Brazilian Jazz Duduka Da Fonseca INTERVIEWS Romero Lubambo BADI ASSAD RONI BEN-HUR Nilson Matta PHILIP MARUCCI

Home , Badi Assad, Benny Harris, Canta Brasil, Claudio Roditi, Dom Salvador, Dori Caymmi

BRAZILIAN August 14 - 26 PERCUSSION SERIES @ Dyzzi’s Club Coca Cola RAFAEL BARATA Interview PG. 18 GRACILIANO ZAMBONIN DURVAL PEREIRA

EDITOR’S NOTE & EDITORIAL TEAM

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ADVERTISING KIT THE MAGAZINE REACHES THOUSANDS OF PEOPLE 8 RONI BEN-HUR ———————–-—— PG 7 ———————————--

RONI BEN-HUR—GUITARIST

CITIZEN OF BRAZILIAN MUSIC SERIES

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RAFAEL BARATA

DRUMMER/PERCUSSIONIST 10 RAFAEL BARATA BRAZILIAN PERCUSSION SERIES

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BADI ASSAD

SINGER , GUITARIST, AND COMPOSER

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14 BADI ASSAD

Published by Asuos Productions Supported by Brazilian Music Foundation

Online Magazine

Performances | Culture | Education

TRIO DA PAZ

BRAZILIAN JAZZ GROUP

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GRACILIANO ZAMBONIN—DRUMMER 18 TRIO DA PAZ BRAZILIAN PERCUSSION SERIES

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PHILIP MARUCCI—PIANIST

THE CITIZEN OF BRAZILIAN MUSIC SERIES

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DURVAL PEREIRA—PERCUSSIONIST 22 GRACILIANO ZABONIN DRUM UP BRAZILIAN MUSIC

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FESTA JUNINA CULTURAL MANIFESTATION ———————–-—— PG 28-37 —-———————

26 DURVAL PEREIRA Background photo: Festa Junina typical decoration

Editor In Chief Madalena Sousa [email protected]

Editor’s Note

As the "dog-days-of-summer" progress for We're thrilled to include profiles of other musicians most New Yorkers and visitors navigate through The promoting Brazilian Music in United States warmly Big Apple, the winter season arrives in Brazil with the referred to as “The Citizen of Brazilian Music”. In this same intensity making festivities at this time of year edition, we interviewed Roni -Ben Hur (guitarist), and warmer with music, dancing, regional foods, and "hot" Philip Maurice (pianist). libations. It's time for Festa Junina! Celebrations began in June and extend through the end of July across Bra- Bossa Magazine welcomes the generosity of new zil. In this edition of Bossa Magazine, we offer a contributors who offered their stories for this edition. glimpse of this annual, colorful, cultural event. We also recognize and appreciate everyone (our unsung heroes) helping behind the scenes:"Thank you, Festa Junina began with modest festivities enjoyed by Gracias, Merci and Obrigado”! rural farmers, known as caipiras. Today, it's a staple Brazilian event and celebrated everywhere. Men wear We appreciate your continued support of Bossa Maga- costumes resembling farm boys with large straw hats. zine's mission which is to promote, educate, and Ladies wear pigtails, freckles, painted gap teeth and red advance Brazilian Art and Music worldwide. -checkered dresses. More details about Festa Junina in this edition. If you would like to contribute content for future publi- cations, kindly email to: [email protected]. In New York City, Brazilian Jazz is in the air, warms our hearts and touches our soul. Read the personal inter- Thank you all for your support! views with acclaimed musical artists such as Badi Assad, and Trio da Paz ( Duduka Da Fonseca, Romero Lubambo, and Nilson Matta). Madalena Sousa This month, we continue presenting the “Brazilian Percussion Series”, with stories and insights from Brazilian Music Foundation Rafael Barata, Graciliano Zambonin, and Durval Pereira, Founder/President/CEO ( drummers and percussionists) who proudly showcase Bossa Magazine Brazilian Jazz in New York City and globally. Founder/Editor In Chief

Editorial team BOSSA MAGAZINE Madalena Sousa: PROMOTES Editor In Chief/Designer Contributors

Mila Schiavo/Drums Up Interviews

Exhibitions , Concerts, Interviews, Proofreading Reviews, History, Education, Kyle Fields Shereen Santalesa Lectures, Workshops, and more… Pria Mahadevan

Arnaldo Buzack/Translation

Become one of our collaborators! Brazilian Art and Music Contact: ONLINE MAGAZINE [email protected] www.bossamagazine.com

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Interview with RONI BEN-HUR

By Madalena Sousa/Editor In Chief

Originally from Israel but a longtime American citizen, the formidable guitarist and educator Roni Ben-Hur fell in love with Brazilian Music in the first time he heard it. In an “Up Close and Personal Interview” with Bossa Magazine he talks about his experience playing with some of the greatest Brazilian Musicians. Continue...

Concert date: July 13th to 15th @ Dizzy’s Club Coca Cola Roni Ben-Hur Quartet Helio Alves/Piano, Itaiguara Brandao/ Bass, & Helio Schiavo/Drums Special guest Joyce Moreno/Vocal

“The Citzen of Brazilian Music”

PG 8 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – JULY 2018 |EDITION # 11 Bossa Magazine Interview by Madalena Sousa RONI BEN-HUR - GUITARIST Editor In Chief who gave me an insight to the enormous the rhythms that have African elements in he Jazz guitarist Roni Ben-Hur has contribution of her generation to music in them speak to me deeply. earned a sterling reputation as a general, and to the depth and genius of musician and educator, renowned Brazilian music. How do you see the bridge between jazz for his golden stone, improvisation- and bossa nova? Tal brilliance, compositional lyricism and Why did you choose Brazilian music? ability to charm peers, students and Jazz musicians adopted the bossa nova listeners alike. Eminent jazz critic Gary RB: I think it chose me, and I was very repertoire from the start, and used it to Giddins wrote in the Village Voice: “A lim- happy to comply. It has infectious create beautiful improvisations, reharmo- ber and inventive guitarist, Ben-Hur keeps rhythms of course, and an abundance of nization, and arrangements. It is integral the modernist flame alive and pure, with a romanticism in it’s melodies and harmo- to jazz since the 60’s. Brazilian composers low flame burning in every note… He is a nies to my ear, and I am a sucker for that. were influenced by jazz and the Great guitarist who knows the changes and his American Songbook always, I believe, and own mind.” Roni – born in Israel in 1962 What was the first Brazilian tune(s) you you can hear it in the evolution of Brazilian but a longtime American citizen, based in learned? music. In many ways there is a parallel New York City – has recorded a dozen evolution in both jazz and bossa nova, one albums as leader or co-leader, with The I think it was Wave by Jobim style influencing the other, and vise a New York Times praising his “crisp, fluid versa. style” and Time Out New York calling him What are your fondest Brazilian musical “a formidable and consummately lyrical memories? How can Americans become more aware guitarist.” He has developed a rare facility of Brazilian music? in both straight-ahead jazz and Brazilian There are many. Spending a week in Rio styles, evidenced by his work with masters with Leny Andrade, working on our CD, I think they are aware of it because it has in both fields, from pianist Benny Harris to Alegria de Viver (Motema Music), and entered popular culture in America, vocalist Leny Andrade. performing with her in New York, Brazil appearing in movies, TV shows, and and Australia. Working with Duduka Da more. When the many great artists of Roni’s latest recording project, Introspec- Fonseca on the two CD’s we made with Brazil who live there come to perform in tion (Jazzheads), finds him in league with Santi Debriano, Our Thing (Motemathe US it adds an important dimension, bassist Harvie S. and drummer Tim Horn- Music), and Manhattan Style (Jazzheads). and Pat Philips' exceptional work in er, exploring classics by jazz composers Sharing the stage for a week with the bril- presenting Brazilian music in the US for from Billy Strayhorn and Thelonious Monk liant Marcos Valle, and Jaques and Paula many years is a perfect example of ways to Kenny Dorham and Joe Henderson. The Morelenbaum. Recording Mojave (Mote- to introduce more an more American to it. album, titled Introspection, also includes ma Music) with Nilson Matta, Café and Brazilian numbers by Baden Powell and Victor Lewis. And all the fun gigs and ses- Having institutions, like the Brazilian Ary Barroso, plus a Jerome Kern standard. sions with the great Brazilian musicians of Music Foundation, create events that Summing up Roni’s virtues as an artist, New York. promote the many styles of Brazilian The Star-Ledger of New Jersey said: music, some of which American are not “A deep musician, a storyteller, Ben-Hur aware of as much, is also very important works with a warm, glowing sound and Who are your favorite Brazilian musi- for this goal. has an alluring way of combining engaging cians, rhythms, groups, and CD’s? notes with supple rhythm.” Along with What kind of message do you want to releasing acclaimed educational products There are too many to list, and I look send to the world with your music? – such as the instructional DVD Chordabil- forward to discovering ones that I didn’t ity and method book Talk Jazz Guitar – of yet, and to falling in love with them as That peace and love are the answers. Roni has directed international jazz camps well. for 18 years. Jazz guitar star Russell Do you frequently perform anywhere? Malone got it right when he said: Were you influenced by old records from “Everything Roni does is beautiful. He has Brazil ? Which ones? I perform regularly in New York, and often the magic touch.” tour in Europe and the US. I was. I can’t remember all of them. One *** artist that left a profound imprint on me Tell us about your coming up show on By Madalena Sousa/Editor in Chief from the start when I heard his recordings July 13th-15yh at Dizzy's. is Baden Powell. Questions: For this performance, I am bringing a Did you record any CD with Brazilian group of musicians from Brazil to pay Roni, When did you get involved with Tunes? Did you record any other CD? tribute to some of the country’s beloved promoting Brazilian music? composers. Expect uplifting sambas, sen- I have recorded 12 CD’s as a leader and co sual bossa novas, and much more—all I fell in love with Brazilian music the first leader. Eight of them include Brazilian infused with a New York jazz spice. I am time I heard it, back in the 70’s in music, and two are exclusively of Brazilian especially excited about our special guest, Israel. It’s hard not to. Many of the Bossa Music, Mojave and Alegria de Viver, both legendary songstress Joyce Moreno. Novas, especially by Jobim, are part of the on Motem Music. A true master of this music, Joyce has standard jazz r epertoire, and I played been on the vanguard of the evolution of some of them as soon as I started playing What do you expect of the future of Brazilian music and has charmed people jazz. It wasn’t till around 2004 that Brazilian I Music? around the world for many decades. I feel started to study and listen more closely to very fortunate to share the stage with her, the music of Brazil. That year I recorded Like all great styles of music, I believe and it will be a memorable experience to my CD Signature (Reservoir Music), which Brazilian music has now become music of every one in the room to hear her. included two pieces by Villa-Lobos and the world, with artists from all over one by Jobim. Since then I have featured performing it, and adding their spices to Concert date: July 13th to 15th songs from Brazil in all of my recordings, it. I except it to continue that trend, and @ Dizzy’s Club Coca Cola and have played with many of the great to become popular at every corner of our Roni Ben-Hur Quartet Brazilian musicians living in New York like beautiful planet. Helio Alves/Piano, Itaiguara Brandao/ Duduka Da Fonseca, Helio Alves, Café, Bass, & Helio Schiavo/Drums Itaiguara Brandão, and many others. What rhythms do you like the most? Special guest Joyce Moreno/Vocal

I also had the great honor to record and I have North African roots (I was born in Tickets: perform with the divine, Leny Andrade, Israel to a Tunisian jewish family), and all PG 9 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – JULY 2018 |EDITION # 11

Interview with Rafael Barata

By Madalena Sousa/Editor In Chief

BRAZILIAN PERCUSSION SERIES

In the Rhythm of the Drums

Until the mid 50's, Brazilian drumset players played Samba grooves using the snare drum and tom-toms. That used to be called the batuque, the samba cruzado, the "reco-reco" sound made by the brushes gliding against the drumhead, full of possibilities and variations. With the advent of bossa nova grooves started to be played on the ride cymbal and hi-hat, and since that time each and every samba beat is executed in that manner. Our intention is to rescue that ancient and authentic way of playing developed by drummers like Luciano Perrone, Sut, Valfrido Silva and many others. We must not lose all that rhythmic wealth in the name of transformation, or of a revolution in the sense of modernity. continue....

