The Bossa Nova Project
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Dena Derose, Vocals and Piano Martin Wind, Bass • Matt Wilson, Drums with Sheila Jordan, Vocal • Jeremy Pelt, Trumpet Houston Person, Tenor Saxophone
19 juin, 2020. June 19, 2020. MAN MAN DREAM HUNTING IN THE VALLEY OF THE IN-BETWEEN CD / 2XLP / CS / DIGITAL SP 1350 RELEASE DATE: MAY IST, 2020 TRACKLISTING: 1. Dreamers 2. Cloud Nein 3. On the Mend 4. Lonely Beuys 5. Future Peg 6. Goat 7. Inner Iggy 8. Hunters 9. Oyster Point 10. The Prettiest Song in the World 11. Animal Attraction 12. Sheela 13. Unsweet Meat 14. Swan 15. Powder My Wig 16. If Only 17. In the Valley of the In-Between GENRE: Alternative Rock Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life’s extremes, beauty, and ugliness, order and chaos. The songs on Dream Hunting in the Valley of the In-Between, Man Man’s first album in over six years and their Sub Pop debut, are as intimate, soulful, and timeless as they are audaciously inventive and daring, resulting in his best Man Man album to date. 0 9 8 7 8 7 1 3 5 0 2 209 8 7 8 7 1 3 5 0 1 5 CD Packaging: Digipack 2xLP Packaging: Gatefold jacket w/ custom The 17-track effort, featuring “Cloud Nein,” “Future Peg,” “On the with poster insert dust sleeves and etching on side D Includes mp3 coupon Mend” “Sheela,” and “Animal Attraction,” was produced by Cyrus NON-RETURNABLE Ghahremani, mixed by S. Husky Höskulds (Norah Jones, Tom Waits, Mike Patton, Solomon Burke, Bettye LaVette, Allen Toussaint), and mastered by Dave Cooley (Blood Orange, M83, DIIV, Paramore, Snail Mail, clipping). Dream Hunting...also includes guest vocals from Steady Holiday’s Dre Babinski on “Future Peg” and “If Only,” and Rebecca Black (singer of the viral pop hit, “Friday”) on “On The Mend” and “Lonely Beuys.” The album follows the release of “Beached” and “Witch,“ Man Man’s contributions to Vol. -
Universidade Do Rio De Janeiro Centro De Letras E Artes Instituto Villa-Lobos Licenciatura Plena Com Habilitação Em Música
UNIVERSIDADE DO RIO DE JANEIRO CENTRO DE LETRAS E ARTES INSTITUTO VILLA-LOBOS LICENCIATURA PLENA COM HABILITAÇÃO EM MÚSICA CONVERGÊNCIA ENTRE A MUSICA POPULAR BRASILEIRA E A MUSICA ELETRÔNICA: UM PANORAMA NA VIRADA DO MILÊNIO JOÃO MARCELO LANZILLOTTI DA SILVA Rio de Janeiro, 2005 CONVERGÊNCIA ENTRE A MUSICA POPULAR BRASILEIRA E A MUSICA ELETRÔNICA: UM PANORAMA NA VIRADA DO MILÊNIO por JOÃO MARCELO LANZILLOTTI DA SILVA Monografia apresentada para conclusão do Curso de Licenciatura Plena em Educação Artística - Habilitação em Música do Instituto Villa-Lobos, Centro de Letras e Artes da UNIRIO, sob a orientação do Professor Silvio Merhy. Rio de Janeiro, 2005 SUMÁRIO Introdução 5 Capítulo I - TECNOLOGIA E SEUS ASPECTOS SOCIAIS 9 1. Historiados Djs 11 2. Novos equipamentos 14 Capítulo II - IMPORTANTES PONTOS DE CONVERGÊNCIA ENTRE A MÚSICA BRASILERIA E A MÚSICA ELETRÔNICA 23 1. Instrumentistas 1.1 Marcos Valle 24 1.2 Max de Castro 30 1.3 BossaCucaNova 31 2. Breve histórico de alguns Djs que fazem o Brazilian Drum 'n 'Bass 2.1 Patife 33 2.2Marky 33 2.3 Ramilson Maia 34 2.4 Bruno E 34 2.5 Xerxes 34 2.6MadZoo 35 2.7 Marcelinho da Lua. .35 3. Criação do Drum 'n'Bass 35 4. A cena eletrônica que originou o Brazilian Drum n'Bass 38 5. Reflexões 42 6. Análise Musical 44 3 Capítulo III - A NOVA PRODUÇÃO MUSICAL: COMO CADA UM FAZ SUAS PRODUÇÕES 47 1. Bossacucanova 48 2.Negralha 51 3. Patife 51 4. Marky 53 5. Lúcio K 53 6. Xerxes 55 7. Madzoo 56 8. -
Liebman Expansions
