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Começou a tocar piano ainda menino. Aos 20 anos de idade fez um curso de orquestração em Nova York.Atuou como pianista e arranjador em discos de Djavan, Gal Costa, Milton Nascimento e Simone. Tocou com Vitor Assis Brasil, Hélio Delmiro, Wayne Shorter, Toots Thieleman e Billy Cobban.
Foi responsável por alguns famosos temas publicitários como o do Free Jazz Festival e o da Big Coke. Gravou sete discos solo, compõe para o cinema e se apresentou em concertos ao lado do percussionista Airto Moreira e da cantora Flora Purim na Europa e EUA.
Em 1985, participou do LP "High Life" (Musician/WEA).
Em 1998, lançou o CD "Luiz Avellar em Movimento" (Savalla Records), contendo suas composições "Pierrot no frevo", "A bailarina", "Eric e Vivian", "Feliz", "Tango n.º 1", "Valsa", "Do outro lado do mundo", "Paisagem de Ipanema" e "Tango n.º 2". Em 2000, apresentou-se, com Nico Assumpção (baixo) e Kiko Freitas (bateria), gravado ao vivo no Mistura Fina (RJ). O espetáculo foi gravado ao vivo, gerando o CD "Luiz Avellar, Nico Assumpção e Kiko Freitas tocando Victor Assis Brasil". Em 2002, gravou o CD "Caminho das Bandeiras", contendo suas composições "Encontro das águas", "Içando emoções", "A terra vista", "Mata virgem", "Pindorama", "Atlântico azul", "Emboaba" e "A aldeia somos nós", além da faixa-título. Também em 2000, participou do disco "Mar de mineiro", de Nelson Ângelo.
Em 2003, apresentou-se, ao lado de Ricardo Silveira, no Teatro Leblon (RJ), interpretando canções de Milton Nascimento. O show gerou o CD "Luiz Avellar e Ricardo Silveira ao vivo tocam Milton Nascimento", lançado no ano seguinte.
Extraído do site Dicionário Cravo Albin da Música Popular Brasileira
Para mais informação, visite o site do Luiz Avellar
Para mais informação, visite o site do Luiz Avellar
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Virtuoso pianist, composer and arranger, partner of Milton Nascimento, Avellar toured a number of European cities, the US and Canada coast-to-coast as Milton's sideman along with guitarrist Pat Metheny and saxophonist Wayne Shorter. He arranged and played keyboards in Djavan's L.A. - produced album "Luz," with Stevie Wonder, among other renowned American musicians.
With Brazilian vocal stars, Avellar appeared at the Montreux and Juan Les Pins/Cap d'Antibes Jazz Festivals.
With singer Flora Purim and percussionist Airto Moreira, he has performed for a number of seasons at London's Ronnie Scott and at club New Morning in Paris, among other European venues and festivals, such as Red Sea in Israel and Le Mans in France.
He arranged and played piano on all tracks in the CD "Flora Purim sings Milton Nascimento", recorded at Peter Gabriel's Real World studios in the UK and recently released worldwide.
Billy Cobham, Toots Thielemanns, Larry Coryell, Herbie Hancock, Enrico Rava, Phil Woods and Ernie Watts, are among the renowned musicians with whom Avellar has played and recorded in different occasions from the US to Japan, from Tel Aviv to Buenos Aires.
The son of a singer, he was born in Rio de Janeiro. Since 7 years old he was a student of renowned Brazilian piano professors and later studied orchestration at New York's Mannes School of Music.
A professional musician since he was 15 years old, became the musical heir of late Brazilian jazz piano master Luiz Eça. Avellar continued to deepen his technical skills, which allow him to show a beautiful and unique singing tone, precise sense of rythm and creative harmonic-melodic improvisation. Dedicated to show his own compositions and unique piano skills since 1994, he has 15 CDs released with his name covering major popular Brazilian composers, in addition to his own music.He has also appeared as soloist of Symphony Orchestras and had his music for cinema performed by the Brazilian Symphony Orchestra, establishing a permanent exchange among all his musical abilities, from Brazilian rythms to classical music to jazz and to opera arias.
