Eliane Elias April 10-14 - Birdland CD Release + Interview Music from “Man of La Mancha” PG

Celebrating International Jazz Day April 30th

Eliane Elias April 10-14 - Birdland CD Release + Interview Music from “Man Of La Mancha” PG. 14

Duduka da Fonseca Trio

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CD Release + Interview

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JAZZ INFLUENCE ON BRAZILIAN MUSIC 14 ELIANE ELIAS AND VICE VERSA - ARTICLE

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BRAZILIAN JAZZ HISTORY

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EVENT LIST

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BRAZILIAN PERCUSSION—ARTICLE ———————–-—— PG 12-13 ——————— 22 DUDUKA DA FONSECA ELIANE ELIAS— INTERVIEW + CD RELEASE

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ADRIANO SANTOS—INTERVIEW

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ALEXANDRE KAUTZ– INTERVIEW

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DUDUKA DA FONSECA—INTERVIEW + CD RELEASE

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Editor’s Note

ossa Magazine’s April edition, will be talking about Brazilian Jazz in celebration of International Jazz Day, April 30th. Brazilian music gives much thanks to the Jazz influence in Brazilian culture, because it was through this connection that the Brazilian music became world-renowned. Thanks to Stan Getz, Charlie Byrd, and Creed Taylor for taken the Bossa Nova to be played at Carnegie Hall in November of 1962. B Bossa Nova was played worldwide in the 60’s and even today revered by Americans and other countries. Almost everyone knows "The Girl from Ipanema", the song written in 1962, by Antônio Carlos Jobim (music), and by Vinicius de Moraes (Portuguese lyrics). Stan Getz recorded the album Getz/Gilberto in 1963 with Antônio Carlos Jobim, João Gilberto and his wife, Astrud Gilberto. The song "The Girl from Ipanema" won a Grammy Award. The piece became one of the most well-known Latin jazz tracks. Getz/Gilberto won two Grammys (Best Album and Best Single). “The Girl From Ipanema” went on to become the second-most recorded popular song in history, behind “Yesterday”. It was a worldwide hit in the mid-1960's and won a Grammy for Record of the Year in 1965.

While Astrud Gilberto's version of the song is perhaps the best known, the tune has been covered an estimated 150 times, including by Madonna and Amy Winehouse and of course by Frank Sinatra. Read more on “Influences of American Jazz in Brazilian music and vice versa”’ article on pages 8 to 10.

This month we will also present “Part I” of the Brazilian Percussion with just a few Drummers and Percussionists that are proudly spreading Brazilian Jazz in New York City and around the world, along with their histories.

“Stay tuned for Part II “.

Bossa Magazine would like to invite you to join us in the celebration of Jazz Day and Brazilian Jazz Month. The sound of Brazilian Jazz will echo in the city of New York and many other cities, celebrating communion, freedom and peace among the people! Check out the event list!

I hope you enjoy April’s edition and will help support Bossa Magazine fulfill its mission.

Thank you all for your support!

Madalena Sousa

Madalena Sousa Brazilian Music Foundation Founder/President/CEO Editor In Chief- Bossa Magazine

Editorial team BOSSA MAGAZINE

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The influence of Jazz on Brazilian music and vice-versa.

Br azilian music's important songs, Since the beginning of the 20th century, Coincidentally, in the same era, a well- composers and artists, evolved and the influence of Jazz became more and known Brazilian saxophonist said it was revealed itself as one of the richest music more clear. Brazilian instrumentalists, with impossible to improvise on Brazilian in the world. There are several styles that the exception of the weeping interpreters, music . However, sometime later, he they base this image on and qualify the the traditional music and the Northeastern adopted the jazz improvisation into his music of the country as one of the most Rhythms, were influenced by Jazz musi- records. beautiful, since its beginning with thecians. The seed of this merger was planted incorporation of European music, black in April 1953 by the guitarist Laurindo "Brazilliance" was edited in Brazil by and indigenous. The Brazilian musicality is Almeida and the saxophonist Bud Shank Musidisc and gained the immediate portrayed in well-crafted melodies, rich with the recording of the album sympathy of a new generation of harmonies and rhythms that are hardly "Brazilliance" in Los Angeles. musicians who would be icons of bossa assimilated by foreigners, but even with so nova and later of samba-jazz. Hundreds of many attributes, ironically, the music of bossa nova and samba-jazz records were Brazil was supported in foreign culture to edited in the United States, Europe and enlarge in large scale. Japan. This appreciation abroad caused a sudden change of opinion in the middle "Jazz has always been very influential in Brazilian musica, with the return of samba- several musical segments, and it has been jazz to the repertoire of the younger with the predominance of the American musicians. Before, Carlos Lyra took a model after the end of the second world nationalist stance by writing influence of war, that the urban layers of Rio de Janeiro Jazz, which has the verses: “poor samba lived an update to "modern" standards my gone mixing, modernizing and lost, due to imports of materials from the US. blaming the influences musicals coming from outside the country on the Brazilian "The relationship between jazz and song”, the bossa nova itself was built Brazilian music are much more intimate through elements of American music. that may appear. It is an intimacy that sur- prises after its finding. Their origins are This influence generated a new movement exactly the same, coming from the black Released: 1961 that strengthened in the late 1950’s and culture brought by African slaves origi- Genre: Jazz early 1960’s, knwon as Bossa Nova. That nating from the same regions of the west Style: Bossa Nova samba consisted of elements of different coast of the African continent. The slaves languages or "different Samba" as some worked hard, exhaustively, day and night, On this disk the Brazilian guitarist and jazz artists used to call it, and it was played by without any rest. The only soothing for the saxophonist have introduced an unusual high-class social boys. It was in Nara Leão's pain was the corner where they chanted innovation: The improvisations of Shank apartment in Rio de Janeiro, where the during the work, the lamentations at night, playing Brazilian repertoire in jazz Bossa Nova meetings occurred, where the chanting religious during the language. Shank laid the foundations of musicians like Roberto Menescal, Ronaldo mass, and the lullabies of slave mothers. what in the following decade would be Bôscoli, João Gilberto, Tom Jobim, and Fate has separated the African Brothers in called jazz-samba, but in Brazil was known many others were composing and the hemispheres of the two Americas, but for samba-jazz. The impact of that disk in exchanging ideas, listening to records of their roots were the same. our musical medium paved paths for a their favorite jazz players, including Frank completely new style. Sinatra and Cole Porter. Continue ….

With the innovations of Antônio Carlos 1980 and the Rio Jazz Monterey Festival in influences of Brazilian music in Jazz could Jobim and João Gilberto, allied to the Rio de Janeiro in 1980. They were decisive be perceived. The nylon guitar of João poetry of Vinicius de Moraes arose a new to arousing the interest of thousands of Gilberto-for example-became more used musical aesthetic. The new rhythms were people who began to pay more attention in Jazz, as well as the tambourine that was criticized and ironized by some musicians to our instrumental music. These three included in the Jazz compositions. who escribed it as "dripping rhythm or events, which occurred in the country's stuttering rhythm" because of the two largest cities, influenced the new In this way, it can be concluded that both syncopal beat of João Gilberto's guitar generations of musicians from the years cultures eventually permeated, and com- that made the connection of the last note 80/90 and awakened new talents for the plemented each other in some respects. of a compass with the first of the following samba-jazz. It’s been said that Jazz had a Brazilian music became more refined on to make the 2-1 only note. strong influence on Brazilian music. account of the influence of Jazz and this, in turn, made it a little more flexible when Another striking feature of the jazz On the occasion of the appearance of incorporating the Brazilian elements. It influence on bossa nova is "Singing speak- Bossa Nova, Brazilian artists still possessed should be emphasized that, 60 years after ing." This informal mode was very differ- a very rudimentary technique, more its emergence, Jazz remains the freedom ent from the Brazilian style previous- geared to the string instruments like the Music and no one can control it. ly performed. If before, the vocal part guitar and ukulele. There is no doubt that was influenced by the lyrical chant, now in the Bossa Nova absorbed a lot of Jazz con- Jazz lived its great creative moment in the the bossa nova, the Singing was "light" or tent, because with the incorporation of 1950’ s and went through phases of highs as some said, "more talkative." Certainly instruments of blow and the piano in their and lows. The current situation is quite the bossa Nova suffered other influences, compositions, the musicians of the time, different because now it is going through including in its origin, as the impressionism ended up improving and their productions a transition phase on account of techno- of Ravel and Debussy and the popular have become richer and refined from a logical changes. It's almost no longer Brazilian urban music of the previous melodic standpoint. Some people be- played in the big clubs and nightclubs, but decades . However, it cannot be denied lieve the introduction of Jazz in Brazil was it has life in the big festivals and in bars that Cool Jazz and Bebop were a great slow and difficult. The Brazilian people, specializing in that style. inspirational source, shaping the Brazilian accustomed to samba and the sound of music that was turned from there. Gafieiras (ballroom dance), were reluc- Brazil has received several classic jazz tant to accept the new style which was names as the pianist Herbie Hancock, the The new genre called Bossa Nova was consumed only by the elite who traveled trumpeter Wynton Marsalis and also consecrated in August 1958, when the abroad, attended Jazz concerts and could interpreters of the new generation as the compact disc was recordered by João buy the records of their favorite artists. Canadian Diana Krall-the most successful Gilberto with the song “Chega de Any musical influence from abroad was jazz singer of the present-and the Italian- Saudade” (No More Nostalgia) by Tom seen as alien to the Brazilian culture and American John Pizzarelli. Jobim & Vinicius consequently should be fought in kind of de Moraes arrived at stores. crusade against the Invaders (Schwarz, In 2008 Brazil exhibited the sixth edition 2001). However, the radios ' insistence on of Bourbon Street Fest, one of the best dissemination of the new style eventually examples to show the Growth of the conquered big names that diffused and Brazilian public who enjoy Jazz. The move- consolidated the Jazz in the country. ment, which began timidly in 2003 with small presentations on stage mounted on It can be deduced that both the American the streets, took large outlines in the and Brazilian culture just naturally merged Cities of Sao Paulo and Rio de Janeiro. In into the music field, influencing eachaddition, the country hosted the Interna- other. Many Brazilian artists, such as tional Festival "Everything is Jazz: in Ouro Sergio Mendes, Airto Moreira, Flora Purim Preto”, where some 200 musicians from and Dory Caymmi, among others, had various nationalities were gathered in their careers developed in the United 27 performances. States and from there they brought innovations and revenue from improvisa- By Humberto Paim tion. "Work of completing the graduate course in Management of cultural projects and organization of events produced under On the other hand, it is noted that many the guidance of Professor Soledad G." Release Date: 1959 classes in traditional American schools use Genre:Latin International Jazz the Brazilian music on their resume. The CELACC/ECA-USP Styles: Bossa Nova export of Brazilian music into American Source:http://paineira.usp.br/celacc/sites/ schools started during the movement of default/files/media/tcc/154-516-1-PB.pdf One cannot forget the importance of the Brazilian students in the mid-1980’s. two São Paulo Jazz festivals in 1978 and In addition to these aspects, otherTranslated and edited by Bossa Magazine

BRAZILIAN JAZZ By Mila Schiavo

with small group to Stan Getz (artist), and Moreira, where the American bass player Brazilian Jazz is a style born Best Engineered Recording to the Getz/ Ron Carter began mixing Brazilian music from the fusion between jazz Gilberto to Phil Ramone (engineer). with jazz along with musicians such as Flora Purim, Sivuca and Dom Um Romão. improvisation and Brazilian In the early 1960’s Bossa Nova tunes, or Another good example is the record rhythms. albums, were recorded by major jazz Hermeto (1972) by Hermeto Pascoal, performers, including Stan Getz, Cannon- Keyboardist-composer Don Grusin and his The music, the language from the heart, ball Adderley, Coleman Hawkins, Dave brother Dave Grusin have both been and therefore so intrinsically human... Brubeck, Ella Fitzgerald, and others. Getz’s inspired by the Brazilian sound. “It started This language, which even inaudible to recordings of “Desafinado” (with Charlie in the 1960’s when I first heard Astrud some, reaches its soul through its vibra- Byrd, 1962) and “The Girl From Ipanema” Gilberto and Stan Getz and João Gilberto,” tions, because it is sound and sound prop- (with Astrud Gilberto, 1963) became a recalled Don, who over the next two agates, sound vibrates, and can be felt in pop hit, rising to #15 and #5 on Billboard decades produced and arranged albums shakes like invisible wires of expression of Magazine’s charts. for Gilberto Gil, Simone, Rique Pantoja, various emotions that fill our pores and and other Brazilian artists. He sees sensory fillets. Language so universal, Today, Bossa Nova remains one of the Brazilian music as having strongly influ- aggregator of Hearts… prevalent rhythms in American jazz and enced contemporary jazz. “I hear a kind of popular music. The music style has been hybrid sound in my music and that of Since the beginning of the 20th century, recorded numerous times by different Dave, Lee Ritenour, Ronnie Foster, Harvey American Jazz and Brazilian music have artists and found its way into American- Mason”. influenced each other. The popular Brazil- composed top 40 as well. For example: In recent decades, Brazilian rhythms have ian music styles like samba, choro and “I Say a Little Prayer” by Burt Bacharach been prominently incorporated into music American jazz share the same roots, a mix and Hal David, “Walk on By” by Burt of international jazz and pop artists such of African rhythms and European harmo- Bacharach and Hal David, “ I’ll Never Fall as Michael Franks, Sade, Basia, and count- nies. When Mr. Ben Ratliff, in his book in Love Again” by Burt Bacharach and Hal less others. The composition “The Girl “The New York Times Essential Library David, and “Going’ Out of My Head” by From Ipanema” (Antônio Carlos Jobim and Jazz – A Critic’s Guide to the 100 Most Teddy Randazzo and Bobby Weinstein. Vinicius de Moraes) was inducted into the Important Recordings” (2002), writes Latin Grammy Hall of Fame in 2001 and In about the Original Dixieland Jazz Band The bossa drum pattern can even be 2004, it was one of 50 recordings chosen (The Creators of Jazz), he mentioned: “…. heard in the Doors’ “Break On that year by the Library of Congress to be New Orleans street rhythm has ties to Through" (To the Other Side). added to the National Recording Registry. Brazilian samba-school drumming.” But it In 2015, at the 58th Grammy Awards, was not until the Bossa Nova period A number of classic jazz standards compo- the Brazilian pianist and singer Eliane Elias (1960’s) that the fusion of this music sed by non-Brazilian musicians employ a won a Grammy for the best in the Latin began to take on a new transnational Bossa Nova beat. For example: Blue Bossa jazz category with the album “Made in style and gain popularity world-wide. The (Kenny Dorham) , Recorda-me (Joe Hen- Brazil”. Girl From Ipanema” (Antonio Carlos Jobim derson), Ceora (Lee Morgan), Pensativa and Vinicius de Moraes) went on to (Clare Fischer), The Shadow of Your Smile By Mila Schiavo become the second-most recorded popular (Johnny Mandel, with lyrics by Paul Sites and books References: song in history, behind “Yesterday”. Since Francis Webster), Song for My Father then we can list a number group of artists (Horace Silver), Watch What Happens Bogdanov, Vladimir; Woodstra, Chris; Er- that have been part of this: João Gilberto, (Michel Jean Legrand) and Forest Flower lewine, Stephen Thomas. All Music Guide to Miles Davis, Herbie Hancock, Gerry Mulli- Jazz: The Definitive Guide to Jazz Music. Back- (Charles Lloyd). beat Books. p. 344. (2002), LIS, Eduardo. gan, Claudio Roditi, Stan Getz, Sergio Mendes, Frank Sinatra, Tony Bennett, “Creating a New Tradition: The Brazilian Jazz During the 1970’s, in the United States, it Experience in North America”. York University Diana Krall, Sting and many others. was a time of experimentation for many (1997) McGowan, Chris. Pessanha, Ricardo. jazz musicians, the market for “fusions” The Brazilian Sound: Samba, Bossa Nova, and Influence on American Pop and Jazz was good. Apart from the Bossa Nova the Popular Music of Brazil. Temple University movement, there were musicians such as Press, Philadelphia (1998) Ratliff, Ben. in his Certainly it wasn’t all about rock and roll Hermento Pascoal. Sergio Mendes, Zimbo book “The New York Times Essential Library at the 7th Annual GRAMMY Awards Trio, Johnny Alf, Tamba Trio, and many Jazz – A Critic’s Guide to the 100 Most Im- (1964). The Bossa Nova beat was still all portant Recordings”. Times Books (2002). other who were experimenting with the RioTimesOnline:http://riotimesonline.com— the rage, with Record of the Year going to fusion of jazz and Brazilian music in variety http://riotimesonline.com/brazil-news/rio- “The Girl from Ipanema” by Astrud Gilberto of forms. entertainment/eliane-elias-wins-grammy-with- & Stan Getz (artists), Album of the Year album-made-in-brazil/#sthash.IdPIxm3B.dpuf going to the Getz/Gilberto – João Gilberto One good example is the album “Seeds http://performingsongwriter.com/girl-from- & Stan Getz (artists), Best Instrumental On The Ground”, released in 1971 in the ipanema/ Jazz Performance – small group or soloist US by the Brazilian percussionist Airto