Born in Rio de Janeiro, Brazil, Rafael Barata In your creations, is there a segment of the stage, which concerns me, it is not the best is a self-taught drummer started to playing percussion that is most striking and an choice. Be aware that the "connection" is at the age of five. instrument, in particular, that you have the key for any kind of relationship. On more involvement? How would you define stage, you need to be connected with your He was the house drummer at Mistura Fina your line of work? Well, I play for the music. fellows. You really need to listen to what - Rio de Janeiro's Jazz headquarters - for It’s like a tailor: I need to make the best they are playing. Be supportive and interact many years with the piano legend Osmar fitting suit. My drumming needs to fit per- as much as possible. Everything with happi- Milito and the bassist Augusto Mattoso. At fect in the song. So I work for it. No virtuosi; ness and heart. Then, I’m sure the concert this venue, he had the opportunity to play just taste and in the right dosage. I believe will be a blast! with several great artists including Russell the samba school rhythm is in my soul. I can Ferrante, Mike Shapiro, John Pizzarelli, close my eyes and easily feel the entire In which way, would you say, is your cul- Jane Monheit, Karrin Allison, Kevin Lethau, groove swinging. I feel that I can make the tural background reflected in your perfor- Mike Stern and many others American jazz three hundreds players live on my drums. mances? I believe in my creativity. I like to artists. When I play a samba solo, I feel they are create at the moment that I’m playing. with me. Tamborim is a special instrument. I mean, I usually don't bring any phrasing Rafael has played and recorded with many I used to say Tamborim is for the Samba as from home except when there is some impressive artists such as Emilio Santiago, the cowbell is for the Cuban/Latin music. specific arrangement involved. As a Brazili- Rosa Passos, Kenny Barron, Edu Lobo, and And its phrasing is the one which really an, I grew up in a culture where nothing was Eliane Elias. Rafael worked on Eliane’s leads the beauty of the samba! Somehow easy or cheap. So, I had to fix my toys, my Grammy award winning album, Made in I was able to bring this learning to my instruments, learn how to do it, and defi- Brazil . straight jazz. I can see how close Jazz and nitely make good sound from crappy drums. Samba are. I believe this exercise of constant approach In a interview with Bossa Magazine, Rafael in hard times, plus the tight time, sharpened explains in details about his professional Do you do anything else besides percus- my blades to make the right surgery cut on career. sion? Do you teach music? My whole dedi- the right time. In other words, I had to cation is for the rhythm, despite my first create several musical solutions for many By Madalena Sousa/Editor In Chief instrument being the piano. When I was five musical situations. I can immediately choose *** years old, I had lessons for a short period. the best one for the specific moment from Rafael, when did you start writing/ But I couldn't afford it considering that my “my bag of ideas which I've been collecting". producing music - and what or who were brother was 5 years older than me and five your early passions and influences? I am years ahead of my piano lesson! It was a Could you describe your creative process not a composer. However, as a producer, little boring for me. So rhythm is my life. I do on the basis of a piece or album that's par- I've been doing projects over the past 20 teach lessons. I developed a program called ticularly dear to you, please? Where do years. As a drummer, I started at five years "Core of research and development for art ideas come from, what do you start with old. My home was my big influence: Dad, and music". My lessons are for groups and how do you go about shaping these Roberto and brother Beto, all musicians. My (cores) up to six persons- all dedicated to ideas? As I said to the previous question, I dad played the drums before I was born improving their skills, but always with some collected a wide selection of ideas that then switched to Cavaquinho and lead his artistic approach. The key is the develop- could be subdivided into music interpreta- own group for decades as Samba, MPB and ment of your own art. This means con- tions, solutions or simply spontaneous Choro player. My brother, a piano player, necting you with your soul to make all your choices which I absolutely respect. Anything started young as well. We always played ideas sound natural and putting more soul spontaneous should be appreciated because together at home. Besides my family, the in your music. I assume this is one of my big it’s coming from somewhere else, other long play records were my biggest deals. Technical skills we have much availa- than your mind. Then I say: No conscious = influences. Albums like Emilio Santiago, ble online. People are really looking for eve- All natural vibes. And this is the deal! I still Sinatra, Leny Andrade, definitely were spe- rything, to learn as much as possible and play along with records and most of the cial in my life. then, they just don't learn about them- time, I try to find recordings that didn't selves. For me, you are your music. You originally have drums but that I consider Which famous percussion musicians have need to find out everything about yourself playable. For example, Kenny Wheeler's you learned from? Were you influenced by to make the most natural music. I do online Angel Song. It’s an amazing album. To shape foreign percussion music? I wasn’t first lessons as well and private in accordance my ideas into a song, I first need to feel the “caught” by drummers. The music and the with my schedule. energy meaning how much energy the other swing were my guidance. So, American Jazz musicians are putting on it, in terms of and the Brazilian Bossa are my deepest Have you ever tried playing a different in- excitement and breath. Breathing keeps us influences. In my childhood, my concern strument? If yes, how good were you at it? and the trees alive so we need to breath was about playing “the song”, not necessarily I like bass. I feel good playing but I know it is while we are playing and throughout our like the drummer on the record but as close a very long road and I don't feel comfortable music. Balancing this amount of energy to as good as possible. Then of course big taking it because I still intend to practice my with the others will be the first step. Then, names popped out later. Jack Dejohnette, drums. So, not too much time remains for I develop groove ideas following or counter- Elvin Jones, Peter Erskine, Jeff Hamilton and the bass. Also, I tried recently to play the pointing bass lines. But the harmony will Brazilians such as Paulo Braga, Carlos Bala, violin of my lovely Lara Salustiano. I felt so dictate the colors and I will use my cymbals Pascoal Meirelles and Robertinho Silva were bad because I couldn't do anything fair. This to contour this room. I also love mallets and also on my shelf. instrument is quite challenging and abso- brushes to spread colors and dynamics. lutely unfriendly (Ha ha). That's a serious Dynamics are critical in music. Who are your favorite musicians? Groups? choice and a serious life! But beautiful! CD's? Helio Celso, a successful piano player Have you been in competitions? Any in Japan, big friend of my dad, invited me to In your opinion what is the rule of a percus- prizes? Yes. When I was 11 years old, I won record one of his albums when he came sionist and what constitutes a good live a music festival in my hometown Rio de back to Brazil in 1994. He introduced to me performance? What's your approach to Janeiro with my brother, Roberto Barata two names that became my pillars for music performing on stage? Drummers need to and Gustavo Gama on the bass. We had a choices: Bill Evans and Shirley Horn. Two remember that before anything, they need trio called “Nova Bossa” (during our child- amazing artists: Bill, a genius with incredible to play for the music, for the band and then, hood). In the 1990s, we participated in a and unique touch and special harmonies they can come up with some extras. As the contest presented by Mistura Fina, the jazz and Shirley with amazing touch and so much singer should sing in tune, the drummers headquarter in RJ. We were early teens soul on her ballads. must provide solid groove and keep it. Oth- playing against older competitors. It was erwise, the band will collapse. After several fun doing that since were playing real stand- A real music masterclass. Coltrane and his hours flying, they will be able to create ards like “Spain” by Chick Corea and quartet, Emilio Santiago, the biggest sing- extras without hitting the ground. Honestly, “Melancia” by Rique Pantoja for his group er from Brazil in my opinion was a big influ- this is the most fragile thing today. For a “Cama de Gato”. A few years later I was ence. His album was the first record I played good, live performance you need to believe fifteen and and won 1st place of the 1st in my life (a five year’s old). I’m glad that I you are also an entertainer. People are Batuka Internacional drum festival contest was able to work with him in later years. there for having a good time. So please, in SP. Once again, I was the young one and make it work. Getting in "your world" on there was no age limit. This one was