Avellar released the Brazilian Jazz album "Bons Amigos" in 1995 backed in the studio by his friends like Hermeto Paschoal, Helio Delmiro, Robertinho Silva, Paulo Moura and Nico Assumpção, among other important musicians.
His 1998 solo piano CD 'Luiz Avellar em Movimento' included only original material. It was enthusiastically received by critics and by his growing number of admirers. In this album, Avellar successfully blends his Brazilian Popular Music and jazz backgrounds with a classical approach, resulting in a world-class release.
During the year 2000, he wrote his first two feature film soundtracks. The Rio International Film Festival Award Winner "Tainah, an adventure in the Amazon" showed a beautiful orchestral piece which resulted in the double CD released in January, 2001. The film won first prizes in its category in festivals around the world such as Chicago, Vienna, Cologne, Hong Kong and Mar del Plata, where the gold medal went to Avellar's original musical score.
In February 2001, the live CD "Tocando Vitor Assis Brazil (Playing Vitor Assis Brazil)" was released. It is a tribute album entirely dedicated to the works of the great Brazilian saxophonist, composer and most famous jazzman, who died 20 years ago and to whose band Avellar belonged for a couple of years. In May 2001 he wrote and played the soundtrack for the Brazilian-Italian production "Mio figlio", a film starred by Ornela Muti for the Italian television (RAI).
In 2002 three new CD's were launched. The first one is a selection of his own compositions for piano and samplers, inspired by his homeland's luxuriant geography, issued by Savalla Records under the title "Caminho das Bandeiras". The second and third ones are part of an instrumental project with the most popular Brazilian composers such as Caetano Veloso, Ivan Lins, Chico Buarque, Milton Nascimento and Djavan, among others.
Three new releases are in preparation: "Ciclos", an album which mixes solo piano works with trakcs where he palys with his Trio, all recorded live at Rio’s main concert hall; a duo with Austrian jazz violinist Rudi Berger and last but not least an instrumental tribute to Milton Nascimento with guitarrist Ricardo Silveira and percussionist Robertinho Silva.
Extracted from Luiz Avelar's site
Moacir Santos é considerado pelos críticos e pesquisadores musicais como um dos principais arranjadores e compositores brasileiros, aquele que renovou a linguagem da harmonia no país. 
Outro longo emprego que teve foi na Rádio Nacional, começando como tenorista da Orquestra do Maestro Chiquinho. Como fazia arranjos sem conhecer as regras, Santos se iniciou em teoria musical com Guerra Peixe e depois foi estudar com o grande musicólogo e compositor alemão Hans Joachim Koellreutter, de quem Santos depois se tornou assistente. 
Em 1967, ele deixou a Rádio Nacional e se mudou para os EUA, indo morar em Pasadena, onde ficou dando aulas de música até ser descoberto por Horace Silver. Em 1985, ele abriu junto com Radamés Gnattali, no Rio de Janeiro, o I Free Jazz Festival. Em 1996, ele condecorado pelo Presidente Fernando Henrique com a comenda da Ordem do Rio Branco. No mesmo ano, Santos foi homenageado no Brazilian Summer Festival em Los Angeles.
Brazilian arranger, composer and multi-instrumentalist Moacir Santos is best known for his talent for writing, but he first came to fame as a player. Born in rural Brazil (in Pernambuco), he moved around the country as a performer, having learned banjo, guitar and mandolin as well as some brass and reed instruments from playing in bands. He was known primarily as a sax player with an affection for Lester Young, Ben Webster and Coleman Hawkins. He worked in radio orchestras (serving a notable stint at the largest Brazilian station at the time, Radio Nacional) as well as military, ballroom and touring bands. Around this time, he began to gain recognition for his arranging and writing and began composing soundtracks for Brazilian films. His most famous work in this regard, however, is Amor no Pacifico (Love in the Pacific), and its success prompted him to travel to the U.S., debuting his music in New York City before eventually settling in Southern California (Pasadena, specifically). He taught from his home and was something of an "unknown" here until being "discovered" by Horace Silver. 
