="mso-bidi-font-style: normal;">partido alto</i> style of samba. Hora told us that in the pagode get-togethers, “everyone sings a lot of partido
alto because it’s a samba that has a repeated refrain. In between the refrains,
there is musical play, improvised verses. It’s inviting.” The style, also employed by Martinho da Vila, became closely identified with
the <i style="mso-bidi-font-style: normal;">pagodeiros, </i>although they
explored other types of samba as well.</div>
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<br /></div>
<div class="indent">
Many big names started recording songs by Fundo de Quintal
composers, whose sambas had catchy melodies and strong rhythms, and the record
companies and press started calling their music pagode. Carvalho popularized
their compositions on her albums, and the Grupo Fundo de Quintal’s sales
increased with each new release. Early on, Almir Guineto and Jorge Aragão left
the group to pursue solo careers; they were replaced by Walter Sete Cordas and
Arlindo Cruz. Arlindo played with them until 1993, and became a notable musician
(on cavaquinho, banjo, and the hybrid “banjo-cavaco”) and a prolific songwriter
in his own right. </div>
<div class="indent">
<br /></div>
<div class="indent">
Fundo de Quintal's lineup of musicians has changed, but the group has continued to release bestselling albums of quality music and to win Brazilian music-industry awards for their work. Their album <i>Só Felicidade </i>was nominated for a Latin Grammy Award for Best Samba/Pagode Album in 2015. <br />
<br />
<span class="Apple-style-span" style="font-size: x-small;"><b><span class="Apple-style-span" style="font-family: inherit;">--most of the above is excerpted from <i>The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil</i> (Temple University Press) </span>© Chris McGowan and Ricardo Pessanha, 1991-2014. </b></span><br />
<br />
<br />
<div style="text-align: center;">
<span class="Apple-style-span" style="font-size: small;"><b><b>Read about Brazilian Music</b></b></span></div>
<br />
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<b><a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">The Brazilian Sound: Samba, Bossa Nova<br /> and the Popular Music of Brazil</a></b><i><br /> </i>by Chris McGowan and Ricardo Pessanha (Temple University Press) </div>
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(the leading guide to Brazilian music in English;</div>
<div style="text-align: center;">
available on Amazon worldwide)</div>
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<i><br /></i></div>
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<b><a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html">The Brazilian Music Book: Brazil's Singers, Songwriters<br /> and Musicians Tell the Story of Bossa Nova,<br /> MPB and Brazilian Jazz and Pop</a></b></div>
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by Chris McGowan </div>
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(interviews with iconic figures from Jobim</div>
<div style="text-align: center;">
and Airto to Djavan<b> </b>and Gal Costa)</div>
<br />
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<b>__________________</b></div>
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<br /></div>
</div>
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<br /></div>
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<iframe border="0" frameborder="0" height="250" marginwidth="0" scrolling="no" src="//rcm-na.amazon-adsystem.com/e/cm?o=1&p=12&l=ur1&category=homeaudiohometheater&banner=06MEGXS2WMMCWH6E6502&f=ifr&linkID=050b815d1e9e0eafa2f5f517358eedff&t=braziliansound-20&tracking_id=braziliansound-20" style="border: none;" width="300"></iframe>
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</div>
</div>
<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-60810239777950709742016-08-24T11:29:00.001-07:002022-08-15T22:48:46.346-07:00Blog Index<div class="separator" style="clear: both; text-align: center;">
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<b><br /></b></div>
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<span class="Apple-style-span" style="font-size: large;">The Brazilian Sound Blog Index</span></div>
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<br /></div>
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<i>Featured Blogs:</i></div>
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<i><br /></i></div>
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<i></i></div>
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<a href="https://thebraziliansound.blogspot.com/2018/07/an-olympian-night-life-rio-de-janeiros.html">An Olympian Night Life:<br />The Top Ten Clubs for Music in Rio</a></div>
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<a href="http://thebraziliansound.blogspot.com/2012/12/garota-de-ipanema-fifty-years-old-in.html">The Girl from Ipanema:</a></div>
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<a href="http://thebraziliansound.blogspot.com/2012/12/garota-de-ipanema-fifty-years-old-in.html">Her 50th Birthday</a></div>
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<i><br /></i></div>
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<a href="http://thebraziliansound.blogspot.com/2013/04/another-look-at-jazz-samba-interview.html">Another Side of <i>Jazz Samba</i>:</a></div>
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<a href="http://thebraziliansound.blogspot.com/2013/04/another-look-at-jazz-samba-interview.html">Buddy Deppenschmidt (Interview)</a></div>
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<a href="http://thebraziliansound.blogspot.com/2013/12/jorge-benjors-mas-que-nada-50-years.html">Jorge Benjor's "Mas Que Nada"</a></div>
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<a href="http://thebraziliansound.blogspot.com/2013/12/jorge-benjors-mas-que-nada-50-years.html">50 Years Later</a></div>
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</div>
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<i>All Blogs (Most Recent at Top):</i></div>
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2017</div>
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<br /></div>
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<a href="https://thebraziliansound.blogspot.com/2017/05/ola-brasil.html">Ola Brasil: A Starbucks CD </a><i><br /></i></div>
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<br /></div>
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<a href="https://thebraziliansound.blogspot.com/2017/02/rios-sambodromo-carnaval-will-be.html">Carnaval 2017 in Brazil</a></div>
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<br /></div>
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2016 <i><br /></i> </div>
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<a href="https://thebraziliansound.blogspot.com/2016/09/fundo-de-quintal-in-la-october-9th.html">Fundo de Quintal</a></div>
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<br /></div>
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<i></i></div>
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<a href="http://thebraziliansound.blogspot.com/2016/08/where-to-find-books.html">Where to Find <i>The Brazilian </i></a></div>
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<a href="http://thebraziliansound.blogspot.com/2016/08/where-to-find-books.html"><i>Sound</i> & <i>Brazilian Music Book</i></a></div>
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<br /></div>
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<a href="https://thebraziliansound.blogspot.com/2018/07/nana-vasconcelos-storytelling-with.html">Remembering Naná Vasconcelos</a></div>
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<a href="http://thebraziliansound.blogspot.com/2016/02/carnaval-2016.html">Carnaval 2016 in Brazil</a></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2016/02/an-interview-with-leny-andrade.html">Leny Andrade: Jazz-Bossa Diva</a></div>
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<a href="http://thebraziliansound.blogspot.com/2016/02/an-interview-with-leny-andrade.html">(Interview)</a></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2016/01/geraldo-azevedo-northeastern-wave.html">Geraldo Azevedo:</a></div>
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<a href="http://thebraziliansound.blogspot.com/2016/01/geraldo-azevedo-northeastern-wave.html">The Northeastern Wave (Interview)</a></div>
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<a href="http://thebraziliansound.blogspot.com/2016/01/an-interview-with-rique-pantoja.html">Rique Pantoja (Interview)</a></div>
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2015</div>
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<a href="http://thebraziliansound.blogspot.com/2015/12/songs-of-good-cheer.html">Songs of Good Cheer</a></div>
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<a href="http://thebraziliansound.blogspot.com/2015/12/songs-of-good-cheer.html">(International / Brazilian)</a></div>
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<a href="http://thebraziliansound.blogspot.com/2015/03/made-in-brazil-academic-studies-of.html"><i>Made in Brazil: Studies</i></a></div>
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<a href="http://thebraziliansound.blogspot.com/2015/03/made-in-brazil-academic-studies-of.html"><i>in Popular Music</i></a></div>
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Rio Carnaval Images:</div>
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<a href="http://thebraziliansound.blogspot.com/2015/03/beija-flor-rios-carnaval-winner-in-2015.html">Beija-Flor</a> <a href="http://thebraziliansound.blogspot.com/2015/03/unidos-da-tijuca.html">Unidos da Tijuca</a> <a href="http://thebraziliansound.blogspot.com/2015/03/viradouro.html">Viradouro</a></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2015/03/imperatriz-leopoldinense.html">Imperatriz Leopoldinense</a> <a href="http://thebraziliansound.blogspot.com/2015/02/rio-carnaval-2015.html">Portela</a></div>
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2014</div>
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<a href="http://thebraziliansound.blogspot.com/2014/10/the-updated-brazilian-sound-kindle.html">Updated <i>Brazilian Sound</i></a></div>
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<a href="http://thebraziliansound.blogspot.com/2014/10/the-updated-brazilian-sound-kindle.html">Kindle edition</a></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2014/08/sergio-mendes-talks-about-brasileiro.html">Sérgio Mendes on <i>Brasileiro</i></a></div>
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<a href="http://thebraziliansound.blogspot.com/2014/08/sergio-mendes-talks-about-brasileiro.html">(Interview)</a></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2014/08/mimo-festival-boasts-spectacular.html">Brazil's MIMO Festival</a></div>
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<a href="http://thebraziliansound.blogspot.com/2018/07/lenines-brings-his-musical-bridge-to.html">Lenine in Central Park</a></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2014/07/festival-vale-do-cafe-2014.html">Festival Vale do Café (2014)</a></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://thebraziliansound.blogspot.com/2014/05/the-brazilian-music-book.html"><i>The Brazilian Music Book</i></a></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html"><i>The Brazilian Sound</i>: All Editions</a></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2014/03/brazil-carnaval-2014.html">Brazil Carnaval 2014 (Photos)</a></div>
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<br /></div>
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<a href="https://thebraziliansound.blogspot.com/2018/07/luciana-souza-bossa-nova-baby-makes-her.html">Luciana Souza Makes Her Mark </a></div>
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2013</div>
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<a href="http://thebraziliansound.blogspot.com/2013/12/jorge-benjors-mas-que-nada-50-years.html">Jorge Benjor's "Mas Que Nada"</a></div>
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<a href="http://thebraziliansound.blogspot.com/2013/12/jorge-benjors-mas-que-nada-50-years.html">50 Years Later</a></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2014/01/carlos-lyra-60-years-of-bossa-nova.html">Carlos Lyra: 60 Years of Bossa Nova</a></div>
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</div>
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<a href="https://thebraziliansound.blogspot.com/2018/07/brazilian-harpist-cristina-braga.html">Cristina Braga: the Brazilian Harp</a></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2013_08_01_archive.html">Remembering Dominguinhos</a></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://thebraziliansound.blogspot.com/2013/04/another-look-at-jazz-samba-interview.html">Another Side of <i>Jazz Samba</i>:</a></div>
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<a href="http://thebraziliansound.blogspot.com/2013/04/another-look-at-jazz-samba-interview.html">Buddy Deppenschmidt (Interview)</a></div>
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<br /></div>
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2012</div>
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<a href="http://thebraziliansound.blogspot.com/2012/12/garota-de-ipanema-fifty-years-old-in.html">The Girl from Ipanema:</a></div>
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<a href="http://thebraziliansound.blogspot.com/2012/12/garota-de-ipanema-fifty-years-old-in.html">50 Years Old in 2013</a></div>
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<a href="http://thebraziliansound.blogspot.com/2012/07/carol-saboya-belezas.html">Carol Saboya: <i>Belezas</i></a></div>
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<a href="http://thebraziliansound.blogspot.com/2012/04/jazz-samba-turns-fifty.html"><i>Jazz Samba</i> Turns 50</a></div>
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<a href="http://thebraziliansound.blogspot.com/2012/02/michael-telo-catches-global-fame.html">Michel Teló Catches Global Fame</a></div>
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<a href="http://thebraziliansound.blogspot.com/2012/02/nara-leao-everything.html">Nara Leão: All Songs Online</a></div>
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<a href="http://thebraziliansound.blogspot.com/2012/02/sergio-mendes-and-carlinhos-brown-get.html">Sergio Mendes & Carlinhos</a></div>
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<a href="http://thebraziliansound.blogspot.com/2012/02/sergio-mendes-and-carlinhos-brown-get.html">Brown: Oscar Nomination</a></div>
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2011</div>
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<a href="http://thebraziliansound.blogspot.com/2018/07/gaby-amarantos-muse-of-tecnobrega.html">Gaby Amarantos, </a></div>
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<a href="http://thebraziliansound.blogspot.com/2018/07/gaby-amarantos-muse-of-tecnobrega.html">the Muse of Tecnobrega</a></div>
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<a href="http://thebraziliansound.blogspot.com/2011/10/interview-with-jovino-santos-neto_21.html">Jovino Santos Neto (Interview)</a></div>
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<a href="http://thebraziliansound.blogspot.com/2011/08/joao-do-vale-poet-of-maranhao.html">João do Vale:</a></div>
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<a href="http://thebraziliansound.blogspot.com/2011/08/joao-do-vale-poet-of-maranhao.html">Poet of Maranhão</a></div>
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<a href="http://thebraziliansound.blogspot.com/2011/07/marcelo-caldi-at-festival.html">Leo Gandelman & Marcelo Caldi</a></div>
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<a href="http://thebraziliansound.blogspot.com/2011/07/marcelo-caldi-at-festival.html">at the Festival Vale do Café</a></div>
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2010</div>
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<a href="http://thebraziliansound.blogspot.com/2010/09/milton-nascimento-tres-pontas-to-world.html">Our Book Inspires Milton</a></div>
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<a href="http://thebraziliansound.blogspot.com/2010/09/milton-nascimento-tres-pontas-to-world.html">Nascimento's Latest Album</a></div>
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<i><a href="http://thebraziliansound.blogspot.com/2010/09/milton-nascimento-tres-pontas-to-world.html">...E a Gente Sonhando</a></i></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2010/09/brazilian-sound-from-1991-to-today.html"><i>The Brazilian Sound</i>:</a></div>
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<a href="http://thebraziliansound.blogspot.com/2010/09/brazilian-sound-from-1991-to-today.html">From 1991 to Today</a></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2010/08/brazils-hidden-music-festival.html">Brazil's Hidden Music Festival</a></div>
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<a href="http://thebraziliansound.blogspot.com/2010/07/brazilian-rock-guiding-light-ezequiel.html">Brazilian Rock Guiding Light Zeca Neves</a></div>
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<a href="http://thebraziliansound.blogspot.com/2010/07/carioca-goes-regional.html">A Carioca Goes Regional:</a></div>
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<a href="http://thebraziliansound.blogspot.com/2010/07/carioca-goes-regional.html">Rodrigo Maranhão</a></div>
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<br /></div>
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<a href="http://thebraziliansound.blogspot.com/2010/07/brazilian-listening-room-aline-antonia.html">New Brazilian Female Voices:</a></div>
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<a href="http://thebraziliansound.blogspot.com/2010/07/brazilian-listening-room-aline-antonia.html">Aline Calixto & Antonia Adnet</a></div>
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<a href="http://thebraziliansound.blogspot.com/2010/02/carnaval-2010-in-rio-de-janeiro.html">Carnaval 2010 in Rio de Janeiro</a></div>
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2009</div>
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<a href="http://thebraziliansound.blogspot.com/2009/12/late-blooming-helena-meirelles.html">Late Blooming Helena Meirelles</a></div>
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<a href="http://thebraziliansound.blogspot.com/2009/10/bratuques-delira-musica.html">Marco Lobo, Bratuques, Delira Música</a></div>
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<a href="http://thebraziliansound.blogspot.com/2009/09/brazilian-music-listening-room.html">Videos: Roberta Sá, Maria Gadu</a></div>
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<a href="http://thebraziliansound.blogspot.com/2009/09/brazilian-music-listening-room.html">and Luisa Maita</a></div>
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<a href="http://thebraziliansound.blogspot.com/2009/07/cravo-carbono-entrevista-rock.html">Cravo Carbono (Interview in Portuguese):</a></div>
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<a href="http://thebraziliansound.blogspot.com/2009/07/cravo-carbono-entrevista-rock.html">Music of Pará, Guitarrada and Tecnobrega</a></div>
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<a href="http://thebraziliansound.blogspot.com/2009/03/brazilian-popular-music-bestselling-cds.html">Brazilian Popular Music:</a></div>
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<a href="http://thebraziliansound.blogspot.com/2009/03/brazilian-popular-music-bestselling-cds.html">Bestsellers of 2008</a></div>
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<a href="http://thebraziliansound.blogspot.com/2009/03/journalist-director-jose-emilio-rondeau.html">J.E. Rondeau on Brazilian Rock:</a></div>
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<a href="http://thebraziliansound.blogspot.com/2009/03/journalist-director-jose-emilio-rondeau.html">Past and Present</a></div>
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(Interview)</div>
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<a href="http://thebraziliansound.blogspot.com/2009/03/blocos-afro-afoxes-changes-in-salvadors.html">Bahia's Blocos Afro & Afoxés:</a></div>
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<a href="http://thebraziliansound.blogspot.com/2009/03/blocos-afro-afoxes-changes-in-salvadors.html">Changes in Salvador's Carnaval</a></div>
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<a href="http://thebraziliansound.blogspot.com/2009/03/blocos-afro-afoxes-changes-in-salvadors.html">(Interviews with Linda Yudin</a></div>
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<a href="http://thebraziliansound.blogspot.com/2009/03/blocos-afro-afoxes-changes-in-salvadors.html">and Kirk Brundage)</a></div>
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<i>More blogs about Brazilian</i></div>
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<i>music and culture:</i></div>
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<a href="http://huffingtonpost.com/chris-mcgowan">Chris McGowan at</a></div>
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<a href="http://huffingtonpost.com/chris-mcgowan">the Huffington Post</a></div>
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(blog index)</div>
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<br /></div>
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<i>Also see:</i></div>
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<a href="http://jcmcgowan.blogspot.com/">Chris McGowan home page</a></div>
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<br /></div>
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<i>Contact:</i></div>
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<a href="https://www.blogger.com/profile/02341868152580721945">Chris McGowan profile & email</a></div>
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<br /></div>
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<br /></div>
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<b>Read about Brazilian Music</b></div>
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<b><a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">The Brazilian Sound: Samba, Bossa Nova<br /> and the Popular Music of Brazil</a></b><i><br /> </i>by Chris McGowan and Ricardo Pessanha (Temple University Press) </div>