EVENT LIST APRIL/MAY 2018

MUSIC Eliane Elias: Music from the musical “Man of La Mancha” CD Release APR 10-14 Birdland - 8:30 & 11 PM - CLICK HERE Dom Salvador Quartet Time: 6:00 PM APR 12 Minton's Playhouse - CLICK HERE

Hélio Alves Quartet: New Brazilian Perspectives Show time: 8:00 PM & 9:30 pm APR 15 Cornelia Street Café - CLICK HERE

Grand Rapids Symphony Nelson Freire, Piano Concert APR 20 Time: 8 PM Stern Auditorium / Perelman Stage— CLICK HERE Samba New York's Queen of the Drums Samba Party APR 27 DROM85 Avenue A, New York—CLICK HERE

ART Lecture: A Conversation with Aracy Amaral and Carlos Zilio on the Legacy of Tarsila Time: 7:00 PM APR 12 Museum of Modern Art (MoMA) - CLICK HERE

FILM "Joaquim", by Marcelo Gomes April 12 @ 3:00 PM April 15 @ 7:00 PM (Q&A with Director) APR 12 AMC Loews 34th St. - CLICK HERE

"O Gato de Havana" by Dacio Malta Time: 2:45 PM APR 15 AMC Lowes 34th St. - CLICK HERE

"Nelson Freire", directed by João Moreira Salles Time: 7:00 PM - with Nelson Freire and Marcelo Lehninger APR 18 Americas Society - RSVP CLICK HERE

"Kaiser: The Greatest Footballer Never to Play Football", by Louis Myles Tribeca Film Festival- CLICK HERE APR 21—28

BRAZILIAN PERCUSSION

By Madalena Sousa/Editor In Chief History and Market Growth

razil has been a rich source of music in Bahia in 1850, as a result of the revolu- blending with fluffy and lundu, the most B and rhythm for many years. Virtually tion of the Malês, the entry of the Batá popular styles. Also grew the number of every percussionist has a few Brazilian drums was prohibited in all the ports of musicians who played in the churches, in percussion instruments in his “toy” collec- the country and ordered to be burned, so the houses and in the streets. tion. It is important for drummers to be that no more of his touches were heard. Who were these musicians that were familiar with these fascinating instru- Thus, the voice of these ritual drums was emerging all over Brazil? Slaves, black ments, since by understanding their heard, which, in addition to their sacred freeds, mulattoes and their descendants. functions and techniques, we can transfer touches, urged the slaves to fight. These African interpreters of origin, with this knowledge to the drums and expand their easy assimilation of the musical our rhythmic concepts. The techniques elements both European and indigenous, involved in playing Brazilian percussion developed a particular Brazilian style, instruments are quite varied and may which would later give rise to our wonder- seem complicated. In Brazil, fine percus- ful samba! In Rio de Janeiro and mainly in sionists, although playing other Brazilian Bahia, the groups of Afoxé began to instruments, specialize in only one or two, appear. Also known as street Candomblé, playing these with impressive skill and they were formed solely by men and virtuosity. marked the African presence at the carnival. In Bahia, the Afoxés Empire of The Indian was the first Brazilian percus- Africa, merchants of Baghdad, sons of sionist, beating a continuous rhythm on Gandhi, and father Burukô created by the ground with his feet and playing Master Didi, marked the presence of the several rattles; European colonization has Gilberto Gil and “ Filhos de Gandhi” terraces in the carnival of Salvador. brought its rhythms to Brazil, but the third and strongest influence was, without a Throughout the country, the use of drums Thus arose the Afoxés of Indian and doubt, the one brought by the African and other percussion instruments in the Caboclo that followed the African model slaves. Coming from various regions, churches was prohibited. But this rhyth- differentiating in the corners and tribes and ethnic groups (Gêge, Nago, mic strength from Africa influenced the costumes. The Afoxé Sons of Gandhi is the Keto, Angola) with its solid tradition and music brought by the European sailors, ultimate representation of this cultural musical culture, they possessed ample the music of the Court and the music resistance. Gradually women also began dominance of drums, timber and metals. played in the churches. Musical forms to dominate the percussion and emerged So evident was the presence of African such as Fado, Waltz and polka have groups like Didá, Aquiláh and several percussion among the slaves that a series become rhythmically more vibrant when others that lead to the world the beauty of measures were taken to forbid them: of genuinely Brazilian percussion.

According to Roberto Guariglia, owner of Contemporary, "percussion is at the root of all Brazilian music rhythms. Currently, according to research carried out with shopkeepers, this segment represents, on average, 18% of sales in stores, far above that other types of instruments. When we think about exporting, percussion instruments are the ones that still represent Brazil out there. " For Anselmo Rampazzo, owner of RMV, besides being intrinsically connected to the musical genres of our culture, the aggregate value of the instruments guarantees a good receptivity. "Percussion instruments still represent a lot of our culture and, because they are of affordable value, have a guaranteed market", he clarifies. Brazilian percussion grows abroad! Brazilian Percussion Market The percussion industry in Brazil is making more instruments than ever. An exposure of rhythms and higher quality of The advancement in the quality of the instruments manufac- products make the percussion market in Brazil and abroad tured in Brazil contributes to the increase of this demand grow. Contrary to what many think, the Brazilian percussion abroad, according to Carlessi. "Another aspect that must be market goes beyond the drums and accessories for folk music remembered is the improvement of our products, which have genres. Increasingly used in various rhythms, percussive been achieving a quality standard that the external market instruments gain more space in national and foreign markets. seeks. There is a lot of investment and effort of entrepreneurs However, the importance of Brazilian musical styles in the in improving the means of production and this has opened consolidation of the niche between the shopkeepers is many doors to Brazilian products, "he says. undeniable. Source:http://musicaemercado.org/mercado-de-percussao-brasileira/ PG 12 WWW.BOSSAMAGAZINE.COM | BMF |ASUOS PRODUCTIONS | BRAZILIAN ART AND MUSIC | NEW YORK - APRIL 2018 |EDITION

PERCUSSION INSTRUMENTS

Brazil has been a rich source of music and rhythm for many years. Virtually every percussionist has a few Brazilian percussion instruments in his “toy” collection. It is important for drummers to he familiar with these fascinating instruments, since by understanding their functions and techniques, we can transfer this knowledge to the drums and expand our rhythmic concepts. The techniques involved in playing Brazilian percussion instruments are quite varied and may seem complicated. In Brazil, fine percussionists, although playing other Brazilian instruments, specialize in only one or two, playing these with impressive skill and virtuosity.

Among these instruments is the SURDO, a The tambourine or PANDEIRO, is also large cylindrical bass drum made of light used in Brazilian percussion. The tech- metal whose throbbing rhythm provides niques involved in playing this instru- the backbone and sets the pulse for the ment are quite sophisticated and take rest of the Brazilian percussion section. some time to develop. The basic The surdo’s characteristic rhythm, pandeiro technique involves a hand although quite simple, typifies the motion which combines three areas of essence of samba. The sound of the the hand; the thumb, the palm, and the surdo can be simulated by an unmuffle fingers. These play a sixteenth note floor tom struck with a timpani mallet. pattern which if properly executed will produce a samba rhythm. The tambourine should be held level or slightly tilted, the striking hand staying close to the edge. The thumb strikes The AGOGO is one instrument which has with a sideways motion, as if turning a door knob counter- recently become quite popular, particularly clockwise, and should produce an open ringing tone. The palm in disco music. Consisting of two differently and fingers are played with a rocking motion pitched bells joined by a curved metal rod, the agogo lends a semi-melodic feeling to Perhaps the most fascinating the rhythmic patterns. instrument of all Brazilian percussion is the CUICA, whose roots can be traced to West Africa The smallest drum used is the where samba rhythms are said to “tamborim,” a single headed drum have originated. The cuica is a measuring about six inches in diameter friction drum, and a thin bamboo which produces a very sharp and stick is tucked into the skin inside piercing sound. The tamborim is held a single headed drum made of with the left hand, the middle finger fills metal or sometimes wood. Sound is created by rubbing the in the rhythm of the right by tapping on stick with a moistened cloth, thereby causing the skin to vi- the inside of the head. brate. By using varying pressure on the skin with the fingers of the other hand, many different sounds and effects can be produced. The cuica’s sound has been compared to screech- Tenor and snare drums are also used in ing tires, grunts, and barks. One can even play melodies with the Brazilian percussion section. The it. The cuica is held to the body by the left hand, fingers on tenor drums are usually played with one the skin. The right hand loosely grasps the stick inside the stick, using mostly rim shots, the remain- drum with a moistened cloth. Pressing on the head near the ing hand uses a slapping motion and fills bead with the left middle finger raises the pitch; the more out the rhythm by playing on the after pressure, the higher the sound. By rhythmically alternating beat. The tenor drum is also used as a finger pressure on and off the skin with the right hand’s rub- solo instrument, playing cadences that bing motion, the contrasts in sound are fully exploited. In bring in the rest of the players. Below is some cases, two fingers may be used, one finger raises the an example of a typical cadence and sound, while the other alternates on and off the head. rhythm: Snare drums are played with two Other instruments used in Brazilian percussion are metal sticks, one hand plays a samba rhythm, shakers of different shapes and sizes, triangles, wooden the other filling it in with a buzz roll whistles, small frying pans, and an instrument called the “reco played close to the rim. -reco,” a scraper which consists of bed springs mounted on a metal sound chamber.

BOSSA MAGAZINE APRIL 2018 Interview with Eliane Elias Singer, Pianist, & Composer

Photo by Philppe Salomon

Up Close & Personal Interview

with Eliane Elias

E liane was born in a family of musicians. Her mother played BM: The Impossible Dream came true in the hands of Eliane classical music and she heard a lot of Jazz music in the house, Elias and her audacious way of adding Brazilian flavors in like in many other houses in Brazil in the 60’s. Bossa Nova was everything she touches. part of her childhood. It can be said that she basically was breathing music from the moment she was conceived. She You were able to be accepted into the world of jazz particular- started studying music at the age of seven, participated in TV ly dominated by men. How did you achieve this? I think music shows, started teaching music at the age of 15 and moved to speaks for itself and ultimately has no gender. I certainly had United States when she was 21, leaving everything behind - her the opportunities and doors were opened to me once my country, culture, parents, siblings, friends, her whole life- and playing was heard. came to the United States for the music without speaking the language. She didn't know anyone. All she had with her was Brazilian Music is primarily vocal music, and Jazz instrumen- your voice and her music to present to people. It was a very tal. What moves you the most when you are playing instrumental brave and courageous thing to do! She succeeded and today music, singing, and/or composing? I still love playing the piano she is sharing a little bit about her life and music history. the most. That’s where I feel most connected to my muse.

Interview by Madalena Sousa/Editor In Chief Jazz and Brazilian music have a long love story which is internationally embraced. How do you the see Jazz influence in Eliane, thank you so much for being part of this very special Brazilian Music and vice versa? The cool jazz movement was edition of Bossa Magazine, celebrating Brazilian Jazz during Jazz Influential to many of the Bossa Nova icons and composers. month, and sharing with us your history and creating new Chet Baker, Stan Getz and the West Coast sound of the 50’s histories to be remembered in the future. influenced Joao Gilberto, João Donato, Jobim and others. I was immensely influenced by jazz, starting at a very early age. You came to US when you were a teen, how was this process Brazilian music, especially bossa nova, has influenced American for you? Was it your own choice or did you feel influenced by jazz and jazz musicians all over the world. The harmonies and your mother to become a professional musician? Did you ever song structures of bossa nova songs are very comparable to the consider choosing another profession? I feel that music chose Great American Songbook and lend themselves easily to melodic me. I loved playing the piano, and the challenge and progress improvisation. that I felt from practicing. No one could get me away from the piano. Do you believe that Brazilian music has captivated the world, and can it get a revival in the U.S. like Bossa Nova did in the What were your early passions and who were your musical 60’s? I don’t know if it will ever be a huge wave again, but it influences? What famous musicians have you learned from? continues to have a consistent level of penetration worldwide. When and what kind of music did you first compose? Composing was natural for me. Melodies, harmonies and What does this new CD release, adding your touch of Brazilian arranging ideas came often and I was a natural young flavors in The Man of La Mancha, mean to you? Is that a break- improviser. Writing music was also very natural to me. All of through in your way of arranging music? I would not character- these things combined helped to accelerate the start of my ize this album as a breakthrough, conceptually, but rather a career. During my formative years, I listened to many of the continuation of my earlier work. I refer you to the album ‘Eliane great American Jazz pianists such as Art Tatum, Bud Powell, Elias Plays Jobim’ as a reference point, in which Mitch Leigh Errol Garner, Oscar Peterson, Bill Evans, and Herbie Hancock to actually referred to when he asked me to take on this name a few. project. This album brings in depth some of my piano playing and arranging skills and my knowledge of various Brazilian How do you feel being chosen by Mitch Leigh to make new rhythms which I incorporated to give color and variation to the arrangements for the Man of La Mancha musical? Did you feel songs. challenged by this commissioned work, since you have never done arrangements for a Broadway musicals? Music is music, Is there anything you have not done that you would like to do songs are songs, whether from Broadway shows or other in the next five years? I continue having goals and ideas for sources. I felt honored by having been chosen by Mitch Leigh, projects, but I keep them private until I feel it’s the right time to speak about them. and also confident that I would bring arrangements to him that he would be happy with; after all, he came to me because he What kind of message do you want to send to the world with already liked the works I recorded of other composers’ material. your music? What I have always tried to say: to bring a sense of beauty, a message of romance and love, and a range of http://elianeelias.com emotions to each person that listens to my music.

