São Paulo's Curumin brings his bandmates to Brooklyn for a playful rendition of "Magrela Fever", from Curumin's second album, "Japan Pop Show". The Quanuum Projects release fuses elements of funk, samba, bossa nova and psychedelia on top of a laid-back Brazilian vibe. The trio here demonstrate their penchant for whimsy and improvisation beneath the Williamsburg Bridge.
Recorded in July of 2009. "The Bridge Sessions" crew : Directed by K. Mackenzie and assisted by S. Landy. Audio Re-Mastering by R. Rabnett at www.quirkaudio.com.
See 04:40 for a brief Curumin's interpretation of Michael Jackson's " Beat It".
Elizah interprets Geraldo Filme's " Batuque de Pirapora ".
Singer and songwriter Elizah (Elisa Álvares Rodrigues - Erechim, Rio Grande do Sul) spent her childhood in Mozambique. Upon returning to Brazil, she began singing in church choirs before starting her professional career as a singer performing together with guitarist Guinha Rodrigues in the early 1990's. Along with Guinha, she produced the show Como o Diabo Gosta, which also became her first album, released in 1995. That CD was followed by Beijo Manga in 1998, also with Guinha. Her career then took her to perform in Europe -- Austria, Germany and Portugal -- in 2000. Back in Brazil, she began working on Elizah, which was released in 2003 and featured arrangements by Daniel Sá (guitars) and Guello (percussion). Elizah features a select repertoire and some very special guests including Renato Braz, Yamandu Costa , Toninho Ferragutti, Nailor Proveta, Guello among several others. ( MusicaBrasileira.org )
"Ivone Lara, respectfully known as Dona Ivone Lara, is a samba do morro (samba of the hills) inspired singer and composer. Do not expect the fluid bossa nova here. The real thing in which bossa was based is a percussive kind of music that greatly contrasts with the delicacy of the lyrics, usually chronicling the life of the humble people of the hills, the ending love, the passion for the samba, the amazement at the wonder of life. The typical instrumental, obviously entirely acoustic, comprises the Brazilian seven-string guitar (violão de sete cordas), the cavaquinho , mandolin, and a complete set of the varied samba percussion, with tamborins, reco-recos, ganzás, surdos etc., together with the samba-community feel translated by the vocal ensembles"...
Ivone Lara, or Dona Ivone Lara is one of the prominent ladies of samba, having been the first woman to ever fight gender prejudice in the samba schools. She was the first woman to parade at the ala dos compositores, a masculine ala, becoming then the ala's madrinha. Counting more than 300 compositions written throughout more than 50 years of her career, she is unanimously revered by Dorival Caymmi, Martinho da Vila, Zeca Pagodinho, Gilberto Gill, Hermínio Belo de Carvalho, Beth Carvalho, Fundo de Quintal , and many others. Her songs have been recorded by major artists with great success and have earned her several awards. Some of these songs, such as "Não me Perguntes," "Amor Inesquecível," "Decepção," "Sem Cavaco, Não," "Andei Pra Corimá," "Alvorecer," and "Amor sem Esperanças," achieved great popularity.
Tatiana Parra performinging "Odudua" live at the Radiola na TV Cultura, Trama/ Radiola 2008.
Born into a musical family, Tatiana Parra started her career at five, singing ad song themes on several studios in São Paulo. She recorded the CD O Gigante da Floresta aimed at children with Hélio Ziskind in 2000. Since 2003, she's been joining the group of guitar player and composer Chico Pinheiro, with whom she tours yearly, having taken part in a performance of the artist with Orquestra Jazz Sinfonica (Jazz Symphony Orchestra), as well as in the recording of telecasts Ensaio and Bem Brasil from TV Cultura; she sings yet in two tracks from Pinheiro's second record, Tocador de Violão (2005)....
A true representative of the early pagode , Almir Guineto was director of the samba school Salgueiro, founding member of the group Fundo de Quintal and a member of the group Originais do Samba for 10 years before going after a solo career.
Guineto was born on Salgueiro Hill into a family of musicians. His career took a U-turn when he was first in a music festival in 1981 with the song "Mordomia." Guineto is credited with having introduced the banjo into the pagode.
..." The northeastern state of Bahia, cradle of many Afro-Brazilian traditions, is home to the origins of Samba music. When slavery in Brazil was abolished in 1888, former slaves from Bahia migrated south to Rio, which is currently the base of Samba.
The word “Samba” is derived from the word “Semba”. In the African Bantu language known as Kimbundo, brought to Brazil by slaves taken predominantly from Angola, “Semba” signifies “naval bump” which depicts the intimacy and “invitation” to dance, a feature common in many Afro Brazilian forms. It is also noted that the word Samba is the infinitive of “kusamba” which literally means “to pray” or to invoke favor of the gods through rhythm, song and dance. It is believed that Angola's traditional semba music lies at the founding heart of Brazilian samba. Used as a means of celebrating and religious worship, the semba follows an ancient rhythm, accompanied by a dance form similar to present day samba with emphasis placed on the undulations of the hips and belly. However, in samba there are no undulations of the hips. Movement comes from the legs. The hips stay still.