Grupo de rock vocal/instrumental criado em 1967 no Rio de Janeiro, após a saída do solista João Augusto César, o J. César, do conjunto The Pop's. Seus componentes eram J. César (guitarra solo), ex-The Pop's, Paulo Sérgio (guitarra de ritmo), ex-Os Aranhas, João Carlos (baixo elétrico), ex-Os Bárbaros, Pedrinho (bateria), ex-The Youngsters e Carlinhos (teclado). Os discos lançados através da RCA tinham solos de guitarra e órgão.
Group of vocal/instrumental rock created in 1967 in Rio de Janeiro, Brazil, after João Augusto César, the J. César, dropped out of The Pop's. Os Populares were J. César (solo guitar), former-The Pop's, Paulo Sérgio (rhythm guitar), former-Os Aranhas, João Carlos (electric bass), former-Os Bárbaros, Pedrinho (drums), former-The Youngsters, and Carlinhos (keyboards). The records launched through RCA had lots of guitar and organ solos. 
Compositor da primeira leva da bossa nova, estudou piano por imposição familiar durante a infância em Vitória (ES). Também aprendeu acordeom, gaita e violão, instrumento no qual se especializou. Teve aula de harmonia, arranjo e composição com os maestros Guerra-Peixe e Moacir Santos. Radicou-se no Rio de Janeiro, onde fundou com Carlos Lyra uma academia de violão. Lá deu aulas, entre outros, para Nara Leão. 
Em 1958 e 59 deu os primeiros passos como compositor e participou da gravação do disco "Os Garotos da Bossa Nova". Fez amizade com Ronaldo Bôscoli, com quem compôs um de seus maiores sucessos, que também é uma das músicas-ícone da bossa nova: "O Barquinho", de 1961. Com ela participou do Festival de Bossa Nova do Carnegie Hall, em Nova York, 1962, num raro momento como cantor. Além do "Barquinho", compôs com o parceiro Ronaldo Bôscoli "Você", "Vagamente", "Ah, Se Eu Pudesse", "Errinho à-toa", "Nós e o Mar" e outras. 
Formou o Conjunto Roberto Menescal, que acompanhou shows de Dorival Caymmi, Aracy de Almeida, Maysa, Silvinha Telles e outros. Gravou com muitos artistas e excursionou pelo mundo inteiro tocando os clássicos da bossa nova, atividade que pratica até hoje. Nos anos 80 e 90 teve destacada atuação como diretor produtor musical, descobrindo, lançando e relançando talentos.
The composer of bossa nova classics like "O Barquinho," "Ah, Se Eu Pudesse," "Errinho à Tôa," "Nós e o Mar," "Rio," "Você," and "Vagamente," Roberto Menescal started his professional career in 1957 as Sylvia Telles' sideman (on guitar) in a tour around Brazil. In 1958, he opened a guitar school in Copacabana (Rio) with Carlos Lyra, having as his pupils Nara Leão and his sister Danuza Leão. In the same year, he formed, with Luís Carlos Vinhas, João Mário, Henrique, and Bebeto, the Conjunto Roberto Menescal, one of the first instrumental groups of bossa nova. The group accompanied Dorival Caymmi, Vinícius de Moraes, Billy Blanco, Maysa, and Telles. Also in 1958, he participated, with Telles, Carlos Lyra, and other artists, in a show at the Clube Hebraica (Rio), when the words "bossa nova" were used (inadvertently, by the club's secretary) for the first time to advertise the event. 
From 1964 to 1968, he worked as an arranger and, invited by André Midani, he started to work as an independent producer and arranger at Polygram. In 1968, he accompanied Elis Regina in her performance at the MIDEM (International Phonographic Market and Music Publishers) in Cannes, France, and in her subsequent European tour, having been Regina's sideman until 1970, when he became Polygram's A&R. 
Ele não pára quieto. Conversa como quem faz música e faz música como quem respira. Hermeto Pascoal é, de fato, um artista no sentido completo da palavra. Ilustra tudo o que diz com notas musicais que, dentro de seu universo, podem ser tiradas do som que a caneta faz ao tocar o papel, da xícara de café a sua frente e até do barulho de suas mãos no toque do jeans de sua calça. Em entrevista exclusiva à Revista E, o alagoano, que hoje pertence ao mundo, fala do CD de forró que está preparando, de seus vários amigos musicais - lista que inclui Miles Davis -, da importância do Quarteto Novo e da música que faz, uma música universal, uma música que "não tem pátria". 