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(the leading guide to Brazilian music in English;</div>
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available on Amazon worldwide)</div>
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<i><br /></i></div>
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<b><a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html">The Brazilian Music Book: Brazil's Singers, Songwriters<br /> and Musicians Tell the Story of Bossa Nova,<br /> MPB and Brazilian Jazz and Pop</a></b></div>
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by Chris McGowan </div>
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(interviews with iconic figures from Jobim</div>
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and Airto to Djavan<b> </b>and Gal Costa)</div>
<br />
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<b>__________________</b></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-86497231382359440312016-08-09T09:34:00.002-07:002017-08-26T09:46:25.658-07:00Where to Find the Books<div style="text-align: center;">
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Where to Find <i>The Brazilian Sound </i>& <i>The Brazilian Music Book</i></div>
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<a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKzoTyYHI2LkBCeyvrrjfMeQ22gJ_sWl63UbJ6bo6wXFZfjKJKKqtItgtCFKxzMrII5Y2IgOhbdCKotpMRkhLp8FAX1S7AhXO-UV7UtR6saJ7D0mzptC5ZRQP7sJGVqZmflNwNe5NZeCmm/s1600/the+brazilian+sound+3rd+edition+2009.jpg" width="224" /></a></div>
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<div style="text-align: center;">
<i><a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">The Brazilian Sound: Samba, Bossa</a></i><br />
<a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html"><i>Nova </i><i>and the </i><i>Popular Music of </i><i>Brazil</i></a><br />
<i>(Temple University Press)</i></div>
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by Chris McGowan and Ricardo Pessanha</div>
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<br /></div>
The leading guide to Brazilian music in the English language is available worldwide in paperback (above) and as a Kindle ebook with color photos (below).<br />
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<a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvC_cnOv396y8wItHMO79wNKpJaJuNj7ofjKMODnAvk9_ipwif0C3KVlP3Fnx3fDQ6zkCTa_vWOL8A-K_aqCWXcUhhRerWYENiOGA2KvXle3T6X8R-Ooe9mTlEFw1G-SwH8F3Q29B66FKe/s1600/cover_TBS_new.jpg" width="213" /></a></div>
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<a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">Click here: Links for Brazilian Sound print</a><br />
<a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">and digital editions, globally via Amazon.com</a></div>
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<i><br /></i></div>
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<a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEzYdQ_b4HKRIKIp2wFMEj-URRY3_3-rW-I-o051Z9eSQXUeJu2m50zdzude9IskYA1raN61ropkUu0c8D1JNSsnJRE73ZyZKGe4eWw61ems9s0Gj7iTAtdqNx0sVySmhH35us9rcF8eon/s1600/TBMB+Cover+Photos+4.jpg" width="204" /></a></div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i>T<a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html">he Brazilian Music Book:</a></i></span></div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i><a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html">Brazil's Singers, Songwriters, and</a></i></span></div>
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<a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html"><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i>Musicians Tell the </i></span><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i>Story of Bossa</i></span></a></div>
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<a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html"><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i>Nova, </i></span><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i>MPB & Brazilian Jazz & Pop</i></span></a></div>
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<b><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><br /></span></b></div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">by Chris McGowan</span></div>
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<b><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><br /></span></b></div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">Revealing conversations with iconic and important figures in Brazilian music such as Antonio Carlos Jobim, Carlos Lyra, Milton Nascimento, Airto Moreira, Dori Caymmi, Laurindo Almeida, Antonio Adolfo, Djavan, Ivan Lins, Gilberto Gil, Gal Costa, Cristina Braga, Jovino Santos Neto, Luciana Souza and Lenine. </span></div>
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<b><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><br /></span></b></div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><b>Available in a Kindle digital edition</b></span></i></span></div>
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<b><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">readable </span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">on </span></i></span><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i>iPad, Galaxy, Android,</i></span></b></div>
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<b><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i>Macs & </i></span><span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><i>PCs with the free Kindle app</i></span></span></b></div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html">Links for all global digital editions</a></span></div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html">and Kindle apps via Amazon.com</a></span></div>
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<br /></div>
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<i><b>for .pdfs, academic use</b></i></div>
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<i><b>or more information:</b></i></div>
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<i><b>authorjcmcgowan@yahoo.com</b></i></div>
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<i><b>_______ </b></i></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-88334332069268802012016-02-01T07:47:00.002-08:002017-08-26T09:48:28.182-07:00An Interview with Leny Andrade<div style="text-align: center;">
<span style="font-size: large;">Leny Andrade:<br /> The Jazz-Bossa Diva</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkflRuYNDSQoHz3XTtZVqC-00OXkrmTXMxaJbyTGIpROvDW80R-0Z3xaYe9DwJ6CpcQUSJZIkFcYwxbEsElCCOlZgdjfUvlUoYGH94o66JE4i4sTep78fKJZulpI1pNr1-Z11DYFj2BCrT/s1600/6+leny-andrade-a-arte-maior.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkflRuYNDSQoHz3XTtZVqC-00OXkrmTXMxaJbyTGIpROvDW80R-0Z3xaYe9DwJ6CpcQUSJZIkFcYwxbEsElCCOlZgdjfUvlUoYGH94o66JE4i4sTep78fKJZulpI1pNr1-Z11DYFj2BCrT/s320/6+leny-andrade-a-arte-maior.jpeg" width="318" /></a></div>
<div style="text-align: center;">
A 1963 album with singer Leny Andrade </div>
<br />
<div style="text-align: center;">
<div style="text-align: left;">
"Leny Andrade… does scat singing with an agility that approaches Ella Fitzgerald." —John S. Wilson, <i>The New York Times</i></div>
</div>
<br />
Leny Andrade is a female vocalist associated with the bossa
nova and jazz shows in the legendary Beco das Garrafas in Copacabana. Her
lively, passionate, jazz-inflected style has brought her critical praise and a
long career. Hers is one of Brazil's most virtuosic and distinctive voices in
samba, jazz and bossa nova.
<br />
<br />
Leny
de Andrade Lima was born on January 25, 1943 and grew up in Meier, a
neighborhood in Rio's Zona Norte near the samba stronghold of Vila Isabel.
"My mother is a professor of piano. In the beginning I was singing and
playing piano. I studied piano from age six to fourteen," Andrade
recalled. "The influence of jazz came through my knowledge of piano. A
singer who plays an instrument sings in a different way and searches more for
rich harmonies. I can't manage to sing a simple little song harmonically; it
has to have a rich harmony."<br />
<br />
She
became a professional singer while only fifteen, making her debut <span style="mso-bidi-font-family: Verdana; mso-bidi-font-size: 14.0pt;">with the
orchestra of Maestro Perminio Goncalves.</span> "When you sing as a
crooner at <i style="mso-bidi-font-style: normal;">bailes</i> (dances), you learn
a lot. You have to sing in other idioms, various rhythms. I did this for three
years, between fifteen and eighteen. My father went with me because I was a
minor in age."<br />
<br />
Then
came bossa nova, which Andrade was performing at the end of the 1950s and start
of the '60s, still underage in her first shows. "Bossa nova was beginning.
I sang with the Sérgio Mendes Trio—Mendes, Edson Machado, and Sebastião Neto—in
Bottles Bar, one of four small nightclubs in the Beco das Garrafas [a small
alley off Rua Duvivier in Rio]. It was mostly jazz and bossa nova there. Sérgio
played his first samba with me. He didn't like to play samba; he only played
jazz. He used to say that without wanting to, in order to continue playing in
this club, he had to play samba with me, so he ended up becoming a millionaire.<br />
<br />
"I
sang both samba and jazz equally. It was a very interesting time. The Beco das
Garrafas was a place with the best musicians: Luis Eça, Edson Frederico, Durval
Ferreira, Mauricio Einhorn, Nara Leão, Tamba Trio, Carlos Lyra. It was a
meeting every night of great musicians.<br />
<br />
"And
in the middle of this was Lennie Dale [1934-1994], an American who was very
important in Brazilian music. He changed many things in the style of Brazilian
music. He helped Elis [Regina] very much with his marvelous ideas, with putting
on shows. He was a dancer and had an academy of dance in Brazil."<br />
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Leny Andrade sings "Batida Diferente"</div>
<div style="text-align: center;">
(composed by Durval Ferreira<br />
and Mauricio Einhorn)</div>
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<br />
<div style="text-align: left;">
Leny
added, "I was singing 'Estamos Ai.' He heard it in rehearsal and said,
'Why not do it like this?' He helped singers and helped with the choreography,
with the fantastic musicality that he had. I adore him. He has a talent that
doesn't end."</div>
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<br /></div>
<div style="text-align: left;">
She
continues, "In 1960, I recorded my first disc, <i style="mso-bidi-font-style: normal;">A Sensação Leny Andrade </i>[released the next year]. It was bossa
nova, improvisations, some samba-cancões, and it gained prizes. In the '60s, I
did many things. I did <i style="mso-bidi-font-style: normal;">Gemini 5</i> [a
musical show] with Otávio Bailey, Pery Ribeiro, Luiz Carlos Vinhas, Ronie
Mesquita; it was first big show of bossa nova made in Brazil, and played for
one year. Then I went to Mexico and played for one year there. In 1964 I sang
in Buenos Aires in La Noche Club." Andrade lived in Mexico from 1966 to
1972, becoming well known on television and in musical theater.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
In
her lengthy career, Leny has appeared<span style="mso-bidi-font-family: Verdana; mso-bidi-font-size: 14.0pt;"> at New York's Birdland, the Blue Note, and Town
Hall, the Smithsonian Institution, the Hollywood Bowl, Ronnie Scott's Jazz Club
in London, and numerous European and American jazz festivals. She has performed
with artists such as Paquito D'Rivera, Luiz Eça, Dick Farney, João Donato,
Eumir Deodato, </span>Cesar Camargo Mariano, Romero Lubambo, <span style="mso-bidi-font-family: Verdana; mso-bidi-font-size: 14.0pt;">and Francis
Hime, along with others mentioned above.</span></div>
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Leny Andrade sings "Estamos Ai"</div>
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(Mauricio Einhorn - Durval Ferreira)</div>
<span style="mso-bidi-font-family: Verdana; mso-bidi-font-size: 14.0pt;"><br /><i style="mso-bidi-font-style: normal;">Luz Neon</i>, produced by Antonio Duncan,
was released in 1989 and its repertoire ranges from Gonzaguina ("É")
to Antonio Carlos Jobim ("Wave") to Aldir Blanc and Moacyr Luz
("Aquário") to Dizzy Gillespie ("Night in Tunisia").
"We recorded the album in six hours. I like to record like that. That way
it has the emotion I want to communicate to the public. It isn't cold like many
Brazilian records that I listen to. So I put the group in the studio and
directed them. I had rehearsals before, and then made the record directly. It
has the warmth, the spontaneity, like live music, that I like. I like to
improvise."</span></div>
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Leny sings "A Night in Tunisia"</div>
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About
her singing, she observed, "I almost always change my style." While
she can improvise and scat with the best of jazz singers, Leny said, "I
will never stop doing songs that are as Brazilian as they are. There already
exist fantastic American singers like Carmen [McRae], Sarah [Vaughan] and Ella
[Fitzgerald]. You are never going to see a Brazilian pianist play like Oscar
Peterson. Foolishness. You have to bring new, beautiful, well-done things from
your country, or you don't need to come."<br />
<br />
In
2007, Leny shared a Latin Grammy Award with Cesar Camargo Mariano for Best MPB
Album for their <i style="mso-bidi-font-style: normal;">Ao Vivo</i> album.</div>
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<i style="mso-bidi-font-style: normal;">The quotes in the above profile come from an interview I conducted with Leny
Andrade.</i></div>
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_______</div>
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</div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">Leny Andrade Select Discography</span></b></div>
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<i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">A
Sensação. </span></i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt; mso-bidi-font-style: italic;">RCA Victor, 1961.<br />
<i>A Arte Maior de Leny Andrade</i></span><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Polydor, 1963.</span></div>
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<i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Gemini V—Show na Boate Porão 73</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Odeon, 1965.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Estamos
Aí</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">.
Odeon, 1965.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Gemini<span style="mso-spacerun: yes;"> </span>Cinco Anos Depois. Pery Ribeiro &
Leny Andrade</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Odeon, 1972.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Alvoroço</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Odeon, 1973.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Expo-Som
73,</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">
<i style="mso-bidi-font-style: normal;">Ao Vivo</i>. Odeon, 1973.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Leny
Andrade</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Odeon, 1973.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Registro</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Columbia,
1979.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Leny
Andrade</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. CBS, 1979.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Presença
de Leny Andrade e Os Cariocas</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. CBS, 1979.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Leny
Andrade</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Pointer, 1984.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Cartola
80 anos</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. CBS, 1988.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Luz
Neon</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Eldorado, 1989.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Eu
Quero Ver</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Eldorado, 1990.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Bossa
Nova</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Eldorado, 1991.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Embraceable
You</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">.
Som Livre, 1993.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Nós</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;"> (with Cesar
Camargo Mariano). Velas, 1994.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Maiden
Voyage</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Chesky Records, 1994.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Coisa
Fina</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;"> (with Romero Lubambo). Perfil Música, 1994.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Antonio
Carlos Jobim, Letra e Música </span></i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt; mso-bidi-font-style: italic;">(with
Cristóvão Bastos)</span><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Lumiar Discos, 1995.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Luz
Negra—Nelson Cavaquinho por Leny Andrade</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Velas, 1995.</span></div>
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<i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Bossas Novas</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Albatroz, 1998.<br />
</span><i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">Leny
Andrade Canta Altay Veloso</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Paradoxx Music, 2000.</span></div>
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<i><span style="mso-bidi-font-family: Helvetica-Oblique; mso-bidi-font-size: 13.0pt;">E Quero Que a Canção Seja Você. </span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;"><span style="mso-spacerun: yes;"> </span>Albatroz, 2001.</span><br />
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">Leny
Andrade and Cesar Camargo Mariano: Ao Vivo (Momentos Bons da bossa)</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. Albatroz,
2007.</span></div>
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<span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;"><i>Alma Mia</i>. Independent, 2012.</span><br />
<span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;"><i>Canciones del Rey</i>. Independent, 2013.</span><br />
<span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;"><i>Iluminados</i>. Independent, 2014.</span><br />
<br />
<br />
<div style="text-align: center;">
<br />
<b>Interviews with Brazilian Musicians</b><br />
<a href="http://brazilianmusicbook.blogspot.com/">The Brazilian Music Book</a><br />
<a href="http://brazilianmusicbook.blogspot.com/">by Chris McGowan</a><br />
<br />
<b>The Leading Introduction</b><br />
<b>to Brazilian Music</b><br />
<a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">The Brazilian Sound by Chris McGowan</a><br />
<a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">and Ricardo Pessanha</a><br />
<div style="text-align: center;">
<iframe border="0" frameborder="0" height="250" marginwidth="0" scrolling="no" src="//rcm-na.amazon-adsystem.com/e/cm?o=1&p=12&l=ur1&category=instruments&banner=0YJ59ADXXX7TC2GQN7R2&f=ifr&linkID=aa21e85989ce91ae4272a3404aa4cef4&t=braziliansound-20&tracking_id=braziliansound-20" style="border: none;" width="300"></iframe>
<br />
<br />
_______</div>
</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-22777898659954202072016-01-29T03:18:00.001-08:002017-08-26T09:48:54.147-07:00An Interview with Geraldo Azevedo<br />
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<span style="font-size: 18pt;">Geraldo Azevedo:</span><br />
<span style="font-size: 18.0pt; mso-bidi-font-size: 12.0pt;">The Northeastern Wave</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBt09Nek7ClyLH5EFZfHPfXqjH7LoFs56SdrGK7c_GYA4yVNRusvVeFPTWs6N6fQh8gKaUtrV7Jo6BCKJz4DhlIcoNzClfwBNoCz1Fo6W38xOmUZyR6CM308VABBu4MbN-4vopfINalqsq/s1600/16+Geraldo+Azevedo.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBt09Nek7ClyLH5EFZfHPfXqjH7LoFs56SdrGK7c_GYA4yVNRusvVeFPTWs6N6fQh8gKaUtrV7Jo6BCKJz4DhlIcoNzClfwBNoCz1Fo6W38xOmUZyR6CM308VABBu4MbN-4vopfINalqsq/s320/16+Geraldo+Azevedo.jpeg" width="320" /></a></div>
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<i style="mso-bidi-font-style: normal;">"After
bossa nova and Tropicália, there was a strong northeastern movement. It didn't
have a name, but I think it was as important."—Geraldo Azevedo</i></div>
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<br /></div>
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Geraldo Azevedo, like his colleague Alceu Valença, was part
of the "northeastern wave" that enriched MPB in the 1970s. Azevedo—a
singer, songwriter and guitarist—interprets regional styles with a bossa nova
sensibility and sophistication. His light, clear songs center on his voice and
guitar, often acoustic. Geraldo's lyrics evoke earthy romantic love and the
beaches, <i style="mso-bidi-font-style: normal;">jangadas</i>, and coconut
trees of the northeastern coast. </div>
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Geraldo
Azevedo de Amorim was born on January 11, 1945 in Petrolina, Pernambuco, on the
banks of the São Francisco River. Geraldo grew up in a musical household where
everyone played instruments or sang. "The folklore of the region—maracatu,
coco, repentistas—it's in all of us without our perceiving it," Azevedo
told me.<span style="mso-spacerun: yes;"> </span>He was a self-taught
musician and started playing the guitar at age twelve. As a teenager, he
listened to Luiz Gonzaga and Jackson do Pandeiro, as well as such diverse
musicians as Johann Sebastian Bach, classical guitarist Andrés Segovia, bossa
guitarist Baden Powell, and romantic crooner Nelson Gonçalves. But it was the
bossa nova singer João Gilberto who inspired Geraldo to become a professional
musician. "He made me more serious about looking into harmony. We didn't
have those [bossa nova] harmonies in Petrolina."</div>
He
began playing with the group Sambossa as a teenager and at eighteen he traveled
to Recife to attend college. While there he joined Grupo Construção, which
included percussionist Naná Vasconcelos, singer Teca Calazans, and two future
members of Quinteto Violado – Toinho Alves (bass) and Marcelo Melo (guitar).