MAY 2016—ISSUE 169 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM DAVE LIEBMAN EXPANSIONS CHICO NIK HOD LARS FREEMAN BÄRTSCH O’BRIEN GULLIN Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East MAY 2016—ISSUE 169 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Chico Freeman 6 by terrell holmes [email protected] Andrey Henkin: [email protected] Artist Feature : Nik Bärtsch 7 by andrey henkin General Inquiries: [email protected] On The Cover : Dave Liebman 8 by ken dryden Advertising: [email protected] Encore : Hod O’Brien by thomas conrad Editorial: 10 [email protected] Calendar: Lest We Forget : Lars Gullin 10 by clifford allen [email protected] VOXNews: LAbel Spotlight : Rudi Records by ken waxman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above CD Reviews or email [email protected] 14 Staff Writers Miscellany David R. Adler, Clifford Allen, 37 Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Ken Dryden, Donald Elfman, Event Calendar 38 Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Tracing the history of jazz is putting pins in a map of the world. -
Trio Da Paz Honors Getz and Gilberto Posted 9/5/2012
Trio da Paz Honors Getz and Gilberto Posted 9/5/2012 Trio da Paz has more than enough firepower to command any stage in jazz all by itself. The Brazilian expatriate supergroup of guitarist Romero Lubambo, bassist/composer Nilson Matta and drummer Duduka Da Fonseca has been moving Brazilian jazz forward for two decades. But Trio da Paz plus vibraphonist Joe Locke, tenor saxophonist Harry Allen and vocalist Maúcha Adnet constitutes an embarrassment of riches. Trio da Paz (Photo: Frank Stewart) Their annual twoweek residency at Dizzy’s Club CocaCola at Jazz at Lincoln Center has become a popular endofsummer tradition for New Yorkers seeking cool tropical melodies as a respite from the city’s August heat. The theme of this year’s edition, seen Aug. 24, was the transcultural collaboration of Stan Getz and João Gilberto—who, together with Antônio Carlos Jobim, turned the quiet revolution of Brazilian bossa nova into a worldwide phenomenon in the early 1960s. But the Getz/Gilberto tribute was really just a starting point for the trio’s excursion into samba jazz and beyond, a bridging of North and South American jazz styles that allowed for soaring improvisation. Bossa nova and samba jazz were created in the late 1950s by Brazilian musicians who were listening to Stateside artists exploring “cool jazz,” such as Elvin Jones, Wes Montgomery, Miles Davis and John Coltrane. Bossa nova is songbased; it is, as Jobim alumnus Adnet explained, “a little guitar … love and music, quiet and sensual and cool.” Samba jazz, by contrast, is a blend of Brazilian rhythm with jazz improvisation that is more instrumental and open to extended blowing. -
MUSIQUES DU MONDE Afrique
MUS MUSIQUES DU MONDE COMPILATION Urgent jumpin 013.2 Sterns Africa A. URG Cette sélection de 23 titres Afrique enregistrés en Afrique de l’Est entre 1972 et 1982 est aujourd’hui disponible sur un double album. Elle a été sélectionnée par John MUS Armstrong, l’un premier DJ Grèn SEME londonien à jouer régulièrement des musiques 011.2 Hors sol africaines et latines. Elle se compose de titres rares Washi Washa GRE mais aussi de classiques faisant partie de l’arsenal de la liste grandissante des DJ jouant de la musique A la Réunion, Grèn Sémé ne africaine. Certains des titres présents sur cet album cultive pas hors-sol : venu du ont même traversé l’Atlantique et sont aujourd’hui maloya (la musique endémique joué sur des sound-systems et au carnaval de de l’île), le chanteur en défend Colombie. une version contemporaine, ouverte sur l’électricité et les arrangements électroniques. MUS GIRMA BEYENE & AKALE WUBE Ethiopiques 30 : 013.2 BEY TANGA MUS Mistakes on purpose 011.2 Buda Madagascar : TAN Girma Bèyènè est une véritable le trésor des ancêtres Buda légende de la musique éthiopienne. près 25 ans de Dans les Hautes -Terres de silence, la légende Girma Bèyènè Madagascar, une famille de est de retour au côté d’un des paysans combine agriculture, plus grands groupes éthio Akalé chant et danse avec un profond Wubé. De la musique sens de l’harmonie, qu’elle soit traditionnelle à l'éthio-jazz, du Krar au Begena, la musicale, écologique ou sociale. musique éthiopienne dessine une longue histoire, que Le groupe Tanga, est un bel nous parcourons sur ce cd avec le grand musicien exemple de continuité entre tradition et évolution. -
Tropicália Directed by Marcelo Machado