PERFORMANCE NEW YORK CITY APRIL 10 – 14 BIRDLAND 8:30 & 11 PM

Tickets

Track listing: 1. To Each His Dulcinea (5:42) 2. Dulcinea (5:34) 3. What Does He Want of Me (6:43) 4. The Barber’s Song (5:07) 5. It’s All The Same (7:16) 6. I’m Only Thinking of Him (5:04) 7. Man of La Mancha (I, Don Quix- ote) (7:40) 8. The Impossible Dream (5:48) 9. A Little Gossip (4:31)

PG 16 WWW.BOSSAMAGAZINE.COM | BMF | ASUOS PRODUCTIONS | BRAZILIAN ART AND MUSIC |NEW YORK – APRIL 2018 ELIANE ELIAS— CD RELEASE

MULTI-GRAMMY®- WINNING ELIANE ELIAS REVIVES SONGS FROM A CLASSIC BROADWAY MUSICAL WITH MUSIC FROM MAN OF LA MANCHA Created at the request of the original composer April 13 release features Eddie Gomez, Jack DeJohnette, Marc Johnson, Satoshi Takeishi and Manolo Badrena For Immediate Release – Following her 2015 GRAMMY®-winning Made in Brazil and 2017’s Latin GRAMMY®-winning Dance of Time, Eliane Elias returns with Music from Man of La Mancha, set for release on April 13, 2018, via Concord Jazz. Recorded with two different trios—one that finds the piano virtuoso accompanied by bassist Eddie Gomez and drummer Jack DeJohnette and the other featuring Marc Johnson on bass with Satoshi Takeishi on drums, with Manolo Badrena joining on percussion—the nine-track collection is a unique all-instrumental reinterpretation of songs from the legendary Broadway musical. Dance of Time, which debuted at number one on two Billboard charts, the iTunes Jazz Albums chart and the Amazon.com Brazilian and Latin Jazz charts, and Made in Brazil, also debuting at number one on the iTunes and Amazon.com Jazz Albums charts, were recorded in Elias’ homeland. The back story for the new release adds another chapter to the prolific pianist-singer-composer-arranger and producer’s résumé: Although Elias has, in the past, recorded tributes to such giants as Antonio Carlos Jobim, Chet Baker and Bill Evans, Music from Man of La Mancha marks the first time she has put her own spin on a specific set of songs from a Broadway musical. Elias’ 26th album in a highly distinguished career, Music from Man of La Mancha was recorded in 1995 and produced by Elias with co-production by Mitch Leigh, the late composer of the music for the original Broadway production. Man of La Mancha premiered in 1964 and was inspired by an earlier, non-musical stage production, I, Don Quixote, itself inspired by Miguel de Cervantes’ 17th-century masterpiece Don Quixote. Among the classic songs authored by Mitch Leigh for the musical was the oft-recorded “The Impossible Dream,” reimagined by Elias for this project. Music from Man of La Mancha begins with back-to-back arrangements of “To Each His Dulcinea” and “Dulcinea,” the former featuring the Johnson-Takeishi-Badrena combo and the latter Gomez and DeJohnette. “When sequencing the tracks, I thought it was a beautiful way to start by showcasing the two trios,” she says. Elias approached each arrangement differently, based on what the music said to her. “A Little Gossip,” Elias explains, “felt just perfect to be set within the Brazilian rhythm of frevo. In general, arranging the songs was a combination of applying different rhythms, re-harmonizations, new improvisational sections, inventing completely new parts such as introductions, interludes, endings, using modulations to create color and overall momentum, lift and interest while staying true to the original melodies. Some of the songs have more Latin flavor; others have more of a Brazilian flavor. ‘The Barber Song’ is more like a Brazilian baião where I harmonize every note of the melody and freely play over the bar-line. ‘The Impossible Dream’ is a samba. Every tune has its own treatment. ‘What Does He Want of Me’ and ‘Man of La Mancha’ have a lot of interplay. There’s a lot of variety. I really enjoyed preparing the arrangements for this recording because Mitch gave me artistic freedom.” All of the music was recorded live in NYC’s Power Station Studio and it was mixed at Leigh’s Secret Studio in New York City. “For the most part, we usually ended up using the first take,” she says. “That spontaneity and freshness when you first record something is hard to beat. Of course, the musicians were prepared and rehearsed. My choices as to which musicians played on which songs were based on the type of arrangements that I wrote. I played to the strengths of each trio. It brought beautiful and varied interpretations, different feels and colors to the music by having two different bassists and two different drummers.” Due to contractual circumstances, the album was not released at the time of recording, and Leigh has since passed away. Elias says that she was gratified to see how much Leigh enjoyed what she had done, saying, “I was thrilled to see Mitch’s excitement, enthusiastic approval, joy and delight with these arrangements and interpretations. Speaking from the arranger’s chair, it is the highest praise when the composer is enamored with the reimagining of his work.” Leigh’s children have stated, “Our dad loved this album, playing it for guests, with pride, but also when he was on his own, listening to it again and again. We all feel sure he’d be very proud it’s being issued for the public.” For more information: Mike Wilpizeski – Concord Records – 718-459-2117

driano Santos is part of a new generation of Brazilian BOSSA MAGAZINE drummers, was born in São Paulo, he began his drum studies at the age of twelve at Zimbo Trio Music School ( CLAM) in his INTERVIEW WITH hometown. In 1988 he moved to Boston to study at Berklee ACollege of Music where he acquired his B.A. in Film Scoring. Moving to ADRIANO SANTOS New York in 1995, Adriano started his Masters Degree at City College DRUMMER AND PERCUSSIONIST of New York where he had the chance to enjoy ensemble lessons with the great jazz legend Ron Carter. As a professional he has performed with top international artists such as Astrud Gilberto, Gal Costa, Leny Andrade, Bebel Gilberto, Romero Lubambo, Antônio Adolfo, Helio Alves, Claudio Roditi, Nelson Faria, Leo Gandelman, Paulo Moura, Jovino Santos Neto, Nilson Matta, just to name a few. Adriano is currently performing with the Vinicius Cantuária Group, Matt Geraghty Project, Kenia, Hendrik Meurkens and Davi Vieira. Mr. Santos has produced publications in specialized drum magazines and has released a book through Drummers Collective NYC (where he is part of the faculty) called, "Afro-Caribbean & Brazilian Rhythms for Drum set". Adriano is endorsed by Vic Firth Sticks, Remo drum heads, Canopus Drums and Istanbul Agop Cymbals.

Interview by Madalena Sousa/Editor’s In Chief Adriano , thank you so much for being part of the 9th Edition of Bossa Magazine, in celebration of Brazilian Jazz Month.

Adriano, when did you start writing/ How would you define your line of producing music - and what or who work? In your creations, is there a were your early passions and segment of the percussion that is influences? During my Berklee most striking and an instrument, in College years in the mid 90’s I particular, that you have more started writing music for the Film involvement? Living in New York for Scoring course that I was studying. many years forced me to be able to It was a great learning experience. adapt to many different styles. After moving to New York, I started I always try to deliver a solid groove focusing on writing educational for the artists that I work with. My drum material at the Drummers main instrument is the drum set Collective and started exploring the and it has been since I was a kid. application of new arrangements That has never changed. I play for my own band. I had many Brazilian percussions as well, espe- different influences in my musical cially for my classes, and for formation: Bossa Nova to Prog- recordings and gigs when requested. rock, Fusion to Jazz and classical Sometimes I mix both! In Brazilian music to African drumming. music it is very important to know the percussion parts, no matter Which famous percussion musicians what instrument you play! have you learned from? Were you influenced by foreign percussion Do you do anything else besides music? I have a long list of music percussion? Do you teach music? heroes and a strong influences from I have been teaching drums and the best Brazilian drummers such percussion for more than 25 years. as: Edson Machado, Milton Banana, I started teaching at the Drummer’s Airto Moreira, Paulo Braga, Teo Collective in New York in 2000, not Lima, Portinho, Duduka da Fonseca, only on the drum set and percus- Nenê, Marcio Bahia, Celso de sion, but also running a Brazilian Almeida, Edu Ribeiro and Rafael music ensembles class. At Columbia Barata to name a few. My favorite University and New York University jazz drummers are Tony Williams, I had the opportunity to blend Elvin Jones, Jack DeJohnette, Billy individual instrument performance, Cobhan, Jeff Tain Watts, Brian group practice and Brazilian music Blade, Bill Stewart, Eric Harland and history classes. Donald Edwards and many more.

Who are your favorite musicians? Have you ever tried playing a differ- Groups? CD's? I have been listening ent instrument? If yes, how good a lot to Trio Corrente, Fabio Gouveia were you at it? I play a little piano, Group, pianist Misha Tsiganov, but it is more to help me to teach saxophone players Chris Potter, the ensemble classes. I am trying to David Binney and Joshua Redman, get better at it. I really enjoy the and drummers Kendrick Scott and challenge! Antonio Sanchez. Continue …

PG 18 WWW.BOSSAMAGAZINE.COM | BMF | ASUOS PRODUCTIONS | BRAZILIAN ART AND MUSIC |NEW YORK – APRIL 2018 INTERVIEW - ADRIANO SANTOS By Madalena Sousa/Editor In Chief

In your opinion, what is the rule of a percussionist and what Sharing this valuable gift with others is revitalizing! Drumming constitutes a good live performance? What's your approach to has taken me to places that I never imagined, making life a performing on stage? This applies to any musician that has the beautiful journey! desire to perform in a higher level. Besides the technical skills, the ability to listen and understand what the music requires is Do you believe that Brazilian Music has captivated the world extremely important. The preparation for the work is crucial. and can it get a revival in the US, like Bossa Nova was in the But sometimes you will not be able to have time to prepare, so 60’s? Brazilian music is alive and well and will keep growing. your many years of practice will come into play. On stage you There is an amazing new generation of Brazilian musicians have to make the magic happen and this requires a lot of atten- coming up. It won’t stop! The level is getting higher and higher! tion from our part. I always try to lay down a solid groovePeople will continue loving Brazilian music. respecting all the nuances that the music requires. How do you the see Jazz influence in Brazilian Music and vice In which way is your cultural background reflected in your versa? This exchange has been happening since the late 50’s performances? Brazilian music is so hard to reach harmonically, and it will not stop. The new generation is absorbing Jazz more melodically and rhythmically that I think it facilitates my flow and more and vice versa with the use of the internet, where between different styles of music. you can access a large amount of instructors all over the world. The learning experience has expanded, creating new possibili- Could you describe your creative process on the basis of a piece ties for the music to grow. or album that's particularly dear to you? Where do ideas come from, what do you start with, and how do you go about shaping Do you have a project coming up soon; can you tell us about it? these ideas? The ideas can come in the form of a melody or Yes. I have been working on a play, a long book directed to sometimes in a form of a rhythm on the drum set. From that education. Hopefully it will be done by the end of the year. I am point on I try to develop what I have into different sections continuing working with my band gathering material for my next using melodic or rhythmic variations. When I am working on a CD. record I try to understand what the band leader needs from me, what styles will be incorporated to the music and am always How can Americans become more aware of Brazilian music? sensitive to the instrumentation that it’s been used. I don’t want Besides the accessibility of the internet, musicians should try to to step on anybody’s toes get in touch with local musicians that play Brazilian music. The gathering of musical material is very important for the develop- How would you describe your current sound? Tell us a little ment of the vocabulary. Join Brazilian dance lessons or Brazilian about your work. By now I believe I have my own voice on the Portuguese lessons - that will help very much. Try to go out and drum set! I really enjoy playing Brazilian jazz, so the sound experience live performances and exchange ideas with quality of my instrument falls more to a jazz sound with a 18” musicians. kick drum. If I am called to play a pop gig I use a bigger drum set. I have different sets of cymbals for different kind of work. What kind of message do you want to send to the world with You’ve got to be prepared! I blend some small percussion into your music? With all the conflicts and complications that the my set like bells, tamborim and effects so I can create different modern way of life forces upon us, I hope that my music can colors if necessary. Hand percussion such as pandeiro, shaker, bring some spiritual comfort, happiness, stimulating our imagi- caxixi and triangle are always useful in Brazilian music. At the nation and transporting our thoughts elsewhere finding peace moment I am focusing on the creation of an educational of mind. material. I am in the process of writing a play along book so I can use it to reach out to students that have the desire of learning Brazilian drumming.

Tell us about your travel experiences and musical collaborations. What was your most meaningful performance and where did that happened? Living in New York for so many years has allowed me to have amazing experiences playing with many great artists from all over the world. This is priceless because it opened the doors to visit many different parts of the world. It is amazing to see the reaction of people in other countries It is always a surprise! I have had many memorable moments during my career playing with amazing musicians, but the ones that were special for me are: Gal Costa at the Carnegie Hall (2003), Gato Barbieri at the Blue Note (2016), Jordi Savall at Lincoln Center (2017) and travelling for many years around the world with Vinicius Cantuária.

How many CD’s have you recorded? What is the identity of your work? I have recorded many CD’s with different artists and one on my own. I enjoy the improvisational aspect of music; consequently, I tend to go towards Brazilian Jazz with a lot of space for the drum to talk!

Living and playing in the U.S. for many years and being a Brazilian percussionist, how do you relate the receptivity of the “ Ginga Percussiva Brasileira “ Brazilian percussive ginga, even if it is not demonstrated through samba, outside our country? Our native rhythms are contagious! It doesn’t matter how you are feeling, the Brazilian rhythms reach deep inside of us rocking every molecule of our body. It is impossible to stand still.

Today, after so many paths alongside the percussion, representing, with such quality, the Brazilian percussionist, how would you describe your relationship with this percussive process? Music is my life and the drums is an extension of my body and Site: http://www.adrianosantos.com soul. It is vital for me to be involved with music and the drum.

BOSSA MAGAZINE Kn own for his sensitivity, musicality and touch, Alexandre INTERVIEW WITH ( also known as Alex ) has found a unique musical voice as a result of his passion for jazz, world music and his natural Brazilian influ- ALEXANDRE KAUTZ ence. Born in Sao Paulo Brazil, Alex first went to Berklee College of Music to study a Degree in Professional Music and them moved to DRUMMER AND PERCUSSIONIST NY to study a Masters of Arts in Jazz Performance in Queens College. Since his arrival in NY Alex has had the opportunity to work with many great musicians such as Tim Ries, Robert Rodriguez, Mike Rodriguez, Paul Bollenback, Phil Dwyer, Ben Monder, Ingrid Jensen, Magos Herrera, Helio Alves, Leonardo Cioglia, Mike Moreno, Roland Guerin among others..

Interview by Madalena Sousa/Editor’s In Chief When did you start writing/ Urubu by Tom Jobim, Inner producing music - and what or Urge by Joe Henderson, OK who were your early passions Computer by Radiohead, Bach: and influences? I started playing The Goldberg Variations by music when I was very young Glenn Gould, among many and even though I consider others. myself more of a musician/ instrumentalist then a producer How would you define your line I have had the opportunity to be of work? In your creations, is involved in the production there a segment of the percus- aspect of the music business sion that is most striking and an while working as a co-producer instrument, in particular, that of records by the wonderful you have more involvement? singer Magos Herrera. With my I work mostly as a session musi- newest project called Trio cian / drummer playing jazz, Afora. I am currently working on Brazilian and world music. the production and writing of my first solo album. When did you start writing/ producing music - and what or Which famous percussion musi- who were your early passions cians have you learned from? and influences? I started playing Were you influenced by foreign music when I was very young percussion music? I have and even though I consider learned from many different myself more of a musician/ percussion players, drummers instrumentalist then a producer and musicians. People like I have had the opportunity to be Jamey Haddad, Efrain Toro and involved in the production Ed Tomassi were very important aspect of the music business when I was in college. They while working as a co-producer opened a musical universe for of records by the wonderful me and made me aware of singer Magos Herrera. With my many important things that newest project called Trio I still work on today. I have also Afora. I am currently working on learned from many musicians the production and writing of and percussionists by listening my first solo album. and watching them play and I have been influenced by a lot Which famous percussion musi- of different musicians and cians have you learned from? percussionists all around the Were you influenced by foreign world. percussion music?I have learned from many different percussion Who are your favorite musi- players, drummers and musicians? Groups? CD’s? This is a cians. People like Jamey hard question to answer be- Haddad, Efrain Toro and Ed cause the list is really long, but Tomassi were very important the most important thing for when I was in college. They me is to keep an open mind and opened a musical universe for listen to all kinds of music. Some me and made me aware of artists and records that come to many important things that mind are: ESP by Miles Davis, I still work on today. I have also Quarteto Novo by Quarteto learned from many musicians Novo, Now He Sings Now He and percussionists by listening Sobs by Chick Corea, Domingo by and watching them play and Gal Costa & Caetano Veloso, I have been influenced by a lot Amoroso by Joao Gilberto, Joao of different musicians and Gilberto by Joao Gilberto, A percussionists all around the Love Supreme by John Coltrane, world. continue...