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<div style="text-align: center;">
Geraldo Azevedo, "Moça Bonita"</div>
<br />
In
1967, Azevedo moved to Rio and formed the group Quarteto Livre (Free Quartet)
with Vasconcelos, guitarist Nelson Ângelo, and flutist Franklin da Flauta
(Franklin Correa da Silva Neto). They accompanied singer-songwriter Geraldo
Vandré in various shows and on his famed protest anthem "Pra Não Dizer Que
Não Falei de Flores" (Not to Say I Didn't Speak of Flowers"), also
known as "Caminhando," which was censored for ten years after its
debut in 1968. Vandré was a hero of the 1960s song festivals who sang protest
lyrics against social injustices and Brazil's military dictatorship. Azevedo
and Vandré wrote "Canção da Despedida" (Goodbye Song) together and
the government banned it for twelve years until it was recorded by Elba
Ramalho.<br />
The
notorious Institutional Act No. 5 of December 13, 1968 clamped down hard on
dissent in Brazil and made it impossible for Vandré and Quarteto Livre to
record. Vandré left the country and Azevedo went to prison. Azevedo was not
politically militant, but his friendship with loudly dissenting musicians and
artists caused him to be clandestinely seized and placed under arrest in 1969.
When he came out of prison, after staying for forty-one days, he felt depressed
and beaten down and almost gave up music for good. The next year was a bleak
year for Azevedo, but near its end he re-encountered Alceu Valença, who gave
Geraldo "a force, a strong push" and helped him regain his enthusiasm
for music. The two teamed together for a while, co-writing songs (such as the
hit "78 Rotações") and entering the musical festivals together<br />
They
made their recording debut in 1972 with the joint album <i style="mso-bidi-font-style: normal;">Alceu Valença e Geraldo Azevedo: Quadrafônico.</i> It had many
memorable songs, including "Talismã" (written by the two of them),
and the haunting "Novena," a <i style="mso-bidi-font-style: normal;">toada</i>
written by Azevedo and Marcus Vinícius. In it, Azevedo poetically evoked the
intense Catholicism of his childhood.The
two also later collaborated in the <i style="mso-bidi-font-style: normal;">O
Grande Encontro</i> series, but their styles are generally quite different.<br />
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"Novena" from Alceu Valença and Geraldo Azevedo's <i>Quadrafônico</i></div>
<div style="text-align: center;">
</div>
<div style="text-align: left;">
Alceu is a fiery musical alchemist who attempts to be theatrical and mythical,
and Geraldo in general is mellow and down to earth. Valença fuses northeastern
styles with rock and blues, while Azevedo mixes the region's idioms with bossa
nova harmonies and vocal influences and the occasional light pop touch. Both
often favor the northeastern <i style="mso-bidi-font-style: normal;">xote</i>
rhythm, which has an affinity with reggae. Azevedo's lilting "Taxi
Lunar" (co-written with Valença and Zé Ramalho) and tender "Moça
Bonita" are based in xote; and his "Petrolina e Juazeiro,"
written with Moraes Moreira, and "Dona da Minha Cabeça" mix xote with
reggae.</div>
<div style="text-align: left;">
Azevedo
placed songs on numerous television novelas over the next few years, which
brought him a great deal of attention. In 1977, he released his first solo LP, <i style="mso-bidi-font-style: normal;">Geraldo Azevedo</i>, which had the evocative
Azevedo-Valença tune "Caravana" (Caravan); it was included on the
soundtrack for the <i style="mso-bidi-font-style: normal;">Gabriela</i> TV
novela.
After
that, Azevedo recorded albums such as <i style="mso-bidi-font-style: normal;">Bicho
de Sete Cabeças</i> (Seven-Headed Animal), <i style="mso-bidi-font-style: normal;">De
Outra Maneira</i> (Another Way), and <i style="mso-bidi-font-style: normal;">Eterno
Presente</i> (Eternal Present).</div>
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Geraldo Azevedo, "Caravana"</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Other hits include "Dia Branco"
(White Day), <span style="mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;">"Arraial
dos Tucanos" (used by the series <i style="mso-bidi-font-style: normal;">Sítio
do Pica-pau Amarelo)</i>, "Juritis e Borboletas," "Barcarola do
Rio São Francisco," "Chorando e Cantando" (Crying and Singing),
and "Talvez Seja Real" (It Might Be Real). His 1981 album </span><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Inclinações
Musicais</span></i><span style="mso-bidi-font-size: 10.0pt;"> (Musical
Inclinations) with arrangements by Dori Caymmi and the participation of Sivuca
and Jackson do Pandeiro, included his signature song </span><span style="mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;">"Moça
Bonita." </span>
</div>
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<div style="text-align: left;">
<i>Beautiful
girl, your kiss can</i></div>
<div style="text-align: left;">
<i><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Kill
me without compassion
</i></div>
<div class="MsoNormal">
<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>I
don't know if it's so</span></i></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Or
it's pure imagination</span></i></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>To
find out, you give me</span></i></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>This
assassin kiss</span></i></div>
</div>
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<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Arial; mso-bidi-font-size: 17.0pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>As
I lie in your woman's arms</span></i></div>
</div>
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<br /></div>
</div>
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<div style="text-align: left;">
In 1984, Azevedo traveled with the late Tancredo Neves,
participating in the Direitas movement for democratic presidential elections in
Brazil. That same year, he was part of the group show Cantoria with Elomar,
Vital Farias and Xangai, a great showcase of northeastern musical traditions
from four of the region's finest musicians. The show resulted in the <i style="mso-bidi-font-style: normal;">Cantoria I</i> album, which was followed by <i style="mso-bidi-font-style: normal;">Cantoria II</i> four years later.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSn5QrwVKAhcqjXAiUY9ej6Snj5FEveNImfBONa79h9hQA1vjLHh0gq3kWM32J0bs5zn1zPeclkGmO-Zfh-vM6d4rC9t47C7po_8z1jp_omxesgk4LPyUv1I7g6UVigZZTOJ1LL4msp676/s1600/o-grande-encontro-1996-capa-500x495.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSn5QrwVKAhcqjXAiUY9ej6Snj5FEveNImfBONa79h9hQA1vjLHh0gq3kWM32J0bs5zn1zPeclkGmO-Zfh-vM6d4rC9t47C7po_8z1jp_omxesgk4LPyUv1I7g6UVigZZTOJ1LL4msp676/s320/o-grande-encontro-1996-capa-500x495.jpg" width="320" /></a></div>
<div style="text-align: center;">
Alceu Valença, Elba Ramalho, Geraldo</div>
<div style="text-align: center;">
Azevedo and Zé Ramalho's <i>O Grande Encontro</i></div>
<br />
<div style="text-align: left;">
In 1985,
he released the acoustic <i style="mso-bidi-font-style: normal;">A Luz do Solo</i>,
which is a great retrospective of his standards up to that point. In the next
decade, he joined <span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">Alceu Valença, Elba Ramalho, and Zé Ramalho for the three
well-received <i style="mso-bidi-font-style: normal;">O Grande Encontro</i>
albums, between 1996 and 2000. <i style="mso-bidi-font-style: normal;">Salve São
Francisco</i> (Save the San Francisco), released in 2010, is a thematic album
devoted to the great San Francisco River, which Geraldo grew up beside and
which is under threat today from dams and diversions of its water.</span></div>
</div>
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<i style="mso-bidi-font-style: normal;">I interviewed Azevedo at the BMG/Ariola recording studio in Copacabana, when he was laying down vocal and guitar tracks
for "Bossa Tropical," the title song for an upcoming album. Azevedo was
dressed in a green and purple sweatshirt and chewing ginger root because of
a bad cold. He was very friendly and relaxed.</i></div>
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<br /></div>
</div>
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<b style="mso-bidi-font-weight: normal;">Chris:</b> What have you been up to?</div>
</div>
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<b>Geraldo: </b>I've
been traveling a lot internationally. In February 1990, I have a show in Paris.</div>
</div>
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<b><br /></b></div>
<div style="text-align: left;">
<b>Chris: </b>You have a
growing audience in Europe.</div>
<div style="text-align: left;">
<b>Geraldo: </b>I did the Montreux Jazz
Festival in 1985 and it was very well received. I played with Djavan and Tania
Maria, who were better known, but I did very well.</div>
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<br /></div>
<div style="text-align: left;">
<b>Chris: </b>You have a
unique fusion of northeastern music with many other types of music. What
musical elements are in your songs?
<br />
<div style="text-align: left;">
<b>Geraldo: </b>My work
has a lot of mixing. On the new album, for example, there's a song called
"Sexo Vinte," a pun on seculo
vinte (20th century). It is a mix of xote, which is very related
to reggae, and the Beatles. "Talismã" perhaps originated from the
Gypsies. The songs are inspired and you don't always know what the influences
are.</div>
</div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">Chris:</b> Did you have a musical childhood?</div>
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Geraldo:</b> In my
house, music was always naturally a part of things. My mother sings
marvelously. My father plays guitar. My brothers all play music. In school, I
always sang at the different parties and festivals. I couldn't enter the
university because I always had shows that interfered with my taking the
entrance exam.</div>
<div style="text-align: left;">
<b><br /></b></div>
<div style="text-align: left;">
<b>Chris: </b>What were some of your biggest influences?</div>
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Geraldo:</b> Bossa
nova and João Gilberto. João Gilberto made me turn professional. He made me
more serious about looking into harmony. We didn't have those [bossa nova]
harmonies in Petrolina. Also [Dorival] Caymmi, Milton [Nascimento], Jobim,
jazz. The Northeast is so much a part of me – Jackson do Pandeiro and Luiz
Gonzaga. The folklore of the region—maracatú, coco, repentistas—is in all of us
without our perceiving it, instinctively. Later, I turned to jazz, the Beatles.</div>
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<br /></div>
</div>
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<b style="mso-bidi-font-weight: normal;">Chris:</b> You
recorded your first album with Alceu Valença, but you had already been in Rio
awhile. How did you career start once you got down there?</div>
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Geraldo: </b>I came to Rio before Alceu.
I played with Quarteto Livre, with Naná Vasconcelos and others. We never
recorded an album.</div>
</div>
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<br /></div>
</div>
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<b style="mso-bidi-font-weight: normal;">Chris:</b> The military
essentially broke up the group and sent Vandré into exile and you into prison.
You also couldn't record "Canção da Despedida," written with Vandré,
until much later. </div>
</div>
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<b style="mso-bidi-font-weight: normal;">Geraldo:</b> My song
"Canção da Despedida" was censored for a long time. At that time, artists
were suffocated. There was cultural chaos. People had to leave the country. </div>
</div>
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<br /></div>
</div>
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<b style="mso-bidi-font-weight: normal;">Chris:</b> And you
were thrown into jail.</div>
</div>
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<b style="mso-bidi-font-weight: normal;">Geraldo:</b> I was
imprisoned twice. In 1969 for forty-one days and in 1975 for eleven days. The
first time in prison, I was very depressed and beaten down. But I was young and
I could recover.</div>
</div>
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<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Alceu
Valença helped you get back into music.</div>
</div>
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<b style="mso-bidi-font-weight: normal;">Geraldo:</b> Alceu
met me in Rio. Alceu gave me a force, a strong push. It was a new musical
movement. I recorded my first record, <i style="mso-bidi-font-style: normal;">Alceu Valença and Geraldo Azevedo</i>, in 1971 [it was released the
next year].</div>
</div>
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<div style="text-align: left;">
<br /></div>
</div>
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<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Chris:</b> What happened the second time the military imprisoned you?</div>
</div>
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<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Geraldo:</b> The
second time, six years later, was more violent. I was blindfolded, tortured. My
jailers asked me to play for them, but I refused. I wasn't going to play for my
torturers. I was never tried. My work didn't have political connotations.<span style="mso-spacerun: yes;"> </span>It was humanistic, more to the positive
than to the nihilistic, and more to the constructive than the destructive. But
any person looking into cultural and humanistic subjects was persecuted. Some
people died innocently. But, happily, I came through all that. The second time,
I had a very strong spirit, and I left feeling strong, even though my time in
jail was very violent. After I left I decided I would become famous and I
accelerated my work and recorded my first solo album, <i style="mso-bidi-font-style: normal;">Geraldo Azevedo</i>, for Som Livre in 1976. Ironically, [President]
Geisel took my album to Germany as being representative of Brazilian culture.</div>
</div>
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<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Chris:</b> What do
you think was the impact of the dictatorship and the repression on Brazilian
music?</div>
</div>
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<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Geraldo:</b> I think
the dictatorship interrupted a Brazilian cultural cycle and we still haven't
managed to recover. We are still asleep. I think my success has come about
because people sense something more profund and poetic in my music. They have a
lack of cultural inheritance. Rock is empty, alienated. The system presents
alienated music, with the exception of some artists like Cazuza, Lobão, and
Renato Russo.</div>
</div>
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<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Chris:</b> There was
exceptional music, by Geraldo Vandré, Edu Lobo, Chico Buarque and so many
others, presented at the great Brazilian music festivals of the 1960s. And then
the military dictatorship stepped in and censored a lot of it.</div>
</div>
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<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Geraldo:</b> At the
festivals, there came out such a force. We don't have this now. I think we'll
never recover what we lost, but we can have a new movement with much sweat and
heart.</div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Chris:</b> You are
one who survived, and have large following, even though you have released a
relatively small number of albums in your four-decade career.</div>
</div>
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<b style="mso-bidi-font-weight: normal;">Geraldo:</b> Today I
have a bigger public, especially in the Northeast. Now I select and choose what
I want to do. I'm not so worried about TV appearances, etc. I tried to do a
real commercial album with Mazzola. PolyGram wanted me to do that, and it was
completely unsuccessful and is no longer in the catalog. So, I have to do it
from my heart.</div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Chris:</b> The music
that was created by you and Alceu Valença and your peers from the Northeast was
a really vital part of MPB. </div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Geraldo:</b> After
bossa nova and Tropicália, there was a strong northeastern movement. It didn't
have a name, but I think it was as important. Alceu, myself, Zé Ramalho,
Belchior, Elba Ramalho, Fagner, and others.</div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<br /></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Did you
ever imagine being where you are today and having such a long and successful career?</div>
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Geraldo:</b> I never thought about being
a musician. Music just carried me away.</div>
</div>
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<br /></div>
</div>
<div align="center" class="MsoNormal" style="text-align: center;">
_______</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="mso-outline-level: 1; text-align: center;">
<b style="mso-bidi-font-weight: normal;">Select Discography</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<div style="text-align: left;">
<b style="mso-bidi-font-weight: normal;">Geraldo Azevedo</b></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Geraldo Azevedo</span></i><span style="mso-bidi-font-size: 10.0pt;">. Som Livre, 1977.</span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Bicho de sete cabeças</span></i><span style="mso-bidi-font-size: 10.0pt;">. Epic/CBS, 1979.</span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Inclinações musicais</span></i><span style="mso-bidi-font-size: 10.0pt;">. Ariola, 1981. </span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">For all para todos</span></i><span style="mso-bidi-font-size: 10.0pt;">. Ariola, 1982. </span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Tempo tempero</span></i><span style="mso-bidi-font-size: 10.0pt;">. Barclay/Ariola, 1983. </span></div>
</div>
<div class="MsoNormal">
<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">A luz do solo</span></i><span style="mso-bidi-font-size: 10.0pt;">. Barclay/Polygram, 1985. </span></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">De outra maneira</span></i><span style="mso-bidi-font-size: 10.0pt;">. Echo/RCA, 1986. </span></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Eterno presente</span></i><span style="mso-bidi-font-size: 10.0pt;">. RCA, 1988.</span></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Bossa tropical</span></i><span style="mso-bidi-font-size: 10.0pt;">. RCA, 1989. </span></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Berekekê.</span></i><span style="mso-bidi-font-size: 10.0pt;"> Geração, 1991. </span></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Ao vivo comigo</span></i><span style="mso-bidi-font-size: 10.0pt;">. Geração/BMG Ariola, 1994.</span></div>
