November 2, 2009

Nicolas Krassik and Sergio Krakowski @ Clube dos Democráticos Ball.

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Nicolas Krassik and Sergio Krakowski play at Clube dos Democráticos Ball. Footage from the brazilian TV show 'SEMENTE DA MÚSICA BRASILEIRA'.

NICOLAS KRASSIK : The 39-year-old French violinist started his studies at 5 years of age at the Conservatoire National de Region d’Aubervilliers-la Courneuve, where he studied during 14 years and graduated in classical music. He then went to study at the Jazz school (Centre de Formation Musicale de Paris) for another year. From this point on he started his professional career playing with great names in Jazz, such as Michel Petrucciani, Vincent Courtois, Didier Lockwood, Pierrick Hardy, among others. In 1999, Nicolas was invited to teach classes in improvisation at the Jazz School founded by the violinist Didier Lockwood. During his search for new sounds he discovered a great connection to Brazilian music and so decided to move to Brazil in 2001. Upon his arrival in Rio he started to go to Samba and Choro shows and jam sessions in Lapa, an old neighborhood in Rio with a strong musical effervescence. His quick integration into the Brazilian music scene resulted in the beginning of a promising solo career.

SERGIO KRAKOWSKI : Began playing pandeiro when he was 15 years old. He learned to play informally with friends, but quickly realized the richness of the instrument and began to dedicate himself more seriously to it. He is self-taught and developed his own technique, based on various influences such as Rafael Rabello, Jorginho do Pandeiro and Marcos Suzano. Freedom of expression is a primary focus in Sergio's musical path. He believes that the pandeiro has even more potenial than has been explored until this point, including the use of polyrhythms. In fact he works on a Pandeiro technique that allows one to play two different voices simultaneously. Krakowski started his professional career at 18, playing in clubs in Rio de Janeiro with some of the great names in Brazilian music. He dedicated himself to the instrumental Brazilian music style call Choro, where he found the freedom of expression he was looking for.

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