19 fevereiro 2009

Hélio Delmiro - Emotiva (1980)

Capa do disco
Clique aqui para baixar o disco/Download the album - RapidShare

........................................................

Hélio DelmiroO 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

************************

Hélio DelmiroHélio 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

18 fevereiro 2009

Nando Carneiro - Topázio (1989)

Capa do disco
Clique aqui para baixar o disco/Download the album - RapidShare

........................................................

Nando CarneiroO 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 começou a tocar piano aos seis anos, tendo aulas com a professora Carmen Manhães, e sendo orientado pelos métodos mais comumente utilizados: Hanon e Czerny (Ed. Ricordi), Beringer e Burgmueller (Ed. Vitale).

Dessa época de estudos, o que ficou de mais agradável para ele foi exatamente o contato que estabeleceu com a música.

Várias pessoas tornaram-se figuras decisivas na formação musical de Nando Carneiro, a começar por seus pais e professores, com destaque para Leo Soares, com quem estudou violão, Roberto Gnattali, professor de teoria e harmonia, e John Neschling com quem aprendeu teoria, harmonia, composição e regência. Já profissional, o instrumentista destaca a criação, em 1973, do grupo Barca do Sol, juntamente com os irmãos Muri Costa e Marcelo Costa. A formação contou, mais tarde, com as participações de Beto Resende, Marcelo Bernardes, Marcos Stull, Alain Pierre, Jaques Morelenbaum, Ritchie e David Ganc.

Nando Carneiro foi autodidata na passagem do piano para o violão: "Depois de sete anos estudando piano clássico, não pude suportar a rigidez dos métodos aplicados na época. Imediatamente, passei a tocar violão de ouvido, três anos antes de iniciar os estudos de violão clássico."

Nando conheceu inúmeros músicos excepcionais dentro de sua própria casa, por intermédio de seu pai: "O primeiro de que me recordo foi Dilermando Reis. Outro foi Jacob do Bandolim, que tocou em minha casa com o Conjunto Época de Ouro. Além deles, Tia Amélia, exímia pianista de choro, e Sílvio Caldas, grande cantor."

O músico faz referência à importante presença do pianista Bené Nunes, que convenceu seu pai a comprar o piano no qual ele começou a estudar. "Essa lista de grandes músicos cresce com Tom Jobim, que tocou nesse mesmo piano, e mais Milton Nascimento, Agostinho dos Santos, Egberto Gismonti,Toninho Horta e Piry Reis. As mais importantes referências musicais foram e continuam sendo eles."


************************

From left to right: David Ganc, Nando Carneiro, and Mingo AraújoNando 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.

In 1974, along with friends, he formed the group A Barca do Sol, which played Brazilian most popular music. They recorded 3 LPs and toured Brazil for several years.

Nando was composer, arranger and musician in singer Olivia Byington's first LP and toured Brazil with her. In the play "As Gralhas", by Braulio Pedroso, he was composer and musical director.

In 1981 - '82 he was musical director, arranger and musician in the 1st and 2nd LPs of singer Beth Goulart, also doing shows around the country. He played in a few shows with Egberto Gismonti and in 1982 did his yearly Brazilian tour, along with André Geraissati.

In the beginning of 1983 his first solo LP, "Violão", was recorded. It was produced by Gismonti and was released in May. In 1983 Nando Carneiro was musician in Egberto Gismonti's LP "Cidade Coração" and did the Brazilian tour along with him again. In 1984 Nando worked with many Brazilian artists. In the play "Nicolau", by Braulio Pedroso, he was composer and musical director. In the movie "The Kiss of the Spider Woman", by Hector Babenco, he was associate composer and studio producer.

In 1985 he recorded his 2nd LP "Mantra Brasil". It was produced by Gismonti and released by Carmo, Gismonti's label. In the play "A Divina Encrenca", by his brother Geraldo Carneiro, he was composer and musical director.