PG 11 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – JULY 2018 |EDITION # 11 Bossa Magazine Interview by Madalena Sousa BRAZILIAN PERCUSSION SERIES - RAFAEL BARATA Editor In Chief presented by Vera Figueiredo’s Institute. They know how to get the sound and do so in this century which makes me feel bad. I didn't play with a trio but I brought some dynamically. They are not loud. And of That's why I try to collect elements far music to play along. Five years later she course they know that less is more. away to try to improve it. Today, it seems invited me to participate in another contest: that music is 99% business and with little art The Batuka Masters which only included the How many CDs have you recorded? What is involved in terms of marketability. Whom- winners of the past competitions. I won the the identity of your work? I've recorded ever is more commercially appealing will 1st place in this contest as well. Recently, more than hundred, possibly close to 150. I spread more. This doesn't mean it is the there have been several nominations for believe my identity should be my touch. I greatest representation of Brazilian music, Grammy awards. Several projects and usually play ideas and textures that I’ve just more marketable. It would be great if awards for the Eliane Elias. “Made in Brazil” developed. Sometimes I do little tributes for we could mix some deep bossa nova revival album. my drum heroes and bringing in some of with some new generation of it; not the their ideas. But I try to be original. As origi- crazy modern cheap music from Brazil. We How would you describe your current nal as possible prioritizing the tasty swing! should prioritize making music to be sound? listened to instead of making music to only Tell us a little about your work. I try to make Living and playing in US for many years and be watched. the past live for the future. In almost every- being a Brazilian percussionist, how do you thing I play, I try to apply essentials from relate the receptivity of the “ Ginga Percus- How do you the see Jazz influence in Brazil- past generations. I believe there is a lack of siva Brasileira “ Brazilian percussive ginga, ian Music and vice versa? We’ve had a big history in the Brazilian drumming. For exam- even if it is not demonstrated through sam- influence for more than 60 years . Bossa ple, for a certain period of time, Brazilian ba, outside our country? Well, one of the Nova was born crossing Julie London; “Julie” drummers tried to copy so much from the beauties of living in New York is all about is her name album with the light samba Americans causing some identity loss. My the variety of everything. Foods from every- groove played in their jams in apartments in generation is (all) based in American fusion where in the world, very well done by Rio de Janeiro. Since then, American harmo- drummers. I’m an exception. I’m glad that I specialists. That's what happens with Brazili- nies became established in our music. For realized it very early which has been con- an musicians. Presumably, many Brazilians any musician, this harmony (with phrasing firmed with awards and feedback. Also my come to the United States to improve their studies) was all from the United States. dad's influence (as a drummer) was definite- skills as jazz musicians, or just study some Besides Bossa we had the Samba Jazz in Rio ly helpful. I like to play vintage kits. They technical approaches for their instruments lead by Dom Salvador, JT Meirelles, Joao take me to the past and show me how great in the highest levels in the world. However, Donato, Antonio Adolfo, Tenório Jr., Tamba it was; getting the same flavor from former I see that sometimes they don't know the Trio and other musicians mixing bebop and drummers. I try to bring their fire back and Brazilian culture well enough to be Brazil's hard bop influences to our samba mood. mix with my ideas; mixing with new cymbals representative. I believe this is the least That was a great time! In the same way, it’s sounds. It’s a good option for not absolutely that every Brazilian musician should start nice seeing legendary American artists surrendering in the crazy techno modern with in their journey. They don't know how including Brazilian songs in their albums and world. important Brazilian music is but the Ameri- shows. cans and foreign appreciators know! And Tell us about your travel experiences and when they see you, they immediately Do you have a project coming up soon; can musical collaborations. What was your expect some air of "ginga Brasileira". That's you tell us about it? Yes. I’m working in a most meaningful performance and where why I believe it important that you learn project right now with two fellows that that happened? I've been traveling more deeply about your country before coming to I really admire first as people, second as than 20 years. Since I joined Eliane Elias’ America. I love jazz. I love to play jazz with professionals and third as the killing artists band in 2008, I assume I could spread my Americans and it’s great! They love it. But they are. I believe to match these three music all around the globe. It’s difficult to then when we play any bossa; it immediately qualities in the right balance is very difficult. name one concert as “the one" but I can turns to amazing. Why? Brazil is absolutely Undoubtedly, Eduardo Farias and Andre remember a few of them like a Samba Jazz rhythm. Even we have amazing composers Vasconcellos have it. "I Trio" will appear trio with Mika Mori in Japan happening in a like Jobim, Vila Lobos- our rhythm captivated very soon, mixing all my influences from Zen Buddhist temple. That was amazing to the whole world. That’s what Bossa Nova classical to modern, Brazil, US, Europe into make Brazilian music in that environment. means: Jazz with Samba. So we have some- original songs and very special covers with Eliane Elias in Basel, that later became a thing truly special and if we use this some unique arrangements. Stay tuned! DVD. We were really connected and "featuring" it in the best way without inspired. Beautiful audience. When I played compromising, I believe we will make a As a sideman, I am part of the David Zinno's at Carnegie Hall, we had a standing up ova- difference in the world. Because New York is Unisphere quintet. Together with Mike tion after my last drum solo. Then with the center of the world. Tucker, Eric Benny Bloom and Leo Geno- Toots Thielemans at Rose Hall, Lincoln vese, we had our debut album last winter Center to celebrate his 90th birthday. Today, after so many paths alongside the and currently performing on the East Amazing concert; sharing the stage with percussion, representing, with such quality, coast. In terms of the international scene, incredible names starting with himself, the Brazilian percussionist, how would you you’ll be able to catch me (eventually) with Kenny Werner, Herbie Hancock,Dori Caymmi, describe your relationship with this percus- Ms. Elias and also the Morelenbaum Cello Eliane, Marc Johnson. Also at Lincoln center, sive process? As I mentioned before, it’s Samba Trio and many others. in the Alice Tully Hall with the amazing something to be figured out. There are Brazilian singer/Actress, multi award winner many great musicians in Brazil but just a few How can Americans become more aware of Bibi Ferreira. An amazing sold out night with were able to come or spread their music in Brazilian music? I think social media and the a big orchestra touring with her at age of the world. Perhaps you may think that you Internet are (generally) the best ways. If you 93! And having Liza Minnelli on stage are willing (or not) to carry the Brazilian flag don't rely exclusively on the news and if you singing “New York, New York” with Bibi lift- in your music. You have to! Even if you play believe that somebody in special then try to ing her legs up as cabaret dancers! Wow! only swing; one must figure out how to visit their page, fan page, Facebook, Insta- Unforgettable! There was the “Rock in Rio” make it work. Then the process will be gram and hopefully you’ll find other artists festival with Milton Nascimento and about opening saving all the influences and with the same style. With social media you Esperanza Spalding, playing for over one experiences you’ve been collecting in your have a chance to discover great talents that, hundred fifty thousand people. Also, the “creativity bag”. as I said before, didn't have a chance to be Jobim tribute, with my fellows Jaques on top of the news. Morelenbaum conducting the NDR orches- Do you believe that Brazilian Music has tra in Hannover, plus Lula Galvao and Jorge captivated the world and can it get a reviv- What kind of message do you want to send Helder. What an amazing group of people. al in the US, like Bossa Nova was in the to the world with your music? Happiness. Perfect music. Well, they are so many; good 60s? That’s a tricky question. Somehow, for That's the only reason I live; for my lovely memories. Thanks God for each one. me, Bossa Nova is still captivating people all family at home and to spread (it) in the over the world. I play in a trio called “Cello world. I know this is a part of my mission. I In your opinion, what is it that an excellent Samba Trio” besides of Jaques Morelenbaum play happy with so much love. I know that percussion player does that a more medio- and Lula Galvao, playing bossa nova in the people are going for a concert for one to cre percussion player doesn’t do? What world and for big audiences. However I know two hours of pleasure. Then the minimum I separates the pros from the amateurs? this is not currently the biggest exported can do is to offer them my heart. I play from Time! Their time into the music is perfect. "product" from Brazil but it’s the best. Brazili- my heart to their hearts. Peace and Love to Volume. They don't smash the instrument. an music and culture have been downgraded everyone = Happiness.

July 13 - Singer’s day

International Rock Day

Up Close & Personal Badi Assad is one of the most innovative, passionate and talented Artists of all times and is lauded as one of the world’s most unique and Interview with cross-transcendental performance artists of this generation. She transcends traditional styles of her native Brazilian music with a mixture of pop, jazz and world/ethnic sounds from around the world. As a result, the extraordinary singer, guitarist, and percussionist is successfully forging an exhilarating genre of music that quite literally adi ssad defies categorization. B A What makes Badi Assad so unique is her hungry pursuit of performance experimentation that no other artist has done: She combines an extraordinary guitar talent, a unique mouth percussion, beautiful singing, combining a rhythmic body movement, to create an exciting, fresh music sound, and leaving spectators… simply… BREATH- LESS. Indeed, watching Badi perform is like witnessing a spiritual phenomenon. How she does what she does all at once, and delivering an extraordinary performance, is quite unbelievable.

As a singer, Badi is vibrant and electric, respond- ing to her inner passion with deft creativity. As a guitarist, she has inspired audiences and critics worldwide with a unique combination of technical mastery and innovation that has caused many to re-examine their notions about the instrument. Through it all, Badi’s adventurous spirit and buoyant personality have become an integral part of her music.

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Concert date: July 31st @ 7:00PM Joe’s Pub - NYC

Who else influenced you musically, be- Badi Assad was born in the small city of sides the Assad family? São João da Boa Vista, São Paulo, Brazil. Her early years were spent in Rio de Janeiro, I published a book recently, called ‘Volta where the family moved to support and ao mundo em 80 artistas’ (Around the develop the budding talent of her brothers, World in 80 Artists), where I share many of Sérgio and Odair, the famous classical my musical influences—and I have quite a guitarists ‘Duo Assad’. few! In every phase of my life there were musicians directly inciting me. When I first Badi worked with artists such as Bob started playing guitar, certainly my dad McFerrin, Yo-Yo-Ma, Sarah McLaughlin, Seu and brothers were there. Then came Jorge and already performed in some of Egberto Gismonti, Marco Pereira, etc. the most prestigious international festivals Later, when I fell in love with the percus- like ‘North Sea Jazz Festival’ (NE), ‘Brosella sive universe, Nana Vasconcelos, Uakti, Folk & Jazz Festival’ (BE), ‘Stimmen Festi- etc. When I discovered the power of the val’ (CH) and theaters like ‘Paris Opera human voice as an instrument: Bobby (FR), Palais de Beaux- Art (BE), Metropoli- McFerrin, Zap Mama, and others. When tan Museum (NY)… She also represented I found pop music within me: Tori Amos, Brasil in the acclaimed American Festivals Ani DiFranco, Lenine, and many other “Farm Aid” and “Lilith Fair’/US. Each amazing musicians. review of her concerts and albums holds the air of discovery; of a new voice for the Talk a little bit about the Assad Family guitar; of admiration for Assad’s innova- Festival, which takes place annually in Sao tion and unusual music delivery. According Joao da Boa Vista. later). This “doing too much” that you to the Los Angeles Times, “Badi Assad mention was just the intense creative redefines solo (guitar) performance! Reve- This year (2018) marks the seventh anni- energy of a young woman discovering her- latory, a brilliant display of innovation, versary of the festival. I was greatly self, something that is natural in any free imagination, and skill… almost hypnotically pleased when local producers Fafa and manifestation. After all, my intention has compelling!” Vania Noronha had the idea and the always been to find my path to liberation *** courage to hold it. I say courage because through the arts. That being the case, and In an interview with Bossa Magazine, Badi the festival is fully funded by Brazilian even at a young age, I had the emotional Assad talks about her trajectory from a companies—to benefit from cultural incen- maturity not to get upset about what musical family and how she created a tive laws—and, as we know, weak profits other people thought. I always knew when unique style of performance. have made them loath to offer support. So, someone was criticizing out of having every year we actually manage to hold it. misunderstood me, as I always knew that By Madalena Sousa Definitely a reason for celebration! We— pleasing everybody is impossible. In other the Assad family—curate it, and all the words, I always followed my intuition, and Badi , your father played the mandolin; artists are very happy with the invite, always allowed myself to be transformed your brothers play the acoustic guitar. because practically all of them are great when I felt (or feel) that criticism is con- When did you decide to pick the guitar as friends and admirers of the family. And structive. your instrument? they all come with a warm feeling, an open It was the day my dad invited me to play heart, and honored to be there. No, after all I knew what I was doing was with him. Actually, he did the same thing transgressive, innovative, and bold. with my brothers when they were younger. You created your own musical identity, I spent my childhood craving my father's your own language. When would you say We could say that criticism helped you attention. He only had eyes for my brothers, that this new way to perform began to grow and leave in search of new horizons, who were such virtuosi. I wanted that too! reflect the Badi signature? which is when you decided to bring your [Laughs] So, when he invited me—I was 14 music to other countries, and ended up by then—I accepted in a hurry. The guitar Since I started to incorporate my singing being hired by an American label, where became a bridge between music, family and percussion concepts into my guitar you recorded your first CD. Tell us about love, and my own essence. playing. that experience.