PG 20 WWW.BOSSAMAGAZINE.COM | BMF | ASUOS PRODUCTIONS | BRAZILIAN ART AND MUSIC |NEW YORK – APRIL 2018 INTERVIEW - ALEXANDRE KAUTZ

By Madalena Sousa/Editor In Chief

Who are your favorite musicians? Groups? CD’s? This is a hard Tell us about your travel experiences and musical collaborations. question to answer because the list is really long, but the most What was your most meaningful performance and where did important thing for me is to keep an open mind and listen to all that happened? One of the great things about being a musician kinds of music. Some artists and records that come to mind are: is the opportunity to travel and to meet people all around the ESP by Miles Davis, Quarteto Novo by Quarteto Novo, Now He world. I have been fortunate enough to collaborate and travel Sings Now He Sobs by Chick Corea, Domingo by Gal Costa & with a lot of different artists including Tim Ries, Chico Pinheiro, Caetano Veloso, Amoroso by Joao Gilberto, Joao Gilberto by Helio Alves, Nilson Matta, Magos Herrera, and Fabio Gouvea. Joao Gilberto, A Love Supreme by John Coltrane, Urubu by Tom I believe that every musical experience with musicians like the Jobim, Inner Urge by Joe Henderson, OK Computer by Radio- artists that I just mentioned has left me with many meaningful head, Bach: The Goldberg Variations by Glenn Gould, among experiences. many others. In your opinion, what is it that an excellent percussion player How would you define your line of work? In your creations, is does that a more mediocre percussion player doesn’t do? What there a segment of the percussion that is most striking and an separates the pros from the amateurs? In order to be a profes- instrument, in particular, that you have more involvement? sional musician you must develop a lot of different aspects of I work mostly as a session musician/drummer playing jazz, the music, and do your homework. One of the most important Brazilian and world music. things for me is the groove and the rhythmic feel. There is a famous standard by Duke Ellington that says “it don’t mean a Do you do anything else besides percussion? Do you teach thing if it ain’t got that swing”. music? I do teach music privately here in NY and I also do clinics, master classes and residences in different schools around the How many CD’s have you recorded? What is the identity of your world. It is something that I really like to do. This summer I am work? I am currently working on my first solo album, but I have teaching at GMI in New Delhi, India. recorded about 20 or more albums as a session drummer.

Have you ever tried playing a different instrument? If yes, how Living and playing in US for many years and being a Brazilian good were you at it? I play a little piano. I don’t sound like a percussionist, how do you relate the receptivity of the “ Ginga pianist, but I feel it is important to sit down on a different instru- Percussiva Brasileira “ Brazilian percussive ginga, even if it is not ment in order to get a different perspective. Also, the piano is demonstrated through samba, outside our country? the best instrument if you want to write or arrange music. The Brazilian music is very well respected and known all around the world and to know the rhythms and the language of this In your opinion what is the rule of a percussionist and what music has opened a lot of doors for me here in the United constitutes a good live performance? What's your approach to States. performing on stage? The most important rule for me as a percussionist and a musi- Today, after so many paths alongside the percussion, repre- cian is to put the music first. In a performance setting I think it senting, with such quality, the Brazilian percussionist, how is very important to communicate with the musicians that you would you describe your relationship with this percussive are playing with as well as the audience. process? It has been great, I feel really blessed to be able to do what I love. Could you describe your creative process on the basis of a piece or album that's particularly dea to you? Where do ideas come Do you believe that Brazilian Music has captivated the world from, what do you start with and how do you go about shaping and can it get a revival in the US, like Bossa Nova did in the 60s? these ideas? I think ideas come from many different places, Yes, I think Brazilian Music has captivated the world - there is no not only by what you listen to, practice or study, but also from question about it - but the 60’s were a different time and the your daily experiences in life. music business was very different back then. I am not sure it will ever be the same. In which way, would you say, is your cultural background reflected in your performances? How do you the see Jazz influence in Brazilian Music and vice I was born in Brazil and lived in Mexico and the United States versa? I think you can find Jazz influence in some of the music in and I think that I have influences from all these places both Brazil but at the same time the musical identity of Brazil is so musically and culturally, and those influences have a big impact strong that what comes out of that mixture is still very Brazilian. on the way I play and perform. Do you have a project coming up soon; can you tell us about it? Have you been in competitions? Any prizes? I was a recipient of As I mention before, I am currently promoting a project that I BAS (best achievement scholarship) when I was a student at recorded last year with “Trio Afora”. I am also working on my Berklee College of Music in Boston and I also won a full scholar- first solo album that will be released in 2019. ship from FONCA (Fomento para la Cultura y las Artes) to study my master’s degree at Queens College. How can Americans become more aware of Brazilian music? I think that we as a community have to work together to spread How would you describe your current sound? Tell us a little news and information about what is going on here in the United about your work. As I mentioned before, my sound has a lot of States as well as in Brazil. Media outlets like Bossa Magazine influence from both jazz and Brazilian music mixed with all the sure help a lot. different cultures that I have been exposed to throughout my life. I have a couple of projects where I try to explore those What kind of message do you want to send to the world with sounds and concepts including my solo projects and Trio Afora, your music? For me it has always been about communication which is a collective group that I have with two great musicians through the beauty of music. I think this is really powerful and from Brazil - guitarist Fabio Gouvea and Bassist Felipe Brisola meaningful, especially in a world so divided by ideals and with guests John Ellis and Magos Herrera. politics.

Site: http://www.alexkautz.com/alexkautz/Home.html

BOSSA MAGAZINE Th ree-time Grammy® Award-nominated drummer, percussionist, and author. He has appeared on over 200 albums alongside American Jazz icons as well as Brazilian Jazz Icons, making him one of the most INTERVIEW WITH recorded Brazilian drummers in this idiom. He has been honored to play and record with great Brazilian artists such as Antonio Carlos Jobim, DUDUKA DA FONSECA Dom Salvador, Sergio Barrozo, Rio 65 Trio, Astrud Gilberto, Toninho Horta, Raul de Souza, Claudio Roditi, Ion Muniz, Edson Lobo, Alfredo BRAZILIAN JAZZ DRUMMER Cardim, Nico Assumpção, Haroldo Mauro Jr.,Tenório Jr., Cesarius Al- vim, Ricardo Santos, Edison Maciel, Naná Vasconcelos, Carlos Barbosa- Lima, Paulo Jobim, Daniel Jobim, Jaques Morelenbaum, Mario Adnet, Maucha Adnet, Chico Adnet, Elza Soares, Quarteto Jobim - Morelenbaum, OSESP (São Paulo Symphony Orchestra, “Jobim Sinfônico”), Milton Nascimento, Dori Caymmi, and Oscar Castro- Neves, among many others.

Interview by Madalena Sousa/Editor’s In Chief

In an interview with Bossa pursue my dream of combining the Brazilian music which is in Magazine, Duduka talk about his my blood with the American jazz career as drummer and his new that I love so much. It has been CD release "Duduka da Fonseca a fantastic journey, and I have Trio Plays Dom Salvador ‘s Mu- been blessed to play, record, sic". and tour with some of my idols.

You can’t beat that! Interview by Madalena Sousa ----

BM: In New York, Duduka What instrument (s) did you followed his dream of playing learn to play first? As a young with American Jazz musicians person I learned to play the where he could blend musical drums by playing along with cultures. He has recorded and vinyl from the great Brazilian performed with Gerry Mulligan, and American jazz musicians, as Phil Woods, Kenny Barron, Lee well as watching them perform. Konitz, Eddie Gomez, Joanne I played along with this particu- Brackeen, Herbie Mann, Sadao lar album, Rio 65 Trio (Dom Watanabe, Joe Henderson, Salvador-piano, Sergio Barrozo - David Amram, George Mraz, bass & Edison Machado - Emily Remler, Nancy Wilson, drums) day and night for many, Slide Hampton, Rufus Reid, many years, driving my parents Steve Allee, John Scofield, and my neighbors crazy. Wayne Shorter, John Patitucci,

Tom Harrell, Joe Lovano, Jorge When did you create your first Dalto, Paquito D’Rivera, Dick band? When I was 14, while Oatts, Dennis Irwin, Billy living in Rio, I formed my first Drewes, Kenny Werner, David “My dream was to mix the Samba Jazz Trio, called Bossa Sanchez, Marc Copland, Renee Trio, with my brother Miguel Rosnes, Bill Charlap, Harry Allen, American jazz that I loved playing the bass. For many Larry Goldings, John Pizzarelli years, we played numerous and many others. with Brazilian samba, and it Bossa Nova / Samba Jazz con-

certs and also on various televi- became true” You were also a founder sion shows. In the early 70's I co member of the Trio Da Paz -founded The Samba Jazz correct? Yes, I was the founding Sextet, Mandengo, with Raul member and co-leader of Trio Mascarenhas (tenor sax), Mauro da Paz. The trio was nominated Senise (alto sax), Barrozinho for an Indie Award as Best Latin (trumpet), Tony Botelho (acous- Jazz Group in 1993 and their tic bass), and Tomás Improta recording Partido Out won the (piano). Jazz Journalists Association

Awards for best Brazilian Jazz When did you move to NY and Album of 2002. why? At the end of 1975, Continue ... I moved to New York City to

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Continue ... ByBy Madalena Madalena Sousa/Editor Sousa/Editor In In Chief Chief

other greatly. Brazil has been exporting Brazilian music to the BM: In 2002 the Duduka Da Fonseca Quintet was formed United States and the world since the beginning of the last featuring Anat Cohen, Guilherme Monteiro, Helio Alves, and century. Leonardo Cioglia. The Quintet recorded two critically acclaimed albums. Their second album “Samba Jazz-Jazz Samba” was How can Americans become more aware of Brazilian music? among the 10 best albums of the year in the prestigious Jazziz I believe that Americans in general are becoming much more Magazine. The Quintet actively performed on several places aware of the rich musical tradition of Brazil, and we are here including the Umbria Jazz Festival and Tudo é Jazz Festival in working to keep this flame always alive. Ouro Prêto. In 2016, Trio da Paz won the Hot House NYC Award for the best group and in 2017 was nominated for the American Tell us about your connection with Dom Salvador: Grammy® in the Best Latin Jazz category with their most recent When did you meet Salvador for the first time? In 1965, when album “30”. my hometown of Rio de Janeiro was marking the 400th anniversary of its founding. In celebration of that anniversary, Rio 65 Do you teach music? Yes. From 1984 - 2000 I was a faculty Trio (Dom Salvador, Sergio Barrozo & Edison Machado) released member of the Drummers Collective NYC, conducting work- their first album together as a trio. I was 14 at the time and had shops and giving private lessons. I also conducted workshops been playing the drums for a year. This album has had the most and master classes in Brazil, Europe and Asia. [Duduka is the profound impact on my life as a musician and beyond. The way author of the bestselling instructional book and CD, Brazilian they interacted was amazing. I had never heard Brazilian Rhythms for Drumset (Alfred Publishing Co, Inc)]. Recently I’ve instrumental music being played that way before, and more started teaching again at the New School and I still do Master- than 50 years later only a few people can understand the con- classes all over the world. cept well enough to play in that direction. I met Dom Salvador in Rio once very briefly while I was very young, but we didn’t When did you record your first CD with your trio? In 2000 I met have a chance to play together until much later. Dom Salvador David Feldman, who was living in NYC studying at the New was one of the main creators of the early 60’s “Samba Jazz”, School for Jazz and Contemporary Music. We started playing and in my opinion he is one of the most gifted musician/ right away, and since the very first time we played together, I composers that Brazil ever produced. felt an amazing chemistry. David played in my Quintet at the time and I have played in his Trio. After a few years in NYC, When did you meet Salvador again and had a chance to finally David moved back to Rio, where he still lives. play with him? In 1980, Dom Salvador was aware that I was living in New York City; he had moved from Brazil to NYC a BM: In 2002 Duduka's first solo album, Samba Jazz Fantasia, was couple years before I did. His drummer at the time wasn’t able nominated for the American Grammy® Award. He is one of the to make a gig, and Salvador called inviting me to play. I eagerly very few Brazilians and the only Brazilian drummer thus far to arrived at the venue early to set up my drums, and when be nominated for this prestigious Award. In 2009 Duduka Salvador arrived we started jamming. At one point, he stopped formed his Brazilian based Duduka Da Fonseca Trio, what he playing and said to me: “You know many of my songs,” and considers to be one of his most expressive works to date, I replied, “I have been playing with you since I was fourteen featuring David Feldman on piano and Guto Wirtti on acoustic years old.” He laughed, and we have been playing together ever bass. The Trio has recorded three albums which were extremely since. well received by critics worldwide, and the fourth album is in the works. "In 2009 while visiting Rio, I was called by a great Did you recorded any album with Dom Salvador? We have musician and friend, Paulo Levi, who plays the sax & flute, to played and recorded albums since the 80’s, under his name with play on his album. When I got to the studio, David was the musicians such as Ion Muniz (tenor saxophone & flute), Dick pianist and Guto Wirtti, who I didn’t know at the time, was the Oatts (saxes & flute), Dennis Irwin (bass), Claudio Roditi bassist. It felt so good playing with these two fantastic (trumpet & flugelhorn), Keith O’ Quinn (trombone), Rogério musicians, that in the same year I went back to Rio and we Botter Maio (bass), and Sergio Barrozo (bass), among others. recorded our first album as a trio,"Duduka Da Fonseca Trio As a group, either with the Dom Salvador Trio, Quartet or Plays Toninho Horta". The Brazilian Trio’s (which he co-leads) Sextet, we toured Brazil, Europe, and USA. In these almost 40 album Forests, was nominated for the 10th Latin Grammy. years of playing together, each time we get together either to rehearse or perform I continue to learn so much. After that, they recorded two more albums with the Duduka Da Fonseca Trio, “New Samba Jazz Directions” and “Jive Samba,” BM: Though he had met Salvador briefly in Rio, Fonseca didn’t which includes Paulo Levi as a special guest on one track. have a chance to play regularly with his idol until 1980. Having been in New York City for five years, Fonseca had played with Dom Salvador and David Feldman, two generations apart, are the who’s who of modern jazz legends, so when Salvador’s good friends who have great admiration for each other. In the drummer wasn’t available, the pianist called Fonseca to fill in. process of recording the present album, Dom Salvador (NYC) Fonseca surprised Salvador by knowing Salvador’s repertoire and David Feldman (Rio) talked and played several times via backwards and forwards, thus cementing a bond that led to Facetime, taking care with the subtleties ofDom’s music and years of playing and touring together. making sure that everything would be as it was intended to be. You finally had a chance to play with Rio 65 In 2015 at How do you relate the receptivity of the “Ginga Percussiva Carnegie Hall. Tell us about that opportunity! The experience Brasileira“ Brazilian percussive ginga, even if it is not demon- of playing/recording with Rio 65 Trio at Carnegie Hall was a strated through samba, outside our country? I think the dream come true, ever since I started learning the drums five percussive and rhythmic aspects of Brazilian music are decades earlier by playing along with their albums. I was so becoming more widely recognized as well as the complex happy when Dom Salvador called me to play a concert at melodic and harmonic aspects of it. Carnegie Hall, in a concert celebrating the 50th anniversary of the Rio 65 Trio. His original bassist from Rio 65 Trio, the great Do you believe that Brazilian Music has captivated the world Sergio Barrozo, came from Brazil especially to play the Carne- and can it get a revival in the US, like Bossa Nova did in the 60s? I have been traveling the world since the late 70’s, and I gie Hall concert celebration, but the original drummer in the can say that people all over the world adore and respect trio, Edison Machado, had died in 1990. I met Edison back in Rio Brazilian music. It has been that way for a long time. when I was fifteen years old. He became my good friend and mentor, and our friendship lasted until he passed.” To me, How do you the see Jazz influence in Brazilian Music and vice Edison was the greatest innovator in the style of music that we versa? I believe that Brazilian music and jazz influence each call “Samba Jazz”. Continue...

Continue from last page BM: The merging of Brazilian music and American jazz changed the trajectory of modern music. The inceptions of bossa nova, samba jazz, and other fusions enable Brazil to make its mark on jazz and beyond, via some incredible musicians and composers, including the legendary Dom Salvador.

In the efforts to make the best recording and present Salvador’s music in the best light, Fonseca reached out to Salvador for lead sheets for his compositions. Feldman also took time to consult Salvador and learn the repertoire from its source, removing any doubts about structural and interpretive nuances. Many of Salvador’s songs seem simple but have difficult elements, most notably in the rhythmic combinations.