In 1986 Nando Carneiro did a lot of concerts in Brazil showing his own music. In the play "Aviso Prévio", by Consuelo de Castro, he was composer and musical director. Also he was composer and musician in the video films "Mangalarga" and "Árabe", by Kiko de Micheli, and "O Último Tiro", by Walter Salles Jr. He was musician in Wagner Tiso's tour during the Jazz Festival of Spain, November 1987.

In 1988 he recorded his 3rd LP, "Topázio", released by Visom.

In 1989 Nando Carneiro won the Fiat Prize with his new piece "Os Povos da Floresta".

Extracted from Europe Jazz Network

A Cor do Som - Ao Vivo - Montreux International Jazz Festival (1978)

Capa do disco
Clique aqui para baixar o disco/Download the album - Mediafire . enviado por J. Neto

Clique aqui para baixar o disco/Download the album - RapidShare

........................................................

A Cor do SomO 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,

Misturando rock, ritmos regionais e música clássica, adotaram o nome "A Cor do Som" por sugestão de Caetano Veloso, e logo no seu primeiro ano, foram convidados a participar do Montreux Jazz Festival, na Suíça, tornando-se o primeiro grupo musical brasileiro a participar do evento - vale observar que o show em Montreux rendeu um disco ao vivo.

Em 1985, o grupo se dissolveu, com alguns componentes - como Armandinho e Mu Carvalho - seguindo carreira solo. Em 1996, o grupo juntou-se novamente para gravar o disco "A Cor do Som Ao Vivo no Circo", recebendo o prêmio Sharp de melhor grupo instrumental.

Em 2005, com a formação original, o grupo apresentou-se no Canecão, no Rio de Janeiro. O show contou com a participação especial de Caetano Veloso, Daniela Mercury, Moraes Moreira, Davi Moraes e o Coral dos Canarinhos de Petrópolis, além dos músicos Nicolas Krassic (violinno), Nivaldo Ornelas (sax soprano), Marcos Nimrichter (acordeom e teclados), Jorge Helder (baixo acústico, violão e baixolão), Jorginho Gomes (bateria e percussão), Marco Túlio (flauta), Francisco Gonçalves oboé), Bernardo Bessler (violino), Marie Cristine (viola) e Marcio Mallard (cello).

O espetáculo, gravado ao vivo, gerou o CD e DVD "A Cor do Som Acústico", lançado no mesmo ano com produção musical de Sérgio de Carvalho.

Em 2006, foi contemplado com o prêmio Tim de Melhor Grupo, na categoria Canção Popular, pelo CD "A Cor do Som Acústico".

Extraído da Wikipedia
Para mais informação, visite o site do A Cor do Som

************************

A Cor do SomIn 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.