One could afirm that from the moment Your music was not well received in No. Actually, when people started criticizing the musician incorporates her instrument Brazil; many criticized it for being too me in Brazil I had already released my first as part of her life, her body, her soul, she different. You were criticized for doing CD—Solo—in the US, and my international transcends the limits of creativity, because too much. How did you interpret this type career was already underway. However, from then on anything is possible. Do you of criticism? Did your musical perfor- when I realized that people in Brazil still agree? At which point in your music career mance change in response? didn't quite “get” me, I switched my center did you realize that you had already incor- of attention to the rest of the world. Brazil, porated the guitar and percussion as part When I first started my career (in my early in time, learned to appreciate my artistic of your life? twenties), no one else was doing whatendeavors and, as a matter of fact, it's one I was artistically proposing. The very of the countries where I perform most Sure, because the instrument becomes an aspects that were viewed (negatively) in often nowadays. But my music is no longer extension of the self. You feel and think, Brazil were getting compliments around as experimental as when I first started. and the fingers execute. The guitarthe world. I followed, naturally and intui- Today, it's more dedicated to the universe became something naturally pleasurable, tively, the path of least resistance, as per of songs without deviating from the and the results of my percussive investiga- one of Deepak Chopra's laws of spiritual author's interpretation and approach to tions were doable and fun. success (something I only came to learn arrangement. continue....

PG 15 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – JULY 2018 |EDITION # 11 Bossa Magazine Interview by Madalena Sousa Editor In Chief BADI ASSAD So your professional career began to get international acclaim after you did this recording in the USA? Did your career get a breakthrough after that American CD?

Yes, it was at that moment that listeners— especially those connected to the acoustic guitar and jazz—found out that I existed, and accepted me pretty quickly. Later, when singing became more present in my work, I began to get invited to world music festivals around the globe as well.

Many Brazilian musicians don't feel supported by their own people, and have to leave Brazil to get recognition. You decided to follow that path, and started touring internationally. Soon you became known all over the world. Do you think that Brazil, in spite of its vast music field, remains a country relatively closed to innovation?

Brazil is a nation massacred by opportunistic media. The use of art is directly related to mass consumption. Very few projects are geared toward culture for the sake of culture, while on the other hand, many are tied to culture for the sake of business. You had a problem in your left hand songs belonged both to the adult and the There's no investment (or interest) in during one of your US tours, which ended childhood universes. And of course, a 14 appreciating culture or encouraging people up causing its cancellation. In spite of song CD came out of this period, called to think. Art has always been deemed that, you found a way to perform without 'Cantos de Casa' (Home Chants), where superfluous, and it is always where the using your hand. How did that affect your I play with the idea of a day in the life of a first budget cuts occur. I know this isn't performances, and you emotionally? How child, taking a creative stroll through all exclusively a Brazilian issue, but it's true did it change your professional life? the rooms of a house and finding natural that Brazilian people suffer with the percussion instruments inside each. The impossibility of being exposed to art That was both frightening and liberating. motifs are as prosaic as waking up, playing, produced in their own country—which has Frightening because for a while I had to eating, brushing your teeth etc. That pro- one of the richest artistic traditions in the live under the menace of never being able ject won an award, the Troféu Catavento world. Anywhere within this vast conti- to play the guitar again (something that (awarded by the Padre Anchieta Founda- nent, whenever you turn on the TV or the had defined me until that point), andtion) for best children's CD of 2014. Later radio you hear the same artists (in the case liberating because, during the recoveryI wrote a show by the same name, still of music) with the same low rate reper- process, I found out that music didn't exist performed in Brazil today. toire—both in content and quality of pro- only in my hands or throat. Music was duction. In this scenario, it is hard for an alive inside me. I was music, and music Any new projects that you would like to artist who produces work with more depth was me. That was when I learned to dive tell us about? to survive. Artists end up opting to look for into the interpretative universe of each alternatives outside the country. Fortu- song as if I was becoming that song for the The last project I released was the book nately, the advent of the Internet has first and last time. My performances‘ Volta ao mundo em 80 artistas.' I wrote a made it possible to circumvent mass media became more visceral. The young girl show to go with it in Brazil. It will be trans- and today, albeit slowly, artists are able to made room for the mature woman to lated it into English and brought to the US. infiltrate (or integrate?) their music into enter the stage. After that experience, my Beyond that, this upcoming August we are the market via non-conventional channels. music gained more in emotional depth, releasing ‘String Shot’, a CD we did with There's light at the end of the tunnel–or at and I became an interpretative singer. Roy Rogers and Carlos Reyes (we'll be tour- least that's how I choose to look at it. ing the US East Coast in November). Before What changed in your professional life the end of the year, I'm going into the stu- By now can you identify the kind of audi- with the birth of your daughter, Sofia? dio to record the English version of my ence you have in Brazil and overseas? children's project ‘Cantos de Casa’ and What is the difference between the two? My initial answer would be nothing, since then I should begin to write some music I kept the same pace of work. The first few with upcoming Brazilian artists to build the Interestingly, outside Brazil I am a ‘world years, she used to go everywhere with me. repertoire of my next CD, scheduled for artist', as I move around the world music, For example, when she was three months 2019. jazz and acoustic guitar circuits. In Brazil, old we did a tour of Australia. But once the term 'world music' doesn't really make I weaned her, at 9 months, she would stay Badi will be performing at Joe’s Pub, sense (nor is it predominant). So, here I am back home with her dad while I toured. July 31st @ 7:00PM an artist of Brazilian Popular Music and Now, artistically speaking... her birth share spaces populated by artists such as spawned (in me) an unprecedented http://badiassad.com/en/ Lenine, Chico César e Barbatuques, Egberto creative period. I wrote compulsively, Gismonti, Naná Vasconcelos, among others. about 150 songs within two years. These

July 28—Happy Birthday!

DANIELA MERURY

Daniela Mercury (born Daniela Mercuri de Almeida on July 28, 1965) is a Brazilian singer, songwriter, dancer, and producer. In 2011 the American TV channel CBS, elected Daniela Mercury as the "Carmen Miranda of the new times". PG 17 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – JULY 2018 |EDITION # 11

Duduka Da Fonseca/Drums Romero Lubambo/Guitar By Madalena Sousa/Editor In Chief Nilson Matta/Bass

Up Close & Personal

Interview with

Trio da Paz

BRAZILIAN JAZZ GROUP

The Trio da Paz, one of the most visible Brazilian jazz groups in the world, was formed by Romero Lubambo (guitar), Nilson Matta (bass) and Duduka Da Fonseca (drums and percussion). They have been performing together for over 30 years, with seven recording CD's; all extremely well received by critics worldwide, and dozens of participations around the world.

These top-tier musicians play Brazilian music, racking up collaborations with the entire spectrum of jazz musicians. The trio redefines Brazilian Jazz with their harmonically adventurous interactions, daring improvisations and dazzling rhythms.

The Brazilians, who made United States their hometown are remarkably surpassing years of great Brazilian Jazz. Internationally recognized, Trio da Paz ( which means “Peace Trio”), found its success in New York City where they perform every year at Dizzy’s Club Coca Cola.

In 2016, Trio da Paz won the Hot House NYC Award for the best group and was nominated for the American Grammy in the Best Latin Jazz category with their most recent album “30”.

