Brought up in an artistic environment, music has always been present in Mariana Aydar’s life - as a source of expression and personal freedom - a connection of sorts as if there were no words – an almost osmotic link - without rules. “Ever since I was quite small, I’ve always wanted to be close to the stage, or on it. I learned a lot just watching and seeing” she remembers “In my house, the music was quite varied, and we listened to everything. Bobby McFerrin, Frank Zappa, Dominguinhos, Luiz Gonzaga, Elis, Ella , Gal, Beatles, Yo-Yo Ma, Donald Fagen, Branca di Neve, Candeia, Lulu Santos, among many”. She studied the violoncello and music for infants and for teenagers from 10 to 15 years of age at the Brooklin Musical Conservatory in São Paulo. In São Paulo she attended the Waldorf School, known for encouraging artistic activities. There she studied theatre, choral work and general arts. She spent a year at the St. Marcelina College, but decided her time would be better spent and she’d get a more practical education, at the Groove School, in São Paulo. It was at the age of twenty, that she understood that after all her previous education what she really wanted to do was singing. In 2000, she began her professional career as a back vocalist with the guitarist Miltinha Ediberto, whose repertoire was on the whole, the north-eastern musical style, Forró. This lasted three years. During this time she had the opportunity to share the stage with some great names of Popular Brazilian Music such as Dominguinhos and Elba Ramalho. She was also a back vocalist for Daniela Mercury during the Carnival of 2004. At the same time, she was part of the musical group of São Paulo composer Dante Ozzetti. At 24, she found herself at a crossroads; she could continue her work with Caruá and record the first CD of the band or she could really expand out on a more varied musical journey. With her demo CD under her arm, she moved out of Brazil, quite alone, to look for new challenges, new points of view, new horizons. She chose Paris for its cultural effervescence and soon saw she had made the right choice “I met a whole range of musicians and heard music from all around the world: African, Asiatic, French; it was a year of personal maturing and musical learning” To see Brazil with “foreign” eyes was very important for her continuing education.... ( more )
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One could say Jamaican singer Papa Winnie had a serendipitous hand in the creation of O Rappa, the Rio de Janeiro - based fusion reggae/funk-rock band . In 1993, Winnie arrived in Brazil for an extended tour with no backing musicians. A pick-up band was quickly assembled by bassist Nelson Meirelles , and after Winnie's tour was over, Meirelles, drummer Marcelo Yuka , keyboardist Marcelo Lobato , and guitarist Alexandre Mennezes realized there was enough chemistry among them to start an original band. When vocalist Marcelo Falcao answered an ad in the newspaper and came on board, O Rappa (pronounced o hoppa) was born.
Like many Brazilian bands that embraced American sounds in the mid-Nineties, O Rappa incorporates native sounds into its sonic blend of rock, soul, hip-hop, and reggae, ultimately emerging with something quite unique. Their lyrics show social concern about what goes on in the suburbs of Rio and around the country without being crass or vulgar in their delivery. It has not been an easy ride for the group. In 2001, tragedy struck: Yuka, one of O Rappa's major lyricists, was shot during a robbery and became paralyzed from the waist down. But the band has soldiered on and garnered acclaim both in Brazil and the States. ( Ernest Barteldes, Miami NewTimes )
Posted by "fraanhg" 2008.
Acoustic version ? 2000
August 22, 2011
Rivotrill is a Brazilian instrumental group formed by Junior Crato (flute and saxophone), Rafa Duarte (bass) and Lucas dos Prazeres (percussion), which presents a fusion of Brazilian, Latin and African rhythms with progressive rock and jazz.
Rivotrill started its career in 2006. The band members usually create their songs influenced by jazz, rock, specially Jethro Tull, and afro-Brazilian rhythms.However, they also have influences of classical music.
In 2007, the band participated of many festivals around Brazil, such as Festival Rec-Beat, Festival de Inverno de Garanhuns, Festival de Música Instrumental de Garulhos and Feira da Música de Fortaleza, and was positively criticized by press. In Festival Rec-Beat, they were considered the greatest discovery of the festival.
Renato Braz performing work from the Argentinian composer Fito Paez.
Gerson Oikawa on electric guitar. 02:40 .
Posted by "Conversacomverso" 2009 .
August 18, 2011
SKW Trio is an experimental group formed by Skowa - member of the Trio Mocotó.
Roberto Ribeiro ( 1979 )
Roberto Ribeiro, a successful samba interpreter/composer and also a sambista of the Império Serrano samba school appeared in 1972 as the partner of Elza Soares in three singles recorded by her. In the same year it was launched the LP Elza Soares e Roberto Ribeiro. ( more )
Alaida Costa & Milton Nasciment
Alaíde Costa is an important interpreter who had great success in the '60s. Her obstinate adherence to her delicate style, especially suited to the sensitive Brazilian genre modinha, made her be put aside by the cultural industry and she remained forgotten by the masses until her reappearance in Milton Nascimento's Clube da Esquina. She has been performing and recording erratically, but always with a high standard of quality in her dense interpretations. As a composer, she wrote music and lyrics for +Afinal, and had partnerships with several important creators, such as Vinícius de Moraes and Geraldo Vandré.( more )
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This remarkable new cross-generational big band comes from the state of Pernambuco in northeastern Brazil. For nearly 20 years, that region — particularly Recife, its port city — has been worth watching: it’s a place where the strong old local rhythms like ciranda and maracatu mesh naturally with hip-hop and rock. With 12 pieces, including tuba, trombone, saxophones, violin, percussion and voices, the band compounds those earlier mixtures with Afrobeat and ska. On its remarkable self-titled first album (released by Som Livre Apresenta) you hear parade-samba rhythms, echoey guitar, brass and reed sections alternately booming and muted with jazz arrangements, the rustic scrape of a violin and anthemic choruses. ( The New York Times )