A Cor do Som were created in 1977 to accompany Os Novos Baianos. Named after a song by Morais Moreira and Galvão, A Cor do Som was formed by the experienced and talented musicians Armandinho (electric guitar, electric cavaquinho, and electric mandolin), Dadi (bass), Mú (keyboards), and Gustavo (drums). When Moreira left Os Novos Baianos and departed for his solo career, he took the band away with him, as well as inviting the percussionist Ary Dias, who formerly played in the Orquestra Sinfônica da Universidade Federal da Bahia. In 1975, Morais Moreira recorded his first solo album, accompanied by a Cor do Som. After a little more than one year as a supporting band for Moreira, the group decided to put out a solo work. Sergio Carvalho, Dadi and Mú's brother, who was a producer for Phonogram, invited them to record a demo, which didn't bring any results. It was then that WEA's producer, Guti Carvalho (Mú's and Dadi's cousin), arranged for them to be hired. They signed the contracts without having any material; they had to rehearse for one month to have stuff for one album. The guys became appalled when they discovered that they had been inscribed by the recording company in the First National Choro Festival, organized by TV Bandeirantes, with the choro "Espírito Infantil" (Mú), as choro was always regarded by Brazilians as an object of cult popularity. On top of that, the jury of the festival was dominated by nationalists/traditionalists (with the exception of Roberto Menescal) led by the feared and combative José Ramos Tinhorão and by the choro monster Waldir Azevedo. The big surprise was that, while they feared not leaving the premises alive, they were placed fifth in the festival under applause of the public and praised by the two illustrious figures as Brazilian players who used electric and electronic instruments to create a very Brazilian sound. Their first album came out in 1977 amid enthusiastic reviews but sold only 6,000 copies, though that's not a bad cipher for instrumental albums in Brazil, especially at that time. Soon they opened for the Liverpool Express, also WEA artists at the time, in a WEA convention at the Hotel Nacional in Rio. The convention was being attended by Nesuhi Ertegun and Claude Nobs. Impressed by what he heard, Nobs invited the group for the Viva Brasil! Night at the 12th edition of the Montreux Festival (1978), where their energetic and historic live album Ao Vivo em Montreux was recorded. John Mclaughin, Billy Cobham, Sammy Figueroa, and Alvim Batiste participated in the animated jam session that followed, and the enthusiastic and tumultuous concert of the "Brazilian night" made headlines around Switzerland. Selling out the 4,000 tickets, Nobs was obliged to program another show with the group (which also had, as special guests, Aroldo and André at the percussion).

In Brazil, "Arpoador" received good airplay. In that year, the band performed around 150 shows throughout Brazil, including 21 in the Pixinguinha project. They also participated in the soundtracks of the films A Dama do Lotação and Os Sete Gatinhos and in the recording of "Hino de Duran" with Chico Buarque in his Ópera do Malandro. The next album, Frutificar, was the first to bring vocal tracks, the only ones that played on the radio. "Beleza Pura" was the first big hit, written by Caetano Veloso, who was a longtime friend and consultant, having been together with Jorge Ben, the best man in Dadi's marriage -- in fact, he was his godfather in the Brazilian usage, which means a lifelong commitment. This period coincides with the beginning of their commercial success that would also bring, some years later, the band's dissolution due to a very strict and extenuating schedule and rigorous contracts with a clothing sponsor.

A Cor do SomThe 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.

In July 1981, A Cor do Som played in much calmer conditions, for an audience of 1,000 Wall Street suits at the Battery Park in New York,. When they reached the peak (in 1982 they played 50 shows in two months) Armandinho, tired of the excessive work and discipline and of the small pay, decided to overlap his actuation in the group with his father Dodô's Trio Elétrico de Dodô e Osmar. Facing resistance by the sponsor, he left the band. It was a terrible shock for the remaining bandmembers, but the work wasn't abandoned. Armandinho was replaced by Victor Biglione and the next album, Intuição (1984), also with Egberto Gismonti, Tulio Mourao, and Peri Santana as special guests, was a return to their instrumental path. A Cor do Som recorded two other albums but they didn't find their way to success again. In 1987 WEA didn't renew their contracts. The band was dissolved to everybody's regret, but it was inevitable.

In 1994, though, Armandinho was invited to play at the Jazzmania (Rio de Janeiro) and invited Mú, Dadi, Gustavo, and Ary. Playing for a packed house with standing ovations, they decided to team up again. Their next album was recorded live in the same year under the good vibes of the Circo Voador in Rio, where the Brazilian rock of the '80s was born, being forever connected with freedom in the imaginations of the people who attended its shows. The album, Ao Vivo No Circo, was released only in 1996, but that hadn't prevented the band from being awarded the Sharp prize of 1997 as the Best Popular Group of 1996. It was the start of a new beginning that the fans of a Cor do Som hope never ends.

Alvaro Neder - extracted from All Music Guide
For more info, visit A Cor do Som site

11 fevereiro 2009

Azymuth - Partido Novo (2002)

Capa do disco
Clique aqui para baixar o disco/Download the album - Mediafire . enviado por J. Neto

Clique aqui para baixar o disco/Download the album - RapidShare

........................................................