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Bossa Magazine Interview by Madalena Sousa Editor In Chief TRIO DA PAZ - BRAZILIAN JAZZ rio da Paz, was nominated for an Indie playing together and decided to go to a stu- pretty heavy. My first nomination was in Award as Best Latin Jazz Group in 1993 dio to record some songs and find a record 2002 with my first solo album “Samba Jazz T and their recording “Partido Out” won label to release it. Fantasia,” and the Trio da Paz nomination the Jazz Journalists Association Awards for with “30” marks my 3rd Grammy Award best Brazilian Jazz Album of 2002. At the time, I was recording a lot for Concord nomination. Jazz, with different artists, including Eddie In 2017, Trio da Paz won the Hot House NYC Gomez, Joanne Brackeen, Susannah NM: Duduka got us the first record deal with Award for the best group and was nominat- McCorkle, Charlie Byrd and others. I took the Concord Records. The company only gave us ed for the American Grammy in the Best Trio da Paz demo tape to the owner of ten hours to record the entire album. We Latin Jazz category with their most recent Concord Jazz at the time, Carl Jefferson. He had three guests in the first album: Herbie album “30” enjoyed the music and told me that if we Mann, Joanne Brackeen and Claudio Roditi. could get some “well known” guests, he After nine hours we were very tired and out In a interview with Bossa Magazine, Duduka would sign us. We invited Herbie Mann, who of energy with two or three songs that still Da Fonseca(DF), Romero Lumanbo(RL), and we were playing with at the time, our great needed to be recorded. Then Duduka said, “I Nilson Matta(NM) talk abou the history of friend Claudio Roditi, Joanne Brackeen,, and have a fruit from the Amazon, called Guaraná Trio da Paz, how they met and what made Maucha Adnet. With that group, we recorded and it gives you energy. So we decide to eat them to stay playing together for so many our first album which I entitled ”Brazil from it with coffee and ended up getting so much years. the Inside”. The album was a huge success, energy, that we recorded the three songs in and that’s how it all started. less than one hour. *** Questions: NM: Romero, Duduka and I started to play in Duduka's studio for fun; we decided to stay RL: The awards that we got were all histori- How did you all meet? together as a Trio. cal. Including the nomination for a Grammy in 2017 with the CD “30” for the best jazz DF: I met Nilson in Rio de Janeiro in the early RL: We felt really good playing together. We Latin album of the year! Recording an entire 1970s. We used to play soccer together, decided to make this trio a group. At that CD with the great Charlie Bird, play many along with some other great musicians. I met time, Duduka was writing a book about shows and recordings with the great Herbie Romero on a trip to Brazil in the early 1980s. Brazilian rhythms for the drums. He asked us Mann (both were in the very first wave of I heard him playing and was very impressed, to record the CD that accompanied book prominent American jazz musicians bringing so I encouraged him to move to NYC where with him. This was the first official appear- Brazilian music to the US ) is unforgettable. I had been living since 1975. Romero, Nilson ance of this trio as a group. To also note, playing with the fantastic Kenny and myself started playing together right Barron for two years and recorded his CD after they both moved to NYC in 1985. “Canta Brasil” were important events in our Who gave the name Trio da Paz? journey. TDP also performed with Astrud NM: Romero and I moved to America/ New Gilberto and Leny Andrade. To play a show at Jersey together in 1985. Duduka was already DF: Nilson came up with the name. In Carnegie Hall was significant. leaving in New York. I was already friends 1990, I officially registered the name Trio da with Duduka in Brazil; we played soccer Paz for the first time in an instructional Who is the composer in the group? together. book/cd that I wrote with my good friend Bob Weiner, called “Brazilian Rhythms for RL: We all have compositions in the group, RL: I met Nilson Matta around 1981 in Rio de Drumset” - in which Trio da Paz plays two and we enjoy the way we compose for this Janeiro. In 1982 I started playing in a Jazz songs. When our first album came out, trio. We know what works in this format. Club in Brazil called “ O Viro da Ipiranga “, I insisted in keeping the name Trio da Paz, seven days a week! In 1984, our bass player because Romero at the time didn’t like the NM: That’s right, we all contribute with origi- left the group and I invited Nilson to play name that much, but Nilson and I loved it. nals compositions. with us at the club. We became even closer since we were playing every day together. It NM: I named our group after playing together How often does the band rehearse? was in 1984 that Duduka visiting Brazil came for about three months. I told them that we to see us at our gig. He had met Nilson always play in tremendous peace and NM: We never rehearse. I think the last time before that. On that occasion Duduka really pleasure hence TRIO DA PAZ! was 30 years ago, when we first got together encouraged us to go to New York. He said we in Duduka’s basement just to play. Romero were going to love it and the musicians in NY Who were your role models or influenced and I had recently arrived [in the United would like us. Nilson and I made plans to go your sound as an instrumental trio? States] and Duduka invited us to his place to to the United States. We did that in May have dinner. It wasn’t our idea to start a trio. 1985. Duduka received us very well and we DF: Since the first time we played together, I That came later. started playing together right away. We felt that we had a very unique sound. would meet at Duduka’s basement and play Of course in addition to the influences we Who were the most important musicians music almost everyday. From that connec- have had from many great musicians, which you have ever played with? tion Trio da Paz was born! contributed to achieving our own sound. DF: We’ve played with so many great musi- From what moment did you decide to form NM: No one specifically. Individually, we cians that it would unfair to name just a few the group? have many influences; for me it was people and to not mention many other greats. I pre- like Mingus, Scott LaFaro and Ron Carter, and fer to say that we have played with and con- DF: When Romero and Nilson moved to NYC, in Brazil, Luizão Maia and José Alves. But tinue to play with many fantastic musicians. we started playing together. By the time they I never heard any group that sounds like us. arrived, I was musically well established. In NM: All our guests are very important! 1980, I began playing with Astrud Gilberto, RL: There were lots of famous Brazilian piano Dom Salvador and also with some great trios, like the Tamba Trio and the Zimbo Trio. BM: How many albums were recorded by American Jazz musicians. I also started lead- But I can’t think of a single Brazilian guitar Trio da paz, and which was the most ing my own groups; Brazilian Express, The trio. I knew great Brazilian guitar players, like successful and why? New York Samba Band and a little later on, Baden Powell and Bola Sete. But our sound is Brazilian Jazz All Stars, featuring Randy just us. RL: Trio da Paz has recorded seven CDs. They Brecker, Bob Mintzer & Eliane Elias. I asked are: “Brazil from the Inside”, “Black Orphe- Nilson and Romero to join my group (The Any historical moment to be told in these 30 us”, “Partido out”, “Café”, “Some- Brazilian Jazz All Stars) and eventually the years of the band? where”, “Live at Jazz Baltica with Joe Locke”, New York Samba Band. I had a small studio “30”. Needless to say, “Brazil from the in- apartment in the West Village and invited DF: I believe that after over 30 years of hard side? launched Trio da Paz as a group and them to play just for fun. We really loved work, to get a Grammy Award nomination is also captured our unique chemistry. continue... PG 19 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – JULY 2018 |EDITION # 11

Bossa Magazine Interview by Madalena Sousa Editor In Chief TRIO DA PAZ - BRAZILIAN JAZZ DF: The albums, in one way are like your Duduka is the author of the bestselling Hermeto Pascoal, Roberto Carlos, Chico children. I have love for all of them. The first instructional book and CD, “Brazilian Buarque de Holanda, Nana Caymmi, João one, “Brazil from the Inside,” and the one Rhythms for Drumset” (Alfred Publishing Co, Bosco, Johnny Alf, Hélio Delmiro, Luiz Bonfá, that was nominated for the Grammy “30,” Inc). In 2002, he formed the “Duduka Da MPB4, and Roberto Carlos. are super special. Fonseca Quintet” featuring Anat Cohen, Guilherme Monteiro, Helio Alves, and Nilson moved to New York City in 1985. NM: All albums we recorded without guests Leonardo Cioglia. The Quintet recorded two Since then he has performed and recorded are all equally important but the last one critically acclaimed albums. Their second with artists such as Joe Henderson, Paquito named “30” was the Grammy nominee, and album “Samba Jazz-Jazz Samba” was among D'Rivera, Slide Hampton, Herbie Mann, seems to me to be the one that got the most the ten best albums of the year and Mark Murphy, Oscar Castro Neves, Don media attention. featured in the prestigious Jazziz Magazine. Friedman, Paul Winter, and Gato Barbieri.

BM: Congratulations on the Grammy nomi- After moving to New York City, Nilson co- nation for your album, “30”. In 2009, Duduka formed his Brazilian based founded the project "The African Brazilian Duduka Da Fonseca Trio, what he considers Connection" with pianist Don Pullen. The NM: Thanks. The nomination means a lot to to be one of his most expressive works to group released three albums on Blue Note us. We didn’t expect it. date. It, features David Feldman (piano) and Records. Nilson then started a project of his Guto Wirtti (acoustic bass). The Trio has own with longtime friends Romero Lubam- RL: It’s great to have that recognition for recorded three albums which were bo and Duduka Da Fonseca - "Trio Da Paz". “30” because this album is very much about extremely well received by critics world- The trio released five albums. what we are as a trio. We weren’t thinking about the industry. We just went into the wide. Their fourth album “Duduka Da studio and played the way we play onstage. Fonseca Trio Plays Dom Salvador”, was From 1995 through 1998, Matta worked We didn’t over-produce anything. released by Sunnyside Records on April extensively with saxophonist Joe Hender- 13th, 2018. son. Nilson played on the album “Joe Hen- NM: Yes, it was all first take; no fixes. It’s derson Big Band”, which won the Grammy very honest music. Romero Lubambo/Guitarist/Composer Award for Best Large Jazz Ensemble Perfor- mance in 1998. Yo Yo Ma selected Nilson to BM: "Trio da Paz has been delivering blue- Born in Rio de Janeiro in 1955, he studied play on Obrigado Brazil and Obrigado Brazil chip Brazilian jazz for decades ; the group classical piano and music theory as a young – Live in Carnegie Hall Concert with Yo Yo shows no signs of slowing down. This is a boy. From the time he played his first notes Ma. Both of which were Grammy winners. band that keeps getting better with age." on the guitar (at age thirteen), he devoted These albums prompted a worldwide tour - Dan Bilawsky, All About Jazz himself to that instrument. Lubambo that lasted two years. Nilson also recorded graduated from the Villa-Lobos School of with Yo Yo Ma on his album “Songs of Joy & Music in Rio in 1978, as an outstanding Peace” in 2008. About the musicians: student of classical guitar. The rhythms and melodies defining Brazilian music and Amer- Since 2006, Nilson has been focused on Duduka Da Fonseca/Drummer/Composer ican jazz fascinated Lubambo. He taught many of his own projects. In that year he himself through intense research and prac- released “Walking with My Bass”. He is a Born in Rio de Janeiro, Duduka Da Fonseca tice, developing exceptional skills, versatility member of the International Society of is a three-time Grammy nominee. He has and fluency in both jazz and Brazilian Bassists and often appears as a featured appeared on over 200 albums alongside idioms. In 1985, he left Brazil for New York, guest and performer at their conventions. American Jazz icons as well as Brazilian Jazz where he became very much in demand not Matta is also well known for his teaching Icons, making him one of the most recorded only for his authentic Brazilian sound, but ability, which has been showcased in differ- Brazilian drummers for this music genre. In also for his command of a variety of styles. ent settings through the country. Nilson 2002, Duduka's first solo album, “Samba gives lessons to young bassists in addition to Jazz Fantasia”, was nominated for the Lubambo has performed and recorded with his master classes. He has taught at Litch- American Grammy Award. He is one of the many outstanding artists, including Dianne field Jazz Campus. Nilson is the Artistic/ very few Brazilians and the only Brazilian Reeves, Michael Brecker, Yo-Yo Ma, Kath- Music Director of Samba Meets Jazz Work- drummer (thus far) to be nominated for this leen Battle, Diana Krall, Herbie Mann, shops. prestigious Award. In 1975, Duduka moved Wynton Marsalis, Jane Monheit, Kenny Bar- to New York City to follow his dream of ron, Ivan Lins, Grover Washington Jr., BM: When is the next concert? playing with American Jazz musicians and to Vernon Reid, Flora Purim and Airto, Sadao find a place where he could blend musical Watanabe, Paquito D'Rivera, Harry Belafonte, DF: For the last 14 years, Trio da Paz perform cultures. He has recorded and performed Larry Coryell, Gato Barbieri, Leny An- for two weeks at Dizzy’s Club Coca Cola. See with Gerry Mulligan, Phil Woods, Kenny drade, James Carter, Paula Robison, Dave below the information for our next concert Barron, Tom Harrell, John Scofield, Eddie Weckl, Claudia Acuña, Jason Miles, Regina and we will be waiting for you there! Gomez, Rufus Reid, Lee Konitz, among many Carter and Cesar Camargo Mariano and others. He has been honored to play and many others. He has also established him- Trio da Paz & Friends will be performing at record with the great Brazilian artists, like self as a composer and performer on his Dizzy’s Club Coca Cola from August Antônio Carlos Jobim, Dom Salvador & Rio own critically acclaimed recording projects 14-26/2018. 65 Trio, Astrud Gilberto, Naná Vasconcelos, as well as on those of Trio da Paz, a Brazilian Claudio Roditi, Quarteto Jobim-Morelenbaum, jazz trio Lubambo formed with Nilson Matta Featuring: OSESP (São Paulo Symphony Orchestra), and Duduka da Fonseca. Romero Lubambo/Guitar "Jobim Sinfônico” Milton Nascimento, Dori Duduka Da Fonseca/ Drums Caymmi, among many others. Romero Lubambo is considered by critics to Nilson Matta/Bass be " the best practitioner of his craft in the Special guests: Maucha Adnet, Harry Allen & Duduka has established numerous Brazilian world today; the guitarist's facility, creativity Claudio Roditi. Jazz groups among them “Brazilian Express”, and energy are in a class all their own." which appeared on National PBS television Tickets: Nilson Matta:Bassist/Composer https://www.jazz.org/dizzys/events/7948/ in 1981. Duduka’s “New York Samba Band” trio-da-paz-and-friends/ performed at many jazz venues including Nilson studied bass at the Federal University the Blue Note, Fat Tuesdays and the Village Discography: Gate. In 1986, he formed “The Brazilian Jazz of Rio de Janeiro (UFRJ) with Sandrino https://www.allmusic.com/artist/trio-da-paz- All Stars” featuring artists Bob Mintzer, Santoro, a Brazilian classical bass player. mn0000027092/discography Randy Brecker , Eliane Elias, Romero Lubambo, During his years living in Brazil, Nilson Nilson Matta and Guilherme Franco. played the bass with musicians such as João Gilberto,

SERIES LGBTQ Brazil July 28 – 29 Museum of the Moving Image

SCREENINGS AND TICKETS

Co-presented by Cinema Tropical

LGBTQ Brazil celebrates the Brazilian LGBTQ community’s contribution to contemporary cinema with a unique lineup of recent films, all screening in New York for the first time. As framed by Brazilian and Ameri- can scholars, including Denilson Lopes and Ruby Rich, the early LGBTQ films of the 1980s and ‘90s were a protest against heteronormativity, a turn away from universal humanism to political pastiche, camp, and burlesque. And while Brazil may have largely missed this first wave—a key director, Karim Aïnouz, did not emerge until Seams (1993) and Madame Satã (2002)—it is exhilarating to see its LGBTQ cinema flourish today.