Como é o seu processo de composição? Geralmente, quando vai gravar um CD, você tem coisas já compostas ou entra no estúdio e improvisa lá também? 
Quando você fala dessa forma, a impressão que dá é que você sugere que existe um pouco de arte dentro de cada um de nós...
Twenty-seven musicians under the auspices of Itiberê Zwarg comprise this orchestra which has been rehearsing for two years on Tuesday and Thursday afternoons.
In their repertoire, aside from the songs penned by Itiberê, there is one by Hermeto Pascoal (January 17th, from Hermeto's book, "Calendário do Som"). The musicians' styles are manifold and and clearly reflect the orchestra's universality as a whole. This is a main characteristic of the "Jabour School", the neighborhood where Hermeto lives and where Itiberê rehearsed for more than twenty years, learning everything he knows about music. Itiberê considers himself a musical son of Hermeto, and the Family Orchestra Hermeto's grandchildren. 
No dia 26 de julho, Moacir Santos fez 80 anos. Um dia antes, seu disco "Choros & Alegria" foi um dos vencedores do Prêmio Tim de Música; uma semana antes fora agraciado com o Shell de Música - as duas mais importantes premiações da área. Aos 80 e morando em Los Angeles, costa Oeste dos EUA, há mais de 40, o pernambucano Moacir parece cada vez mais brasileiro e cada vez mais ativo - apesar do derrame que sofreu há cerca de dez anos que o impediu de seguir tocando saxofone. Maestro, compositor, arranjador, professor e saxofonista, atualmente anda envolvido, entre outras coisas, com a produção de um documentário sobre sua vida. 
One of the main Brazilian arrangers, having renovated the country's harmonic language in the '50s, the underrated Moacir Santos had nevertheless a highly influential role as he had as his pupils, in the '60s: Paulo Moura, Oscar Castro-Neves, Baden Powell, Maurício Einhorn, Geraldo Vespar, Bola Sete, Sérgio Mendes, Dom Um Romão, João Donato, Roberto Menescal, Carlos Lyra, Dori Caymmi, Airto Moreira, and Flora Purim, among others. In 1968, he was admitted into Henry Mancini's cinema music writing team and, four years later, he launched his first album in the American market, The Maestro, which was nominated for a Grammy award; it was followed by Saudade (1974), Carnival of the Spirits (1975), and Opus 3, No. 1 (1979). Owner of a distinctive Brazilian style as a composer and arranger, Santos' most-known tunes are "Nanã" (written with Mário Teles), which had over 150 different recordings (including those by Herbie Mann and Kenny Burrell); and "Coisas" (number one to 12); not to mention a series of compositions with Vinicius de Moraes ("Triste de Quem," "Menino Travesso," "Se Você Disser Que Sim," "Lembre-Se"), who praised him in his "Samba da Benção." Having written the arrangements for, among others, Vinicius de Moraes e Odete Lara (1963), Santos also composed the soundtracks for the films Love in the Pacific, Seara Vermelha (an adaptation of Jorge Amado's novel, directed by R. Aversa), Ganga Zumba (Cacá Diegues), O Santo Médico (Sacha Gordine), and Os Fuzis (Ruy Guerra), among others.
O próprio Dick Farney - nascido Farnésio Dutra e Silva, de pai escultor, compositor e pianista e mãe excelente cantora - se dizi visceralmente pianista e cantor ocasional, embora seu estilo (somado ao de Lúcio Alves) tenha revolucionado a maneira brasileira de interpretar nossas canções urbanas. Nesta gravação Dick mostra o porquê se considerava mais pianista. Jazzista desde a sua formação musical, viveu algum tempo nos Estados Unidos e mesmo tendo feito alguma carreira por lá como cantor - foi feita para ele a clássica "Nature Boy", seu lançamento mundial - curtiu mesmo as apresentações dos grandes pianistas do jazz como Nat "King" Cole, Oscar Peterson, Billy Taylor e seu maior ídolo e influenciador, Dave Brubeck.
