Renato Braz – (Living Music, 2015) Saudade is a collection of beautiful, poetic songs composed by some of Brazil’s greatest songwriters and performed by the remarkable voice of Renato Braz. The album combines Brazilian melodies and rhythms with Paul Winter’s global jazz sound as well as world music elements from Russia and other cultures.
Renato Braz has been an essential member of the Paul Winter Consort family in recent years. Even though he has made recordings in Brazil, Saudade is first release in the United States. The lineup is quite impressive. His band includes the Paul Winter Consort, the Dmitri Pokrovsky Ensemble, Dori Caymmi, and Ivan Lins. Saudade is beautifully packaged, featuring an extensive booklet with photos, lyrics and descriptions of the songs. Antonio Carlos Jobim Antonio Carlos Jobim was born Antonio Carlos Brasileiro de Almeida Jobim, January 25, 1927 in the Tijuca neighborhood of Rio de Janeiro.
He was also called Tom Jobim. Jobim was a Brazilian composer, arranger, singer, pianist and perhaps the greatest legend of bossa nova. Jobim’s compositions, many performed by Joao Gilberto, gave birth to the genre in the early 1960s. Antonio Carlos Jobim’s roots were planted firmly in the works of Pixinguinha, a legendary musician and composer who, in the 1930s, began the development of modern Brazilian music. He was also influenced by the music of French composer Claude Debussy and by jazz.
Jobim found prominence when he teamed up with writer and poet Vinicius de Moraes in providing part of the music for the play Orfeu de Carnaval (1956), that later gained wide recognition in the film Black Orpheus. The lyrics for his most popular songs were written by de Moraes.
Mar 7, 2018 - It is originally based on a Tamil typewriter keyboard, and is used particularly in Sri Lanka. Teresa Cristina Canta Roberto Carlos Youtube. Enjoy millions of the latest Android apps, games, music, movies, TV, books, magazines & more. Anytime, anywhere, across your devices.
One of his best known works was the classic Elis & Tom album. After having commemorated 10 years with Jorge Ben and Jair Rodrigues as part of the cast of artists in 1973, the director of Philips Brazil, Andre Midani, verified that the following year Elis Regina would be celebrating 10 years with the label. Having had massive success with such songs as ‘Casa no Campo’ and ‘Aguas de Marco’ over the previous years, Midani asked Elis if there was anything she really wanted.
‘Record an album of music by Tom Jobim with Tom Jobim’. The inspiration for the project was an LP of songs by Tom and Vinicius de Moraes, released in 1959 on the Festa label ‘ ‘Por Toda a Minha Vida’, performed by Lenita Bruno (1926-1987), which featured arrangements by her husband Leo Peracchi (1911-1993), ex-professor of Tom. The arranger Cesar Camargo Mariano (married to Elis at the time) and Elis herself were both big fans of this record. In January of 1974, Antonio Carlos Jobim received a telephone call from Andre Midani, president of Phonogram (Phillips), proposing the recording of a record with Elis Regina. Tom accepted the invite. Philips invited Aloysio de Oliveira (1914-1995) to be producer of the project he was already a friend of all involved.
The original budget didn’t allow for sending everybody to the US, where Tom had been living for some years. It would be cheaper to record in Brazil, but for some motive Tom couldn’t travel.
So, on the 20th of February, Elis Regina and her husband Cesar Camargo Mariano went to Los Angeles, accompanied by Aloysio de Oliveira and Joao Marcello (son of Elis and Ronaldo Bescoli), as well as members of Cesar’s band: Helio Delmiro (guitar), Luisao (bass) and Paulinho Braga (drums). They were followed a few days later by Roberto de Oliveira, Elis’ manager and responsible for the idea of the whole project along with the mission of recording a documentary for television. At the airport in Los Angeles they were received by Tom Jobim, who had a flower for Elis, and invited them to go firstly to his house for a chat, before heading on to the Sunset Marquis Hotel. There was already tension in the air, not least due to the age difference between the couple and Tom (Elis was 29, Tom 47). Arriving at the house, Tom asked Aloysio who’d be doing the arrangements on the recording, and wasn’t pleased when he discovered it would be Cesar Camargo Mariano. Tom tried ringing Claus Ogerman and Dave Grusin but couldn’t get them.
Neither was he pleased to hear that some musicians would be arriving from Brazil the next day. ‘//It doesn’t make sense. We already have excellent musicians here!//’ The following day Cesar began working on the arrangements, while Elis brought Joao Marcello to Disneyland. His work was constantly interrupted by Tom, asking if everything was going OK and the interruptions continued until he delivered the final mix to Tom. The recording sessions were delayed while Cesar worked out the arrangements. Bill Hitchcock had been contracted to direct the string quartet (because of local laws, Cesar couldn’t do so). The first 2 of the 4 days in the studio were slotted for recording Tom ‘s piano and guitar, accompanied by the string quintet and flautist.