Brazil’s contemporary LGBTQ directors embrace plurality. Taviniho Teixeira, in Sol Alegria, demonstrates a strong satirical bend and influences from Rainer Werner Fassbinder and Pier Paolo Pasolini to Brazil’s Cinema Marginal and Tropicalismo. The film’s protagonists—renegades, circus performers, nuns, and priests touting guns and staging orgies—flaunt every cultural and social norm. Ismael Caneppele’s debut, Music For When the Lights Go Out, centers on gender performativity; Luiz Roque’s short, Heaven, depicts the demonization of transwomen in a futurist scenario, while Bárbara Wagner and Benjamin de Búrca’s short, Terremoto Santo, explores the complexities and perils of religious fervor. A number of featured filmmakers experiment with mixing sci-fi, horror, music video, and the musical. In Uirá dos Reis and Guto Parente’s feverish Sweet Amianto, Leonardo Mouramateus and Andreia Pires’s choreo- graphed Vando Vulgo Vedita, Fábio Leal’s light-spirited The Daytime Doorman, and Daniel Nosco’s fetish- driven Sr. Raposo, fluidity and play take center stage, against the poignant evocations of violence, fear, and discrimination. Meanwhile We Are All Here and Bixa Travesty are both potent love poems to trans performers’ spunk and courage.

Organized by guest curator Ela Bittencourt

36-01 35th Avenue—Astoria, NY 11106

BOSSA MAGAZINE Interview with Graciliano Zambonin

By Madalena Sousa/Editor In Chief

Graciliano Zambonin has been playing percussion since his childhood. Born and raised in Brazil, he started his career playing guitar under the instruction of his father who taught him music theory and conceptions (change “conceptions” to concepts). This proved helpful in developing a percussion and drum set style that has a more melodic focus. Among a great variety of rhythms and culture, he developed a unique musical language expressed on the drum set. Later on, he graduated (“graduated” from where?) in Popular Music and continued to study and interpret traditional Brazilian rhythms, including Samba, Baião, Frevo, Maracatu, and Côco. As a self- taught percussionist with a diverse background, Graciliano expresses his own unique voice on the drums. Graciliano has played with Orquestra à Base de Sopros do Conservatório de Música de Curitiba known for performing with Roberto Sion, Joyce Moreno, Vittor Santos, Itiberê Zwarg, Emílio Santiago, Teco Cardoso, Nelson Ayres, André Mehmari, Laercio de Freitas, Teco Cardoso, Nelson Ayres, Vinicius Dorin, Gabriele Mirabassi. He has also been a member of El Merekumbé (Cuban/Latin Band). In New York City, he performs with Monika Oliveira, Joe Carter, Charlie Ryner, Vanessa Falabella, Isabella Mendes, Jacquelyn West, Jackie Ribas, Debora Wattz, Abelita Mateus, along with Choro, Jazz, MPB and Brazilian Jazz ensembles. Continue...

Graciliano, when did you start writing/playing Have you ever tried playing a different In your opinion, what is it that an excellent music - and what or who were your early instrument? If yes, how good were you at it? percussion player does that a more mediocre passions and influences? percussion player doesn’t do? What sepa- Yes indeed. Similar to most Brazilians, I started rates the pros from the amateurs? I was ten years old when I started playing playing acoustic guitar. I regret not continuing acoustic guitar (like many Brazilians who start and taking it to a professional level. However, Sound is one factor that defines one´s perfor- at a young age). I believe the guitar helped me guitar playing remains a part of my life. I tried mance. The finesse on the grooves and the to develop “my ears”. My parents are both playing the viola, which is a type of acoustic ability of understanding and following what musicians, and at home, we always had music Guitar (ten strings) from the countryside of the band leader wants with the music style are playing on the turntable such as Chico Brazil, but I was not as skilled with it as my required. Buarque, Elis Regina, Tom Jobim, João Gilberto father (who still plays). I then discovered the and classical music. drums as my great passion. Some years ago How many CD’s have you recorded? What is I started researching a regional type of music, the identity of your work? Which famous percussion musicians have you and I learned to play Rabeca, a rustic violin, learned from? Were you influenced by similar to a fiddle (three strings). Also, I have I lost track of how many records. I recorded foreign percussion music? studied Latin percussion such as Congas and more frequently in Brazil when I was working Timbales. However, drum kit remains my main for a few recording labels. To guess, roughly I grew up listening to a variety of musical instrument- the one I love. I guess you have to more than 30 albums among singers, saxopho- styles. However, I have been influenced mostly be devoted to your priorities. nists, live bands, orchestras on a variety of by Paulo Braga, Robertinho Silva, Luciano music styles. Perrone, Edison Machado, Tutty Moreno, In your opinion what is the rule of a percus- Marcio Bahia. They all played important roles sionist and what constitutes a good live Do you believe that Brazilian Music has capti- in my life. American jazz drummers like Tony performance? What's your approach to vated the world and can it get a revival in the Williams, Elvin Jones, Bill Stewart influenced performing on stage? US, like Bossa Nova was in the 60’s? me, not to mention, Cubans like Tata Guines, Changuito and Geraldo Piloto. In Curitiba Truthfully, I believe that what makes a good It’s hard to predict what is going to happen, Brazil, I had a unique chance to study with Juca live performance, and music in general, is but Bossa Nova is definitely one of the Brazilian - José Maria Ferreria (1942-2004), a seasoned, when the musician performs what the music music styles that captivated the world. The incredible drummer (perhaps not as well style requires while adding his own signature. media plays a big role in that occurring. I be- known). Sadly, there are no YouTube videos of In other words, different music scenarios lieve that good music will always be listened him. He had one of the most incredible ways equire different ways to perform. Professional to regardless of where you are in the world. of playing drums: Very simple and humble, but musicians have to perform according to the at the same time elegant and powerful. He style that is being played while balancing How do you the see Jazz influence in Brazilian astonished everyone around him in a unique and integrating their own sound. For instance, Music and vice versa? and creative way- even when playing some- some of the most incredible jazz drummers thing simple. have their own recognizable ride cymbal beat. After moving to New York, I noticed how pres- They express themselves through the music tigious Brazilian music is here and how many Who are your favorite musicians? Groups? and share their own signature style as part of musicians are into Brazilian music. CD's? the music. For instance, when a good album is released in Brazil, it reflects directly on the music that is Favorites can change over the course of your In which way is your cultural background done in New York City . The jazz scene is also life. As a teenager I loved all the rock bands. reflected in your performances? impacted. The opposite appears to also be Now, it’s mostly jazz, modern jazz, and Brazilian true. If we reflect on Brazilian the music from music. For jazz I go to Peter Bernstein Trio, Brazilian music is most known for the Bossa the 1960´s , we could see (and hear) how it Miles Davis (everything), Wayne Shorter, Nova style. The formula is very effective: The was influenced by American jazz and American Mccoy Tyner. Others include Hermeto Pascoal combination of that kind of harmony with the music as it is today. (everything), and those influenced by him like rhythm and lyrics. It is magical. Brazil has a Orquestra Familia by Itiberê Zwarg, Vintena much bigger variety of rhythms and styles like Do you have a project coming up soon; can Brasiliera by André Marques. Often, I revisit Frevo, Maracatu, Samba, and so on. All the you tell us about it? albums from Zimbo Trio which has notably regional popular culture has its own particular contributed with grooves and arrangements. way of creating and expressing music as an art I recently recorded two albums. First with Hamilton de Holanda, Arismar do Espirito form. I learned about Tambor de Crioula, Flavio Lira who has released an album called Santo, Joyce Moreno ( her music is essential) Caboclinho, Fandango do Paraná, Jongo, Ijexá, “Coffee Gold Sugar Cane”, a great mix of odd are others that come to mind. Ciranda, Partido Alto, Candomblé, Umbanda meters with Latin/Jazz/Brazilian Flavors. Also, and many others that are cultural expressions Charlie Ryner released an album called “First How would you define your line of work? In brought from Africa and evolved in the way Second”, a great sound for a jazz quartet with your creations, is there a segment of the they’re received today. I believe that the special arrangements, composed by Mike percussion that is most striking and an instru- majority of Brazilians are not exposed to that, Roninson on the bass and Imraan Khan on the ment, in particular, that you have more so I consider myself lucky for it. I still keep not sax, both great musicians. I also have my own involvement? one, but two eyes (and my ears) on it. project in progress. My album (nameless at this time) includes all my own compositions Drummers are ( typically) in the background, Could you describe your creative process on and arrangements; something that will mix accompanying singers, orchestras, guitarists the basis of a piece or album that's particularly modern Brazilian music with jazz. Worth the for the better part of our lives. That said, dear to you? Where do ideas come from, wait! drummers like Buddy Rich and Art Blakey had what do you start with and how do you go their own groups or big bands. I believe that about shaping these ideas? any musician that is part of a band (has and should) be able to play in background as well I use my Brazilian nylon guitar to compose my YouTube channel: as lead. I recently started composing my own songs and mainly focus on the rhythms. https://www.youtube.com/user/ songs and making my own arrangements. Hermeto Pascoal says that rhythm is the gracilianozambonin Taking this road is quite challenging. father, harmony is the mother and the son is the melody. Even with a poorly sung melody or Email Address: Do you do anything else besides percussion? basic chords arrangement, I have an idea of [email protected] Do you teach music? how the song will sound. The process is to write it down, rehearse with other musicians, As a teenager, I decided that making music make adjustments and refine the final prod- was how I would be making a living. I have uct. been performing, teaching and recording drums since then. I believe that teaching music How would you describe your current sound? is part of most musicians’ lives. While some musicians do not formally teach music, they Tell us a little about your work. My composi- still “teach” music just by playing it. Teaching tions are based on traditional Brazilian music has many shades and/or levels (basic tech- such as Maracatu, Samba, Ciranda etc. niques, advanced techniques, style, sound, for Listening to that kind of music inspires me to a musical instrument, or even a super unusual write songs based on those rhythms and melo- topic someone has mastered). dies. Adding jazz chords gives the sound a modern flavor.