Duduka traveled to Brazil three times: the first to rehearse the music, the second to record over two days, and the third to mix and master. The trio aimed to make the recording as natural as possible, eventually using many first or second takes. He and his wonderful trio of David Feldman and Guto Wirtti pay tribute to Brazilian jazz legend Dom Salvador on the enchanting Duduka Da Fonseca Trio Plays Dom Salvador by highlighting the composer’s brilliant music and also giving it new life with new contemporary arrangements.

Duduka, tell us about your new album which will be released on April 13, 2018.

The album Duduka da Fonseca Trio “Plays Dom Salvador” stands as a well-deserved homage to a fantastic Brazilian musician/composer, and hopefully it will allow more people to get to know Dom Salvador’s music and enjoy its beauty. On the album we welcome a very special guest, the incredible cellist Jaques Morelenbaum. He plays on a beautiful song that Dom Salvador composed for his Maid of Honor, the amazing singer Elis Regina, at his marriage to his wife Mariá.

The recording begins with a tune from that inspiring Rio 65 Trio album, “Farjuto,” a breezy composition whose title comes from dated Rio musician slang. ironically meaning “not so good.” The modal of groove of “Transition” is augmented by a variety of rhythms ema- nating from the Northeastern provinces of Brazil. The haunting “Mariá” is a minimalistic ballad named for Salvador’s wife of 50 years, which the trio molded in the spirit of Keith Jarrett’s memorable take of “It’s Easy To Remember.” The ensemble performs “Antes Da Chuva” in a looser fashion than the Salvador original, while the straight samba of “Samba Do Malandrinho” is bouncy and smart, apropos to its rascally namesake. The sly “Temátrio” is a grooving composition that emerged from Salvador’s second trio around 1966.

The title of “Gafieira” refers to an old Rio tradition of a ballroom dance incorporating some acrobatic elements, the difficult composition prancing along in a brilliant dis- play of melodic and rhythmic complexity. Salvador’s beautiful ballad “Para Elis” is a dedication to the pianist’s former employer, the iconic singer Elis Regina, and finds You can read the full CD release at: the trio augmented by the great cellist Jaques Sunnyside Records Release Date: Apr. 13, 2018 Morelenbaum. Performed and recorded as a samba, “Valsa De Esquina” was originally composed as a Brazili- www.sunnysiderecords.com an waltz by Salvador, so the trio transformed it into a Bill Evans-esque jazz waltz. The upbeat “Clauditi” is a tribute to a great friend and collaborator, trumpeter Claudio Concert date: At this time we have promoters in Brazil, United States, Roditi, and features rhythmic elements of samba and the Europe and Asia organizing tours for the Duduka Da Fonseca Trio. pre-samba maxixe. Perhaps Salvador’s most famous composition, “Meu Fraco é Café Forte” (or “My Weak- ness Is Strong Coffee”) utilizes an intriguing arrangement by Wirtti that introduces the melody in half time before speeding it up.

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Nelson Freire (Pianist) - Screening and Concert

Special screening of Nelson Freire Wednesday, April 18, 2018 @ 7 pm

"Nelson Freire", directed by João Moreira Salles with Nelson Freire and Marcelo Lehninger A movie about a man and his music Americas Society - 680 Park Avenue New York, NY, 10065United States With the presence of Nelson Freire Free Admission. Space is limited. Click here to RSVP.

In films such as Noticias de Uma Guerra Particular, Joao Moreira Salles favor of a direct cinema approach that lets Freire's modesty and has demonstrated a keen interest in examining the dark underbelly of candor shine through, eloquently and cinematically. Highlights include Brazilian society. But in this, his most recent documentary, he turns his discussions of the revered pianists Guiomar Novaes and Martha eye to an aspect of his country that merits celebration. Argerich, Freire's love for American jazz and Hollywood cinema of the 1940s, and an incredible letter that his father wrote him when Freire Nelson Freire is probably one of the best-kept secrets in the world of was eight. This is a moving portrait of the soul of a unique Brazilian the piano. The international press has acclaimed him as one of the musician. Watching it, one understands what it is to be—no, one feels greatest pianists of our time, comparing him to legendary greats such oneself becoming—more fully human." —Tribeca Film Festival as Sergei Rachmaninov, Alfred Cortot, Josef Hofmann, Arthur Rubin- stein, and Glenn Gould. Despite many accolades and commendations, This series is programmed by Mary Jane Marcasiano. however, Freire has avoided the spotlight, focusing on developing Sponsored by the Consulate General of Brazil in New York with himself musically. Salles explains that in doing the documentary he additional sponsorship from Brazilian Music Foundation, and Hélio wished to ex plore the idea of pudor or the tremendous modesty that Campos. Freire manifests toward exhibiting himself as a celebrity. Source:: http://www.as-coa.org/events/film-nelson-freire The film eschews the usual interviews with friends and witnesses in

Grand Rapids Symphony Stern Auditorium / Perelman Stage Carnegie Hall Friday, April 20 @ 8 PM Performers Grand Rapids Symphony The Grand Rapids Symphony Chorus Marcelo Lehninger, Conductor Nelson Freire, Piano Tickets Program RAVEL Boléro VILLA-LOBOS Momoprecoce FALLA Noches en los jardines de España

CYRO BAPTISTA PERCUSSIONIST

PG 26 WWW.BOSSAMAGAZINE.COM | BMF | ASUOS PRODUCTIONS | BRAZILIAN ART AND MUSIC |NEW YORK – APRIL 2018 BRAZILIAN PERCUSSION - CYRO BAPTISTA

DRUM UP BRAZILIAN MUSIC BY MILA SCHIAVO

Cyro Baptista is one of most acclaimed Brazilian percussionist living in the United States. Since arriving in the country, he’s performed and recorded with international artists such as David Byrne, Kathleen Battle, Gato Barbieri, Dr. John, Brian Eno, Ryuichi Sakamoto, Robert Palmer, Melissa Etheridge, Laurie Anderson, Herbie Hancock, John Zorn, James Taylor, Carly Simon, Michael Tilson Thomas, Daniel Barenboim, Bobby McFerrin, Wynton Marsalis, Yo-Yo-Ma, Medeski Martin & Wood, Spyro Gyra, Trey Anastasio from Phish, Jay-Z, Snoop Dogg, Santana, Sting, and was part of Paul Simon’s project “Rhythm of the Saints”. Mr. Baptista also played alongside great Brazilian artists such as Milton Nascimento, Caetano Veloso, Ivan Lins, Marisa Monte, and Nana Vasconcelos.

Born in São Paulo, Brazil, Cyro Baptista lived in Rio de Janeiro where he studied percussion at Villa-Lobos Music School with Edgard Nunes Rocca, known as Bituca. In 1980 he moved to "I try to unify three elements: music, dance and theater. Percus- United States where he got a scholarship at the Creative Music sion, dance and movement go together, and I have always loved Studio in Woodstock, NY. theater. “Beat the donkey" came during a time when I was traveling to Indonesia a lot, and there I met the gamelan, a "I was supposed to go back to Brazil, but I thought I would typical percussion instrument from the country. I tried to learn spend my last $70 in New York City." He stayed. "It was a great how to play their music using that instrument but it's very time in New York City in the early '80s. I began by playing in the difficult. The solution was to make Brazilian music for gamelan. streets." Connecting with other musicians led to sessions with artists like McCoy Tyner.” Beat the donkey has nothing to do with animal cruelty. "Beat the Donkey" in his native Brazil means "Let's Go!" or "Let's Get Cyro believes he was in the right place at the right time because Moving." To make that clear, after he released the band's first he was in a place where world music began and where he met self-titled CD in 2002, he called its next CD (2005) "Love the Don Cherry (trumpet), John Zorn (Saxophone), Naná Vascon- Donkey." It celebrates a variety of influences. "I do not have to celos, Jack DeJohnette (Drums), among others. After a while he be traditional. I need to be flexible. It is like juicing. Putting moved to New York and, in 1981, John Zorn introduced him to a everything in the blender to get a mixture of cultures. I have group of people who created the Knitting Factory, a night club played with so many different musicians in my life and have where artists like Laurie Anderson, Cassandra Wilson e Sonic learned so much from them. I play jazz a lot, and jazz can Youth (from the pop and jazz vanguard) performed. embrace so many types of music."

“Performing at the Knitting Factory, I had no obligation to be Cyro has performed on five Grammy award winning albums: Brazilian, to put a banana on the head. I could do whatever I Yo-Yo-Ma’s "Obrigado Brasil", Cassandra Wilson's "Blue Light ' wanted to do! It was downtown music, which everyone thought Til Dawn", The Chieftains' "Santiago", Ivan Lins' "A Love Affair", was horrible at the time, then later it became fashionable. and Herbie Hancockæs highly-acclaimed "Gershwin's World". Today, we even get money from it and I played and recorded a lot. After a while you lose the enthusiasm of doing your own A documentary on Cyro's main project, Beat the Donkey, was work. Sometimes it's more comfortable working for Paulrecorded for the prestigious WGBH-TV Boston program 'La Simon.” Plaza' won 3 New England EMMY Awards in 2002, and continues to air on PBS stations nationwide. Cyro collaborated In 1996 he got a great opportunity: "I was called to work with with Wynton Marsalis and the Lincoln Center Jazz Orchestra for Michael Tilson Thomas, conductor of the San Francisco a Brazilian Carnaval modern jazz concert. Orchestra. It was the first time I actually heard Villa-Lobos. In the middle of the orchestra, you're bombarded with music. A The first Beat the Donkey album, (TZADIK) was picked by The violin comes through your ass, a trumpet by the shoulder … New York Times as one of the ten best alternative albums of I was very impressed by that, and even more so with the music 2002. Readers of JAZZIZ and DRUM magazine voted it as "Best of Villa-Lobos.” Brazilian CD of the Year" and named Cyro "Best Percussionist of 2002." Downbeat Magazine's 51st annual critics' poll selected After this period was born the show "Vira-loucos", from the Cyro as "Rising Star" in percussion. personal re-creations of Villa's music, which became a record in 1997. But that was only the beginning. In 2005, he created the Sources & Photos: cyrobaptista.com/index.cfm "Beat the donkey”, a show in which he gathered music, theater, https://oglobo.globo.com/cultura/cyro-baptista-o-caldeirao dance and tap dance, baptized with the literal translation of the -percussivo-mundial-6035275 Brazilian expression "pau na mula". https://www.facebook.com/cyrobaptista

uiz Ebert, drummer native of Brasília, Brazil, has developed a vocabulary blend of drumming with Lpercussive sensitivity all his own. Combining idiosyncratic concepts found in jazz with traditional elements of Brazilian music, he creates a unique sonic palette that propels music in different directions. Luiz Ebert graduated Cum Laude with a Bachelors of Fine Arts degree from the City College of New York, studying under John Patitucci and Adam Cruz. He also holds a Master's of Fine Arts in Jazz performance from Aaron Copland School of Music at Queens College CUNY, where he studied with prestigious Jazz educators Michael Philip Mossman, Antonio Hart, David Berkman, and had private lessons with Jazz great Billy Hart. In addition, Mr. Ebert has BOSSA MAGAZINE performed alongside an array of promising, new jazz artists that include Matt Miller, Ryan Brennan, Kyla Roscovich, INTERVIEW WITH Matt Turowsky and Chris Talio, to name a few. LUIZ EBERT *** DRUMMER/PERCUSSIONIST Luiz first of all I would thank you for being part of the 9th Edition of Bossa Magazine, in celebration of Brazilian Jazz

Month.—Madalena Sousa By Madalena Sousa/Editor In Chief Luiz, when did you start writing/producing music - and what or who was your early passions and influences? I started playing music in my teen years, and writing music in my late 20’s, during my academic studies. My early musical passions were Samba and Bossa Nova, through my parents, and later on Rock and Roll and Jazz music.

Which famous percussion musicians have you learned from? Were you influenced by foreign percussion music? Too many to name them all. In Brazil, I studied formally under Kiko Freitas (João Bosco’s drummer) for three years, and Edu Ribeiro for another couple of years. In the United States, Billy Hart was a huge influence and a master teacher I learned a great deal from. I am influenced by all types of world percussion music.

Who are your favorite musicians? Groups? CD's? My favorite percussionists are jazz drummers, including legends Elvin Jones, Max Roach,Tony Williams, Art Blakey and Philly Joe Jones. I love and respect the Brazilian drummers and draw influence from them as well as the following: Edson Machado, Robertinho Silva, João Palma, Nene, Dom Um Romão, Airto Moreira and Toninho Pinheiro, to name a few.

Do you do anything else besides percussion? Do you teach music? I am currently involved in music education, teaching in different music schools in Westchester County and New York, and working as a free-lance drummer for various artists and musicians, most prominently the John Watts Brazilian- jazz Trio, Cidinho Teixeira , John Patitucci and latin jazz group nova blue. I am also a private drum set/percussion instructor, and I teach music as well. Continue….

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Have you ever tried playing a different instrument? If yes, how How many CD’s have you recorded? What is the identity of your good were you at it? I play a little piano, and write and arrange work? I have recorded 5 records, in which you can find my best music on it, and most recently, I play a lot of electric bass guitar. attempts to achieve these 3 things: consistency, creativity and clarity. In your opinion what is the rule of a percussionist and what constitutes a good live performance? What's your approach to Living and playing in the US for many years and being a Brazilian performing on stage? The percussionist creates the colors and percussionist, how do you relate the receptivity of the “ Ginga provides the sound cushion for other musicians in the ensemble Percussiva Brasileira “ Brazilian percussive ginga, even if it is not to drawn upon for their musical improvisations. Hopefully, they demonstrated through samba, outside our country? Very well. will all connect well during performance and communicate that Foreign musicians and audiences receive the Brazilian sound to the audience. I try my very best to do those 2 things when I with lots of enthusiasm. am on stage: Create colors for others, and communicate with band members and audience through music. How would you describe your relationship with this percussive process? My relationship with the percussive process is that How is your cultural background reflected in your performances? I try to gather as much information as possible from the percus- I believe my cultural background, as well as my musical sive traditions of the world, and make beats and sounds that influences, are a highly emotional presence in my performances. attempt to sound as fresh as possible.

Could you describe your creative process on the basis of a piece Do you believe that Brazilian Music has captivated the world or album that's particularly dear to you? Where do ideas come and can it get a revival in the US, like Bossa Nova did in the 60s? from, what do you start with and how do you go about shaping In my opinion, good Brazilian music will always find its audience these ideas? I think that the creative process, in order to be in the United States. Americans are, in a sense, the complete successfully done, should be done collectively, as an ensemble opposite of Brazilians, culturally. In New York City, audiences effort, not of one particular person. There are many strong are very curious about the way we play our music, whereas in personalities that can direct and dictate their ideas, Brazil but it is usually the other way around - only what is foreign is personally that does not work for me as an artist. I like to good. collaborate with others. As an example of my work, I would like to direct your readers to my album AUDIOGRAPH (2013). How do you the see Jazz influence in Brazilian Music and vice versa? The influence both ways from the Americas is huge. I co-wrote this record with pianist Fidel Cuellar, and on it your Personally, I believe North American musicians like Horace readers will hear ideas that were developed from other art Silver, Herbie Mann and Stan Getz really explored Brazilian forms (dance, drama), as well as a multi-layered composing Music, and Brazilian artists in general were always heavily process. influenced by North American music - not only Jazz, but Blues, Rock and Roll , Funk and Gospel as well. How would you describe your current sound? Tell us a little about your work. Right now, I am becoming more comfortable Do you have a project coming up soon; can you tell us about it? with the idioms I spent years immersing myself in (jazz, Brazilian Right now I'm working with Corcovado Samba Jazz trio, along- music, afro-Cuban, world, and rock and roll), and I believe my side Richard Miller on a 7 strings guitar, and bassist Leco Reis. sound is a mix of all these influences. Currently, I am working We have been working quite frequently in Westchester, so a with two Brazilian music trios, as well as doing side work. recording might be coming up in the future.