Dick Farney was an outstanding singer, instrumentalist, and composer who contributed decisively to the renovation of Brazilian popular music with the incorporation of jazz harmonies and style. Having been the first artist ever to record "Tenderly," which would become an international hit later in the interpretation of Nat "King" Cole, Farney had hits in Brazil that announced the soon-to-be bossa nova genre, such as "Copacabana" and "Teresa da Praia" (the latter having been recorded in duet with Lúcio Alves). He also worked on the films Somos Dois (1950, by Milton Rodrigues), Carnaval Atlântida (1952, by José Carlos Burle), and Perdidos de Amor (1953, by Eurides Ramos). 
Still in 1946, he went to the U.S. to perform with Cole, Bill Evans, and David Brubeck. In the next year, he had another season in that country, performing for two months at NBC radio and doing live shows in Hollywood, Chicago, and San Francisco. Dick Farney launched "Tenderly" (Walter Gross) in that period through Majestic Records. In Brazil, he had success with the songs "Marina" (Dorival Caymmi), "Um Cantinho e Você" (José Maria de Abreu/Jair Amorim), and "Nick Bar" (Garoto/José Vasconcelos). In 1949, Farney toured Argentina and Uruguay. 
A história do violonista Paulinho Nogueira começa em Campinas, interior de São Paulo. Aos 10 anos, aprendeu a tocar violão com o pai, nas rodas de cantoria que aconteciam em sua casa. Uma das primeiras músicas de que se lembra de ter aprendido a tocar foi Bispo de Rosas, de Canhoto.
Paulinho se lembra que quando uma de suas grandes influências foi Anibal Augusto Sardinha, mais conhecido como Garoto.
Hoje, aos 71 anos, Paulinho Nogueira, já virou verbete, definição de violonista genial: deitou modernidade no violão quando a bossa-nova estava no auge, fez sucesso como compositor e cantor (sua canção Menina estourou nos anos 70), dividiu o palco com outros bambas, mas intuiu que teria um papel ainda mais importante nos bastidores. Tornou-se um disputadíssimo professor de violão, criou um método de harmonia. Em 69, desenhou a craviola (instrumento de doze cordas, que acabou exportado para os EUA e a Europa) e foi mestre de um sem-número de músicos, entre eles, um futuro parceiro de disco: Toquinho. 
The youngest of six children, Paulinho Nogueira was born into an artistic, musical family in Campinas, São Paulo on October 8th, 1927. His father, Joaquim Gabriel was a cultured man who played classical guitar. Two of his brothers, João and Celso, who were to play crucial roles in his career, were fine players as well.
American motion pictures of the 1930s and 40s also caused a lasting impression. At one movie session, Paulinho recalls running home to figure out a dissonant chord on the soundtrack. When he finally discovered the diminished chord that he was looking for, it was as if he had found the Holy Grail. The major 6th chord followed soon after.
1958 proved to be a magical year for Paulinho and for Brazil. It was the year that the national soccer team won the world cup for the first time and the planet got its first glimpse of Pelé. Maria Ester Bueno won the doubles in Wimbledon, the Cinema Novo was revitalizing local filmmaking and Bossa Nova was starting to make a big splash. Juscelino Kubitchek, a democratically elected president, was attempting to modernize the nation swiftly through his "50 years in 5" program and optimism swept the land. It was also the very same year that Paulinho recorded his first LP, "A Voz do Violão" ("The voice of the guitar"), a superb solo guitar recital which already revealed a major new talent. His distinct sound, partially the result of his not using the nails of his right hand on the nylon strings is fully evident as is his unique playing style. The recording was released early the following year.
As the "Jovem Guarda" pop movement, led by Roberto Carlos began to take over the musical scene during the second half of the sixties, Bossa Nova went into decline in Brazil despite enjoying widespread popularity in other parts of the world. Concerts of this genre became few and far between. Having the responsibility of a family to support, Paulinho came up with an idea that would generate income without relying on his presence. A year later, his guitar harmony method book was published. The day after his appearance on TV to launch the book, it was already sold out. It became a best seller and is now in its 20th printing.
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