AzymuthDe 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.

"Porra, bicho, vocês estão 20 anos na frente", espantou-se o produtor da TV Globo Beto Costa com o som da trio, ainda na década em que ele foi criado. Para o baterista Mamão, "aquilo fechou de um lado e abriu do outro". O trio começou em 1973 como um projeto de Marcos Valle, na trilha sonora do documentário "O Fabuloso Fittipaldi". "Tinha um negócio em uma música de Azymuth pra cá, Azymuth pra lá, que era uma regulagem do motor", lembra Mamão em entrevista por telefone ao BOM DIA, de Jacuné, litoral norte do Rio de Janeiro.

Depois de uma temporada emplacando temas em novelas da Globo e acompanhando artistas, Ivan Conti, o Mamão (bateria e vocal), Alexandre Malheiros (baixo e vocal) e José Roberto Bertrami (teclados e vocal) começaram a se tornar internacionais em 1977, quando eles foram convidados a tocar em Montreaux, na Suíça. De lá, o trio se tornou a banda de Flora Purim e chamou a atenção nos Estados Unidos, onde excursionaram e assinaram com a gravadora Milestone para lançar "Ligth as Feather". A parceria durou até 1989, mas eles entraram de uma vez para a história.

Graças a "Jazz Carnival" (1980), o grupo ficou um ano na parada inglesa.

"Hoje, muita gente fala, vocês são os próprios DJs de vocês", se envaidece Mamão, ao ser perguntado sobre a sonoridade contemporânea do trio, que alcança tanta ressonância global. Se pudesse, ele diz que tocaria mais no Brasil. "É legal viajar, mas tem também aquela coisa de sair 4 horas da manhã pra ir de um aeroporto para outro. Tem umas coisas chatas", pondera. "Nosso show lá fora é uma onda jazzística e disco, que nem existe mais", afirma, sem desconfiar do space disco, subgênero que veio para desbancar o electro (o som de dois verões passados).

"Aqui ainda não chegou, lá nosso público é novo, tudo rapaziada. A exceção são os pais que eram fãs e vão com os filhos". O groove do trio também passa de uma geração para outra em suas próprias famílias. Sabrina Malheiros, filha do baixista, é cantora, Thiago Martins, herdeiro de Mamão, é baterista e violonista. Vítor Bertrami, rebento do tecladista, é baterista.

Mais que uma pista de que o Azymuth estava mesmo 20 anos à frente, o apelo do trio hoje é prova de que no futuro haverá outras bossas circulando por aí. E a receita do sucesso do grupo, pelo menos do seu beat, estão mais próximo de nós que costumamos acreditar.

"Eu sou da Tijuca, subia o morro do Estácio pra tocar conga e pandeiro", entrega Mamão. "O bumbo marca a presença do tempo e a caixa fica mais livre". Esta proximidade com o samba vem também dos tempos da gafieira, de Erlon Chaves, do Beco das Garrafas. Quem já esteve em um show do trio, sabe que é possível ouvi-lo tocar do outro lado do quarteirão. Mamão é uma escola de samba.

Desde 1996, o Azymuth lança seus discos pela inglesa Far Out. "Butterfly", na praça, desde o ano passado, traz todo o suíngue setentista do grupo e a faixa-tema em homenagem ao Headhuters, de Herbie Hancock. Apesar da produção ser inglesa, o disco foi todo gravado no Rio. "Prefiro ficar por aqui", diz Mamão, provavelmente olhando para o mar azul de Jacuné.

Fabiano Alcântara - 25/01/2009 - extraído da jornal Bom Dia
Para mais informação, visite o site do Azymuth

************************

AzymuthAzymuth 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.