Tell us about your travel experiences and musical collabora- How can Americans become more aware of Brazilian music? tions. What was your most meaningful performance and where By reading publications like BOSSA MAGAZINE, for example… did that happened? I have collaborated with many artists in my The internet. Nowadays you can get a lot of information, and, 10 years in the US. The names that mostly marked and shaped although not always true (you have to check the facts), generally my work are bassists John Patitucci, Itaiguara Brandão, Leco speaking, one can learn a lot from “googling” information Reis and Gustavo Amarante, pianist Cidinho Teixeira, and many online. others. What kind of message do you want to send to the world with In your opinion, what is it that an excellent percussion player your music? Hopefully, a message of clarity, joy, peace and opti- does that a more mediocre percussion player doesn’t do? What mism. separates the pros from the amateurs? I think what separates the professionals from the amateurs is persistence, consistency Site: http://luizebert.com/ and clarity when expressing their ideas.

T he Brazilian-born and New York City–based drummer and composer Mauricio BOSSA MAGAZINE Zottarelli has been on the forefront of the Jazz, Latin and Brazilian music circles for many years. Called a “superb drummer” by JazzTimes Magazine, Zottarelli has become one of the most sought after drummers on the scene since his move to INTERVIEW WITH NYC in 2006. A Berklee College of Music graduate, Mauricio is a critically acclaimed and award-winning drummer and artist. He is credited in 100 albums so far in his MAURICIO ZOTTARELLI career, and has worked with dozens of the most important and notable artists of BRAZILIAN JAZZ DRUMMER today, crossing over many musical styles. Some of them are: Hiromi, Eliane Elias, Prasanna, Lee Ritenour, Dave Grusin, Toquinho, Esperanza Spalding, Keiko Matsui, Richard Bona, Paquito D’Rivera, Richard Galliano, Chuck Loeb, Chico Pinheiro, By Madalena Sousa/Editor In Chief Cláudio Roditi, Eldar, Ivan Lins, Carmen Souza, Rosa Passos, Dom Salvador, Jovino Santos Neto, Nilson Matta, Toninho Horta, Oriente Lopez, Filó Machado, Gustavo Assis Brasil, Hendrik Meurkens, and many others. Mauricio has several releases as a leader, all of them praised by the critics and fans alike. His most recent release is called "Upside Down Looking Up". Zottarelli is also an active educator, composer, and writer.

Mauricio , when did you start Who are your favorite musi- writing/producing music - and cians? Groups? CD's? I listen to what or who were your early a lot of different music all the passions and influences? My time, so I have different artists first writing and composing as my favorites, depending on experiences happened while I the period. Led Zeppelin (John was living in Brazil, in my early Bonham on drums) is definitely 20’s. I was studying classical a huge favorite. Physical guitar as well as drums. My Graffitti” is probably my favorite early pieces were a mix of Zep album. The Who’s “Join classical guitar music (inspired Together” (with Simon Phillips by Brazilian guitar masters such on drums) is also a favorite. I as Garoto and Dilermando absolutely love Dom Salvador Reis), rock, pop, MPB and a bit (who I have the honor of ac- of fusion music. I also listen to companying in his sextet) and jazz through my dad and his his music and writing. He’s a music collection. huge influence to me. Also, Oriente Lopez’s music has had a Which famous percussion musi- big impact on me. cians have you learned from? I like Jazz, 70’s rock and pro- Were you influenced by foreign gressive rock, 80’s metal, and percussion music? artists such as Chick Corea, While growing up I had a lot of Herbie Hancock, Egberto Gis- different music being played in monti, Hermeto Pascoal, Allan my house, so I was checking out Holdsworth… the list goes on a lot of drummers: Buddy Rich and on. and Gene Krupa; Edison Machado and Milton Banana; How would you define your line and when I got into rock, of work? In your creations, is I discovered John Bonham and there a segment of the percus- Led Zeppelin, and that was IT. sion that is most striking and an Bonham’s drumming made me instrument, in particular, that want to be a professional you have more involvement? drummer. I also had three great I would say I am a drummer/ drum teachers when I started composer, and I play percussion drumming: Gil Barreto, Alaor in certain situations. But I am CD RELEASED IN MARCH 2018 Neves and Fernando Gonçalves. definitely a drummer at heart.

I listened to a lot of Brazilian Do you do anything else besides rock, MPB, and also drummers percussion? Do you teach mu- such as Simon Phillips, Dave sic? Yes, I teach drum set Weckl, Vinnie Colaiuta, Dennis privately in the NYC area and Chambers, Neil Peart and many have done many workshops in other fusion/rock drummers. the USA, Brazil, and Europe. Later, while studying at Berklee, I have taught multiple times in I had great drum teachers, most music camps in the US and I notably Rod Morgenstein, John have worked with the Berklee Hazilla and Mike Mangini. LATINO program in Bogotá, Colombia in the last two years. continue…

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Have you ever tried playing a different instrument? If yes, how good What is it that the band/artist needs from us? We have to support were you at it? I used to study classical guitar as a teenager. Back in the other musicians, have a good and solid time/pulse in the music, 1998 I was accepted in the Conservatory of Music in Tatuí, SP, Brazil strong groove, and a good sound on the instrument. as a classical guitarist and a drummer. But when I moved to the US A professional and serious attitude is also a must! in 1999 the drum set became my #1 priority. I am now working on my piano skills, hopefully I’ll be playing it soon! How many CD’s have you recorded? What is the identity of your work? I played in 100 records so far in my career, including my In your opinion what is the rule of a percussionist and what consti- releases as a leader, collaborator, and my career as a sideman/ tutes a good live performance? What's your approach to performing session musician. I think that my identity has to do with being a on stage? As a drummer, I like to think that we “drive the bus”. We musical, engaging and supporting drummer/percussionist. I like to have to give a strong foundation to the band so that the lead artists, be interactive, and respond to all musical situations, always think- singers, soloists and etc, all feel comfortable playing. That’s how I ing of the music first. view my live performance approach. I try to make it fun and create a “conversation” among the artists onstage and hopefully be as Do you believe that Brazilian Music has captivated the world and dynamic and musical as possible. can it get a revival in the US, like Bossa Nova was in the 60’s? Yes, absolutely! I just returned from a tour in Europe with the legendary In which way is your cultural background reflected in your perfor- artist Toquinho, and it served as a reminder of how timeless this mances? I believe that I unconsciously bring my Brazilian back- music and these songs are. Brazilian music has a very rich mix of ground everywhere I go. Even though I grew up playing other styles melody, harmony and rhythm, and it’s extremely engaging and too, and nowadays I work with many artists in many different gen- compelling. There are many great artists coming out of Brazil now res, my lifelong immersion in Brazilian music and culture gave me a who are pushing the envelope and are committed to follow in the slightly different edge. steps of the masters from 30/40/50 years ago. We need more courageous artists willing to face some of the difficulties ofthe Could you describe your creative process on the basis of a piece or music business today with fire, passion and love and respect for the album that's particularly dear to you? Where do ideas come from, music. As audience members and consumers, we can all do our part what do you start with and how do you go about shaping these by supporting these artists who are bringing our Brazilian music ideas? All my original work is dear to me for different reasons, such back to the forefront. We live in an incredible time of creation and as where/when it was created, or specific circumstances. I am very instant availability of musical and artistic content. There is a massive fond of my latest release, “Upside Down Looking Up”. I started amount of music being created, produced and posted on the Inter- writing music for this record without much thought: I would sing net every day. We might just have to look for it a bit more, but that ideas to an audio recorder, or record/write musical sketches on the makes it even more rewarding for us as listeners. computer. I usually don’t think of drums or drum patterns until the song is almost complete. I draw my ideas from my own life, things How do you the see Jazz influence in Brazilian Music and vice versa? that inspire me, and my travels as a performing artist. The new I love it! As a performer and composer, I love to blend different album’s concept – when life becomes so crazy we say it is Upside styles and rhythms. I think it's important to keep the essence of Down – took shape as I had some of it already recorded, but the new these styles though, as much as possible. Of course some of these songs magically locked in and blended well with the older ones. In changes and combinations are natural results from spontaneous general, I like to save all my rough ideas even if I don’t see a musical experimentation from artists, and different movements and purpose for them right away. In fact, I referred to my folder of “stuff different variations of these styles will naturally occur and co-exist. I didn’t like before” several times on this new record! It is wonderful to see and hear new music being created with a careful, crafted and respectful blending of these two very rich Have you been in competitions? Any prizes? I was awarded a traditions. It leads to very exciting and unique new music and art!" scholarship to study at Berklee College of Music in 1999. During my school years I won several student/performance awards. Most Do you have a project coming up soon; can you tell us about it? recently, as a member of the Dom Salvador Sextet, we won the My latest project just came out a few months ago. It is an album “Brazilian Music Awards” (a Brazilian Grammy if you will) for his called “Upside Down Looking Up” featuring my own writing/music, latest album “The Art of Samba Jazz”. and some of my favorite musicians are playing on it. It talks about those difficult times in life when everything feels Upside Down, and How would you describe your current sound? Tell us a little about the steps one has to take to find new and happier cycles and paths your work. As both a drummer and composer, I believe my sound is in life. a mix of all the things I liked growing up, with different styles and influences. I am always trying to find a musical way to blend it all, What kind of message do you want to send to the world with your while serving the musical situation I am involved with at the music? The message I want to send out, especially with this new moment. As a composer, I think my compositions have a strong album, is about finding happiness, and about embracing the neces- Brazilian influence mixed with Jazz and Fusion. sary changes in our lives in order to fulfill our constant search for improvement as individuals, and as members of our communities. Tell us about your travel experiences and musical collaborations. I think art has a huge power to bring together different cultures and What was your most meaningful performance and where did that ideas, combining many valuable things to create ONE. It’s important happened? I have been incredibly lucky and blessed to be playing to not be afraid to take things to new heights and new territories – music for almost 30 years, and I have been fortunate to work with a a “musical risk-taking” – so that we create new cycles and new lot of my musical idols both on stage and in the studio. I have many paths in life; ultimately we’ll be able to find happiness, fulfillment, memorable moments from tours all over the world, and I am and achieve our dreams and aspirations. extremely grateful.

In your opinion, what is it that an excellent percussion player does that a more mediocre percussion player doesn’t do? What sepa- www.mzdrums.com rates the pros from the amateurs? As a professional drummer for many years, I believe that most of the greatest musicians have a very distinct voice. It’s important to me that young drummers find what it is they have that is unique to them, their own voice on the instrument. As a drummer in a band, we have to be conscious of our role.

THE CITIZEN OF BRAZILIAN MUSIC – SERIES

BOSSA MAGAZINE INTERVIEW WITH SCOTT KETTNER American Drummer By Madalena Sousa/Editor In Chief

ossa Magazine called all non Brazilian musicians, who plays the traditional maracatu group from Recife, Brazil Estrela Brilhante. Brazilian Music, as “The Citizens of Brazilian Music” for their The grant helped fund a tour that had its world debut at Lincoln Cen- dedication to disseminating Brazilian Music in their home ter Out of Doors in the summer of 2013. This was the first time that land. Today we will be talking to Scott Kettner, an American a traditional maracatu group from Brazil had ever performed in the Bpercussionist who took the Maracatu rhythm from the Northeastern United States. of Brazil and brought to America. Today we will be talking to Scott Kettner, an American percussionist who brought the Maracatu Interview: by Madalena Sousa/Editor in Chief rhythm from the Northeastern of Brazil to America. Scott, when was your first contact with percussion instruments? When Scott Kettner looks at a map, he sees a direct line Was that your family musical? When I was eight years old a neighbor of connects the rivers of northeastern Brazil to the parishes of New mine got a Drum set. I got obsessed with drumming and would go to Orleans and the streets of NYC. A master percussionist, bandleader his house and play for hours every day during the summer. My and educator, Kettner is the guiding force behind Nation Beat, a family was never musical but they loved good music and always had band whose teeming, vibrant rhythms find common ground in the records spinning. My grandmother grew up in NYC during the Big primal maracatu rhythm of Brazil’s northeastern region, the Big Band era. She used to tell me stories of skipping school to go see Easy’s funky, hypnotic second-line, strolling Mardi Gras Indians, and Count Basie play matinee shows. She exposed me to good music the unfettered freedom of big-city downtown jazz. For Kettner, the early on. discovery of maracatu was a life-changing experience. The great jazz drummer Billy Hart, who served as Kettner’s mentor at New York’s How did you get involved with playing Brazilian Music? New School University, first informed him of the mysterious music. I was exposed to Bossa Nova in high school because I was in the He was turning me on to African music from different regions,” says school jazz band. Once I moved to NYC in 1997 I was exposed to Kettner, “and we started getting into -Afro Cuban rhythms and even more Brazilian music. I enrolled in a Batucada class at the New Brazilian rhythms. School University and took lessons with Billy Hart who became my mentor and told me about maracatu. After my first visit to Brazil, I After a couple of years studying samba and bossa nova, I asked him, was hooked! ‘Are there any other rhythms from Brazil that I should be learning?’ He said, ‘Yeah, man, there’s this music called maracatu!’ I pointed to Which famous percussion musicians have you learned from? his drum set and said, “Show it to me”, and he said, “I don’t know I learn from as many as I can and I never stop studying. I studied how to play it! I just know it’s a badass rhythm and you have to go personally with Jorge Martins, Mestre Walter, Mestre Salustiano, learn it, then come back and teach it to me.’” Intrigued, Kettner Billy Harts, Cyro Baptista and many more. I'm also always learning spent the last 16 years living in and traveling to Brazil, primarily in from recordings. the northeastern city of Recife, studying maracatu and other Brazilian rhythms with his mentors in these communities. Why did you choose Maracatu? Do you also play other Brazilian rhythms? My mentor Billy Hart told me about maracatu in 1998. At Kettner founded Maracatu New York in 2002 and has performed and that time very few people were talking about music from Pernambuco. conducted workshops throughout the country. He is single handedly When I tried to find more information about the music I wasn't responsible for making this once unknown rhythm popular through- getting any satisfying answers. I decided to live in Brazil and out the USA. As a side-man, Scott Kettner has performed and/or immerse myself in the music and culture of maracatu. While I lived recorded with Willie Nelson, Cyro Baptista, Stanton Moore and in Brazil I also studied samba, forro, jazz and many other rhythms. Galactic, Frank London, The Klezmatics, Cascabulho, Vieux Farka Toure, Maracatu Nação Estrela Brilhante and many more. His new How would you define your line of work? In your creations, is there instructional book entitled“ Maracatu for Drumset and Percussion” is a segment of the percussion that is most striking and an instru- available through Hal Leonard Publishing. This is the first in-depth ment, in particular, that you have more involvement? My line of percussion book about the culture and music of Maracatu de Baque work as a musician is mostly survival! I try to stay fluid on as many Virado from Brazil, with photos, history, recordings and an instruc- instruments as possible because every musical context requires tional CD-Rom. Scott is also a recent recipient of a prestigious NEA something unique. The two percussion instruments that I give most (National Endowment for The Arts) award for his project entitled “A Tale of my attention to are the drum set and the pandeiro. of Two Nations”, which brought together his group Nation Beat and continue….