‘ Elis would rarely do other takes‘, Cesar recalls, who accompanied Aloysio on the rest of the sessions – with the quartet that had accompanied Elis since the beginning of the 1970s, with special participation from Oscar Castro Neves. The climate between Elis and Tom was also rocky on occasion.
Happily, Aloysio was present to smooth out most of the problems. He was the only one who could put up with two strong personalities.
Also, Tom wouldn’t initially accept the electric piano programmed by Cesar Mariano. The artistic director of Phonogram, Roberto Menescal, was in Rio but he accompanied by phone the recordings. He phoned almost every day to talk with Aloysio who told him how things were. But the record itself was a work of tranquility. Tom and Elis sang together on Aguas de Marco, Soneto da Separacao and Chovendo na Roseira.
Tom hummed on Corcovado and sang in the background on Inutil Paisagem. He also played piano and flute. The crowning moment is Aguas de Marco, presented as a spontaneous take but in fact was done various times to get the perfect take. Bonita wasn’t included in the final album because Elis didn’t like her English. The bonus version of Fotografia is the original recording from Los Angeles; the version included on the final album was recorded later in Sao Paulo. The final result left everyone involved happy.
Tom was later quoted as saying: ‘It was excellent because Elis is an incredible singer. The record featured a great repertory accompanied by excellent musicians. And a fantastic pianist, Cesar Camargo Mariano.’ American jazz singers Ella Fitzgerald and Frank Sinatra prominently featured Jobim’s songs on their albums (1981) and (1967), respectively. Jobim is recognized the world over as one of the most influential composers of the 20th century. A chat about back catalogs between Joao Marcello Boscoli (president of Trama) and the artistic vice-president of Universal Music Brazil, Max Pierre, led to the idea of mixing the timeless in stereo and 5.1 surround. During three months, Cesar Camargo Mariano, who co-produced, played piano and did most of the arrangements on the original 1974 recordings (and who was also married to Elis at the time), ensconced himself in the Trama studios alongside sound engineer Luis Paulo Serafim.
Cesar first concern was to change nothing of the original recording. He created a map with the positions of the instruments during the recording at the MGM studios in Los Angeles.
The new version of came out in on Trama Records in 2004. The special stereo edition includes bonus tracks and a DVD.
Jobim died December 8, 1994 in New York City. He was buried in the Cemiterio Sao Joao Batista in Rio de Janeiro.
The International Airport of Rio de Janeiro is now named in his honor. Discography. Herbie Mann & Joao Gilberto With Antonio Carlos Jobim (1965). (1963). The Wonderful World of Antonio Carlos Jobim (1965).
Recorded In Rio De Janeiro (1965). (1967). A Certain Mr.
Jobim (1967). (1968). (1970). (1971). Jobim (1973).
(Polygram, 1974). (1976).
Terra Brasilis (1980). E. Teresa Cristina – (Nonesuch, 2016) Teresa Cristina is one of Brazil’s most popular singers. Canta Cartola is her tribute to one of the most famous samba songwriters, Angenor de Oliveira.
His artistic name was Cartola (top hat in Portuguese). Canta Cartola is a passionate live performance released on CD and DVD by Teresa Cristina who specializes in samba and Brazilian Popular Music (MPB). She sings Cartola’s numerous classics that are well known to many Brazilians.
The performance took place at Theatro Net in Rio de Janeiro. It’s an acoustic performance Teresa Cristina on vocals and Carlinhos Sete Cordas on guitar. On Canta Cartola, Teresa Cristina and Carlinhos Sete Cordas deliver a flawless, intimate performance, rich in virtuosity, passion and good humor.
Antonio Carlos Jobim Antonio Carlos Jobim was born Antonio Carlos Brasileiro de Almeida Jobim, January 25, 1927 in the Tijuca neighborhood of Rio de Janeiro. He was also called Tom Jobim.
Jobim was a Brazilian composer, arranger, singer, pianist and perhaps the greatest legend of bossa nova. Jobim’s compositions, many performed by Joao Gilberto, gave birth to the genre in the early 1960s. Antonio Carlos Jobim’s roots were planted firmly in the works of Pixinguinha, a legendary musician and composer who, in the 1930s, began the development of modern Brazilian music. He was also influenced by the music of French composer Claude Debussy and by jazz. Jobim found prominence when he teamed up with writer and poet Vinicius de Moraes in providing part of the music for the play Orfeu de Carnaval (1956), that later gained wide recognition in the film Black Orpheus.