Tropicália Directed by Marcelo Machado “It's hard to find the right word...to describe it. It's indescribable. It's like trying to describe molecules. Why doesn't my arm dissolve itself, or disappear? Who ties it all together? I'm a walking miracle. We are. How can these molecules and atoms stick here together? Why don't they dissolve and fly off? What's the glue that holds them together? What glue connected all those people?” - Sérgio Dias Baptista of the ‘Mutantes’ TROPICÁLIA Long before the so-called global village came into existence, and the Internet made it easy to spread your name around the world, Brazil was already global. It is a country which is culturally cannibalistic by nature, in which the new and the old, the foreign and the indigenous, not only lie side by side but are mixed, assimilated and recreated day in day out. What sort of country is it, in which, at the height of the 60’s, a capoeira song, played with the aggressive drive of rock’n’roll, found its way into thousands of homes, entitled ‘Sunday in the Park’? What do you call this huge melting-pot? Tropicalism! And, what exactly is Tropicalism? It is this simple, yet complex, question that a Portuguese TV host puts to an exiled and downbeat Caetano Veloso right at the start of Marcelo Machado’s film. The director, who grew up listening to the ground-breaking sounds of Caetano Veloso, Gilberto Gil, the Mutantes and Tom Zé, and who did not understand lyrics in English, though had a passion for something called rock’n’roll, takes the audience on a tour through sounds and images and into the history of one of Brazil’s most iconic cultural movements. -
Cliff Korman Ensemble: Tribute to Paulo Moura
CLIFF KORMAN ENSEMBLE: TRIBUTE TO PAULO MOURA September 23, 2013 7:30 PM (le) poisson rouge 158 Bleecker St, New York, NY WELCOME Dear friends, Welcome to a new season of the MetLife Music of the Americas Concert Series. We are delighted to be at (le) poisson rouge tonight and to enjoy the music of Cliff Korman. Cliff, pianist, composer, and educator, moved to Brazil a few years ago and this has put him in direct contact with a music that he had spent years studying from this side of the Equator. With him for tonight’s homage to the late Paulo Moura are Augusto Mattoso, Pascoal Meirelles, and special guest Billy Drewes. Thank you for joining us! Sebastian Zubieta, Music Director The MetLife Foundation Music of the Americas concert series is made possible by the generous support of Presenting Sponsor MetLife Foundation. This concert is presented in collaboration with Festival Savassi NY. The Fall 2013 Music program is also supported, in part, by an award from the National Endowment for the Arts, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. Additional support is provided by Alejandro Cordero. In-kind support is graciously provided by Festival Savassi NY and the Dirección de Asuntos Culturales del Ministerio de Relaciones Exteriores y Culto de la República Argentina. AMERICAS SOCIETY 680 Park Avenue, New York, NY 10065 • T: (212) 249 8950 www.as-coa.org TONIGHT’S PROGRAM METLIFE FOUNDATION MUSIC OF THE AMERICAS CONCERT SERIES presents CLIFF KORMAN ENSEMBLE: TRIBUTE TO PAULO MOURA Guadeloupe Paulo Moura Mulatas, Etc. -
Aspects of Interpretation and Improvisation in the Performance of Brazilian Guitar Music
ASPECTS OF INTERPRETATION AND IMPROVISATION IN THE PERFORMANCE OF BRAZILIAN GUITAR MUSIC by Michael Bevan A submission comprising CDs, DVD and an exegesis in fulfilment of the requirements for the degree of Master of Music Elder Conservatorium of Music The University of Adelaide March 2008 TABLE OF CONTENTS Abstract iii Statement iv Acknowledgments v List of Figures vi 1. INTRODUCTION 1 2. CHORO IN ITS HISTORICAL AND STYLISTIC CONTEXT 3 2.1) Background to Brazilian popular music and the development of choro 2.2) Characteristics of choro 2.3) Performance practice within the choro guitar repertoire 3. A COMPARISON OF TWO RECORDED PERFORMANCES OF CHORO #1 (FOR SOLO GUITAR) BY HEITOR VILLA-LOBOS 8 4. THE RECITALS 14 4.1) Overview 4.2) First Recital 4.2.1) Solo 4.2.2) Duo 4.2.3) 7-string guitar and the baixaria in a group setting 4.2.4) Trio 4.3) Second Recital 4.3.1) Harmonic interpretation 5. CONCLUSION 35 APPENDIX A: Track Lists for CDs and DVD 36 APPENDIX B: Recital Program Notes 38 BIBLIOGRAPHY 43 Included with this submission: • CD 1 – Audio Recording of Recital 1 • DVD 1 – Video recording of Recital 1 • CD 2 - Audio recording of Recital 2 • CD 3 – Comparative Examples and Audio Extracts ABSTRACT This research into Brazilian music in general, and choro guitar music in particular, focuses primarily on the various and contrasting ways in which the repertoire is interpreted by Brazilian choro musicians, classical guitarists and jazz guitarists. Socio-cultural traditions and conventions are also explored. An important facet of performance in the Brazilian tradition is improvisation. -
Uma Árvore Da Música Brasileira, Das DA MÚSICA EINURDOÍGPEENIAA Edições Sesc São Paulo, E Não Pode Ser Vendido Separadamente
Cordel do Fogo Encantado Mestre Ambrósio Pitty Beto Guedes Paulinho Moska Cássia Eller Nação Zumbi Lô Borges Rumo Nuno Mindelis Capital Inicial Titãs DJ Patife Maria Rita Renato Braz Mundo Livre S/A Suzana Salles Legião Urbana Velhas Virgens Itamar Assumpção Tavinho Moura Cólera Skank André Christovam Suba Sepultura Chico César Damiano Cozzella Chico Science Inocentes T DJ Dolores Ultraje a Rigor Pato Fu Djavan Luiz Tatit Wagner Tiso Flávio Guimarães A Blues Etílicos E O Rappa Guilherme Arantes B Ira! Zélia Duncan Rogério Duprat E U DJ Marky Arrigo Barnabé Márcio Borges Ratos de Porão G Engenheiros do Havaii Jota Quest N Camisa de Vênus RPM Marina Lima Seu Jorge A Celso Blues Boy M DJ Mau Mau Vânia Bastos Toninho Horta Júlio Medaglia Cazuza Mamonas Assassinas P Fátima Guedes Tony Osanah U N Karol Conka Oswaldo Montenegro Ná Ozzetti BL K Barão Vermelho Milton Nascimento O Terço UES Ritchie Criolo Raimundos Adriana Calcanhoto Lobão Léo Jaime Rincon Sapiência Premeditando o Breque Lanny Gordin Kid Abelha Ludmilla V Ronaldo Bastos Som Nosso de Cada Dia Charlie Brown Jr. AN Sabotage G Ney Matogrosso Zé Ramalho U Paralamas do Sucesso Emicida A C R Made in Brazil Anitta D L Capinan Blitz A U Black Alien Fafá de Belém P B Emílio Santiago A Rappin’ Hood E Fábio Jr. Simone U L D Secos & Molhados Lulu Santos Rosa Passos Bonde do Tigrão Alceu Valença I S A T Torquato Neto Marcelo D2 Danilo Caymmi A E Belchior N Wando S Tati Quebra-Barraco Walter Franco A Joelho de Porco Q Rita Lee Leny Andrade Sérgio Mendes Aldir Blanc Gabriel, o Pensador Fagner -
Wagner Tiso & Som Imaginário
WAGNER TISO & SOM IMAGINÁRIO Release WAGNER TISO & SOM IMAGINÁRIO Em 1970 o produtor musical José Mindlen, propos a Milton Nascimento, então já conhecido pelos Festivais de Musica, que mudasse o seu estilo bossanovista de banquinho e violão e fizesse algo mais ousado. Teve a idéia de montar uma banda para acompanhá-lo numa temporada de shows no extinto Teatro Opinião em Copacabana. Para isso convidou Wagner Tiso (piano), Luis Alves (contrabaixo) e Robertinho Silva (bateria), que já tocavam juntos na noite do Rio, e, a estes três, juntou José Rodrigues Trindade (Zé Rodrix), Luis Otávio de Melo Carvalho (Tavito) e Laudir Soares de Oliveira (percussão). Estava formado o grupo que acompanharia Milton Nascimento. A musica do Som Imaginário era uma mistura de blues, jazz, rock progressivo, musica erudita e Beatles pós 66, dadas as influências de cada membro do grupo. O grupo gravou tres lps próprios e filmaram o curta A Nova Estrela de José Adler. Gravaram, e foram a banda de apoio de Gal Costa na turne do disco India em 1971. Participaram também da gravação dos lps Milagre dos Peixes em estúdio e ao vivo de Milton Nascimento em 1973 e 1974 respectivamente, tendo a turne o mesmo nome. MPB4, Marcos Valle, Taiguara, Simone, Odair Jose, Carlinhos Vergueiro e Sueli Costa, foram os artistas que tiveram nos seus discos a participação do grupo. Passaram pelo Som Imaginário nas suas diversas formações, os musicos Fredera, Toninho Horta, Nivaldo Ornelas, Paulo Braga, Naná Vasconcelos, Novelli, Jamil Joanes, Ricardo Silveira e Mauro Senise. Em 1975 a banda se desfaz, retornando em 2012 com a sua formção original, sem Zé Rodrix falecido em 2009, para tres show no SESC Belenzinho em São Paulo. -
