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O violonista Hélio Delmiro de Souza, nasceu na cidade do Rio de Janeiro em 20 de maio de 1947. Carioca do Méier, Delmiro ainda adolescente, começou a dedilhar um cavaquinho que ganhou de seu irmão Juca. Carlos, seu outro irmão, pianista e professor de violão, influenciou seu gosto pela música.Aos 14 anos, entusiasmado pela bossa nova, dedica-se inteiramente ao violão. Autodidata, aos poucos foi apurando a sua técnica e começou a integrar o conjunto de Moacyr Silva, trabalhando em bailes e excursionando pelo Brasil. Em 1965 formou o grupo Fórmula 7, que contava com Claudio Caribé, Márcio Montarroyos, Luizão e animava os bailes da Zona Norte e tocava um pouco de jazz nos intervalos.
Nas reuniões dominicais do Little CIub, conheceu Victor Assis Brasil, com quem trabalharia em seus grupos de jazz. Em meados da década de 60 passa a ser requisitado por estrelas como Elizete Cardoso, Marlene, Elza Soares, Miltinho e Dóris Monteiro e pelos maestros Nelsinho e Carlos Monteiro de Souza. Passou três anos com Elis Regina, gravando com a cantora e Tom Jobim nos Estados Unidos e participou de um especial para a TV com Michel Legrand.
Em 1970 tocou com Luiz Eça e com os jazzmen Paul Horn, Jeremy Steig, Dave Grusin e Lalo Schifrin, sendo considerado pelo último o melhor guitarrista da América do Sul. Estudou algum tempo música erudita com o propósito de desenvolver sua técnica instrumental.
Produziu os álbuns de Clara Nunes (Claridade) e João Nogueira (Vem Quem Tem) em 1975 [veja os comentários para mais informações]. Tocou em duo com Luiz Eça em 1978 no Festival de Jazz de São Paulo, sendo considerado por Larry Coryell e Leonard Feather um artista de categoria internacional.
Na década de 80, gravou um belíssimo disco, "Samambaia," junto com o pianista César Camargo Mariano. Identificado como guitarrista de jazz, Hélio prefere se definir como músico brasileiro. Lançou seu segundo álbum solo, "Chama", gravado em 1984, pela Som da Gente.
Depois, por motivos pessoais e espirituais, Delmiro se retirou da vida noturna, vivendo uma fase mais reclusa. Mas isso não foi impedimento para em 1991 gravar o álbum "Romã: Hélio Delmiro in Concert," com um quarteto que contava com Rique Pantoja (piano e teclados), Nico Assumpção(baixo elétrico) e Carlos Bala (bateria).
Em 1991, ele começou a produzir e apresentar um programa de jazz na Rádio Record (Rio), Jazz Entre Amigos. Naquele ano, fundou também o selo, Lines Records, sendo seu diretor, por onde lançou "Romã", gravado na Cecília Meirelles Hall, no Rio.
O seu currículo acadêmico inclui o professor titular no XVI e XVII Seminário Internacional de Verão ( Faculdade de Música de Brasília, 1994/1995), e professor no Seminário de Violão Latino-americano, no Festival de Inverno de Campos de Jordão (1995). Seu encontro com o violonista Guinga, em 1996, foi premiado como o Melhor Espetáculo Instrumental do Ano pelo O Globo.
Ele foi diretor musical e tocou no concerto, Tributo a Elis Regina, em 1998, no Town Hall theater, em Nova Iorque. Também naquele ano, ele trouxe o maestro e pianista Clare Fischer com quem ele tocou um duo, no SESC Pompéia (São Paulo, SP).
No ano seguinte, ele tocou novamente com Fischer, no Jazz Bakery, na Califórnia, também gravando com ele o CD Simbiose, que inclui dois standards americanos, duas músicas de Tom Jobim, e nove originais, cinco de Delmiro e quatro de Fischer.
A última obra de Delmiro é "Compassos", lançada em 2004, onde ele mesclou músicas de sua autoria, como "Compassos" e "Esperando", com standards americanos, como "My Favorite Things" e "'Round Midnight".