</div>
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<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Futuramérica</span></i><span style="mso-bidi-font-size: 10.0pt;">. BMG, 1996. </span></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Raízes e frutos</span></i><span style="mso-bidi-font-size: 10.0pt;">. BMG, 1998.</span></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Hoje amanhã</span></i><span style="mso-bidi-font-size: 10.0pt;">. BMG, 2000.</span></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">O Brasil existe em mim</span></i><span style="mso-bidi-font-size: 10.0pt;">. Sony/BMG, 2007. </span></div>
</div>
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<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Salve São Francisco</span></i><span style="mso-bidi-font-size: 10.0pt;">. Biscoito Fino, 2010.</span></div>
</div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-size: 10.0pt;">Geraldo Azevedo and</span></b><span style="mso-bidi-font-size: 10.0pt;"> </span><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">Alceu Valença</span></b></div>
</div>
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<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;">Alceu Valença & Geraldo Azevedo: Quadrafônico</i>. Copacabana,
1972.</div>
</div>
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<br /></div>
</div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">Geraldo
Azevedo and </span></b><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-size: 10.0pt;">Assunção de Maria</span></b><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;"></span></b></div>
</div>
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<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Assunção de Maria e Geraldo
Azevedo</span></i><span style="mso-bidi-font-size: 10.0pt;">. Biscoito Fino,
2011.</span></div>
</div>
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<br /></div>
</div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">Alceu
Valença, Elba Ramalho, Geraldo Azevedo and Zé Ramalho</span></b></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">O Grande
Encontro.</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;"> BMG Ariola, 1996.</span></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">O Grande
Encontro 2</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. BMG, 1997.</span></div>
</div>
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<div style="text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">O Grande
Encontro 3</span></i><span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">. BMG, 2000.</span></div>
</div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">Elomar, Geraldo Azevedo, Vital Farias, and Xangai</b></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Cantoria I</span></i><span style="mso-bidi-font-size: 10.0pt;">. Kuarup, 1984. </span></div>
</div>
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<i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-size: 10.0pt;">Cantoria II</span></i><span style="mso-bidi-font-size: 10.0pt;">. Kuarup, 1988. </span></div>
<br />
<div style="text-align: center;">
<br />
<b>More Interviews with Brazilian Musicians</b><br />
<a href="http://brazilianmusicbook.blogspot.com/">The Brazilian Music Book by Chris McGowan</a><br />
<br />
<b>The Leading Introduction to Brazilian Music</b><br />
<a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">The Brazilian Sound by Chris McGowan and Ricardo Pessanha </a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
_______</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-45880871070053506972016-01-28T13:56:00.000-08:002017-08-26T09:49:37.285-07:00An Interview with Rique Pantoja<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh10dQ5AQGRxsA6y6TBw1RxvAMqsSEcozu3sjiVZ_zUEZ_elAlp0AvJeKjKT9VkjSI4UqpAlr8ZHeqtUfO1w62hH1r0QHgJm4ZBer3lbPDg2_fCgB7qfMEFYd6uf62_yfs9jIvxjFeL0T0W/s1600/20+rique+pantoja+live+in+l.a..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh10dQ5AQGRxsA6y6TBw1RxvAMqsSEcozu3sjiVZ_zUEZ_elAlp0AvJeKjKT9VkjSI4UqpAlr8ZHeqtUfO1w62hH1r0QHgJm4ZBer3lbPDg2_fCgB7qfMEFYd6uf62_yfs9jIvxjFeL0T0W/s320/20+rique+pantoja+live+in+l.a..jpg" width="320" /></a></div>
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<i>"[Brazilian
musicians] are more open and are into listening to all kinds of music. They are
positive about their own style. It just matters if the track is happening, if
the musicians are burning."—Rique Pantoja</i></div>
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<br />
Rique Pantoja's diverse musical life has had several distinct
stages. He has been a novice jazz musician touring Europe with an old legend
(Chet Baker), co-founder of an acclaimed Brazilian jazz fusion band (Cama de
Gato), an in-demand studio keyboardist and arranger in Brazil; and, most
recently, a composer, performer and college music professor based in Los
Angeles.</div>
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<span style="mso-tab-count: 1;"> </span>Paulo
Henrique Pantoja Leite was born in Rio de Janeiro in 1955. Following high
school, he studied from 1977-1979 at the prestigious Berklee School of Music in
Boston, where Brazilian guitarist Ricardo Silveira and drummer Pascoal
Meirelles were classmates. After that, Pantoja lived in Europe and played
professionally with a group called Novos Tempos (New Times). In Paris, the
young keyboardist made the acquaintance of famed American jazz trumpet-player
and vocalist Chet Baker (1929-1988).<br />
He toured Europe and recorded with Baker
in the early '80s. The musical relationship of the two was an illustration of
the back-and-forth that has gone on between Brazilian music and jazz since the
1950s. Baker sang in a smooth, soft, laid back voice with no vibrato and was an
influence on João Gilberto and other key figures in bossa nova. Decades later,
Pantoja, who had grown absorbing bossa nova as a teenager in Rio, found himself
performing and recording with Baker. The latter recorded six of Rique's
compositions on <i style="mso-bidi-font-style: normal;">Chet Baker & The Boto
Brazilian Quartet</i>, and interpreted several Pantoja pieces on <i style="mso-bidi-font-style: normal;">Rique Pantoja & Chet Baker</i>.</div>
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<span style="mso-tab-count: 1;"> </span>In
Brazil, Rique formed the instrumental quartet Cama de Gato with <span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 13.0pt;">Pascoal
Meirelles (drums), Mauro Senise (saxophone) and Arthur Maia (bass) in 1982.
They mixed a jazz-fusion sensibility with Brazilian rhythms. With Pantoja, the
group released the albums </span><i style="mso-bidi-font-style: normal;">Cama de
Gato </i>(1986), <i style="mso-bidi-font-style: normal;">Guerra Fria</i> (1988),
and <i style="mso-bidi-font-style: normal;">Sambaíba </i>(1990) for the Som da
Gente label. Their albums sold extremely well for instrumental music in Brazil
and they performed in Europe as well as New York's Town Hall. Maia, who didn't
study music in Boston with Pantoja and Meirelles, playfully titled one of their
tunes "Por Que Não Fui à Berklee?" (Why Didn't I Go to Berklee?).
Pantoja left the band in 1991 and was replaced by Jota Moraes. Cama de Gato has
continued until today with differing lineups. They still record Rique's
compositions.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghsp8aE4VRbBsacvX6ZqULh7AN09cu0GxyfUn6M6HQgeuYHzqcu-7JxxeTzT1EdFQxpk3QxPXtwVhTSqgM8hNONYwNJgg7UK2Huoz4DflwxOEFpsCsAh9DSwx3io0A364I0GQCuUqvE2a4/s1600/rique+pantoja+cama+de+gato.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghsp8aE4VRbBsacvX6ZqULh7AN09cu0GxyfUn6M6HQgeuYHzqcu-7JxxeTzT1EdFQxpk3QxPXtwVhTSqgM8hNONYwNJgg7UK2Huoz4DflwxOEFpsCsAh9DSwx3io0A364I0GQCuUqvE2a4/s320/rique+pantoja+cama+de+gato.jpg" width="320" /></a></div>
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The back cover of Cama de Gato's debut album</div>
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<span style="mso-tab-count: 1;"> </span>During
his time with Cama de Gato, Pantoja was in great demand as a studio
keyboardist, and appeared on albums in the '80s and early '90s by a wide array
of Brazilian artists, including Gilberto Gil, Gal Costa, Ricardo Silveira,
Robertinho Silva, Torcuato Mariano, Tim Maia, Marina, Raphael Rabello, Raimundo
Fagner, Alcione, Wagner Tiso, Paulinho da Viola, Joanna, Eduardo Dusek, and
Raul Mascarenhas. He played keyboards on a landmark rock song, Barao Vermelho's
Bete Balanço" (1984), a huge hit for the band and their lead singer
Cazuza. Pantoja played on five songs on Milton Nascimento's <i style="mso-bidi-font-style: normal;">Yauaretê</i>, launched internationally by
Columbia in 1987.</div>
</div>
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<span style="mso-tab-count: 1;"> </span>Along
the way, Pantoja also released several solo albums, including <i style="mso-bidi-font-style: normal;">Rique Pantoja featuring Ernie Watts</i>, and
<i style="mso-bidi-font-style: normal;">De La Pra Ca</i>, which featured Watts,
Silveira, Lee Ritenour and Don Grusin.</div>
</div>
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<span style="mso-tab-count: 1;"> </span>In
July 1991, Pantoja moved from Rio permanently to Los Angeles. He had begun a
spiritual transformation three years earlier while in Rio, and in the '90s he
began to focus more of his efforts on Christian music. He has recorded or
performed since then with Christian music artists Tommy Walker, Helen Baylor,
Israel Houghton, Bebe Winans, Bob Darlene Zschech, Toomy Coomes, Bill Batstone,
Annie Barbour, Linda McCrary, Bené Gomes, Bob Fitts, Kirk Whalum, and Kim
Pauley. He also has performed for many years in the band at the Christian
Assembly church in Eagle Rock, a neighborhood in northeastern Los Angeles. </div>
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<span style="mso-tab-count: 1;"> </span>In
recent years, he has <span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 11.0pt;">worked in commercials and soundtracks; he was the composer, arranger
and keyboardist for the song "By the Sea" for the movie </span><i style="mso-bidi-font-style: normal;">Jungle 2 Jungle</i> (1997). He has released
Christian-themed albums such as <i style="mso-bidi-font-style: normal;">Night
Prayer: Oração da Noite</i> with Tommy Walker (2005), and appeared on works
like vocalist Zoe Theodorou's <i style="mso-bidi-font-style: normal;">The Essence
of Life (</i>2005), for which he was the keyboardist and arranger. His and <span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 11.0pt;">Theodorou</span>'s
song <span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 11.0pt;">"I
Believed It" from that album won Canada's Covenant Award for Jazz/Blues
Song of the Year. <o:p></o:p></span></div>
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<span style="mso-bidi-font-family: Helvetica; mso-bidi-font-size: 11.0pt;"><span style="mso-tab-count: 1;"> </span>He
has also led his own instrumental group, the Rique Pantoja Quartet, which in
2011 performed in eight cities in Russia, among other gigs. </span>Pantoja now
teaches music as well, most recently at Biola University and LAMP (the Los
Angeles School of Music and Performance), in Southern California.</div>
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<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<i style="mso-bidi-font-style: normal;">The profile above was written recently, while the interview below took place in 1989 as Pantoja's solo recording career was taking off. <o:p></o:p></i></div>
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<b style="mso-bidi-font-weight: normal;">Chris: </b>You appeared on a couple of guitarist Ricardo Silveira's albums. And the
two of you have played as studio musicians for many of the same people, such as
Milton Nascimento.</div>
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<b style="mso-bidi-font-weight: normal;">Rique:</b> Ricardo
Silveira and I used to live together; we both studied at Berklee.</div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">Chris: </b>Do you
think you guys were "Americanized" at all by studying there?<b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></div>
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<b style="mso-bidi-font-weight: normal;">Rique: </b>Definitely
I'm Brazilian. I grew up there, listened to bossa nova and choro. </div>
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I got turned on to [bossa] when I was 15. [There were great]
instrumental players like Tamba Trio, with Luis Eça. Manfredo Fest was a great
player. </div>
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<b style="mso-bidi-font-weight: normal;">Chris:</b> Before
Cama de Gato, at the start of the '80s you were playing in Europe with Chet
Baker. How did that come about?</div>
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<b style="mso-bidi-font-weight: normal;">Rique:</b> When I
lived in Rome and Paris, I was playing with Novos Tempos. We were Brazilian and
French musicians. We were all over Paris, and used to play seven nights a week.
That's how we met Chet Baker. He was playing in a club next door, and he came
over to watch us. He sat in and really liked the music. He had a producer, Yves
Chamberland, and he wanted to make a record with us. We invited Chet to be part
of the project and it actually became Chet's record [<i style="mso-bidi-font-style: normal;">Chet Baker and the Boto Brazilian Quartet</i>, recorded in 1980].<br />
<br />
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<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEB_cTeU92rdjRIoFkK8Y3FhBI77WzpKsHTauL0n_Dqgb-NieSJZKbjdqCoB0iChYV36K-Xi3aYfLsdjep0OV9bxzuox1-0-nnPR5sOAJyJX1BEsZm-DWpBqNeyiQV0Bs7TASa2SIYanGt/s1600/rique+pantoja+chet+baker.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="272" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEB_cTeU92rdjRIoFkK8Y3FhBI77WzpKsHTauL0n_Dqgb-NieSJZKbjdqCoB0iChYV36K-Xi3aYfLsdjep0OV9bxzuox1-0-nnPR5sOAJyJX1BEsZm-DWpBqNeyiQV0Bs7TASa2SIYanGt/s320/rique+pantoja+chet+baker.jpg" width="320" /></a></div>
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The back cover of <i>Rique Pantoja and Chet Baker</i><b style="mso-bidi-font-weight: normal;"><i> </i></b></div>
<div style="text-align: center;">
<b style="mso-bidi-font-weight: normal;"></b></div>
<br />
<b style="mso-bidi-font-weight: normal;">Chris:</b> Did you
enjoy playing with Baker? It must have been a thrill for a young musician.</div>
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<b style="mso-bidi-font-weight: normal;">Rique:</b> It was a
great experience playing with him. After that [record], he called me from Rome
and said, 'let's go on the road.' So we started doing an island off Naples,
then Naples, Sicily, Milan, many places. Chet influenced a lot of people.
Caetano [Veloso] told me he used to listen so much to Chet Baker. João Gilberto
listened to him. An influence from that cool kind of singing.<br />
<br />
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/-C_hSbJ_IO4/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/-C_hSbJ_IO4?feature=player_embedded" width="320"></iframe></div>
<div style="text-align: center;">
</div>
<div style="text-align: center;">
Chet Baker performing Pantoja's "Arborway" </div>
</div>
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<b style="mso-bidi-font-weight: normal;">Chris:</b> What about
his heroin addiction? Was he using while you were playing with him?</div>
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<b style="mso-bidi-font-weight: normal;">Rique:</b> Sometimes
it was hard. He would go back into the drugs. It was a sad thing. But his music
had such a strong heart. If I had to show him a tune and ask him what he thought,
he would close his eyes [and listen]. He didn't listen to music and talk [at
the same time]. Then he would tune back into the planet. He was a very nice,
sweet person—from somewhere else.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/prjdoIhoX0M/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/prjdoIhoX0M?feature=player_embedded" width="320"></iframe></div>
<div style="text-align: center;">
</div>
</div>
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Chet Baker performing Pantoja's "So Hard to Know"</div>
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<br /></div>
</div>
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<b style="mso-bidi-font-weight: normal;">Chris: </b>Was he a mentor for you?</div>
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<b style="mso-bidi-font-weight: normal;">Rique:</b> I
definitely have been influenced by him. I learned from him. He would tell me
little concepts and things about improvisation. I remember once he was telling
me that for him, improvisation should always start with a melody a little kid
could sing. You can burn and play fast, but it should start with simple motifs
and build up from there. There were a lot of good things like that and, also,
lots of sad moments. </div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">Chris:</b> Can you talk about your other jazz and pop influences?</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rique:</b> I love
jazz music. I listened to Gil Evans and Herbie Hancock, and at the same time
grew up singing Beatles tunes, James Taylor, Carol King, Stevie Wonder, Leon
Russell. </div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">Chris:</b> And Jobim?</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rique:</b> I listened
to Jobim, Satie, Debussy, Ravel. My father used to play a lot of that. I loved
those harmonies.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> How would
you classify the types of songs that you write for your solo albums?</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rique: </b>One side
of my compositions is really pop or romantic. I try to keep the two repertoires
separate. My solo work is more pop, maybe easier to listen to than Cama de
Gato. My solo work is hard for me to label. I wrote a lot of ballads.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<b style="mso-bidi-font-weight: normal;">Chris:</b> What about for the group?</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rique:</b> I wrote
most of the stuff for Cama de Gato. We're more on the jazz side, but we play
maracatus, samba, baião. The rhythms are more Brazilian, but with modern,
avant-garde harmonies, dissonant.<br />
<br />
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Cama de Gato performing Pantoja's "Pé de Moleque"</div>
<div style="text-align: center;">
<br /></div>
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> You guys
were well received when you played in the U.S. recently.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rique:</b> We got a
standing ovation at New York Town Hall concerts.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Why do you
think Brazilian music has been so well received recently in the United States?