Brazillian Voices
FROM BRAZIL TO THE WORLD Who are the Brazilian Voices Brazilian Voices is a female vocal ensemble engaged in musical performances as an instrument for the advancement of intercultural, educational, philanthropic and entertainment activities, with the purpose of creating a peaceful artistic movement with social responsibility to the local and global community. Five times award winner of the International Brazilian Press Awards, Brazilian Voices is composed of about fifty females who have been expanding Brazilian music in the United States, Brazil, Italy and Spain singing famous composers of Brazilian music. Brazilian Voices will immerse you in the beauty of the Brazilian culture with the educational program “From Brazil to the World”. Through a combination of informative presentations and live performances, the participants will learn in an interactive and interesting way about Brazilian rhythms and culture. Music allows all of us to develop a greater capacity for concentration, creative group work, and imagination, while fostering a greater sense of responsibility as well as more adaptive interpersonal involvement. Music also offers unique communication as it provides individuals with an alternative channel of interaction and participation with a wide range of abilities, from listening and active contribution to adept performance. With these objectives in mind, Brazilian Voices has developed this educational program that offers a broader understanding and greater appreciation of musical and cultural diversity. FROM BRAZIL TO THE WORLD What to Know About Brazil Discovered in 1500, Brazil was colonized by the Portuguese, but its population is very diverse, with many races and ethnic groups. Brazil declared its independence in 1822, now being a Federal Republic with a multi-party political system, holding democratic elections. -
A Brief History of Bossa Nova
A brief history of Bossa Nova Translation of Bossa Nova = New Trend (Taken from “The marriage of American Jazz and Brazilian Bossa Nova” Masters thesis by Ami Molinelli and Andre Scarabelot; California Institute of the Arts (CalArts, 2002) 1850-1910 Birth of Choro: Brazil’s first national music and the mother of the samba. Likened as Brazil’s “ragtime” 1917 First “possible” recording of a Samba “Pelo Telefone” 1939 Carmen Miranda brings “Samba” to the USA 1956 “Orfeo Negro” or Black Orfeus opens as a play (musical composer is Vinicius de Morães) 1956 “Bim Bom” composed by Joao Gilberto and is considered the first bossa nova composition for style and simplicity* 1958 Elizete Cardoso released album Canção do Amor Demais; with compositions by Jobim/Morães; track of Chega de Saudade considered first bossa nova recording 1958/59 Chega de Saudade/No More Blues released by João Gilberto (written by Jobim/Morães) and gains popularity. Bim Bom was released on this album Mid-late 1950’s MusiDisc (Brazilian Record label) is issuing Pacific Jazz Records: “West Coast Jazz” ** 1959 Film adaptation of play “Black Orfeu” wins 1st prize at Cannes Film Festival (soundtrack by Luis Bonfá and Antônio Carlos Jobim and includes compositions by Morães) 1962 “Jazz Samba” released in April on Verve by Stan Getz and Charlie Byrd*** 1962 Carnegie Hall Bossa Nova concert: Miltinho Banana, Luiz Bonfá, Ico Castro-Neves, Oscar Castro-Neves, Carmen Costa, Chico Feitosa, Stan Getz, João Gilberto, Antônio Carlos Jobim, Ana Lucia, Carlos Lyra, Gary McFarland, Sérgio Mendes, Roberto Menescal, José Paulo, Roberto Ponte, Sérgio Ricardo, Normando Santos, Agostinho dos Santos Lalo Schifrin, Bola Sete, Percy Wilcox, and Caetano Zama, etc.