Extraído do site Clube de Jazz
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Hélio Delmiro is a refined, self-taught musician who developed a distinctive Brazilian jazz style on the violão (acoustic guitar), taking the guitar mostly when amplification is needed. He has worked with many a great international names in jazz and popular music in general, and has been praised by great critics and jazz journalists as well.He started his apprenticeship when he was given a cavaquinho by his brother, Juca. His other brother, Carlos, a piano a violão player, helped shape his relationship with music. In 1961, at 14, he became a professional musician, accompanying singers and playing at dances wherever possible. Joining Moacyr Silva's group, he toured Brazil with them. At 19, he formed the Fórmula 7 Quartet with Cláudio Caribé (drums), Luizão Maia (bass), and Márcio Montarroyos. They played at suburban dance parties mostly, and during the intervals they risked to play some jazz. The precarious situation of the average musician, though, impeded them from keeping their collective work, and the quartet disbanded after one year. But he continued to play his jazz at Rio's jam sessions and at one of those, at Little Club, he met the great Brazilian saxophonist Victor Assis Brasil. Joining his group, he recorded Brasil's second album, Trajeto. The next year, he joined Antônio Adolfo's group Conjunto 3D. In that time, he was already known in the artistic environment of Rio and began to be requested by already established singers as an accompanist for shows and recordings.
He toured with Clara Nunes for several years and accompanied her on all her recordings. He also worked for Elizete Cardoso, the super-popular Marlene, Elza Soares, Miltinho, Milton Nascimento, and Dóris Monteiro, and for conductors Nelsinho and Carlos Monteiro de Souza. With Elis Regina, he toured for three years through Japan, Europe, and several Latin American countries. With her and Tom Jobim, he recorded the Elis e Tom album in the U.S. In that time, he appeared on a TV special show with Michel Legrand.
When Sarah Vaughan came to Brazil in the '70s to record an album only with Brazilian compositions, he worked on that album. She was so amazed at his playing that she invited him to join her band in the U.S., but he couldn't, due to his already busy schedule. His solo album Emotiva is from 1980. He also recorded for Michael Franks.
As a producer, he did Nunes' Claridade and João Nogueira's Vem que Tem. He also played with Paul Horn, Jeremy Steig, Dave Grusin, and Lalo Schifrin. The latter declared that Delmiro was the best guitarist of South America. In 1978, he appeared at the First Montreux/SP Festival in a duo with Brazilian pianist Luis Eça and in a trio with Larry Coryel and Philip Catherine, being praised by Leonard Feather. Down Beat magazine ranked him as the world's fifth best guitarist. He also appeared at the 1982 Jazz Fest Berlin, with Charlie Haden, Carla Bley, Paul Motian, and others, and at the First Free Jazz Festival in Brazil, with his own group.
His second solo album Chama, from Som da Gente label, was recorded in 1984. He also performed at the 1986 Jazz Festival of Spain with César Camargo Mariano and Paulo Moura. With César Camargo he recorded in 1980 the exquisite album Samambaia (just piano and violão). In 1991, he began to produce and host a radio jazz show at Rádio Record (Rio), Jazz Entre Amigos. In that year, he also founded Line Records label, also directing it, and recorded the live effort Romã at Cecília Meirelles Hall in Rio.
His academic profile includes head professor for XVI and XVII International Summer Seminar (Brasília College of Music, 1994/1995), and professor of Latin American Acoustic Guitar Seminar, Winter Festival of Campos de Jordão (1995). His encounter with violonista Guinga, in 1996, was awarded as Best Instrumental Show of the Year by O Globo. In 1998, he was musical director and a performing musician at the tribute concert Tributo a Elis Regina at the Town Hall Theater in New York. Also in that year, he brought the conductor and pianist Clare Fischer with whom he performed in duo at the SESC Pompéia (São Paulo, SP). In the next year, he performed again with Fischer, at the Jazz Bakery in California, also recording with him the CD Symbiosis, which includes two American standards, two Tom Jobim standards, and nine originals, five of Delmiro's and four of Fischer's.
Alvaro Neder - extracted from All Music Guide
O avô e o pai de Nando Carneiro tocavam violão. Seu avô formou com os irmãos uma pequena banda de música no interior de Minas Gerais, na qual tocava bombardino, e seu pai, homem apaixonado por música, costumava trazer para casa seus amigos instrumentistas e cantores. A lembrança desses encontros está entre as recordações musicais mais antigas de Nando Carneiro. 
Nando Carneiro was born in 1953 in Belo Horizonte, Brasil. He started his piano studies in 1960, and the acoustic guitar in 1972, both with well known professors in Rio de Janeiro.