Classically trained and originally influenced by pianists Bill Evans and Luíz Eça (of the Tamba 4), Bertrami worked with Flora Purim and Robertinho Silva before meeting Conti at a Rio nightclub. Upon a visit to a bowling alley/club in 1972, they heard Malheiros and decided to join forces to form Azymuth. Their first album, the soundtrack for the film O Fabuloso Fittipaldi, was released in Brazil in 1973. After spending a number of years as sessionmen in Rio recording studios and touring South America, a successful appearance at the 1977 Montreux Jazz Festival led to a 1978 U.S. tour with Airto and Purim. A contract with Milestone in 1979 resulted in a long string of eclectic albums — some of which are still available on CD — that established the group in the American and European markets. All three members also recorded solo albums for Milestone (now out of print). Bertrami left the group around 1988, after which Malheiros and Conti carried on for a while with keyboardist Jota Moraes. In the '90s, Bertrami rejoined Azymuth for sporadic appearances, though their profile isn't as high in the U.S. as it once was.

Richard S. Ginell - extracted from All Music Guide
For more info, visit Azymuth's site

01 fevereiro 2009

Hamilton de Holanda - Música das Nuvens e do Chão (2004)

Capa do disco
Clique aqui para baixar o disco/Download the album - RapidShare

........................................................

Hamilton de HolandaFã 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.

Acompanhado por instrumentistas de igual calibre, como Daniel Santiago (violão), André Vasconcellos (baixo) e Márcio Bahia (bateria), Hamilton passeia por um repertório eclético, que teve suas possibilidades sonoras exploradas e expandidas pelo quarteto. Ponteio (Edu Lobo e Capinan), ganha vigor com os solos de Hamilton e Daniel. Da mesma forma, a dupla lustra a alegria de Samba Novo, do mestre Baden Powell. O bandolinista também esbanja habilidade para acentuar o frevo de Karatê, de Egberto Gismonti.

A química de Guinga e Aldir Blanc ganha novos contornos na versão de Baião de Lacan, enquanto Céu de Brasília (Toninho Horta e Beto Brant) ganha uma afetiva homenagem de Hamilton. Convidados especiais complementam a celebração musical promovida pelo quarteto. O virtuoso violonista Yamandu Costa dueta (e duela) com as cordas de Hamilton em Estações, a única composição do bandolinista presente no álbum. O gaitista Gabriel Grossi ressalta a melancolia da faixa-título, e arranca lágrimas até das pedras com a belíssima Contramilonga a La Funerala, de Astor Piazzolla.

Nelson Gobbi - 24/05/2004 - extraído do Jornal do Brasil
Para mais informação, visite o site do Hamilton de Holanda

************************

Hamilton de HolandaIn 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.

Benefited both from a stimulating musical ambience in his family and an in-depth academic training, Hamilton finishes his studies by composing a Concerto for orchestra and bandolim wich he has performed with the Symphonique Orchestra of the National Theater and the Philharmonique Orchestra of Brasilia. His capacity for invention is endless and the sound he works out from his 10-string bandolim (he added a fifth double string a total of 10 vs. 8) is powerful and precise.

Hamilton's charisma and communicative enthusiasm on stage, his flawless playing and his sophisticated creativity make him one of the most remarkable musicians of the new generation of performers and composers today. His great musical knowledge lets him perform in any music style and also easily adapt little pieces written by others.

He is one of the most interesting Brazilian's composers of today. His work transcends all the cultural frontiers. In his latest album, produced by Torcuato Mariano, Música das Nuvens e do Chão, he moves with his quartet in a more jazz-oriented. He brilliantly performs works of greats creators beyond the strict borders - like Egberto Gismonti, Hermeto Pascoal and Astor Piazzolla. Quoting the famous Brazilian's architect Oscar Niemeyer "o importante não é a arquitetura e sim as pessoas" ("the important thing is not the architecture, but the people").

Extracted from All About Jazz
For more info, visit Hamilton de Holanda's site
Clicky Web Analytics