MARACATU NEW YORK

By Madalena Sousa/Editor In Chief

Could you describe your creative process on the basis of a piece or The identity of my work is creating a thread between the master album that's particularly dear to you? Where do ideas come from, music creators of Brazil and North America and imagine how they what do you start with and how do you go about shaping these would sound if they were making music together, today. ideas? The beauty of the creative process is that it’s always different. Sometimes it begins from a rhythm, note or a chord and Do you believe that Brazilian Music has captivated the world and sometimes it comes from something completely outsidecan of it get a revival in the US, like Bossa Nova did in the 60’s? I do music. One of my favorite albums that I’ve recorded thus far with believe that Brazilian music has captivated the world and continues Nation Beat is Legends of The Preacher. In the process of conceptu- to do so in many ways. The Mangue Bit movement and Chico alizing this album we created a fictional character, Zé, an entity who Science impacted musicians around the world, including myself. The could move between Brazilian and North American music emergence of forró and maracatu in the last 15 years has fostered seamlessly. He appears in disguise in the lyrics throughout the large communities throughout Europe and North America. I believe album. The inspiration for creating Zé came from listening to The that Brazilian music is very much alive and doing well. Red Headed Stranger, a concept album by Willie Nelson about a preacher who turned bad. April 30th is International Jazz day, and Bossa Magazine is celebrating the communion of Brazilian Music and Jazz. How do How would you describe your current sound? Tell us a little about you see Jazz influence in Brazilian Music and vice versa? From the your work. I recently made a big change in sound with Nation Beat. crowning ceremonies of the African Kings of Congo in Brazil to the The current lineup consists of Joe Correia on sousaphone, Mark Second Line and Mardi Gras Indian parades in New Orleans, our Collins on trumpet, Paul Carlon on tenor sax, Mariel Bildsten on music has always shared a similar root. The success of Carmen trombone and myself of drums and percussion. It’s a super high Miranda and her music in Hollywood impacted the way many jazz energy brass band playing originals and classics from Brazil and drummers approached playing samba and expanded their reper- North America. I tried to imagine what it would sound like if Chico toire. I believe the collaboration between João Gilberto and Stan Science and Estrela Brilhante collaborated with The Rebirth Brass Getz was the pinnacle moment of a true hybrid art form. Band and Louis Armstrong. That’s the new Nation Beat sound. Do you have a project coming up soon; can you tell us about it? I In your opinion, what is it that an excellent percussion player does have an annual summer music retreat from July 27th-29th that that a more mediocre percussion player doesn’t do? What sepa- takes place at Rittenhouse Soundworks in Philadelphia, PA. This rates the pros from the amateurs? Sometimes the pro isn’t always year I’m really excited to have Rob Curto as a guest faculty member. the most excellent player. The key to success is being on time, Rob will teach the forró repertoire and forró ensemble classes. reliable and healthy. Being great on your instrument is expected but I’ll lead the percussion and drum set classes. The music retreat is the musician who shows up on time is the one who gets the gig. open to vocalists, instrumentalists, drummers and percussionists who are interested in learning our hybrid approaches to playing Do you do anything else besides percussion? Do you teach music? maracatu, forró and jazz. I have a passion for teaching. I recently launched an online learning academy where I created an online learning platform for pandeiro, How can Americans become more aware of Brazilian music? maracatu and drum set. The online academy is my lab where I get It really depends on where they live. In NYC there’s a lot of people to take all of my experience teaching in the classroom, formulate it doing Brazilian percussion and dance classes, which is a good way to and create a unique learning environment for students who are just get involved with a community of people who are interested in curious about my hybrid approaches to teaching. My hope is that Brazilian music and culture. For someone who lives in an area they get inspired to travel to New Orleans or Brazil and discover the where there’s not as much of a Brazilian community I would say traditional musicians who inspired me to play this music. check out summer retreats, excursions and online.

How many CD’s have you recorded? What is the identity of your What kind of message do you want to send to the world with your work? Nation Beat has 4 CD’s and Maracatu New York has 2 music? I'd like people to know that there’s a thread connecting all CD’s. I’ve always had a lot of respect for my teachers and mentors of us. I try to express that through my music. and the musicians from the communities who created these art forms. As an artist I stand humbled on their shoulders.

AMAZON DRUMS BY YGOR SAUNIER The Sounds of the Earth from the "Drums of the Amazon"

“TAMBORES DA AMAZONIA” By Madalena Sousa/Editor In Chief

orn and raised in the city of Maués, a small village nested in the rhythms. In our first class he told me it could be something unique to heart of the Amazon rainforest and internationally recognized my career as a musician and educator and because of this, I started the as the “land of guaraná”, Ygor Saunier is the author of the book research process when I was still an undergrad at the Federal “Tambores da Amazônia: (Amazon Drums) Musical Rhythms of University of the Amazon. BNorthern Brazil” (2015), laureate by Brazilian Senate as an innovative work of reference in Culture and Music Education for the next genera- Who are your favorite musicians? Groups? CD's? My greatest tions. In 2017, he was invited to collaborate with Modern Drummer references are some artists that revolutionized Brazilian music: Antonio Brazil Magazine, where now signs a column about the musical rhythms Carlos Jobim, Elis Regina, Tamba Trio, Milton Nascimento and of course of the Amazon region. their drummers Paulo Braga, Chico Batera and Rubinho Barsoti. I also appreciate Trio Corrente, João Bosco, Eliane Elias and their brilliant Ygor Saunier has a degree in Music Education from the Federal drummers Edu Ribeiro, Kiko Freitas and Rafael Barata. To mention University of Amazonas – UFAM and since 2017 has been attending to some of the revolutionary Amazonian artists of my time that I love and a Master’s Degree in Musicology at Universidade Estadual Paulista with whom I had the pleasure to learn and share my music, I must say (UNESP) in the city of São Paulo (Brazil), where he develops a project my favorite ones are Nilson Chaves, Karine Aguiar, Gonzaga Blantez about the african-indigenous percussion from the Amazon region. For and Patrícia Bastos. five years he worked as drummer and percussionist in some of the most important orchestras of the Amazonas Opera House and also as How was the Amazon Drums project started? I remember an episode educator in Drums and Percussion courses at the music conservatory of when I went to study drums in Brasilia with Professor Edu Ribeiro the State of the Amazonas ‘Liceu de Artes e Ofícios Claudio Santoro’. (drummer of the current trio, awarded at the Latin Grammy Award in 2014). He asked every student in the class to sit down at the drums and Since 2012 he has been touring in some important venues in Europe, play some rhythm of his State of origin. At the time I panicked because the United States and Brazil and also records around the world as I had difficulty identifying which rhythm would be 'the face' of the executive and artistic producer of many Brazilian artists, like the Amazon. All I could play was the Boi-Bumbá, our most known manifes- amazon born singer Karine Aguiar, with whom was laureate in Paris as tation in the region. That’s how my passion for the Amazonian the Best Brazilian Album in 2014 by Portail du Brésil en France (the drumming began. Later, my wife Karine Aguiar suggested I start a greatest website about Brazil in French language) with the album science initiation project after graduation. “Arraial do Mundo”, recorded and produced in New York City by Vana Gierig. Tell us about the Drums of Amazon Book “Tambores da Amazonia ( Amazon *** Drums) Sure! The book has 11 chapters Interview: By Madalena Sousa and 190 pages. Each rhythm is separated in a chapter of its own that talks about Ygor, when did you start writing/producing music - and what or who the place of incidence of that rhythm, its were your early passions and influences? My relationship with percus- historical references, the instruments sion started when I was four years old, playing low drums at folkloric used, as well as its organology (how it festivals in my hometown Maués. The passion for drum set came at the works and what is done to that instru- age of 13 and I had the opportunity to study in a music conservatory at ment), the ways of executing the rhythm the age of 16, when I also started to play professionally. The all transcribed in the score and, finally, producing process came in 2012 while recording drums and percussion with suggestions of the drums for these for Karine Aguiar’s first album in NYC. My passions besides playing are rhythms. "One of the differentials in this music business and music research. work is that it will accompany a CD with the audio of these rhythms so that the reader can also learn to play Which famous percussion musicians have you learned from? Were them, either on drums or percussion instruments," describes Saunier. you influenced by foreign percussion music? I’ve studied with some of the greatest Brazilian names: Edu Ribeiro, Kiko Freitas and Rafael "In the Amazon, we catalogue the Opossum (Maués), Boi-Bumbá Barata. Each one of those fellows contributed to something specific in (Parintins), Beiradão (throughout the state of Amazonas), Ciranda my playing. But, speaking of Edu Ribeiro, I must acknowledge he was (Manacapuru). In Pará we catalogue the Carimbó de Marapanim the greatest motivator for my research about the Amazonian musical (Marapanim) and the Marujada of Bragança (Bragança). continue...

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INTERVIEW - YGOR SAUNIER

(including drummers and percussionists) with have an uncommon skill to listen to what whom I’ve been performing the last six years everybody is playing around them and, all over the world. Music is also a social because of this, they know exactly what and process - you’ve got to learn to listen to what how to do it. your fellows are playing and saying. How many CD’s have you recorded? What is In which way is your cultural background the identity of your work? I have recorded reflected in your performances? I was born approximately 20 CD’s in the last 15 years. In and raised in the middle of the Amazon rain- most of them, I was requested to bring the forest and that immense biodiversity is printed arrangement of the Amazonian grooves. in my music, from the African-indigenous Sometimes, these native grooves come very drums I use in my set up to my groove concep- subtle (depending on the concept of the tions. Music, nature… is all connected in the album) and in some specific cases the native same complex system. grooves become the main argument of the album. I have recorded many different styles, In Amapá, we catalogue the Marabaixo and Could you describe your creative process on from rock and big bands to samba. I love this the Batu, both incidents in the state of the the basis of a piece or album that's particularly kind of diversity my instrument provides me. country of Amapá, the musician, Natural of dear to you, please? Where do ideas come Maués (AM). The book's publication project from, what do you start with and how do you Today, after so many paths alongside the has just been contemplated through the spon- go about shaping these ideas? In most of the percussion, representing, with such quality, sorship announcement of the Bank of projects I’ve recorded in the last years, the Brazilian percussionist, how would you Amazonia S/A (BASA) and will be launched I worked as a drummer-percussionist and in describe your relationship with this initially through this edict. this creative process I generally record drum percussive process? Nowadays, percussion set first. While recording drums, I already try and drums walk together in a complementary How did you develop the book? For the to imagine all the percussion together because relationship in my career. Playing other research work, I visited all the municipalities my phrases on the drum set will be filled up percussion instruments helped me create new covered in the work, which were Manaus with this percussion. possibilities while playing the drums and vice- (AM), Maués (AM), Parintins (AM), Bragança versa. It’s a constant process of mind opening. (PA), Belém (PA), Marapanim (PA) and the Have you been in competitions? Any prizes? city (AP). As methodological resources, I used No. I must confess I’ve never been interested Do you believe that Brazilian Music has capti- interviews and a lot of documentary analysis in things like that. Actually, the prizes started vated the world and can it get a revival in the (reading of various works about folklore, to come through my book “Tambores da US, like Bossa Nova did in the 60s? Absolutely. foguedos, sociological and ethnographic stud- Amazonia”. In 2015, for example, the Brazilian And I believe this could happen again through ies, music treatises and so many others). Many Senate recognized this work as an important the Amazonian music. We have an immense of these manifestations still have few written contribution for cultural studies in my country. universe of new sounds waiting to be records and are kept alive through orality. It That was really unexpected to me. discovered in our forest. That’s why my was like putting together a puzzle of thousands research is work of a lifetime. I would like to of pieces, because I always needed to analyze How would you describe your current sound? share those Amazonian grooves with all the speech of the Griôs masters and compare Tell us a little about your work. I’ve been drummers and percussionists around the them to the existing studies about that people trying to combine the Amazonian grooves with world. or community. Jazz. Since 2012 I’ve been working on this new musical language with the Amazonian singer How do you the see Jazz influence in Brazilian BM: That’s very wise, the book sounds great! Karine Aguiar, producing and recording drums Music and vice versa? Since both music comes Do you have an English version of this book? and percussion on her two albums. The first from an African matrix and were born in the Unfortunately not yet! I hope in the future we one “Arraial do Mundo” was recorded and nest of subaltern cultures, we can say they can translate to different languages. produced in New York City by Vana Gierig and have too much in common in their structures laureate in Paris as the “Best Brazilian Album that go beyond the acoustic dimension. I think How would you define your line of work? In of 2014” by Le Portail du Brésil en France. In Jazz has contributed to Brazilian music in your creations, is there a segment of the her second album “Organic” produced by the terms of new harmonic and melodic possibili- percussion that is most striking and an instru- north-American jazziest Matthew Parrish in ties not yet recognized in our sound ontolo- ment, in particular, that you have more 2016, we continued following the same gies, and Brazilian music brought Jazz a very involvement? I define myself as a drummer- concept. With Karine I’ve been touring around rich contribution in terms of groove concep- percussionist (in this order) and an expert in the world showing this new music that tions. Brazilian-Amazon music. Yes, I’m able to play criticists are calling “Jungle Jazz”. other musical genres, but day after day my Do you have a project coming up soon; can work as a researcher and sideman is being Tell us about your travel experiences and you tell us about it? Yes. Right now I’ve been attributed to the Amazonian grooves. And you musical collaborations. What was your most working in my Master’s dissertation to intro- know what? I’m simply loving it. I’m very meaningful performance and where did that duce new Amazonian grooves. This material proud of my Amazonian ancestry. happened? For the last six years I’ve been will result in my second book. And, I also playing some great venues around Brazil, started producing some videos for my Youtube Do you do anything else besides percussion? Europe and the United States. It’s difficult to channel where I teach how to play those na- Do you teach music? Yes, I also work profes- choose my most meaningful performance tive grooves. sionally as a researcher and professor of because each one is really special. But I could Drums/Percussion and Ethnomusicology. I also say that recording with the pianist Fabio How can Americans become more aware of manage my small company that works in mu- Torres (from Trio Corrente), Guinga and the Brazilian music? I think the best way right now sic business areas. bassist Matthew Parrish in the same project to be aware of Brazilian music is through the was terrific! Last year we had a sold out Internet, especially through the independent/ Have you ever tried playing a different instru- concert with Karine Aguiar in a big Italian alternative blogs and streaming. There are ment? If yes, how good were you at it? Yes. music festival and the audience was many Brazilian treasures hidden in those unex- During my undergrad I had to play the piano burning. Each venue has its own magic. pected places. and I liked playing it until now. It helps me to think about music in a more complete way. In your opinion, what is it that an excellent What kind of message do you want to send to percussion player does that a more mediocre the world with your music? We’re all different In your opinion what is the rule of a percus- percussion player doesn’t do? What sepa- and there is much more beauty in diversity sionist and what constitutes a good live rates the pros from the amateurs? Something than you could imagine. Allow yourself once in performance? What's your approach to I have been noticing in the greatest Brazilian a lifetime to see and listen to something from performing on stage? A good drummer/ drummers is how simple they are. I think a different point of view. I wish my music percussionist, besides having a good tech- simplicity and kindness separates pros from could help other people to break old para- nique, above all things, must be generous to amateurs. Of course technique is really digms and to build a new and more open his/her fellows on stage and life. This is what important, but sometimes only an open mind world. I’ve been learning from the great musicians can make your music shine. The greatest https://www.facebook.com/ygor.saunier

BOSSA MAGAZINE e drummer, percussionist, composer and instructor Th Vanderlei Pereira, quickly became one of the most INTERVIEW WITH sought-after musicians on the contemporary Brazilian jazz VANDERLEI PEREIRA scene. Combining a prodigious knowledge of Brazilian rhythms with dazzling technique and a distinctive touch, Vanderlei has DRUMMER captivated audiences with his unique and electrifying performances. His proficiency on the drumset extends beyond his By Madalena Sousa/Editor In Chief mastery of Brazilian rhythms. He has incorporated these diverse influences into his playing and, as a result, has earned the respect of both straight-ahead and Latin jazz musicians on the emanding New York scene, where he is admired for his musical versatility.

Just to name a few, he has appeared and recorded with numerous outstanding artists including Toots Thielemans, Airto Moreira, Flora Purim, Rosa Passos, Leny Andrade, Claudio Roditi, Romero Lubambo, Bebel Gilberto, Sivuca, Johnny Alf and Beth Carvalho. While he is very busy at the present with his teachings and performances as sideman he manages to lead his own exciting New York based, Brazilian Jazz band project called Vanderlei Pereira and BLINDFOLD TEST.

A respected educator, Vanderlei’s knowledge of harmony and theory (as well as his proficiency on bass, guitar and piano) has enabled him to teach Brazilian music to all musicians, regardless of their primary instrument. He has developed a highly original method of teaching Brazilian music performance principles in a classroom setting in addition to giving private instruction on drumset and percussion. Vanderlei is an adjunct faculty member at the City College of New York (CUNY) and the New School. He has also taught at the Drummers Collective and has given master classes at the Berklee College of Music, the New School, Rutgers University, University of the Arts (Philadelphia), and the University of Delaware. In addition, he has been a featured guest artist/instructor at California Brazil Camp and the Escola de Música de Brasilia’s intensive summer program. Vanderlei is an official endorser of LP Percussion.