You, Ricardo Silveira, Milton Nascimento, Djavan, Ivan Lins and many others
have been releasing albums in North America.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rique:</b> I think
what we [my generation] have to offer is fresh music, not trying to compare or
judge. I think music has been too pasteurized, the patterns are cliché. And
Brazilian music has such a strong vitality. It's like a fresh fountain and
people have been drinking there. Pat Metheny gets a lot of ideas from Toninho
Horta or Milton Nascimento. And there's Dave Grusin, Al Jarreau [who have also
been influenced by it].</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Do you
think Americans or Europeans can hear the difference between what you do and
what some U.S. jazz fusion bands play?</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rique:</b> I played
at Jazzmania [a club in Rio]. Americans sometimes come up and say they think
the music kind of sounds like Al Jarreau or Spyro Gyra. But it isn't the same
as their music. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> And it's
complicated because a lot of the North American groups have been influenced by
Brazilian music. American music, from rock to jazz, has always absorbed rhythms
and styles from elsewhere.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rique:</b> We
[Brazilian musicians] don't have the structure to get the music out there. Our
[marketing] is very primitive in a way. Pat Metheny or other big names sell
thousands or millions of records. People relate to those tunes more. People
don't know who Toninho Horta is, who had a big influence on Pat Metheny's
music, but they know who Pat Metheny is. So if Toninho came here [to the U.S.],
they would probably say, "Hey he sounds like Pat Metheny."</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> A lot of
jazz musicians, like Metheny and his partner Lyle Mays, have acknowledged the
influence of Brazilian music on their work. But the average listener doesn't
know that.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rique:</b> Brazil is
still known for Carnival, samba, but it's not just that. It's so rich. There
are so many fusions we can get. I think we [Brazilians] have a lot to give to
music in general. The speed of information is so fast now. People relate to music
from all over the planet. Pretty soon it will be hard to say this is typically
Brazilian. The new streams are tied to each other. Soon it will just be
tendencies. 'This has a salsa flavor with Brazilian harmonies,' as an example.<br />
<br />
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</div>
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</div>
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</div>
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</div>
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<div style="text-align: center;">
</div>
</div>
<div class="MsoNormal" style="text-align: center;">
Cama de Gato performs Pantoja's "Melancia"<br />
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Does your
music have any similarities with any of your contemporaries, like<span style="mso-spacerun: yes;"> </span>Ricardo Silveira or Marcos Ariel?</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rique:</b> Each has a
different approach, a different way. Marcos is very Brazilian, more [steeped]
in tradition. He plays choros. Very rich, fresh. Ricardo's approach is more
that of a guitar player. I also compose there [with a guitar], but my main
thing is the piano. The voice element in my music is really strong as well. I
did vocalese with Cama de Gato and on my first solo album [on "Lua
Nova"]. I like to use the voice as an instrument, doubling on soprano sax,
going to more of a head tone in singing. I learned from playing jazz, listening
to a lot of things. It's a different way of doing it, my own way.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> It's hard
for jazz and instrumental musicians to compete with rock, in any country.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rique:</b> Nothing
sells like that [rock]. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> It's
always been tough for instrumental musicians, even in the bossa nova days.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Rique:</b> A lot of
musicians from that generation became hardened. Bossa nova was a type of music that
kind of got lost when the Beatles and Roberto Carlos came. They had to go back
to nightclubs, piano bars, things like that. It's sad because many of them are
still great musicians. There is a new breed of musicians from Brazil now.
People are more open and are into listening to all kinds of music. They are
positive about their own style. It just matters if the track is happening, if
the musicians are burning.</div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
_______</div>
<div class="MsoNormal">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b style="mso-bidi-font-weight: normal;">Extended Discography<br />
</b>(U.S. Releases unless otherwise noted)</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<b style="mso-bidi-font-weight: normal;">Rique Pantoja<o:p></o:p></b></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Rique Pantoja
featuring Ernie Watts*. </i>WEA (Brazil), 1985.</div>
<div class="MsoNormal">
[*released in the U.S. by WEA Latina in 1986].</div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">De La Pra Ca. </i>Som
Livre (Brazil), 1989.</div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Love Brought Us Here</i>,
Pony Canyon (Japan), 1990.</div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Live in L.A.,</i> NET
Records, 2001.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<b style="mso-bidi-font-weight: normal;">Rique Pantoja & Chet Baker<o:p></o:p></b></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<i style="mso-bidi-font-style: normal;">Rique Pantoja & Chet Baker*</i>, Warner Music Latina, 1993.<br />
[first released in Brazil in 1987]</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<b style="mso-bidi-font-weight: normal;">Rique Pantoja & Tommy Walker<o:p></o:p></b></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<i style="mso-bidi-font-style: normal;">Night Prayer: Oração da Noite</i>. Net Records (Brazil), 2005.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<b style="mso-bidi-font-weight: normal;">Cama de Gato<o:p></o:p></b></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Cama de Gato.</i> Som
da Gente (Brazil), 1986.</div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Guerra Fria</i>. Som
da Gente (Brazil), 1988.</div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Sambaíba</i>. Som da
Gente (Brazil), 1990.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<b style="mso-bidi-font-weight: normal;">Select Rique Pantoja Songs Recorded by Others<o:p></o:p></b></div>
<div class="MsoNormal">
Yasuko Agawa with Ivan Lins. "More and More." <i style="mso-bidi-font-style: normal;">Amizade</i>, JVC (Japan), 1994.</div>
<div class="MsoNormal">
Chet Baker. "Arborway." <i style="mso-bidi-font-style: normal;">Four: Chet Baker in Tokyo</i>. King Records (Germany), 1989.<br />
_______. Various songs. <i style="mso-bidi-font-style: normal;">Rique Pantoja & Chet Baker</i>, Warner Music Latina, 1993.</div>
<div class="MsoNormal">
Ron Benise. "Sonata in E." <i style="mso-bidi-font-style: normal;">Carnaval</i>. Rosanegra Music, 2003.</div>
<div class="MsoNormal">
Cama de Gato. "Arpoador." <i style="mso-bidi-font-style: normal;">Dança da Lua</i>. Line Records (Brazil), 1993.</div>
<div class="MsoNormal">
_______. "Sweet Dance." <i style="mso-bidi-font-style: normal;">Amendoim Torrado</i>. Albatroz (Brazil), 1998.</div>
<div class="MsoNormal">
_______. "Bimini." <i style="mso-bidi-font-style: normal;">Agua de Chuva</i>. Perfil Musical (Brazil), 2003.</div>
<div class="MsoNormal">
Hélio Delmiro. "Inaiá," "Romã." <i style="mso-bidi-font-style: normal;">Romã</i>. Line Records (Brazil), 1990. </div>
<div class="MsoNormal">
Kali. "Pitu." <i style="mso-bidi-font-style: normal;">Kali</i>.
Som da Gente (Brazil), 1985.</div>
<div class="MsoNormal">
Kevyn Lettau. "Foundation of Humanity." <i style="mso-bidi-font-style: normal;">Another Season</i>. Samson Records, 2001.</div>
<div class="MsoNormal">
Arthur Maia. "Cama de Gato." <i style="mso-bidi-font-style: normal;">Planeta Música</i>. Cabeçadura Records (Brazil), 2002.</div>
<div class="MsoNormal">
Tim Maia. "Sem Volta." <i style="mso-bidi-font-style: normal;">Somos America</i>. Continental (Brazil), 1987.</div>
<div class="MsoNormal">
Raul Mascarenhas. "Bem Verão," "Um Dia
Mellow." <i style="mso-bidi-font-style: normal;">Musician</i>. WEA (Brazil),
1988.</div>
<div class="MsoNormal">
_______. "Voo Livre." <i style="mso-bidi-font-style: normal;">Sabor Carioca</i>. Chorus Estúdio/Som Livre (Brazil), 1990.</div>
<div class="MsoNormal">
Christine Miller. "Christmas Time," "Miracle
Morning." <i style="mso-bidi-font-style: normal;">All is Bright</i>. R.M.I.
Records, 2005.</div>
<div class="MsoNormal">
Russ Miller. "Brincadeira," Be-Pop,"
"Inaiá," "Salseada," "Frigiano." <i style="mso-bidi-font-style: normal;">Cymbalism</i>. R.M.I., 2006.</div>
<div class="MsoNormal">
_______. "Mosquito Bites," "The Last
December," "Rhythm Conversations." <i style="mso-bidi-font-style: normal;">Arrival</i>. R.M.I., 2007. </div>
<div class="MsoNormal">
Christopher Parkening & Jubiliation.
"Lamento," "Ciranda Bambolê." <i style="mso-bidi-font-style: normal;">Jubilation</i>. EMI, 2007. </div>
<div class="MsoNormal">
Raphael Rabello & Romero Lubambo. "Melancia." <i style="mso-bidi-font-style: normal;">Shades of Rio</i>. Chesky Records, 1992.</div>
<div class="MsoNormal">
Mauro Senise. "Tudo ou Nada." <i style="mso-bidi-font-style: normal;">Mauro Senise</i>. Visom (Brazil), 1988.</div>
<div class="MsoNormal">
Ricardo Silveira. "Story Teller." <i style="mso-bidi-font-style: normal;">Story Teller</i>. Kokopelli Records, 1995.</div>
<div class="MsoNormal">
Zoe Theodorou. "Shining Star," "Life Without
You," "I Believed It." <i style="mso-bidi-font-style: normal;">The
Essence of Life</i>. Gruvu Records, 2005. </div>
<div class="MsoNormal">
Trio da Paz. "Melancia." <i style="mso-bidi-font-style: normal;">Partido Out</i>. Malandro Records, 1998.</div>
<div class="MsoNormal">
Paulinho Trompete. "De Lá Pra Cá." <i style="mso-bidi-font-style: normal;">Um Sopro de Brasil</i>. Visom (Brazil),
1990.</div>
<div class="MsoNormal">
Tommy Walker. "Te Alabamos." <i style="mso-bidi-font-style: normal;">Live at Home</i>. Get Down Records, 1999.</div>
<div class="MsoNormal">
Ernie Watts. "What Do You See?" <i style="mso-bidi-font-style: normal;">Stand Up</i>. Odyssey Records, 1992.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<b style="mso-bidi-font-weight: normal;">Appearances on Chet Baker albums<o:p></o:p></b></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Four: Chet Baker in
Tokyo</i>. King Records (Germany), 1989.</div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Chet Baker & The
Boto Brazilian Quartet</i>.<span style="mso-spacerun: yes;">
</span>Dreyfus Jazz Line, 1991. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<b style="mso-bidi-font-weight: normal;">Select Participations (as keyboardist or arranger) on International
Albums<o:p></o:p></b></div>
<div class="MsoNormal">
Yasuko Agawa with Ivan Lins. <i style="mso-bidi-font-style: normal;">Amizade</i>, JVC (Japan), 1994.</div>
<div class="MsoNormal">
Torcuato Mariano. <i style="mso-bidi-font-style: normal;">Paradise
Station</i>. Windham Hill, 1994.</div>
<div class="MsoNormal">
Russ Miller. <i style="mso-bidi-font-style: normal;">Arrival</i>.
R.M.I., 2007.</div>
<div class="MsoNormal">
Brenda Russell. "Please Felipe" <i style="mso-bidi-font-style: normal;">Paris Rain</i>. Hidden Beach, 2000.</div>
<div class="MsoNormal">
Steps Ahead. "Red Neon Go Or Give." <i style="mso-bidi-font-style: normal;">N.Y.C.,</i> Intuition, 1988.</div>
<div class="MsoNormal">
Robertinho Silva. "Lilla." <i style="mso-bidi-font-style: normal;">Speak No Evil</i>. Milestone Records, 1994. </div>
<div class="MsoNormal">
Zoe Theodorou. <i style="mso-bidi-font-style: normal;">The
Essence of Life</i>. Gruvu Records, 2005.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="mso-outline-level: 1;">
<b style="mso-bidi-font-weight: normal;">Select Participations (as keyboardist or arranger) on Brazilian
Recordings<o:p></o:p></b></div>
<div class="MsoNormal">
Barão Vermelho. "Bete Balanço." <i style="mso-bidi-font-style: normal;">Maior Abandanado</i>. Som Livre, 1984.</div>
<div class="MsoNormal">
Chico Buarque. "Brejo da Cruz." <i style="mso-bidi-font-style: normal;">Chico Buarque</i>. Philips, 1984.</div>
<div class="MsoNormal">
Gal Costa. "Topazio." <i style="mso-bidi-font-style: normal;">Profana</i>.<span style="mso-spacerun: yes;"> </span>RCA, 1984.</div>
<div class="MsoNormal">
_______. "The Laziest Gal in Town." <i style="mso-bidi-font-style: normal;">Gal</i>.<span style="mso-spacerun: yes;"> </span>BMG Ariola, 1992.</div>
<div class="MsoNormal">
Hélio Delmiro. <i style="mso-bidi-font-style: normal;">Hélio
Delmiro in Concert: Romã</i>. Line Records, 1991.</div>
<div class="MsoNormal">
Eduardo Dusek. <i style="mso-bidi-font-style: normal;">Cantando
no Banheiro</i>. Philips/Polygram, 1982.</div>
<div class="MsoNormal">
Gilberto Gil. <i style="mso-bidi-font-style: normal;">Um Banda
Um</i>. Warner, 1981.</div>
<div class="MsoNormal">
Guinga. <i style="mso-bidi-font-style: normal;">Simples e
Absurdo</i>. Velas, 1991.</div>
<div class="MsoNormal">
Kleiton & Kledir. <i style="mso-bidi-font-style: normal;">Kleiton
& Kledir</i>. Ariola, 1983.</div>
<div class="MsoNormal">
Edu Lobo & Chico Buarque. "Ciranda da
Ballarina." <i style="mso-bidi-font-style: normal;">O Grande Circo Místico</i>.
Som Livre, 1983.</div>
<div class="MsoNormal">
Tim Maia. "Sem Volta." <i style="mso-bidi-font-style: normal;">Somos America</i>. Continental, 1987.</div>
<div class="MsoNormal">
Raul Mascarenhas. <i style="mso-bidi-font-style: normal;">Musician</i>.
WEA, 1988.</div>
<div class="MsoNormal">
_______. <i style="mso-bidi-font-style: normal;">Sabor Carioca</i>.
Chorus Estudio/Som Livre, 1990.</div>
<div class="MsoNormal">
Pascoal Meirelles. "Anna." <i style="mso-bidi-font-style: normal;">Anna</i>. Independent, 1985.</div>
<div class="MsoNormal">
_______. <i style="mso-bidi-font-style: normal;">Paula.</i>
CID, 1990.</div>
<div class="MsoNormal">
Milton Nascimento. <i style="mso-bidi-font-style: normal;">Anima</i>.