O A Cor do Som surgiu em 1977, experimentando novos padrões de som, valendo-se das experiências anteriores dos Novos Baianos, Moraes Moreira e de Pepeu Gomes, sendo um movimento pós-tropicalista. Em seu primeiro disco "A Cor do Som" (WEA 1977), tinha como integrantes Dadi, baixo, Mú Carvalho, composição e teclados, Armandinho, composição e guitarra baiana e Gustavo, bateria. A partir do segundo disco "Live In Montreux", Ary Dias, percussão passa a fazer parte da banda,
In the early '70s, a Cor do Som was responsible, in great extent, for the revival of the choro idiom, influencing many musicians who were young at the time and who would later develop noted careers in this style, like the brothers Henrique Cazes, Beto Cazes, and many others. A Cor do Som were formed by accomplished musicians who modernized the venerable and rich genre through a mix with rock, bringing to it new arrangements and electric instrumentation. The group (almost unnoticed as a supporting band for Os Novos Baianos, which took all the fame) gave new breath to choro and also later created (when they ceased to be an instrumental band) the formula that would be employed by axé music only seven years later: strong musicianship in the performance of a mix of Northeastern rhythms and rock, and vocal themes dealing with sensuality, summer, happiness, and love. It was written that in the band's path there would be success and prestige; they played for 60,000 people in one occasion and also performed on a memorable night in the 12th edition of the Montreux Jazz Festival where John Mclaughin, Billy Cobham, Sammy Figueroa, and Alvim Batiste participated in the jam session. But the tension between tie and jeans was too much for them, resulting in naked feelings and cold separation. At the end of that hibernation, though, a Cor do Som struck again, winning the prestigious Sharp prize and implying that they are were to stay.
The record was appointed by the readers of Playboy magazine as the best instrumental album of the year, winning the third Playboy Best of Brazilian Popular Music prize. Having reached the masses among the youth market in Brazil -- preceding in seven years the explosion of axé music, which used basically the same elements of an electrified and energetic fusion of Northeastern rhythms with rock, and now lyrics dealing with love, sensuality, summer colors, Brazilianess, the whole works -- in April 1980 a Cor do Som was invited by São Paulo's mayoralty to play at the Ibirapuera Stadium in a show that intended to be a call-back to the classes after the summer vacations (in Brazil, December to February). Instead of the expected 3,000 people, though, 60,000 attended and danger of a terrible catastrophe surrounded the band's aura when the throng got restless due to technical problems with the sound -- the crowd had invaded the space reserved for the monster cables and damaged some of them. Fortunately the group was good enough when the situation got tense, and the spectators, instantly pacified, sang along with them, going home later in beatitude. 
De Amsterdam a Osaka, de Nova York a Estocolmo, o som do Azymuth estremece as pistas de dança desde 1974. Eles são citados como referência, por exemplo, pelo produtor norueguês Lindstrom, um dos expoentes do que vem sendo chamado de space disco ou cosmic disco. Além disso, nomes como Jazzanova (por quem já foram sampleados), Modaji, I.G. Culture, Peter Kruder, Alex Attias e Gilles Peterson costumam se derreter pela fusão de jazz com samba empreendida pelo grupo.
Azymuth is an electrified trio from Brazil that calls its music samba doido, which means "crazy samba." The actual sounds, though, are not so crazy: an intelligent, high-voltage blend of Brazilian rhythms, jazz, and funk with occasional acoustic episodes that gained a sizable following in the 1980s. The members of the group include José Roberto Bertrami (born February 21, 1946, in Tatuí) on acoustic piano and keyboards, Alex Malheiros (born August 19, 1946, in Niteroi) on bass, and Ivan Conti (born August 16, 1946, in Rio de Janeiro) on drums. 
Fã de Hermeto Pascoal - e alguém não é? -, Hamilton de Holanda batizou com o tema do multinstrumentista o seu segundo disco solo, Música das Nuvens e do Chão. A homenagem não fica restrita ao título ou a inclusão da faixa homônima no repertório. O CD, produzido por Torcuato Mariano, reverencia o legado musical de Hermeto, em seu pertinente virtuosismo instrumental e em arranjos que fogem do óbvio, inundando temas de Cartola, Ernesto Nazareth, Egberto Gismonti, entre outros, de elementos sonoros que transcendem sua leitura inicial.
In the legacy of such great mandolinists as Jacob do Bandolim, Joel Nascimento and Armandinho, the young Hamilton de Holanda is considered as one of the greatest virtuosos of bandolim of all times. Born in Rio de Janeiro - 1976, he imposed himself very quickly revolutionising the emblematic bandolim, and on which he developed a thorough polyphonic playing technique, as well as an enriched timbral and percussive palette. His interpretation is frenectic and very soulfull crossing all the boundaries of the genre, especially latin or world music. His work is very much brazilian, but in a comtemporary way.
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