Vanderlei was diagnosed with retinitis pigmentosa at the age of six, and was told at that time of the probability of his becoming blind later in life. While his vision progressively worsened, he did have the good fortune to be able to complete his studies before he totally lost his sight in 1986 at the age of 31. At that time, he was already performing and touring with important artists, and he says “I decided that I would not let my blindness interfere with my career and I have continued to perform, record and teach.” And so he has!

People who hear him perform find this hard to believe, but Vanderlei Pereira is blind.

PG 36 WWW.BOSSAMAGAZINE.COM | BMF | ASUOS PRODUCTIONS | BRAZILIAN ART AND MUSIC |NEW YORK – APRIL 2018 INTERVIEW - VANDERLEI PEREIRA By Madalena Sousa/Editor In Chief When was your first contact with percussion instruments? Brazilian Music is so rich in rhythms and styles, but for many Were your family musical? It’s impossible to know exact when. years we don't hear about a new rhythm. Do you believe the It feels like it all began on the day of my birth. Which it was on a Brazilian instrumental music has taken a new direction towards small city called Macaé located on the state of Rio de Janeiro creating a new rhythm? If not, what do you think it is missing? Brazil. I’m the youngest of seven siblings and I’m grateful for At this point hearing a newer created rhythm, can be rare. When growing up in a home full of music. My first two music mentors there’s some new music going on, the tradition tells us that were two older brothers who are musicians, whose my general particular music came up from a variation of an unknown older music education came from; whether learning the fundamentals styles that all of a sudden gets exposed to our ears. of drum set and some percussion instruments playing, at my early age. I actually, do hear a constant flood of new music and rhythms coming from Brazil since the 70s. But even today, that music still When did you start writing/producing music - and what or who sound new and exciting to me. For example: the old Choro genre were your early passions and influences? The very first musical in Brazil: When it’s played differently, it turns into Novo Choro, notes I composed happened during my teen years, soon after which attracted countless creative younger generation followers I learned how to play a fair amount of chords on the guitar, around the world. Around the same time The Birth Of Aché mu- influenced eternally by (just to name a few), João Gilberto,sic (which are heavily based on percussion instrument rhythms) Antonio Carlos Jobim, Antonio Adolfo, Edu Lobo, Dori Caymmi, took place in the state of Bahia; where Afoxé blocos, Olodum, Lennon and McCartney, Heitor Villa-lobos, Milton Nascimento, Timbalaya, when through the 70s and partially the 80s, reached Piry Reis (a super-duper composer/guitarist from Macaé my the ears of large audiences a broad. Chico Science and Zumbi home town). In addition to playing drum set and some percus- Nation founder of the Mangue beat movement (heavily Afro sion, I co-produced the CD Tudo Azul by Susan Pereira and Sabor Brazilian percussion instrument oriented with electronic instru- Brasil in NYC, Riony Records release. ments) in the State of Pernambuco, captivated audiences globally. In state of Bahia, Maestro Lettiere Leite and his Rumpilês Tell us about your music study process: I received a diploma Orchestra, created his new sound placing percussion instru- and a teaching certificate from the Academia de Música Lorenzo ments from Candomblé (afro Brazilian Religion) in the front of Fernandez in Rio de Janeiro, with studies in theory, rhythm and the orchestra, similar to the way it was done in Cuba since the sight singing. I was selected as a participant in the Instrumental 30s. Samba schools in Rio de Janeiro during the 80s,, started Preparatory Course of the Orquestra Sinfônica Brasileira in Rio incorporating the funk into the percussion section creating a real de Janeiro, where I studied classical percussion, harmony, theory symphony of new rhythms. and style analysis. During this period, I performed with the Orquestra Sinfônica Brasileira as well. I also received a Diploma Maestro Spok and his Spokfrevo Orchestra, Gave a huge lift to in Jazz Studies from the Mannes College of Music in New York the Frevo (a carnival street music from Pernambuco) which’s in City, where I studied with the renowned jazz drummers John addition to the streets is now heard in concert halls and jazz Riley and Vernel Fournier. In addition, I studied with the Latin festivals worldwide. The phenomenal Brazilian jazz Trio Corrente jazz drum and percussion masters Ignacio Berroa, Bobby Sana- (Fabio Torres -piano, Paulo Paulelli -bass, Edu Ribeiro -drums) bria and Johnny Almendra. from São paulo, gives a extraordinary new reading to Brazilian standards blending contemporary jazz vocabulary in it, but the BM: Vanderlei has incorporated these diverse influences into styles don’t lose their flavor; they've been together since the last his playing and, as a result, has earned the respect of both 15 years or so. I already have heard Trio Corrente influences on straight-ahead and Latin jazz musicians on the demanding New the music of so many players across the US. Maybe what is York scene, where he is widely admired and respected for his missing, would be: An substantial increase of music educated musical versatility. audience, with enough open mind and ears to take the today’s sound as the evolution. of older’s. Which famous percussion musicians have you learned from? Were you influenced by foreign percussion music? I probably Could you describe your creative process on the basis of a will leave out at least a hundred or more names on the list piece or album that's particularly dear to you, please? Where below, whether or not they are famous. Here’s my famous do ideas come from, what do you start with and how do you go drummers/percussionists list whose work will forever teach me about shaping these ideas? There’s so much out there that’s lessons regardless of the continent they come/came from: Airto inspiring to me. Throughout my life as musician, I’m constantly Moreira, Robertinho Silva, Nene, Naná Vasconcelos, Toninho alert and respectful to every kind of music. I enjoy the endless Pinheiro, Milton Banana, Edson Machado, Max Roach, Elvin process of figuring out how well the performance of the basic Jones, Anthony (Tony) William, Billy Cobham, Steve Gadd, Joe can be mastered. Morello, Tito Puente, Portinho, Adelson Silva, Philly Joe Jones, Papa Jo Jones, Bobby Sanabria plus countless ones whose names In which way, would you say, is your cultural background should go to the “famous” category. reflected in your performances outside Brazil? As a musician, I try to be versatile as much as I can and believe my cultural How would you define your line of work? In your creations, is background naturally comes out in my music regardless of the there a segment of the percussion that is most striking ? Any country where I play. instrument, in particular, that you have more involvement? How would you describe your current sound? It’s important to In your opinion, what is it that an excellent percussion player make clear that the drum set, not percussion, is what always has does that a more mediocre percussion player doesn’t do? What been my primary instrument in the non-classical music world separates the pros from the amateurs? I think the questions since my teen years. In addition to my MPB/pop/jazz drum set already sounds obvious. pros players should sound excellent and playing, I also studied classical percussion and was selected to the mediocre cannot and vice-versa. I believe there’s a invisi- join a work/study program with the Orquestra Sinfónica ble line to measure the performance quality at any point of the Brasileira, studying with masters like David Johnson and Luis journey. This line can be set higher or lower according to the Almeida d’Anunciação (Pinduca). standard of anyone. The quality of my performance reaches a certain level. But, when any of my idols are performing, the Unfortunately, because I lost my vision, I sadly had to let that music should reach a much higher level. classical career go. I feel lucky to have that background, though, and try to incorporate those classical skills into my drum set playing. I look at the drum set as one instrument and give the same importance to every drum and cymbal. All drum set players do the same in order to define their individual sound. Continue...

By Madalena Sousa/Editor In Chief Continue...

Tell us about your travel experiences and musical collaborations. I have recorded extensively in both the U.S. and Brazil in a wide variety of styles. I also collaborated with numerous outstanding artists, including Toots Thielemans, Airto Moreira and Flora Purim, Rosa Passos, Leny Andrade, Tito Puente, Arturo O’Farrill’s Afro-Latin Jazz Orchestra, Claudio Roditi, Romero Lubambo, Bebel Gilberto, Leila Pinheiro, Emílio Santiago, Sivuca, Nelson Faria, Luis Carlos Vinhas, Rildo Hora, Quarteto em Cy, Johnny Alf, Manfredo Fest, Hendrik Meurkens, Helio Alves, Dom Salvador, Weber Iago, Santi Debriano, Margareth Menezes, Beth Carvalho, Nei Lopes, Geraldo Azevedo, Amelinha, and Jamelão.

BM: He received high praise from Modern Drummer magazine for his performance on Nando Lauria’s Points of View (Narada): “Pereira’s . . . interpretation of Zydeco-like baião, the martial ciranda and more syncopated maracatú, and the driving, straight-ahead xote, offers glimpses of the richness of Brazil beyond Bossa, and demonstrate some great rhythmic ideas . .

How many CD’s have you recorded? Photo: Teaching at California Brazil Camp I have recorded approximately 25 CD’s as a sideman.

Do you believe that Brazilian Music has captivated the world and can it get a revival in the US, like Bossa Nova did in the 60’s?

There’s no doubt about Brazilian music captivating the world. It’s still doing that, just in smaller and more varied ways.

April 30th is International Jazz day, and Bossa Magazine is celebrating the communion of Brazilian Music and Jazz. How do you the see Jazz influence in Brazilian Music and vice versa?

Bossa Nova was really the beginning of the fusion of Brazilian music and jazz. Musicians who play Brazilian music or jazz can influence one another because both genres are equally rich in many areas. Players have figured out unlimited possibilities to blend the elements of each genre to create a new one.

Do you have a project coming up soon; can you tell us about it?

I’m involved with two projects in Brazilian jazz music that I’m excited about. The first is my band, Vanderlei Pereira and Blindfold Test, which is a six-piece instrumental Brazilian jazz ensemble. The instrumentation consists of sax/flute, wordless vocals/percussion, guitar, piano, bass and drums. We have recorded a CD which includes three of my original compositions, as Vanderlei Pereira and BLINDFOLD TEST BAND well as eight tracks by various Brazilian composers. It will be coming out later this year. Vanderlei performs most often with his trio (piano, bass and The other project is Brazilian jazz as well. It’s a cooperative trio drums), but he also enjoys working with his larger-format called SanfoNYa Brasileira, with accordion, bass and drums. We groups, which can include horns, vocals, or guitar. have recorded a CD and expect to release it this summer. Stay tuned! Contact: How can Americans become more aware of Brazilian music?

It only takes one American passionate about Brazilian music to E-mail: [email protected] bring the awareness of it to the next. website: http://vanderleipereira.com

What kind of message do you want to send to the world with Video: https://www.youtube.com/watch? your music? Music can unite us all. time_continue=20&v=YyUWw6r7Th8

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THE TIME DOES NOT STOP!

“You're alive! That's your show. Only the ones who show up can find themselves. Even if they get lost on the way.”

- Cazuza

The Legendary CAZUZA 60 Years Anniversary Born on April 4, 1958 - Died on 7 July 1990 (age 32)

PG 40 WWW.BOSSAMAGAZINE.COM | BMF | ASUOS PRODUCTIONS | BRAZILIAN ART AND MUSIC |NEW YORK – APRIL 2018

Cazuza By Madalena Sousa/Editor In Chief

"A Poet Never Dies”

L ast Wednesday, April 4th, the singer and poet Cazuza music with interpretations of Cartola's "O Mundo é um would be 60 years old. Along his massive trajectory, he Moinho" (The World is a Windmill), Raul Seixas's "Cavalos was the lead singer of the group Red Baron ( Barao Calados" (Silent Horses) and Caetano Veloso's "Esse Vermelho) and, in the sequel, pursued a solo career. He Cara" (This Guy). died on the morning of July 7, 1990, the victim of complications arising from AIDS. Either way, his legacy remains. Contrary to what usually happens once an artist leaves a band that has made them famous, Cazuza's solo career Born Agenor de Miranda Araújo Neto, better known as proved to be more successful than that of his former Cazuza, born on 4 April 1958 – 7 July 1990), was a group. "Exagerado" (Exaggerated), "O Tempo não Brazilian singer and songwriter, born in Rio de Janeiro. Pára" (Time Doesn't Stop), and "Ideologia" (Ideology) Along with Raul Seixas, Renato Russo and Os Mutantes, were his greatest hits and proved to be a great influence Cazuza, both while fronting Barão Vermelho and at solo on subsequent Brazilian musicians. career, is considered one of the best exponents of Brazilian rock music. In his 9-year career, he sold more In 1996, Cazuza was featured in the AIDS benefit album than 5 million albums and achieved 11 number one Red Hot + Rio produced by the Red Hot Organization, singles and 18 Top 10 singles in Brazil. Son of the record performing the song "Preciso Dizer que Te Amo" in a producer João Araújo and the amateur singer Maria Lúcia duet with Bebel Gilberto. Araújo, Cazuza always had close contact with music. Influenced since early childhood by the strong values of In 1989, he admitted publicly for the first time that he Brazilian music, he had a special preference for the sad, had AIDS and released his last album in life: Burguesia. dramatic overtones of Cartola, Lupicinio Rodrigues, Cazuza was openly bisexual but was not active in the Dolores Duran, and Maysa. LGBT movement. However, his openness about being a person with AIDS helped to change public perceptions He began to write lyrics and poems around 1965. In late and attitudes about HIV/AIDS prevention and treatment. 1974, a vacation in London, England, acquainted him with the music of Led Zeppelin, Janis Joplin and The Cazuza died in Rio de Janeiro on July 7, 1990 at the age of Rolling Stones, and he soon became a great fan. Cazuza 32. He was buried at the Cemitério São João Batista enrolled in college in 1978, but abandoned the course of Botafogo, in Rio de Janeiro. Cazuza's mother set up the journalism three weeks later to work with his father at Viva Cazuza Society (Sociedade Viva Cazuza), a charity Som Livre. He moved later to San Francisco, where he which sponsors AIDS prevention and provides a home for came in contact with Beat literature, becoming highly HIV-positive children. influenced by it.

In 1980 he returned to Rio, where he worked with the A biopic starring Daniel de Oliveira and directed by theatrical group Asdrúbal Trouxe o Trombone (Asdrúbal Sandra Werneck called Cazuza: O Tempo não Para Brought the Trombone). There he was noticed by the ("Cazuza: Time Doesn't Stop") was released in 2004. novice singer/composer Léo Jaime, who introduced him In 2014, the biographic musical Cazuza - Pro Dia Nascer to a beginning rock band that needed a vocalist, the Feliz opened in São Paulo. It featured songs from Barão Vermelho. With this very successful eighties Cazuza's solo career as well as from his time as front man Brazilian rock band, who had their greatest success with of Barão Vermelho. The musical was directed by João "Bete Balanço", a song that was part of the soundtrack of Fonseca and toured Brazil for two years. Cazuza changed a film, Cazuza began his career as a singer. In 1985,the ways in which HIV/AIDS were discussed and under- Cazuza took part in Rock in Rio with Barão Vermelho (Red stood in Brazil. He proved that instead of submitting to Baron), and around this time, Caetano Veloso claimed he AIDS, people with AIDS: gay, straight, or bisexual ; could was the greatest Brazilian poet of his generation. It was continue to be productive, even famous members of also in this same year that Cazuza was infected with the society. According to author and literary critic Marcelo AIDS virus, precipitating his desire to leave the band in Cazuza had become the face of AIDS in Brazil. order to obtain a greater freedom in composition and expression, both musically and lyrically. He was a pivotal figure in a shift that saw people with AIDS talking about themselves in the media, rather than After he left the band, Cazuza's music began to diversify, other people talking about them. Cazuza was instrumental incorporating elements of the blues in songs such as in doing so because he was already famous and had the "Blues da Piedade" (Blues of Compassion), "Só as mães attention of many followers. Most important of all, his são felizes" (Only Mothers Are Happy) and "Balada da impact fomented widespread discussion of AIDS, Esplanada" (Ballad of the Esplanade), which was based effectively demystifying the disease and turning it into a on a poem of the same name by Oswald de Andrade; topic of household discussion. showcasing increasingly intimate lyrics, like those in "Só se for a Dois" (Only If It Will Be as a Couple), as well Source: https://en.wikipedia.org/wiki/Cazuza as opening itself up to influences from Brazilian pop

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