Ariola, 1982.</div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">_______. Yauaretê</i>,
CBS, 1987.</div>
<div class="MsoNormal">
_______. "Feito Nos." <i style="mso-bidi-font-style: normal;">Miltons</i>. CBS, 1988.</div>
<div class="MsoNormal">
Angela RoRo. "Querem Nos Matar." Polydor/Philips,
1982.</div>
<div class="MsoNormal">
Mauro Senise. <i style="mso-bidi-font-style: normal;">Mauro
Senise</i>. Visom, 1988.</div>
Paulinho Trompete. <i style="mso-bidi-font-style: normal;">Um
Sopro de Brasil</i>. Visom, 1990.<br />
<br />
<div style="text-align: center;">
<br />
<b>More Interviews with Brazilian Musicians</b><br />
<a href="http://brazilianmusicbook.blogspot.com/">The Brazilian Music Book by Chris McGowan</a><br />
<br />
<b>The Leading Introduction to Brazilian Music</b><br />
<a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">The Brazilian Sound by Chris McGowan and Ricardo Pessanha </a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
_______</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-56691938171370453792015-12-26T17:06:00.001-08:002017-08-26T10:18:00.658-07:0025 Songs of Good CheerHere are 25 songs of good cheer from Brazil, the U.S., the U.K., and elsewhere. This list started when I was playing some of my favorite music for a friend's daughter here in Brazil, where I live. She only liked the Brazilian <i>funk carioca</i> genre and was obsessed with the funk/pop singer Anitta, who is currently at the top of the charts. I played some American, U.K., Brazilian and other songs for her that had great melodies, were lively, or were a lot of fun. She didn't like any of my selections. It had to be funk carioca, preferably Anitta. However, my own kids enjoyed the music, especially the Beethoven and Queen. I ended up with a selection of mood altering music that I find particularly uplifting, invigorating, inspiring or sweetly transcendent.<br />
<div style="text-align: left;">
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<div style="text-align: center;">
1. Flash Mob: "Ode to Joy" (Beethoven Symphony no. 9)<br />
with the Vallès Symphony Orchestra from Sabadell, Spain<br />
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<br /></div>
<div style="text-align: center;">
2. Queen, "We Will Rock You."<br />
What would soccer fans in the U.K.<br />
do without this stadium shaker?</div>
<div style="text-align: center;">
<br /></div>
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3. Arlindo Cruz, "Meu Lugar" (Madureira), a beautiful song about his hardscrabble home neighborhood in Rio, full of camaraderie, "Ogum and Iansã," samba and beer, and sweat and struggle, as Madureira's residents "hope for a better world."<br />
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<div style="text-align: center;">
<br />
4. Paul McCartney, "Let it Be" (The Beatles)</div>
<div style="text-align: center;">
<br /></div>
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<br /></div>
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<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
5. Djavan, "Flor de Lis"</div>
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<br /></div>
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<br /></div>
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<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
6. Peter Gabriel, "Solisbury Hill"<br />
<br /></div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
7. Elton John, "Tiny Dancer"</div>
<div style="text-align: center;">
<br /></div>
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<br /></div>
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<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
8. Bruce Hornsby, "That's the Way It Is"</div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
9. Heart performs Led Zeppelin's "Stairway to Heaven."<br />
<br /></div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
10. Lenny Kravitz and Eric Clapton perform the Jimi Hendrix</div>
<div style="text-align: center;">
version of Bob Dylan's "All Along the Watchtower."<br />
<br /></div>
<div style="text-align: center;">
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
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<div>
<br /></div>
<div>
<div style="text-align: left;">
11. Queen's "Bohemian Rhapsody" is a pop epic that has withstood the test of time (a few decades) as well as its use in <i>Wayne's World</i>. The lyrics have dramatic fragments that are fun to sing along with, even though as a whole they probably only made sense to Freddie Mercury. But the music -- what a feast!<br />
<br />
<br />
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
12. Antonio Carlos Jobim and Miúcha perform "Samba do Avião,"</div>
<div style="text-align: center;">
a love song to Rio de Janeiro and a song of joyful homecoming.</div>
<br /></div>
</div>
</div>
<div style="text-align: center;">
</div>
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<br /></div>
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<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
13. John Barry's "Goldfinger" sung by Shirley Bassey</div>
<div style="text-align: center;">
<br />
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
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<div style="text-align: center;">
<br />
14. U2's "Beautiful Day"<br />
<br />
<br />
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<br />
<div style="text-align: left;">
15. Monty Python and Eric Idle's "Always Look at the Bright Side of Life." We all have to come to terms with death at some point, and this is the way that Monty Python has confronted mortality: with a relentless dark humor and good cheer.<br />
<br /></div>
</div>
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<br /></div>
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<br /></div>
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<br /></div>
<div style="text-align: center;">
16. Cat Stevens, "Peace Train"</div>
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<div style="text-align: center;">
<br />
17. Randy Newman's "I Love L.A."</div>
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<br /></div>
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<br /></div>
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<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
18. Gene Kelly, "Singing in the Rain"<br />
(from the 1952 Stanley Donen film musical that I<br />
recommend as an antidote for mild depressions)</div>
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<br /></div>
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<br /></div>
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<br /></div>
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19. Joni Mitchell, "Chelsea Morning"</div>
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<br /></div>
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20. The Beatles, "Here Comes the Sun"</div>
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<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<div style="text-align: left;">
<div style="text-align: center;">
21. Antonio Carlos Jobim's "Samba de uma Nota Só."</div>
<div style="text-align: center;">
One of his innumerable bossa nova standards.</div>
</div>
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<br />
22. One of the best super groups ever, The Traveling Wilburys,<br />
with George Harrison, Bob Dylan, Tom Petty, Jeff<br />
Lynne and Roy Orbison, here perform "Handle with Care."<br />
<br />
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<br />
23. Paul Simon, "You Can Call Me Al"<br />
Simon performs in Zimbabwe with the Graceland band<br />
of South African musicians, including Ray Phiri (guitar).<br />
<br />
<br />
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<br /></div>
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24. Brian Wilson and a host of others, "God Only Knows"</div>
<br /></div>
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<br /></div>
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<br /></div>
<div style="text-align: center;">
25. B-52s, "Love Shack"<br />
Oh, baby!<br />
<br />
_______ <br />
<br />
<b>Read about Brazilian Music</b><br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">The Brazilian Sound: Samba, Bossa Nova<br /> and the Popular Music of Brazil</a></b><i><br /> </i>by Chris McGowan and Ricardo Pessanha (Temple University Press) </div>
<div class="separator" style="clear: both; text-align: center;">
(the leading guide to Brazilian music in English;</div>
<div style="text-align: center;">
available on Amazon worldwide)</div>
<div class="separator" style="clear: both; text-align: center;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html">The Brazilian Music Book: Brazil's Singers, Songwriters<br /> and Musicians Tell the Story of Bossa Nova,<br /> MPB and Brazilian Jazz and Pop</a></b></div>
<div class="separator" style="clear: both; text-align: center;">
by Chris McGowan </div>
<div class="separator" style="clear: both; text-align: center;">
(interviews with iconic figures from Jobim</div>
<div style="text-align: center;">
and Airto to Djavan<b> </b>and Gal Costa)</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<b>__________________</b></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
^ ^ ^</div>
<div style="text-align: center;">
<br /></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-82995696834597152052015-03-30T16:31:00.001-07:002015-10-09T15:03:58.371-07:00Made in Brazil: Academic Studies of Brazilian Music<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzN8kx6OQiT8belGCuA3p6IgibNZQ7sjwkSz4bXMARD9kAT7J8OttHv5-KLEUCA8yiUo3wJm8X_WZ252kqc1RpRBaOsdayrOPLNS40TFj18Zm3YFIa26TiUQeZY9-vh5cn1e70Hup_95oh/s1600/brasil.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzN8kx6OQiT8belGCuA3p6IgibNZQ7sjwkSz4bXMARD9kAT7J8OttHv5-KLEUCA8yiUo3wJm8X_WZ252kqc1RpRBaOsdayrOPLNS40TFj18Zm3YFIa26TiUQeZY9-vh5cn1e70Hup_95oh/s1600/brasil.jpg" width="224" /></a></div>
<div class="_5pbx userContent" data-ft="{"tn":"K"}">
<br />
"Made
in Brazil: Studies in Popular Music" (Routledge Books) is an essential
new book of essays on Brazilian popular music written entirely by
Brazilian academics and edited by Martha Ulhôa, Felipe Trotta, and
Claudia Azevedo. I had the honor of translating the text from Portuguese
to English.<br />
<br />
"The Invention of Brazil as the Land of Samba," "Cosmopolitanism and the Stigma of Tecnobrega Music," "Choro Manuscript Collections of the 19th and 20th Century: Written Transmission of an 'Oral' Tradition," "The Construction of Memory About the Oito Batutas," "Ethnomusicology in Cyberspace: Samplertropofagia and Virality in YouTube Videos" and ten other essays analyze old and contemporary Brazilian popular music from an academic perspective and challenge many existing assumptions about their individual subjects.<br />
<br />
"Made in Brazil" is
available worldwide through Amazon:<br />
<a href="http://www.amazon.com/exec/obidos/ASIN/0415625602/ref=nosim/braziliansound-20">Made in Brazil (Amazon U.S.)</a><br />
<a href="http://www.amazon.co.uk/exec/obidos/ASIN/0415625602/ref=nosim/braziliansound-21">Made in Brazil (Amazon U.K.)</a><br />
<br />
More info on the book:<br />
<a href="http://www.globalpopularmusic.net/%E2%80%A6/new_vo%E2%80%A6/made-in-brazil-2">Routledge Books: Made in Brazil</a><br />
<br />
More information on my translation work:<br />
<a href="http://www.jcmcgowan.net/translator.htm">Translator Chris McGowan (Portuguese/English)</a><br />
<br />
<div style="text-align: center;">
_______</div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-68793895323505500132014-10-12T18:11:00.000-07:002014-11-18T10:53:11.887-08:00The Updated Brazilian Sound Kindle Edition<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvC_cnOv396y8wItHMO79wNKpJaJuNj7ofjKMODnAvk9_ipwif0C3KVlP3Fnx3fDQ6zkCTa_vWOL8A-K_aqCWXcUhhRerWYENiOGA2KvXle3T6X8R-Ooe9mTlEFw1G-SwH8F3Q29B66FKe/s1600/cover_TBS_new.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvC_cnOv396y8wItHMO79wNKpJaJuNj7ofjKMODnAvk9_ipwif0C3KVlP3Fnx3fDQ6zkCTa_vWOL8A-K_aqCWXcUhhRerWYENiOGA2KvXle3T6X8R-Ooe9mTlEFw1G-SwH8F3Q29B66FKe/s1600/cover_TBS_new.jpg" height="320" width="213" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<b>The updated 2014 Kindle edition of <i>The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil</i> by Chris McGowan and Ricardo Pessanha is now available. The leading English-language guide to Brazilian musicians and genres has added lots of beautiful color photos and new artists in all genres, including popular contemporary styles like <i>música sertaneja, funk carioca</i> and <i>tecnobrega</i>. Read it on the iPad, Mac, PC and other tablets with free Kindle reading apps from Amazon.</b></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<span class="Apple-style-span" style="font-family: inherit;"><span class="Apple-style-span" style="font-family: inherit;">For anyone interested in exploring the vast world of Brazilian music, <i>The Brazilian Sound</i></span> <span class="Apple-style-span" style="font-family: inherit;">will serve nicely as a smart and practical road map."</span></span><span class="Apple-style-span" style="border-collapse: collapse; line-height: 16px;"> —</span><i>Jazziz</i></div>
<div class="separator" style="clear: both; text-align: center;">
<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: small;"></span></span></div>
<div class="MsoNormal" style="line-height: 16px; text-align: left;">
<span style="font-family: inherit; font-size: small;"><br /></span></div>
<div class="MsoNormal" style="line-height: 16px; text-align: left;">
<span style="font-family: inherit; font-size: small;">“It continues to be the most informative—and eminently readable—book about Brazilian popular music.” —Don Heckman, <i>The Los Angeles Times</i></span><br />
<br />
<span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;">“Well researched . . . . its
breadth of coverage is impressive.” —Randal Johnson, <i>Hispanic American Historical Review</i></span></span></span><br />
<br />
<span style="font-family: inherit; font-size: small;"><span style="font-family: inherit;"><span style="font-size: small;"><span style="font-size: small;"><span style="color: black;">“Enlightening descriptions of musical styles.” </span><span>—M<span style="color: black;">artha
Carvalho, </span><i><span style="color: black;">Popular Music</span></i></span></span> </span></span><i> </i></span></div>
<div class="MsoNormal" style="font-family: Arial; line-height: 16px; text-align: left;">
<span style="font-family: Arial; font-size: small;"><i><br /></i></span></div>
<div class="MsoNormal" style="font-family: Arial; line-height: 16px;">
<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="color: blue;"><br /></span></span></div>
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</div>
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<div style="text-align: left;">
<div style="text-align: center;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<i style="background-color: white;"><span class="Apple-style-span" style="color: blue;">Global links for the Kindle edition</span></i></div>
</div>
</div>
</div>
<div style="text-align: center;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<i><br /></i></div>
</div>
<div class="MsoNormal" style="margin-bottom: 16pt; text-align: center;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<b>United States</b></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<a href="http://www.amazon.com/exec/obidos/ASIN/B0069AM7YC/braziliansound-20">The Brazilian Sound Kindle edition (Amazon.com U.S.)</a></div>
</div>
<div class="MsoNormal" style="margin-bottom: 16pt; text-align: center;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<b>Brazil</b></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<a href="http://www.amazon.com.br/The-Brazilian-Sound-Popular-ebook/dp/B0069AM7YC">The Brazilian Sound: Kindle edition (Amazon Brazil)</a></div>
</div>
<div class="MsoNormal" style="text-align: center;">
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<b>United Kingdom</b></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<span class="Apple-style-span" style="color: #8c2400;"><a href="http://www.amazon.co.uk/exec/obidos/ASIN/B0069AM7YC/braziliansound-21">The Brazilian Sound Kindle edition (Amazon U.K.)</a></span></div>
<div style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">
<br /></div>
</div>
<div class="MsoNormal" style="margin-bottom: 16pt; text-align: center;">
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<b>Canada</b></div>
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<b>Paperback, Hardback & Nook</b></div>
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<a href="http://thebraziliansound.blogspot.com.br/2014/03/access-brazilian-sound.html">Access all editions (Paperback, Hardback, </a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://thebraziliansound.blogspot.com.br/2014/03/access-brazilian-sound.html">Kindle and Nook) of The Brazilian Sound</a></div>
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<br /></div>
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The Brazilian Sound's<i> Kindle cover design is by Cristina Portella</i></div>
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_______</div>
<div style="text-align: center;">
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-83205839999756097542014-10-02T17:18:00.002-07:002014-10-02T17:19:17.976-07:00A Simple Way to Save a Life / Salvar uma Vida<br />
We can save millions who have blood diseases now. Nearly everyone has a family member who has had one or knows of someone who has had leukemia or another blood illness. Please help just by registering.<br />
<br />
<div style="text-align: center;">
<i>Here's how in the U.S. and Brazil (please share).</i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
U.S. (English)</div>
<div style="text-align: center;">
<a href="http://simplewaytosavealife.blogspot.com.br/2011/07/save-life-register-as-bone-marrow-donor.html">A Simple Way to Save a Life: register as a potential bone-marrow donor</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Brazil (Português):</div>
<div style="text-align: center;">
<a href="http://simplewaytosavealife.blogspot.com.br/2011/07/salvar-uma-vida-tornar-se-um-doador.html">Salvar uma Vida: Tornar-se um Doador</a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
_______</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-73008548828619358152014-08-29T12:00:00.000-07:002019-03-18T12:54:38.457-07:00Sérgio Mendes Talks About "Brasileiro"<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghT5bYKNa3oidS5KKnV_J7acZAuIkXGKewqcw4fb_AdIg7j81K4WSX9pfxW6ArVWFppV-IfaYOj5rbKnnqZJWVZ_DDnGU4bKIUZVbwuokD0j4GeIVR48Bf1kO5lX6UcC4JqyZCRK9i1rst/s1600/8b+Sergio+Mendes+2+at+home+1992.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghT5bYKNa3oidS5KKnV_J7acZAuIkXGKewqcw4fb_AdIg7j81K4WSX9pfxW6ArVWFppV-IfaYOj5rbKnnqZJWVZ_DDnGU4bKIUZVbwuokD0j4GeIVR48Bf1kO5lX6UcC4JqyZCRK9i1rst/s320/8b+Sergio+Mendes+2+at+home+1992.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;">photo by Chris McGowan</span> </div>
<br />
In 1992, I was invited by Elektra Records to write the liner notes for the Sérgio Mendes album <i>Brasileiro</i>, which was unlike anything he had ever done.The trademark Sérgio Mendes sound (upbeat, with female voices singing in unison) was there but it was mixed together with the idiosyncratic Carlinhos Brown from Bahia, who
contributed five songs and was the cornerstone of the album, three great
Brazilian songwriters (Ivan Lins, Guinga, and João Bosco), and the instrumental
wizard Hermeto Pascoal and his band O Grupo. Plus the 15-member Bahian
percussion group Vai Quem Vem and a hundred drummers and percussionists from
the top Rio escolas de samba (samba schools) were there to keep things cooking.<br />
<o:p></o:p>
<br />
<div class="MsoNormal">
I
showed up one morning at Mendes' home in Encino. We sat down and had
coffee, and Sérgio put a <i>Brasileiro</i> demo CD onto the high-end stereo system in
his den. I was expecting to hear a smooth pop rendition of a Brazilian standard
or a recent American hit. Instead, something else entirely blasted out of
Sérgio's audiophile speakers.<i> Brasileiro</i> opens with "Fanfarra"
(Fanfare). The "call" of a lone soloist on repique (tenor drum) is
answered by the thundering "response" of a hundred rhythmic masters
from Mangueira, Portela, and other escolas. We were listening at high volume
and the batucada (percussion jam), once it kicked in, was powerful,
overwhelming. I had heard recordings of many samba schools before, but none
with such high fidelity. They often sounded busy and muddy. Here you can hear
the samba instruments clearly. The batucada stops and a Carlinhos Brown samba
de roda ("Cabua-Le-Le") starts. We hear Alceu do Cavaco's cavaquinho
and a female chorus. Then the batucada begins again and continues underneath
the Brown song, merging with it. The female singing is rather cloying, yet the
song works. It is an original and appealing proposition: a meeting of Rio's
escolas, Afro-Bahian music, and Sérgio Mendes. All bolstered by
state-of-the-art recording technology.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-1Fj6n5kkXiKaMYJ45xR-WG_Ioi8vyMBaEwRMTkrHLcbTv5CVUdDV9C5aE6B8uiEjHwPIS3qVtsOHK-UHCexFNo3tsSyCIP3EDVkA8yNVhrD9aXIS90_-8jpkWlFdswlPpnGMOycxDKay/s1600/alx_sergio_mendes__carlinho_iva_8219_original.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="613" data-original-width="817" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-1Fj6n5kkXiKaMYJ45xR-WG_Ioi8vyMBaEwRMTkrHLcbTv5CVUdDV9C5aE6B8uiEjHwPIS3qVtsOHK-UHCexFNo3tsSyCIP3EDVkA8yNVhrD9aXIS90_-8jpkWlFdswlPpnGMOycxDKay/s320/alx_sergio_mendes__carlinho_iva_8219_original.jpg" width="320" /></a></div>
<div style="text-align: center;">
Carlinhos Brown and Sérgio Mendes</div>
<div style="text-align: center;">
<br /></div>
</div>
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The
rest of the album is also innovative and full of surprises, for the most part.