Interview with Philip Marucci

By Madalena Sousa/Editor In Chief

hilip Marucci was born in Teaneck, New Jersey and became interested in music P during his childhood. His parents bought him an upright piano and he began taking piano lessons. He continued as a student and studied with some of the best musicians in the NYC area including Kenny Werner, Cliff Korman, John Di Martino, Cidinho Texeira, Klaus Mueller and Luiz Simas, to name a few.

Philip has performed in venues around the NYC metropolitan area such as Miles Club, N.J.Pac Gallery, Festival of the Voice, Belski Museum and at other private events.

Marucci is currently active in the New York City Brazilian jazz scene and has just finished recording a CD with world renowned players such as Cyro Baptista, Duduka Da Fonseca, Maucha Adnet, Paul Meyers, and Claudio Roditi.

Inspired by the famous jazz and bossa nova masters, Philip brings his passion and love into the music he performs at events of all kinds.

Anyone who experiences Philip performing can instantly feel that music for him comes straight from the heart.

I had the pleasure of listening to Philip personally and I can guarantee his talent and his knowledge about Brazilian music. Phillip, has everything to be a big success! Philip, is a true a citizen of Brazilian music. continue...

“ The Citzen of Brazilian Music”

n an interview with Bossa Magazine, Philip Music? I think there are more people appreci- CB: I was so honored to participate in the talks about his life as a musician and about ating Brazilian music now. Many international primordial conception of Phil Marucci’s “Next his passion for Brazilian music. radio stations have programs dedicated to this Stop Brazil “. This project definitely evolved I music like Som do Brasil (Jazzvan de Lima & from Phil’s true love and deep dedication for

Augusto on WKCR 89.9 FM) , (Fred Polet / the music and culture of Brazil. He took all of Philip, when did you start playing piano and Brazilian Blend) on the web in the Netherlands, us on a trip through the Imaginarium tropical singing? Do you also compose? I started and (Sergio Mielniczenko KPFK 90.7) in Los that he had engraved on his heart. A fabulous playing piano at age nine but played for only a Angeles. cast of musicians came to my recording studio couple of years. Upon completing high school, I to assist in telling the love story of this album. began playing again and listening to jazz. What rhythms do you like the most? I espe- Frequently attending different clubs, I was cially like the northeastern rhythms Baião and BMF: Vanessa, how did you come up with the fortunate to hear great masters who would Afoxe. On my new CD, there are many songs Portuguese lyrics for Next Stop Brazil and always include a few bossa novas. I started with these intriguing rhythms. what do they mean? learning jazz and bossa nova standards to VF: I’d just wrote a version trying to follow the play; the singing evolved. When recording my How do you see the bridge between jazz and spirit of the lyrics Philip wrote, sending the album, I co-wrote a song with my friend Carlos bossa nova? Almost every jazz musician incor- same kind of positive message. Eduardo da Costa. It was very fulfilling and porates bossa nova into their repertoire and inspired me to write more original music. vice versa. Without getting overly technical, “ Amanheceu e um clarão brilhou no céu… é I think they definitely complement each other. mais um dia embalado de canções respiro When did you get involved with promoting amor que pulsa forte e vai além a brisa do mar Brazilian music? I got involved with Brazilian How can Americans become more aware of as cores e o som, em todo lugar”. music in the mid-90s. At Banana Cafe (near Brazilian music? I think that Brazilian music is Gramercy Park), there were great musical becoming more popular in America every day. Translation: performers including Luiz Simas (piano), Nilson So many Brazilians are here performing their "It dawned, and a flash of light appeared in the Matta (bass), and singers (Joanna Motta and music as well as Americans like me. Samba sky; It's one more day packed with songs; Marisa Monte). Nelson Motta, the producer schools such as Samba New York are in almost I breathe love that pulsates strong and goes was also there. It was an amazing show. I was every state and places like California Brazil beyond; the sea breeze the colors and the hooked after hearing and meeting these won- Camp, Samba meets Jazz and Choro Festival by sound, everywhere”. derful musicians. Luiz showed me great tunes Brazilian Music Foundation, are being created and taught me to sing in Portuguese. for Americans to enjoy. BM: How did you like playing on the Carlos de Costa’s arrangement’s, "Flor de Maracuja" Why did you choose Brazilian music?I find the Brazilian Music Foundation is helping to do just and "Quero um Xamego”? music has everything my soul desires. Beautiful that in a way that I’ve never seen before; PM: Cadu created marvelous arrangements of melodies, rich harmonies and mysterious bringing Brazilian music and culture here as these tunes, adding his own stamp to them rhythms. I became interested in the different well. Thank You! with beautiful reharmonizations. regions of Brazil and how the rhythms are reflected in each one. **** BM: What did you like about Klaus Mueller’s BM: Bossa Magazine also interviewed the arrangements,"Batucada Surgiu", "Chiclete What was the first Brazilian tune(s) you musicians that were part of Philip last record- com Banana", "Samba Do Soho" & "Coração learned? Antonio Carlos Jobim’s (Chega de ing, here is what they had to say about his Vagabundo”? Saudade, Desafinado) from the album “The new CD”. Below are the musicians in the in- PM: Klaus also created great arrangements for Composer of Desafinado Plays” arranged by terview: these tunes, keeping the original spirit and Claus Ogerman. I played these songs over and energy, giving Phil a great backdrop and over to learn them. VF: Vanessa Falabella/Singer Composer: allowing the whole band to shine PM: Paul Meyers/Guitarist What are your fondest Brazilian musical mem- DF: Duduka Da Fonseca-Drummer BM: How did you like the original song ”Next ories? From 1996 to about 2005, on Saturday CB: Cyro Baptista-Percussionist Stop Brazil”? afternoons, top notch musicians played in a DF: Phil’s original songs show his own love of coffee shop across from Union Square. This is *** the music, he really captured that feeling in where I heard performances of Maucha Adnet, Questions: this lovely tune. Duduka da Fonseca, Romero Lubambo, Nilson BM: How did you feel about participating in Matta and Helio Alves. Special guest perfor- the project? *** mances from Claudio Roditi, Nana Vascon- VF: I loved being part of Philip’s project. BM: To finalize the interview, we asked Philip celos, Ze Luis Oliveira, Dom Um Romão were A dedicated and talented musician, as well as what kind of message he wants to send to the not uncommon. I met so many amazing musi- a friend. The album was well produced. It was world with his music: cians and made so many wonderful friends. an honor to be part of it, along with so many “ To open up your heart and mind and explore I will always remember those days! admirable musicians. what the world has to offer!”, he said.

Who are your favorite Brazilian musicians? PM: It was wonderful to be part of such a well Phillip just a CD release party at Jazz Forum Rhythm? Groups? CD's? There are so many! thought out and well done album. He really Arts. “It was a wonderful show! I have a few Here’s a list of some of my favorite composers took the time and effort to put together a things coming up. Once confirmed, they will andalbums: great repertoire, great arrangements and a post on my website. I’m still in the process of Antonio Carlos Jobim: Marital Perâ, Passarim, fantastic band. It was a pleasure to be a part of figuring that out but definitely will do more Djavan: A Voz e o Violão, João Gilberto: Amo- it! songwriting and recording another album” roso, Dorival Caymmi: Dorival Caymmi e seu Stay tuned! violão, Nara Leão: Nara, Elis Regina e Tom DF: Phil and I are old friends. We’ve known Jobim: Elis e Tom, Moacir Santos, Zé Nogueira, each other for almost 30 years. A few years BM: That’s great Phillip! It's wonderful to see Mário Adnet: Ouro Negro, and João Donato: ago Phil started talking about making his own Brazilian music spread throughout the United Quem é quem? album. I encourage him to make it, and said States, and to see Brazilian musicians collabo- that if he needed a drummer, I would be there. rate with American musicians on CD Were you influenced by old records from Bra- Besides been extremely musical, Phil is meticu- recordings. Seeing it happen on a daily basis zil ? Which ones? I really enjoy listening to lous in what he does, taking care of small and and in your neighborhood is simply wonderful. classic, beautiful Choros. Some of my favorites important details. It was a privilege to be part It’s also gratifying to watch Americans embrace are: Pixinguinha: Naquele Tempo, Carinhoso, of his album. He was relaxed and open-minded Brazilian music, see it make history, and Um a Zero, and Glória, Cartola: Aconteceu and in the studio which was reflected in the music. become engraved for eternity. Quem me vê Sorrindo, Ernesto Nazareth: Lamentos and Odeon. He sounded wonderful. His attitude producing Our best wishes! the album was very positive. He knew exactly Madalena Sousa/Editor In Chief Did you record any CD with Brazilian the way he wanted the album to sound. He Tunes? Did you record any other CD? My was calm and assertive in communicating his debut album “Next Stop Brazil” was just concept to the musicians and everyone released in March 2018! I’m very excited for involved on the project. I wish Phil the very Philipmaruccimusic.com everyone to check it out! best and looking forward to many more oppor- tunities to make music together. What do you expect of the future of Brazilian PG 25 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – JULY 2018 |EDITION # 11

Interview with DURVAL PEREIRA By Mila Schiavo/Contributor

“The Zabumba Master”

he best known Zambumbeiro in Brazil, sought after by several consecrated musicians, has the same name as a T renowned international painter. It is through his zabumba that he succeeded in Brazil and internationally. His name is Durval Pereira, also known as, "The Zabumba Man."

Cultural Manifestation History:

During the month of June, Brazil celebrates three main religious festivities: St. Anthony's Day (June 13), St. John's Day (June 24) and St. Peter's Day (June 29). Festivities extend into the month of July, a tradition that has existed since the Middle Ages. It was brought to Brazil by the Portuguese during the period of colonization of the country but had influences from other ethnicities, such as indigenous and African.

The traditional music of the party is played by a grouping of Tell us about your international participation! three instruments: the accordion, triangle and a Zabumba (a percussion instrument). Bossa Magazine invited Durval Pereira, Internationally, I participated with Carlos Malta at the Essaouira a great percussionista and the master of Zabumba, to talk Festival in Morocco and with Paulo Moura, at the International about the instrument and the culture. Jazz Festival in New Orleans, USA.

Durval, when did you begin playing percussion? You also participated in a movie, did you not?