Samba emerged as a musical genre after its birth in the region of Bahia known as “Little Africa”. Terreiros da Candomble (religious houses) were founded by Bahian priestesses also known as Tias (Aunts) or Baianas (Bahian Aunts), to invoke the gods through song and dance. During these religious ceremonies, samba de roda was danced to the beat of African drum and percussions. Gathering in the homes of well respected Baianas, people would create and compose samba variations. The first officially broadcast samba song, entitled “Pelo Telefone”, was recorded in the terreiro of legendary Tia Ciata in Praça Onze, Cidade Nova (Rio).
When slavery came to an end, mass migration to Rio from Bahia commenced. Continuing the practice of samba, Escolas de Samba (samba schools) were established as a creative and artistic outlet for poor communities. Accompanied by percussion music, blocos (groups of dancers) sung and danced in celebration of Carnaval through their neighborhoods and neighboring favelas (shanty towns). Initially, the practice and dance expression of samba was prohibited for it was perceived as obscene, improper and in bad taste in the view of Brazil’s upper class. Angenor de Oliveira, a pioneer of Samba, has been quoted as saying “In my childhood, we played the Samba in the backyards of the old ladies, whom we call tias, and the police stopped us often, because the Samba, then, was considered a thing of bums and bandits....” ( World Music Central )
Ana Cañas is an MPB singer from São Paulo who made her recording debut on Sony BMG in 2007 with Amor e Caos, a Top 20 hit on the Brazilian albums chart. The University of São Paulo graduate collaborated with guitarist/producer Alexandre Fontanetti for the album, which includes covers of Bob Dylan ("Rainy Day Woman "), Caetano Veloso ("Coração Vagabundo"), and Jorge Mautner ("Super Mulher").
Maria Rita (born September 19, 1977 in São Paulo) is the performance name of Maria Rita Mariano. She is the daughter of famed pianist/arranger César Camargo Mariano and the late Brazilian singing legend Elis Regina and sister to Pedro Mariano and music producer João Marcelo Bôscoli. Her namesake is family friend and famed Brazilian rock legend Rita Lee. Maria Rita majored in Latin American studies and communications at New York University, and worked as a journalist at a magazine for adolescents. "Rita" is pronounced "Hee-ta".
Maria Rita began singing professionally at the age of 24, although she had wanted to sing since she was 14. Her first CD, Maria Rita, launched her career symbolically, with the first cut on her first album, A Festa (The Party), being written by Milton Nascimento, a Brazilian singer-songwriter whose career was launched by Maria Rita's mother, Elis Regina. The CD went platinum and was a hit worldwide, making her an international star. Her mother's reputation as one of Brazil's greatest female singers has been a major influence in Maria Rita's life although she respectfully avoids the songs identified with her mother; she has said that she was always conscious of being the only daughter of a great singer. Despite having her mother's vocal DNA, she has developed her own jazzy vocal style, with singers like Ella Fitzgerald as her model.
She won the 2004 Latin Grammy Awards for Best New Artist in the General Field, Best Song in Portuguese (“A festa”) and her debut album Maria Rita won the Best MPB (Musica Popular Brasileira) Album award for that year. The world hit that “Segundo” turned out to be, granted her in 2006, two additional Grammys Latinos – Best MPB Album and Best Brazilian Song with “Caminho das Águas” authored by Rodrigo Maranhão – and over 50 shows abroad, with full public and reviews acceptance in the Montreux Jazz Festival, North Sea Jazz Festival, Irving Plaza (NY), San Francisco Jazz Festival, among others.
"We've done our best to herald the arrival of Singer Rosa Passos as quite possibly the best female vocalist in Brazil. Delicately creative on her own terms, she possesses the voice of a worldly angel. Her phrasing can be decidedly jazzy, often trailing off to the point where the end of a line comes as an unshakable sense of suggestion. And, although her skill has grown considerably over the years, she still carries the impression that she could be the female embodiment of JoÃo Gilberto as his very best.
Since its creation, in 1997, Farofa Carioca challenge people to define its musical style. Mixing rhythms like funk, jongo, rock, jazz, rap, reggae, xote and, above all, samba, Farofa Carioca translates in music the main feature of the Brazilian culture: the combination of several influences that forms an original style.
Samba de Gafieira (also just called Gafieira and often spelled as Gafiera) is a ballroom dance expression of Brazilian samba musical rhythm. The samba music played by a ballroom orchestra or the dancing hall where it is performed is also referred as gafieira. ( wikipedia )
At the gathering of drummers Expomusic 2007: The Orion Cymbals pavillion.
Wilson das Neves (Born 1936, Rio de Janeiro ) is known notably for his percussion playing. He is a key figure in the history of Brazilian music having played with many of Brazil's greatest musicians across many decades and featured on numerous important recordings
Wilson das Neves recently appeared as a member of the 19 piece Gaifieira Orquestra, Orquestra Imperial playing on their 2006 album Carnaval Só Ano que Vem. He is currently playing with his former band Os Ipanemas. The band reformed in 2001 with the some of the original line up and released three albums on London based Far Out Recordings The Return of The Ipanemas followed by 2003's Afro Bossa and Samba Is Our Gift (O Samba É Nosso Dom) in 2006 with another album planned for 2008. The band are also set to tour the UK for the first time in April 2008. ( Wikipedia )