I was delightfully surprised, even though Sérgio's hallmark sound—two women singing the
lead vocals in unison—could have been used less, especially on Ivan Lins'
"Sambadouro" and "Kalimba" (admittedly, those songs might
be what many of his old fans like best on this album). And many songs have
smooth-jazz underpinnings by Mendes's L.A. studio musicians: Jeffrey Porcaro
(drums), Nathan East (bass), and Paul Jackson Jr. (guitar). They are extremely
competent studio players, but their slickness gives the music a gloss it
doesn't need. The album works best when the studio guys are on the sidelines,
such as on the opening number, or when the playing of others predominates. For
example, Vai Quem Vem and Brown's percussion is the heart of
"Indiado." And "Senhoras do Amazonas" has Porcaro on drums,
but Bosco (guitar and vocals) and Arthur Maia (bass) drive the music. The
opening of "Fanfarra/Cabua-Le-Le," Brown's "Magalhena" (a
fusion of northeastern and Bahian music), the Bahian rap "What is
This?," and Pascoal's "Pipoca" and Guinga's "Chorado"
have a minimum of "Brasil '66" moments. On the whole, <i>Brasileiro</i> is full of a surprising number of creative
risks.<br />
<br /></div>
<div class="MsoNormal">
This
was a rare case in which one of Sérgio's albums had such a strong imprint of
another musician – in this case, Carlinhos Brown (the other major example being
his collaboration with will.i.am on <i>Timeless</i>). Carlinhos wrote five of the record's songs, singing on four of them,
and the Carmen Alice tune "What is This?" bore his undeniable
influence. And five of the record's songs feature the percussion of Brown and
Vai Quem Vem, a group formed of former students in a percussion school that he
founded in Salvador. For half the album,<i> Brasileiro</i> is a joint venture by Sérgio and Carlinhos, which was essential to its
success. <i>Brasileiro</i> went on to win
the 1993 Grammy Award for Best World Music Album. It may not have sold as well
as Mendes' bigger albums, but it earned him credibility with many discerning
fans of Brazilian and World music. It has remained my favorite of his albums.<br />
<br /></div>
<div class="MsoNormal">
Besides
writing the liner notes, I also got to "coach" Sérgio as he shot
video promos for the album. I sat next to the camera in his backyard and
prompted him with questions; his answers were edited and used for promotional
purposes. I had the sense he didn't realize what an original album he'd
produced. Here is the 1992 interview we did that I used to write the liner
notes.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoqTSb7k4DCmUO2aPFR-8uQxVqvS-xv7S9I6YCYXMlhsbV47yj7kFfv55oyp_RXnJub3XVsU5GX6-iGPooxaR111t000_3b-fCNxC8IyzAj8FsXTTOB0CliEbfM_pAWLu4bCrk-bsGS15m/s1600/sergio+mendes+brasileiro.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoqTSb7k4DCmUO2aPFR-8uQxVqvS-xv7S9I6YCYXMlhsbV47yj7kFfv55oyp_RXnJub3XVsU5GX6-iGPooxaR111t000_3b-fCNxC8IyzAj8FsXTTOB0CliEbfM_pAWLu4bCrk-bsGS15m/s1600/sergio+mendes+brasileiro.jpg" width="320" /></a></div>
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<div class="MsoNormal" style="text-align: center;">
<i style="mso-bidi-font-style: normal;"><o:p><br /></o:p></i></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Where did
you record the album?</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> We
recorded the basic tracks in Brazil at PolyGram Studios and Som Livre Studios.
We did the overdubs and mixing here in Los Angeles. We were five months in
Brazil and seven months here. It was the hardest I've ever worked on an album.
I wanted to do it really well, the right way.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris: </b>What was
the point of the album? What were you trying to do?</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio: </b>I tried
to have a nice variety, of everything I love about Brazilian music. I wanted to
explore a wide variety of the incredible spectrum of rhythms and percussion,
melodies and chants in Brazilian music. I had always wanted to do something
completely Brazilian and so this project came totally from the heart. It's
totally authentic.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Were you
influenced at all by Paul Simon's use of Olodum (the bloco afro from Bahia) on <i style="mso-bidi-font-style: normal;">The Rhythm of the Saints</i>?</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> It's
different from what people like Paul Simon or David Byrne have done. These are
Brazilian songs and Brazilian songwriters. They're not American melodies with
Brazilian rhythms. I didn't want to do a safari. I wanted to be involved
putting together the whole thing, from arranging to playing on it to producing.
I wanted to do a great presentation, from the heart. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> There is
quite a range of musicians and styles.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> The
escolas de samba, Bahia, Ivan Lins. I was selecting what I felt. The only thing
that's missing is a Milton song.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Have you
done anything like this before? Perhaps your album that compares is <i style="mso-bidi-font-style: normal;">Primal Roots</i>, from 1972.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> <i style="mso-bidi-font-style: normal;">Primal Roots</i> was like a small version of
this. I had always wanted to do something totally Brazilian, with all the stuff
I loved down there. Luckily, Bob Krasnow of Elektra said 'Go do it.' It's rare
to have that kind of support from a record company. That's how this album was
conceived.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> How did
you integrate all recordings done in Rio with the musicians in L.A.?</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> When I
brought back all the tracks from Rio to L.A., to add more tracks with musicians
here, there were big smiles in the studio. They loved it and it gave them
something fresh and different to work with. They played their best and it was a
total integration of their work with the Brazilian Afro rhythms.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> The album
really has a distinctive sound, whether you are American or Brazilian.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> The
presentation of all this music is the way I hear it.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Tell us
about the first number.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> It opens
with Jaguar playing <i style="mso-bidi-font-style: normal;">repique</i>, solo. He
is answered by one hundred all-star percussionists from the top samba schools
in Rio – Mangueira, Portela, Padre Miguel, Beija-Flor. I always wanted to
capture what you hear on the streets of Rio during <i style="mso-bidi-font-style: normal;">Carnaval</i>, that power, that energy. So we got the best players,
which was not easy to do, and then gathered them together in a parking lot with
24-track equipment. Then I had the idea of putting a chant on top of that.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> So, take
us to the Sambódromo in Rio [where the parades take place during Carnaval].
What is happening?</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> The
"Fanfarra" is the opening, played before the escola enters the
Sambódromo. One guy, Jaguar, is "calling" [with his repique solo] and
the others are "answering."</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> And then
you mixed that with a Carlinhos Brown song.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> I
recorded this in April. I wanted to add something on top of it. On my second
trip I searched for songs to put on top and it wasn't working. I was stuck with
this incredible piece of percussion. Then I went to Bahia and I heard Carlinhos
Brown at this song festival and I heard his stuff and liked it very much. He
had a <i style="mso-bidi-font-style: normal;">samba de roda</i>,
"Cabua-Le-Le," that I loved and wanted to use. And he liked the idea
of the [samba school] percussion underneath.<span style="mso-spacerun: yes;"> </span>I brought him down to Rio and we did a lot of overdubs. I
wanted the rawness of the sound, but to organize it a little bit. It took a lot
of work putting the pieces together. So, it's an Afro-Bahian song with Rio
Carnaval percussion behind it.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Next is
"Magalenha," also by Carlinhos Brown. This sounds to me like a fusion
of <i style="mso-bidi-font-style: normal;">baiao</i> and <i style="mso-bidi-font-style: normal;">samba-reggae</i>, with <i style="mso-bidi-font-style: normal;">embolada</i>
or <i style="mso-bidi-font-style: normal;">calango</i> in the singing part. </div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> Carlinhos
is singing and playing triangle, with the Bahian percussion group Vai Quem Vem,
and a chorus of four girls, three guys and myself. I put Vai Quem Vem on a bus
and they spent two weeks in Rio, rehearsing and recording.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b>
"Indiado" by Brown is a lively romp, with some funky synth horns and
a lively guitar on top.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> The
vocals are by Carlinhos and Gracinhas Leoparace. It's a mixture of <i style="mso-bidi-font-style: normal;">forró</i> and samba-reggae. Vai Quem Vem is
playing, plus Jeff Porcaro on drums, Jimmy Johnson on bass, Paul Jackson, Jr.
on guitar, and myself on synthesized horns.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> "What
is This?" by Carmen Alice of Vai Quem Vem is really something unusual. I
don't think I've heard a Bahian rap song before.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> It's
their reading of the American rap style. In Bahia, they hear everything—rap,
reggae, merengue—and adapt it. Carmen's song is so raw and pure, I thought the
simplicity and purity of it were really interesting. It's very Bahian.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> It's a lot
of fun and so different. Big booming drums to open, very catchy. A rap song
played on Brazilian drums and percussion, which we've never heard up here in
North America. And a funky <i style="mso-bidi-font-style: normal;">berimbau</i>. </div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> We were
recording in Rio at Polygram, and having no luck with a couple of songs.
Finally, I said, 'Can you play me something different?' And this young girl
from Vai Quem Vem named Carmen grabbed the microphone and started doing this
incredible rap in English! She is an English teacher from Salvador, as well as
a percussionist and singer. Her neighborhood there is called Candeal, it's a
poor place, and this rap is about it. It's her reading of the American rap
style. It was part of their repertoire that I hadn't heard. I added my
synthesizer. I call it organic rap. It's so raw and pure. Here we have the rap
rhythm on surdos, etc., instead of on drum machines, giving it a different
flavor. It's my first rap.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> You follow
that with two Ivan Lins songs. "Lua Soberana" is an Ivan Lins <i style="mso-bidi-font-style: normal;">afoxé</i> with a stirring, haunting melody.
Then you have his sweetly flowing "Sambadouro." </div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b>
"Sambadouro" is a samba with Gracinha on the lead vocals. It's very <i style="mso-bidi-font-style: normal;">carioca</i>, very Rio de Janeiro. It has
some of my old Brasil '66 sound, and reminds me of a <i style="mso-bidi-font-style: normal;">gafieira</i>, one of Rio's romantic dance halls where couples dance to
samba.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b>
"Senhoras do Amazonas" by João Bosco has an unusual, beautiful sound
with an interesting arrangement.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> The
vocals are by João and Gracinha. I'm on the keyboards, Carlos Bala on drums,
and Arthur Maia on bass. This is the first time I've recorded João. I love his
stuff. This is a samba, but not with normal chord changes. There are lots of
diminished chords, giving an unusual harmonic structure to the song. And the
drum part is somewhat <i style="mso-bidi-font-style: normal;">partido alto</i>. I
said to him, 'I have to have one of your songs.' João did the music and
Belchior the lyrics. All his songs have that onomatopoeia stuff. I said I
wanted lyrics whose emphasis was more on their rhythmic value than on pretty
words and poetical images.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Tell us
about "Kalimba" by Ivan Lins, his third song on the album.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> Here you
have tribal chanting in the lyrics with an R&B dance sound underneath.<b style="mso-bidi-font-weight: normal;"> </b>Paul Jackson, Jr. is on guitar, me on
keyboards, Jeff Porcaro drums, Nathan East bass, Luis Conte, conga. And
Gracinha, Kevyn Lettau, and myself on vocals.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Carlinhos
Brown's "Barabare" sounds Gilberto Gil-influenced, with an <i style="mso-bidi-font-style: normal;">ijexá </i>rhythm, a gentle swing, and a
somewhat pop-jazzy chorus.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> I think
this song is very beautiful. It has Bahia and also the flair of Rio, too. It
makes me think of Rio's beautiful beaches, in the late afternoon of a summer
day<b style="mso-bidi-font-weight: normal;">. </b>Carlinhos and Gracinha do the
vocals. I'm on <i style="mso-bidi-font-style: normal;">agogô</i> and keyboards,
and Carlinhos Brown on percussion, and Tião Neto on percussion and not [his
usual] bass.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris: </b>"Esconjuros"
is nice, hypnotic, very interesting at end. The vocals sound to me like they're
a little embolada in style, and underneath there's some faint maracatu. It
feels sort of like classical music meeting folk. It's one of two Guinga songs
on the album, I see.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> Guinga
did the music and Aldir Blanc the lyrics. Gracinha is on vocals, Steve
Tavaglione oboe and flute, and Guinga guitar. Guinga is the composer who
impressed me the most when I was there. He's like Villa-Lobos meets Cole
Porter. He made me cry. He's very shy, plays acoustic guitar, and writes
beautiful melodies.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Hermeto
Pascoal's "Pipoca" takes us in another directly entirely.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> We go
back so many years. We used to play at the same bars and clubs in São Paulo,
accompanying singers. He's one of the most incredible musicians I've ever met.
This time, I asked him to write me a samba in 3/4 and he did! Here he plays
acoustic piano and I play synthesizer. That's for the jazz fans. It's my thing
meets his thing. Only Hermeto writes those kind of melodies. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> Then comes
"Magano" by Carlinhos Brown. A speeded-up samba-reggae underneath
with merengue on top in your keyboards.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> With
Gracinha and the singers from Rio in the chorus. The vocalists wish us <i style="mso-bidi-font-style: normal;">axé </i>[good vibes, life force].</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> And your
next to last song is the spare, pretty "Chorado" by Guinga. It sounds
Milton Nascimento-ish with beautiful singing, the wordless vocals of Claudio
Nucci.</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> Guinga
strikes again. It's a beautiful song and Claudio sings like an angel on it.
