Vinicius Cantuaria and Bebel Gilberto Brasil Summerfest at Celebrate Brooklyn Brooklyn, New York July 18, 2014 On the opening night of the third edition of the city-wide Brasil Summerfest, guitarist Vinicius Cantuaria took the stage with his quintet. He played a semi-acoustic guitar and started with a syncopated instrumental interlude that led into Gilberto Gil's Procissão," a tune whose irony-filled lyrics wax critical against the blind faith of religious communities in Brazil. His delivery was quite personal, often singing down to a whisper, and leaving plenty of space for his improvisational riffing ...read more
Maira Freitas + Lenine Brasil Summerfest at Central Park Summerstage New York, NY July 19, 2014 For her New York City debut, Maira Freitas traveled lightly, backed solely by a drummer on stage. She did the first few songs on piano, beginning with a jazz- inflected samba and then moving on to a very personal rendition of Dream A Little Dream," her voice a clear soprano with great range. After introducing herself to the audience, she switched to an electric piano attached to a laptop, using lots of effects to enhance songs ...read more
Junity? No, that's not a misprint. Take junto," the Brazilian word for together, and marry it with unity"; that's how you get junity," a hybridized term that accurately describes the relationship between harmonica master Hendrik Meurkens and pianist Misha Tsiganov. These two men have been playing together for nearly a decade, appearing together on stages across the world and pleasing Meurkens albums like Samba To Go! (Zoho Music, 2009) and Celebrando (Zoho Music, 2012). Junity, a program containing seven harmonica-piano duo tracks and six quartet performances, highlights their simpatico relationship. This record is the first to focus ...read more
Pra Vocé is clarinetist Dexter Payne's homage to the late Thiago de Mello, the composer, percussionist and multi-instrumentalist whose life and music reflected the panoramic beauty of his native Brazil and with whom Payne recorded several beautifully reflective pieces of music, including and especially their self-produced 2007 duet Another Feeling (2006, Dexofon). Take time to stroll around and enjoy the beauty of its pathways and gardens, and sit in its contemplative shade, and you'll quickly learn that the quietly brilliant Pra Vocé more than honors de Mello--it seems to warmly embody his very musical breath. The uniquely beautiful ...read more
April is no more the cruelest month than the moon is made of cheese. For consideration this month we have nine recordings from far and wide: Antonio Adolfo to Little Feat far and wide. Antonio Adolfo Rio, Choro, Jazz AAM Music 2014 Before there was Bossa Nova, there was Choro, which itself was a eutection of European, American and African musical elements. One of the greatest Choro composers was Brazilian composer Ernesto Nazareth. Nazareth and his music is the focus of Brazilian pianist Antonio Adolfo, whose previous recordings in ...read more
For the more casual fans, Bossa Nova is the Brazilian contribution to music. But there's more than that, and a background from which the popularization of Brazilian sound began in America via saxophonist Stan Getz' teamings with Joao Gilberto and Antonio Carlos Jobim on Getz/Gilberto (Verve Records, 1963) and guitarist Charlie Byrd for Jazz Samba (Verve Records, 1962). Going deeper, and further back before the days of Bossa Nova, is pianist Antonio Adolfo on Rio, Choro, Jazz..., for an exploration of the music of seminal Brazilian composer Ernesto Nazareth (1863-1934). Brazil, as much as America, has ...read more
Growing up in the 1960s had one propitious cultural benefit; exposure at an early age to Brazil's amazing popular music of the day, the bossa nova. As my record collection grew, so did a desire to see first hand the country responsible for producing so much singular music. In 1970s, I spent three months in the country, seeing it from its southernmost realms to the heart of the Amazon in the far north. More trips to Brazil followed over the decades and the record collection mushroomed. By the late 1980s, I was writing stories about Brazilian musicians and ...read more
The award-winning Brazilian ensemble, Entrevero Instrumental, opens their Exodo CD with a burst of sound, an energetic melding of accordion, bass, drums, saxophone and seven string guitar. The tune is Folha Negra." It, and the rest of the music of the set, celebrates in vivacious style the rhythms of southern Brazil. Arthur Boscato's seven string guitar swings from lilting, subtle chords to tangy single notes in front of bassist Rodrigo Moreira's deep bass grooves. When saxophonist Jota Barbosa gets his chance out front he plays with fire, taking things to a near Tim Berne-ian (alto saxophonist) intensity level, that gives ...read more
Brazilian son Paulinho Garcia may not be an immediately recognizable figure in the jazz world today and that is largely by design as he eschews the limelight in favor of being behind the scenes producing concerts, working with other artists and serving as a clinician. A fine vocalist and guitarist, Garcia is no novice with several albums to his credit but Beautiful Love, is a special solo album and vehicle defining a humbling artist as he emerges from the shadows to present himself as the world-class musician he truly is. Described as a Chicago Treasure," the vocalist has been living ...read more
Brazilian music and jazz intermingle with other touches to produce Mauricio de Souza's Different Directions. There are a lot of different exposés, particularly of Brazilian rhythmic styles interpreted by a wonderful collection of artists contributing their artistic talents. Bossa Brazil lends itself more towards Brazilian music while the Mauricio de Souza group will have more traditional jazz leanings. As a whole, it feels like a natural organic whole. The project includes a combination of classics as well as original compositions. The opening Ponteio" by Edu Lobo opens everything with a fresh and engaging vibe led by Jerry Weir ...read more
Meet Daniel Villa Verde: In 2002, Daniel Villa Verde started to work as a guitar teacher, focusing on technique, harmony, and improvisation. He worked with local musicians in Rio De Janiero with jazz and fusion concerts from 2004 to 2007. He joined the Federal College University in Rio during 2005 and studied two and a half years until the middle of 2007. After Rio, he moved to Florianopolis--Southern Brazil-- where he had the opportunity to be among music therapist, which added to his informal training durish professional path. In 2007, he was presented to present his work as a ...read more
BarranquijazzBarranquilla, ColombiaSeptember 4-8, 2013Audiences in Latin America are totally different than in Europe," Italian clarinetist Gabriele Mirabassi told me while we shared a bus ride from the international airport n Barranquilla, Colombia to our hotel. Here, if you connect with them, people become passionate and emotionally expressive. In Europe, someone will come up after a concert and say something like, 'Oh, that was a very intellectual project you presented tonight.' They try to be cool. Here, it's a real joy to perform for audiences that appreciate what you do on a purely visceral level."Mirabassi, who ...read more
One of the many delights of writing for All About Jazz is stumbling upon a great CD from the past, and being able to bring it to an audience that might have missed its debut. It's clear that Songs from the Last Century is one of these rare gems--even before a single note is heard, the list of players and songs suggests that something very special is going on.For one thing, the leaders are the superb pianist Helio Alves and drummer Duduka Da Fonseca (hence HD2), who are known as two of the greatest emissaries of Brazilian music ...read more
Drummer Duduka Da Fonseca wasn't the first to fuse the rhythmic patterns of Brazil's samba and bossa nova with jazz language and mannerisms, but he's done more with that combination than anybody before him. In the liner notes for New Samba Jazz Directions, Da Fonseca notes that drummer Edison Machado-- working with pianist Dom Salvador and bassist Sergio Barrozo in the mid'60s--merged the rhythmic dialects of these art forms first, setting an example for many younger Brazilian drummers that yearned to follow in his musical footsteps. That group served as a template of sorts for Da Fonseca ...read more
Join our growing community ofwriters, musicians, visual artists and advocates.
One moment, you will be redirected shortly.