I was born in Campina Grande, in the Paraiba State of Brazil. I Yes, in the year 2000, with the group Pif Moderno, led by started playing percussion instruments at the age of 12. I was Carlos Malta. I played the Zabumba on the soundtrack of the inspired by my father, also a musician. As a child, I played at film Yo, tu, eles, by Andrucha Waddington. small events in the area I lived in and at the age of 18, I moved to the city of Rio de Janeiro, where I was able to meet many What is the history of zabumba and the main rhythms that professional musicians and artists. you play on the instrument?

It was in Rio de Janeiro that I started my artistic career in 1971, The zabumba is a percussion instrument, typical of the north- playing in bars and nightclubs. In the beginning of the 1980s, east region of Brazil and typical in the musical genre of forró. I performed several times on the Som do Brasil program,Its origin is African, however, it is known in Brazilian northeast- presented by Rolando Boldrin, on TV Globo, accompanying ern music. Its sound is characteristically serious. My rhythms artists such as Fagner, Oswaldinho do Acordeom, Domin- include: xote, baião, xaxado, coconut, forró, drag-foot (band guinhos, Zé Ramalho, Alceu Valença and Beth Carvalho. dance), frevo, maracatu and samba.

In 1986, I participated in the LP Gostoso Demais, released by Please talk about music, June and July festivities and north- Dominguinhos by RCA Vik. During this period, I was also part of eastern culture! other Dominguinhos’ LPs. Also in 1986, I participated in the LP 40 Years of Music that the singer Luiz Vieira recorded by Conti- The festival is part of the northeastern traditions, a period of nental. celebration that encompasses regional food, dance and joy. The participants gather and form a dance together called The following year, I was called to participate in the recording Quadrilha (gang). The rhythms played at parties are very lively of the LP Dignity, recorded by Leci Brandão by Copacabana. In as drag foot, xote, forró, baião, xaxado, etc . 1988, I played percussion on the LP Baiano Fala Cantando, released by Moraes Moreira on CBS. The following year, Do you feel there is more to achieve? I played the LPs Canto das Lavadeiras (released by Martinho da Vila, by Sony Music) and Ripa na Chulipa, recorded by Genival I thank God for all that I have achieved to this day and for the Lacerda by Continental. In addition to these LPs, I participated gifts he has given me. My plan is to continue doing what I like in the recordings of Zé Calixto, Jackson do Pandeiro, Beth Car- best, which is to play Zabumba! valho, Carlos Malta, Sivuca and Oswaldinho do Acordeom. Sources & Photos: I also had the opportunity to play with Sivuca in shows in the https://www.significados.com.br/festa-julina/ cities of Rio Grande do Sul, Piauí, Pernambuco, Bahia, Minas http://g1.globo.com/pop-arte/noticia/2011/06/conheca- Gerais and São Paulo. In 2000, I participated with Gilberto Gil origens-e-evolucao-do-forro-o-ritmo-da-festa-de-sao-joao.html and Naná Vasconcelos of the Percpan Festival, held in the city http://dicionariompb.com.br/durval-pereira/biografia of Salvador, Bahia. Photos: By Durval Pereira

The Cultural Manifestations in Brazil “Festa Junina”

Monica and Cebolinha : Cartoon by Maurício de Souza

Festa Junina’s origins date back to Portuguese colonization. The holiday has developed over time to incorporate Brazilian cultural elements. The culture of indigenous populations, Afro-Brazilians and European immigrants has all influenced how the festivities are held in different regions of Bra- zil. It first originated in the countryside, where most religious people lived, and where they relied more on rain for their agriculture. The festivities quickly spread to larger cities all around the country. Every region has its own way of celebrating, but the most impressive festivities and dances take place in the Northeast. The Festa Junina commemorates Saint Anthony, Saint John and Saint Peter and marks the end of summer. It is also a month to honor rain, the harvest season and marital union. There are various ways in which each regions of Brazil celebrate this event, such as traditional dances, colorful costumes, seasonal food, and lots of music. Visitors celebrate from mid -June until the end of July and in some cities, festivities even continue until late August. Those attending will be treated to typical Brazilian food, dress up like farmers, enjoy bonfires and dance the quadrilha. After Carnival, it is the second most important popular celebration in Brazilian culture. Even though the festivities are held all around the country, it is in the Northeast that they are the most popular and impressive. The month of June is when people give thanks to the three cath- olic saints: Santo Antônio every year on the June 13th, São João on the 24th and São Pedro on the 29th. As droughts are a serious issue in the region, ‘nordestinos’ celebrate the rain which is essential to their agriculture. Groups of people, called ‘festeiros’, come together to animate the streets, walking and singing across the cities.

In the Northeast of Brazil

The biggest and most impressive Festa Junina celebrations happen in the state of Paraiba, in the city Campina Grande, and in the state of Pernambuco, in the city of Caruaru, each of which gather millions of visitors every year. The state of Bahia is quite famous too for its festivities; thousands of tourists flock here every year to attend the São João celebrations, with most of the visitors going to the ones in Porto Seguro.

The feast, officially called The Greater St. John of the World, began very small in 1983. It took place on a piece of beaten earth and only had a few tents, which were selling all kind of things. Who could have imagined that this shy, but grandiose, arraial (word for festivities) would become one of the greatest festivals in Brazil? Because it happened! The Campina Grande “Arraial Junino” (June festival) attracts up to 2.5 million people during thirty-one days of celebration. It's a party that does not end anymore!

Expression of faith in the divine! Saint Anthony Celebration

More than 82 feet is the size of the hug, sit on the flagstaff of Santo Anto- faith in the divine miracles of finding a white branch that served as a flagpole nio, as well as drink tea from the bark mate. "When wars were taking place to hoist the flag of the 2018 Santo An- of the stick, which has already become red flags were hoisted. When the war tônio Festiva, in Barbalha, Ceará. the main element folklore of the par- the white flag was fluttering, indi- ty. More than 200 men are needed to cating peace. In the religious festivals, The pull of the flag indicates the offi- carry the mast. The tree is withdrawn the banner is the announcement to cial opening of the festivities in the 15 days before the date scheduled for the distant communities that that par- city’s main church, which bears the the party and prepared for the proces- ish is in celebration, which ended up name of the patron saint of the city. sion with a path of approximately five being an invitation to the population. But rather than serve as a mast, the kilometers. On the opening day of the And the mast was always the protago- "Pau de Santo Antônio" ( Flag Post of event, around noon, the porters nist in this story, since the higher, Saint Anthony) feeds the hope of win- search for the stick in the "bed", more distant it was possible to take ning a marriage for anyone who per- where the wood rests to dry and lose that information, "he points out. forms any of the rituals involving the weight, and lead to the hoisting point, The feast of the stick was instituted at mast. A dowry paid by St. Anthony, so in front of the Church of Barbalha. the end of the 19th century in Bar- that a young woman could marry his The parish priest of the Church balha by Father Zé Correia and was love, was the main reason they of Saint Anthony of the Barbalha, Fa- held annually by Father Pedro Ribeiro attributed him the reputation of ther Antônio José, says that historical- in 1928. Since then, the party has matchmaker. Following this popular ly the flags were used to supply the been growing and is already consid- belief, during the festivity, women, lack of technology and information ered the largest feast of St. Anthony in who are in search of marriage, ascend, but it became a cultural expression of the world .

Saint John - Celebration

The biggest and most impressive Festa Junina celebrations happen in the state of Paraiba, in the city Campina Grande and Caruaru and in the state of Pernambuco. Each of these celebrations gather millions of visitors every year. The state of Bahia is also quite famous for its festivities; thousands of tourists flock there every year to attend the São João celebrations, with most of the visitors going to the ones in Porto Seguro. The feast, officially called The Greater St. John of the World, began very small in 1983. It took place on a piece of beaten earth and only had a few tents selling all kind of things. Who could have imagined that this shy, but grandiose, arraial (word for festivities) would become one of the greatest festivals in Brazil? Because it happened! The Campina Grande “ Arraial Junino” (June festival) attracts up to 2.5 million people during thirty-one days of celebration. It's a party that does not end!

Bumba-meu-Boi in São Luis do Maranhão

In the Southeast of Brazil

Moreover, in the state of Maranhão, they celebrate the Festa Junina with People in the Southeast of the different variations – known as ‘Sotaques’ – of the Bumba-meu-Boi. The country are known for the Bumba-meu-Boi dance is performed by a colorful troupe of performers. The spectacular costumes and dances alone are worth the detour to Maranhão, events organised by the local and the echo of the music on the colonial streets makes the experience even community of businesses, more magical. churches and colleges. Festivities

Like the other Festa Junina folk dances, Bumba-meu-Boi also serve a narrative hold clear similarities to those in function. Performers tell the story of a slave who is left by a plantation owner the rest of the country, as indi- to care for his bull, which then dies and is later revived. A black velvet bull viduals run various stands with costume embellished with sequins and ribbon is worn by one of the dancers during the spectacle. either food or games and quadrilha dances are performed to entertain visitors.

The Bonfire

The bonfire is also a traditional element expected at every Festa Junina. The ritual of gathering around a large flame derives from pagan tradition, as this custom is practiced to commemorate the summer solstice in the northern hemisphere each year. June can be a cold month, especially in the South, and by congregating around the warmth of the fire, the festival’s focus on community building is further emphasized.

Typical Cuisine

As June is the month when corn crops are harvested, the majority of sweet and savory snacks and cakes are made of corn. A few popular examples include pamonha, canjica, corn on the cob and corn cakes. In addition, rice pudding, the Brazilian version of mulled wine, sweet potatoes and much more are also included on the Festa Junina menu.

Typical Drinks

At this time of the year is winter in Brazil, it is typical to drink “Quentão ” and “Vinho quente” (hot wine) by the bonfire., you can find recipes online or just go to Brazil!

Quentão Vinho quente

Typical Dances

Quadrilha folk dances are a vital component of Festa sured into marrying a girl that is carrying his child. Every- Junina. Dances involve up to 30 colorfully dressed one participates by singing traditional songs, including the performers, while a chosen ‘bride and groom’ act as the lovers’ families, the police, the priests and everyone who center of the spectacle. Inspiration is taken from the 17th comes from their ‘village’. Vibrant and highly convivial, century French quadrilles, a type of traditional square these jovial dances are without a doubt the highlight of dance, while the Brazilian adaptations are considerably the Festa Junina.Every year, national, regional and local more complex. Before the actual dance starts, a theater quadrilha dance competitions are held all around the performance tells the story of a single man who is pres country:

Luiz Gonzaga, locally known as ‘o rei do Baião’, is still a very popular artist and it is his songs that get played the most during Festa Juninas. Typical instruments include the triangle and the accordion.

CULTURAL MANIFESTATION

ANNUAL FESTA JUNINA

The music and the dance Accompanying these dances is a genre of music known as Forró.

Traditional C l o t h i n g

The typical clothes worn at the Festa Junina are inspired by vintage rural fashion as the themes of harvest and rain are cen- tral to the festivities. Young men wear shorts with braces, while women put their hair up in pony- tails, wear checkered dresses and paint freckles on their faces.

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