It's got Guinga on guitar and me on synth cello and oboe.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Chris:</b> And you
close with the "Fanfarra (Despedida)" of the samba school
percussionists. Perfect. Would you say this is your best album ever?</div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Sérgio:</b> That
would be too pretentious. But it has just about all of my favorite things from
Brazil.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>I also interviewed Sérgio Mendes in </i><a href="http://brazilianmusicbook.blogspot.com/">The Brazilian Music Book</a>, <i>a collection of interviews with prominent Brazilian musicians in the areas of bossa nova, MPB and Brazilian jazz. </i><br />
<br />
<div style="text-align: center;">
<i>_______ </i></div>
</div>
<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-5769022532409542172014-08-05T12:53:00.000-07:002017-08-26T10:21:29.287-07:00MIMO Festival Boasts Spectacular Scenery and Performances in Four Cities<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsbjPcxK2F6Aco6m9dOQu_vh7WO2zbOPACqIbSjknGtk0ManOnIT9DH8vy73UYEzMO8irN1l1s7Zx1FSv7cto_6_WU9ZLM4uh95JX9Q-90oS70tRSqHUs91KyQC2PuxbVjlZ4qhDBtPAQT/s1600/54sNwEyIwzcLW_vkaSAmmBRQMHXThXdEfhoRcaiANIo.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsbjPcxK2F6Aco6m9dOQu_vh7WO2zbOPACqIbSjknGtk0ManOnIT9DH8vy73UYEzMO8irN1l1s7Zx1FSv7cto_6_WU9ZLM4uh95JX9Q-90oS70tRSqHUs91KyQC2PuxbVjlZ4qhDBtPAQT/s1600/54sNwEyIwzcLW_vkaSAmmBRQMHXThXdEfhoRcaiANIo.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paraty, Brazil</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: left;">
Travelers who like to combine great music with sightseeing
in Brazil should take note. The 11<sup>th</sup> edition of MIMO, a free music
and film festival in Brazil, kicks off on August 29 and will take place in four
of Brazil's most beautiful and historic cities: Ouro Preto, Olinda, Paraty and
Tiradentes. Producer Lu Araújo launched MIMO in 2004 in Olinda, with the acronym standing for "Mostra Internacional da Música em Olinda." The event grew in
importance and added three more cities along the way. According to MIMO, more
than 630,000 people have attended the festival to date. This year, the scenery
will be spectacular and so will the concert lineups, featuring many notable
international and Brazilian artists.</div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip5s4orSJBTI8vkkt9k-6bdPzD2MPMTgeRtZLRNGnreVsg8e-v4gASootB_RUGIjyxK5NtT63S4yvLvW8kwi6a0wIZ-5kiwF6vNEDxwlwMf4Zl-rLltOFXuTRHwTZAnOYU1YKuB3UTIY4i/s1600/QVxJssjG26bVlBWkpHdqr_J3yDyrVb9RfGeyuHk8y7M,cJ0V_xQDh_9iggZ1tusGV0vUcTCZXz__rd461Lc6ld8,7_5P7rt5ur4X4RW-U1HD24RFglKKW3uzVyEjT8a1iYY.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip5s4orSJBTI8vkkt9k-6bdPzD2MPMTgeRtZLRNGnreVsg8e-v4gASootB_RUGIjyxK5NtT63S4yvLvW8kwi6a0wIZ-5kiwF6vNEDxwlwMf4Zl-rLltOFXuTRHwTZAnOYU1YKuB3UTIY4i/s1600/QVxJssjG26bVlBWkpHdqr_J3yDyrVb9RfGeyuHk8y7M,cJ0V_xQDh_9iggZ1tusGV0vUcTCZXz__rd461Lc6ld8,7_5P7rt5ur4X4RW-U1HD24RFglKKW3uzVyEjT8a1iYY.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Trilok Gurtu</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: left;">
In terms of music, some of the 2014 highlights are Chick
Corea and the Vigil, Lau and the James Duncan Mackenzie Band (both from
Scotland), Indian percussionist Trilok Gurtu, Mali's Bassekou Kouyate (who
plays the ngoni, a West African lute) and his band Ngoni Ba, Spanish
early-music maestro Jordi Savall, Jamaican singer Winston MacAnuff and French
accordionist Fixi and the European orchestra Chaarts.</div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTS7pMRsEJytF8VmFxl21whPuuIhcAy_wkTMsB2hNrT1hMRz7srHu1hIo7cNGWEUglqFyw1xqoaPKhvgz5S4dd48olsygFrEBzArzyvJ-9gVj_HDuN1r93dXeNZ6-83Z8p3rgzpq5KBvIT/s1600/bUTlmuOEI_0OmbnWmi-ICkw23hvVgh_oc9Wpk7XzNFw,5zBZQ_WoRHFHyN5GF_fagur7IVKP3jv7HDIlg6u49Y0.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTS7pMRsEJytF8VmFxl21whPuuIhcAy_wkTMsB2hNrT1hMRz7srHu1hIo7cNGWEUglqFyw1xqoaPKhvgz5S4dd48olsygFrEBzArzyvJ-9gVj_HDuN1r93dXeNZ6-83Z8p3rgzpq5KBvIT/s1600/bUTlmuOEI_0OmbnWmi-ICkw23hvVgh_oc9Wpk7XzNFw,5zBZQ_WoRHFHyN5GF_fagur7IVKP3jv7HDIlg6u49Y0.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bongar</td></tr>
</tbody></table>
<br />
<div class="MsoNormal">
Pianist-guitarist Egberto Gismonti, guitarist Toninho Horta,
percussionist Naná Vasconcelos and violincello player Lui Comibra, guitarist
Marco Pereira and accordionist Toninho Ferragutti, singer-violinist Renata Rosa,
pianist Hercules Gomes, the group Bongar from Olinda, saxophonist Zé Nogueira
and vibraphonist Arthur Dutra, pianist João Donato, and samba singer-composer Diogo
Nogueira and mandolin virtuoso Hamilton Holanda (performing their "Bossa
Negra" album) are among the Brazilian performers.</div>
<div class="MsoNormal">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDrOHkzI3Bx3ir1dEWuvMGgIPVBl95A_vI78uyurTo6TqCTtAVrxfelT4roQamhx3dzYZqgUCAFAsWU1sd-MxNjqpgpGpy3Ry54DYqAuouPUAABazsdK3j_ZJqYlXonsa6lHRSyHURfe_g/s1600/zcfwqpLtXxGvXEJWVksrs6KVhx5Ij_QmwIRypkqBPYU,ec1L4r5bAgavrQrI2iy1acQYv2aNZIWgBkI7L1Kk0XM.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDrOHkzI3Bx3ir1dEWuvMGgIPVBl95A_vI78uyurTo6TqCTtAVrxfelT4roQamhx3dzYZqgUCAFAsWU1sd-MxNjqpgpGpy3Ry54DYqAuouPUAABazsdK3j_ZJqYlXonsa6lHRSyHURfe_g/s1600/zcfwqpLtXxGvXEJWVksrs6KVhx5Ij_QmwIRypkqBPYU,ec1L4r5bAgavrQrI2iy1acQYv2aNZIWgBkI7L1Kk0XM.jpeg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Toninho Horta</td></tr>
</tbody></table>
<div class="MsoNormal" style="text-align: left;">
In addition, the 2014 program includes 21 movies,
documentaries and short films. There are also free music-education classes and
a MIMO Instrumental Award. All events are free to the public and presented in
churches, squares and courtyards of these four cities known for their stunning
colonial and baroque architecture. The festival will run Aug. 29-31 in Ouro
Preto, Sept. 4-7 in Olinda, Oct. 10-12 in Paraty, and Oct. 17-19 in Tiradentes.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPrJEyMbe_0IkgVyKh-KqtdJXD1W3W0bAD_QqPVQxwJQ08S9qsQpktI2Za1J68Ali7_G8XdFAxOI0_mfeqDrOO6zTQBmVvGUCOe9LZXZdPIW-cf01vqbiX7paTwFyrj4MohfMfQzU3tnla/s1600/gMqVJHHAXLSPtNBzH6GSuzi5RRlUG112_Uh6p3-SooM.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPrJEyMbe_0IkgVyKh-KqtdJXD1W3W0bAD_QqPVQxwJQ08S9qsQpktI2Za1J68Ali7_G8XdFAxOI0_mfeqDrOO6zTQBmVvGUCOe9LZXZdPIW-cf01vqbiX7paTwFyrj4MohfMfQzU3tnla/s1600/gMqVJHHAXLSPtNBzH6GSuzi5RRlUG112_Uh6p3-SooM.jpeg" width="212" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Renata Rosa</td></tr>
</tbody></table>
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For more information about the festival: <a href="http://www.mimo.art.br/">MIMO</a>.</div>
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_______</div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-46421989598216781642014-07-11T12:38:00.005-07:002017-08-26T10:22:05.088-07:00Festival Vale do Café 2014<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrVH-eOeaMHIQOLTJyCEwuAErhi19urrOmPVhqdrnOnTDh8pu92Oe7gC8h5Fuly3czMagd_QcKEc1SiCmIsysttcJm45oTWloCuevBFXet2bhKZs5WDG42MIQ1Bs4dgr4_VDQ6KKXUh47a/s1600/QUADRO+ANTIQUO+FESTIVAL+VALE+DO+CAFE%CC%81+2009+7.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrVH-eOeaMHIQOLTJyCEwuAErhi19urrOmPVhqdrnOnTDh8pu92Oe7gC8h5Fuly3czMagd_QcKEc1SiCmIsysttcJm45oTWloCuevBFXet2bhKZs5WDG42MIQ1Bs4dgr4_VDQ6KKXUh47a/s1600/QUADRO+ANTIQUO+FESTIVAL+VALE+DO+CAFE%CC%81+2009+7.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Performing at one of the fazendas.</td></tr>
</tbody></table>
<br />
A unique Brazilian music event, the Festival Vale do Café (The Coffee Valley Festival), began on July 7 and runs until July 27 in the small towns and old coffee plantations of verdant, historic areas in and around the city of Vassouras, about two hours from Rio de Janeiro. The focus is primarily on jazz, choro, bossa nova, regional styles and classical music. Concerts are free in the public squares and churches of Vassouras and nearby cities, while tickets are required for the intimate music shows staged at stately <i>fazendas</i> (plantations).<br />
<br />
Singers Fafá de Belém and Joanna will perform this year in free concerts, while the Bianca Gismonti Trio, Duo Santoro, Nicolas Krassik e os Cordestinos, Gabriel Grossi, Orquestra Carioca do Choro, Turibio Santos, Carol MacDavit, Gilson Peranzzetta, Mauro Senise, Cristina Braga, Bia Bedran and Trio Madeira Brasil will also make appearances. During the festival, many free music classes are offered for children. One night (the Cortejo de Tradições) is devoted to folia de reis, capoeira, jongo, cana-verde and other folkloric traditions, peformed by local groups. This is the 12th year of the festival, which was created by harpist Cristina Braga. Guitarist Turibio Santos and Paulo Barroso are the event's artistic directors.<br />
<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs8DuNgWHHihJQthoE3AQ3qELiTgmDaYlV54Y6KTWdMz7RtJBgSKN0T14zdsBCovu1AdRAfbGMHSDn0buZhXp1s7pAVSYGHszmR1qNm3axnH4L-rYepznbpyR3IqFRRmM3oT5JlVS7DQVa/s1600/IMG_01131.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs8DuNgWHHihJQthoE3AQ3qELiTgmDaYlV54Y6KTWdMz7RtJBgSKN0T14zdsBCovu1AdRAfbGMHSDn0buZhXp1s7pAVSYGHszmR1qNm3axnH4L-rYepznbpyR3IqFRRmM3oT5JlVS7DQVa/s1600/IMG_01131.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The main house of an old fazenda.</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwHYzoC3HZUxWYLTGzBwYJHPxAfZXbY4djPijnt51x8UXh2tzV3dOEleYcMEWCX7yZ9p_M61QPHMpRLiDPkGhWwFYYn9kcT0mxBXYQteyI9nWT-IR4N7Ens0whqnDlT1XUR_bYBSbs5hiK/s1600/Turi%CC%81bio-e-Cristina-Braga-Vale-do-Cafe%CC%81.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwHYzoC3HZUxWYLTGzBwYJHPxAfZXbY4djPijnt51x8UXh2tzV3dOEleYcMEWCX7yZ9p_M61QPHMpRLiDPkGhWwFYYn9kcT0mxBXYQteyI9nWT-IR4N7Ens0whqnDlT1XUR_bYBSbs5hiK/s1600/Turi%CC%81bio-e-Cristina-Braga-Vale-do-Cafe%CC%81.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Turibio Santos (guitar) and Cristina Braga (harp).<br />
<br /></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXACJ_j1rl_FgCqzcJ-s4qwSO_PXiXsXCEGE6YCOZw2PmI_fOXkSSvoTFkpiJr1mcrN-f3q-vqSpEtmDmrlLKCJkKOoowJaMnmEBEPvl0e0UJUwFru6Yltg60Pf2pEwYU6Yzmp0vlcZZ7G/s1600/festival+vale+do+cafe+vassouras.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="139" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXACJ_j1rl_FgCqzcJ-s4qwSO_PXiXsXCEGE6YCOZw2PmI_fOXkSSvoTFkpiJr1mcrN-f3q-vqSpEtmDmrlLKCJkKOoowJaMnmEBEPvl0e0UJUwFru6Yltg60Pf2pEwYU6Yzmp0vlcZZ7G/s1600/festival+vale+do+cafe+vassouras.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: x-small;">The main square of Vassouras during the festival.</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiskFnPyHhdxT4DBVydOKVuVurgnQ5NmggTwRGcglTu1unegQSPdZhyphenhyphenJE2_fUskaHWVI7XsYeV_kIY4Q40wgo8iNASOew5VqZr7ukQTewWEE2pL9qkbxKXtJ7hEGLj4HETfaBARsPDofOeG/s1600/festival-vale-do-cafe-joao-bosco.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiskFnPyHhdxT4DBVydOKVuVurgnQ5NmggTwRGcglTu1unegQSPdZhyphenhyphenJE2_fUskaHWVI7XsYeV_kIY4Q40wgo8iNASOew5VqZr7ukQTewWEE2pL9qkbxKXtJ7hEGLj4HETfaBARsPDofOeG/s1600/festival-vale-do-cafe-joao-bosco.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">João Bosco at the festival in 2013.<br />
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<span class="Apple-style-span" style="font-size: small;">More info (in Portuguese): <a href="http://festivalvaledocafe.com/">festivalvaledocafe.com</a></span><br />
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<br />
<b>Read about Brazilian Music</b><br />
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="http://thebraziliansound.blogspot.com/2014/03/access-brazilian-sound.html">The Brazilian Sound: Samba, Bossa Nova<br /> and the Popular Music of Brazil</a></b><i><br /> </i>by Chris McGowan and Ricardo Pessanha (Temple University Press) </div>
<div class="separator" style="clear: both; text-align: center;">
(the leading guide to Brazilian music in English;</div>
<div style="text-align: center;">
available on Amazon worldwide)</div>
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<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<b><a href="http://brazilianmusicbook.blogspot.com/2016/08/access-brazilian-music-book.html">The Brazilian Music Book: Brazil's Singers, Songwriters<br /> and Musicians Tell the Story of Bossa Nova,<br /> MPB and Brazilian Jazz and Pop</a></b></div>
<div class="separator" style="clear: both; text-align: center;">
by Chris McGowan </div>
<div class="separator" style="clear: both; text-align: center;">
(interviews with iconic figures from Jobim</div>
<div style="text-align: center;">
and Airto to Djavan<b> </b>and Gal Costa)</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<b>__________________</b></div>
</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-1750183527845564120.post-73521241504177969542014-05-26T06:53:00.000-07:002016-08-09T09:33:12.631-07:00The Brazilian Music Book<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEzYdQ_b4HKRIKIp2wFMEj-URRY3_3-rW-I-o051Z9eSQXUeJu2m50zdzude9IskYA1raN61ropkUu0c8D1JNSsnJRE73ZyZKGe4eWw61ems9s0Gj7iTAtdqNx0sVySmhH35us9rcF8eon/s1600/TBMB+Cover+Photos+4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEzYdQ_b4HKRIKIp2wFMEj-URRY3_3-rW-I-o051Z9eSQXUeJu2m50zdzude9IskYA1raN61ropkUu0c8D1JNSsnJRE73ZyZKGe4eWw61ems9s0Gj7iTAtdqNx0sVySmhH35us9rcF8eon/s1600/TBMB+Cover+Photos+4.jpg" width="204" /></a></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">The Brazilian Music Book:</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Brazil's Singers, Songwriters, and Musicians Tell the</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Story of Bossa Nova, MPB, and Brazilian Jazz and Pop</span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></b></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">by Chris McGowan</span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></div>
<div style="text-align: center;">
<i><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Now available in Kindle (see below)</span></i>
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<span style="color: blue;"><i>"The Brazilian Music Book</i> by Chris McGowan
is an involving work thanks to the insight of the author, his integrity and his deep love
for Brazilian music. It is a book destined for success and I hope to see it translated into Portuguese as soon as
possible."<i>—</i><b>Turibio Santos</b><i>, </i>classical guitarist<i>, </i>director of the Villa-Lobos Museum in
Rio de Janeiro and artistic director of the Vale do Café music festival.</span></div>
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<div class="MsoNormal" style="text-align: left;">
<span style="font-family: "arial" , "helvetica" , sans-serif;">Journalist Chris McGowan has covered Brazilian music for </span><em style="font-family: Arial, Helvetica, sans-serif;">Billboard</em><span style="font-family: "arial" , "helvetica" , sans-serif;"> magazine, </span><em style="font-family: Arial, Helvetica, sans-serif;">The Huffington Post</em><span style="font-family: "arial" , "helvetica" , sans-serif;">, and his own </span><em style="font-family: Arial, Helvetica, sans-serif;">The Brazilian Sound</em><span style="font-family: "arial" , "helvetica" , sans-serif;"> blog, and co-authored multiple editions of the definitive reference book on the subject—</span><em style="font-family: Arial, Helvetica, sans-serif;">The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil. </em><span style="font-family: "arial" , "helvetica" , sans-serif;">Along the way, he has interviewed many of the most important and influential legends of Brazilian music. In this new omnibus volume, McGowan presents many of these interviews in complete and unabridged form for the first time. There are twenty revealing conversations with iconic figures in Brazilian music, including Antonio Carlos Jobim, Carlos Lyra, Milton Nascimento, Airto Moreira, Dori Caymmi, Laurindo Almeida, Antonio Adolfo, Djavan, Ivan Lins, Gilberto Gil, Gal Costa, Cristina Braga, Luciana Souza and Lenine. A Kindle edition of </span><i style="font-family: Arial, Helvetica, sans-serif;">The Brazilian Music Book</i><span style="font-family: "arial" , "helvetica" , sans-serif;"> (which can be viewed on iPad, Android, PCs and Macs) is available now; a paperback version will be available soon.</span></div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span>
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<i><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Kindle editions (in English) from Amazon:</span></i></div>
<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.amazon.com/exec/obidos/ASIN/B009KBTJAC/ref=nosim/braziliansound-20">The Brazilian Music Book (U.S.)</a> <a href="http://www.amazon.co.uk/exec/obidos/ASIN/B009KBTJAC/ref=nosim/braziliansound-21">Brazilian Music Book (U.K.)</a></span><br />
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<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.amazon.com.br/The-Brazilian-Sound-Popular-ebook/dp/B009KBTJAC">Brazilian Music Book (Brazil)</a> <a href="http://www.amazon.ca/exec/obidos/ASIN/B009KBTJAC/ref=thebraziliansound-20">Brazilian Music Book (Canada)</a></span></span></span></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /><a href="http://www.amazon.com.au/The-Brazilian-Sound-Popular-Brazil-ebook/dp/B009KBTJAC">Brazilian Music Book (Australia)</a> <a href="http://www.amazon.de/exec/obidos/ASIN/B009KBTJAC">Brazilian Music Book (Germany)</a><br />
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<a href="http://www.amazon.it/exec/obidos/ASIN/B009KBTJAC">Brazilian Music Book (Italy)</a> <a href="http://www.amazon.fr/exec/obidos/ASIN/B009KBTJAC">Brazilian Music Book (France)</a>
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<a href="http://www.amazon.es/exec/obidos/ASIN/B009KBTJAC">Brazilian Music Book (Spain)</a> <a href="http://www.amazon.co.jp/exec/obidos/ASIN/B009KBTJAC">Brazilian Music Book (Japan)</a><br />
<br />
<a href="http://www.amazon.in/The-Brazilian-Music-Book-Songwriters-ebook/dp/B009KBTJAC">Brazilian Music Book (India)</a> <a href="http://www.amazon.com.mx/The-Brazilian-Music-Book-Songwriters-ebook/dp/B009KBTJAC">Brazilian Music Book (Mexico)</a></span></span></span></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">
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<a href="http://www.amazon.com/gp/feature.html/ref=kcp_ipad_mkt_lnd?docId=1000493771">Free Kindle reading apps (U.S.)</a></span></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span>
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<div style="text-align: center;">
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.amazon.co.uk/gp/feature.html?docId=1000425503">Free Kindle reading apps (U.K.)</a></span></span></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.amazon.com.br/gp/feature.html?docId=1000828031">Aplicativos de Leitura Kindle Gratuitos (Brasil)</a></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span></span></div>
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">
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<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;">Contact: authorjcmcgowan@yahoo.com</span></i></span></span><br />
<span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><span class="Apple-style-span" style="font-family: "arial" , "helvetica" , sans-serif;"><i><br /></i>
<i>_______</i></span></span></div>
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Unknownnoreply@blogger.com0