The lyrics for his most popular songs were written by de Moraes. One of his best known works was the classic Elis & Tom album. After having commemorated 10 years with Jorge Ben and Jair Rodrigues as part of the cast of artists in 1973, the director of Philips Brazil, Andre Midani, verified that the following year Elis Regina would be celebrating 10 years with the label. Having had massive success with such songs as ‘Casa no Campo’ and ‘Aguas de Marco’ over the previous years, Midani asked Elis if there was anything she really wanted. ‘Record an album of music by Tom Jobim with Tom Jobim’. The inspiration for the project was an LP of songs by Tom and Vinicius de Moraes, released in 1959 on the Festa label ‘ ‘Por Toda a Minha Vida’, performed by Lenita Bruno (1926-1987), which featured arrangements by her husband Leo Peracchi (1911-1993), ex-professor of Tom.
The arranger Cesar Camargo Mariano (married to Elis at the time) and Elis herself were both big fans of this record. In January of 1974, Antonio Carlos Jobim received a telephone call from Andre Midani, president of Phonogram (Phillips), proposing the recording of a record with Elis Regina. Tom accepted the invite.
Philips invited Aloysio de Oliveira (1914-1995) to be producer of the project he was already a friend of all involved. The original budget didn’t allow for sending everybody to the US, where Tom had been living for some years. It would be cheaper to record in Brazil, but for some motive Tom couldn’t travel. So, on the 20th of February, Elis Regina and her husband Cesar Camargo Mariano went to Los Angeles, accompanied by Aloysio de Oliveira and Joao Marcello (son of Elis and Ronaldo Bescoli), as well as members of Cesar’s band: Helio Delmiro (guitar), Luisao (bass) and Paulinho Braga (drums).
They were followed a few days later by Roberto de Oliveira, Elis’ manager and responsible for the idea of the whole project along with the mission of recording a documentary for television. At the airport in Los Angeles they were received by Tom Jobim, who had a flower for Elis, and invited them to go firstly to his house for a chat, before heading on to the Sunset Marquis Hotel. There was already tension in the air, not least due to the age difference between the couple and Tom (Elis was 29, Tom 47). Arriving at the house, Tom asked Aloysio who’d be doing the arrangements on the recording, and wasn’t pleased when he discovered it would be Cesar Camargo Mariano.
Tom tried ringing Claus Ogerman and Dave Grusin but couldn’t get them. Neither was he pleased to hear that some musicians would be arriving from Brazil the next day. ‘//It doesn’t make sense. We already have excellent musicians here!//’ The following day Cesar began working on the arrangements, while Elis brought Joao Marcello to Disneyland. His work was constantly interrupted by Tom, asking if everything was going OK and the interruptions continued until he delivered the final mix to Tom.
The recording sessions were delayed while Cesar worked out the arrangements. Bill Hitchcock had been contracted to direct the string quartet (because of local laws, Cesar couldn’t do so). The first 2 of the 4 days in the studio were slotted for recording Tom ‘s piano and guitar, accompanied by the string quintet and flautist. ‘ Elis would rarely do other takes‘, Cesar recalls, who accompanied Aloysio on the rest of the sessions – with the quartet that had accompanied Elis since the beginning of the 1970s, with special participation from Oscar Castro Neves.
The climate between Elis and Tom was also rocky on occasion. Happily, Aloysio was present to smooth out most of the problems.
He was the only one who could put up with two strong personalities. Also, Tom wouldn’t initially accept the electric piano programmed by Cesar Mariano.
The artistic director of Phonogram, Roberto Menescal, was in Rio but he accompanied by phone the recordings. He phoned almost every day to talk with Aloysio who told him how things were. But the record itself was a work of tranquility. Tom and Elis sang together on Aguas de Marco, Soneto da Separacao and Chovendo na Roseira.
Tom hummed on Corcovado and sang in the background on Inutil Paisagem. He also played piano and flute. The crowning moment is Aguas de Marco, presented as a spontaneous take but in fact was done various times to get the perfect take. Bonita wasn’t included in the final album because Elis didn’t like her English. The bonus version of Fotografia is the original recording from Los Angeles; the version included on the final album was recorded later in Sao Paulo. The final result left everyone involved happy.
Tom was later quoted as saying: ‘It was excellent because Elis is an incredible singer. The record featured a great repertory accompanied by excellent musicians. And a fantastic pianist, Cesar Camargo Mariano.’ American jazz singers Ella Fitzgerald and Frank Sinatra prominently featured Jobim’s songs on their albums (1981) and (1967), respectively. Jobim is recognized the world over as one of the most influential composers of the 20th century. A chat about back catalogs between Joao Marcello Boscoli (president of Trama) and the artistic vice-president of Universal Music Brazil, Max Pierre, led to the idea of mixing the timeless in stereo and 5.1 surround. During three months, Cesar Camargo Mariano, who co-produced, played piano and did most of the arrangements on the original 1974 recordings (and who was also married to Elis at the time), ensconced himself in the Trama studios alongside sound engineer Luis Paulo Serafim. Cesar first concern was to change nothing of the original recording.
He created a map with the positions of the instruments during the recording at the MGM studios in Los Angeles. The new version of came out in on Trama Records in 2004. The special stereo edition includes bonus tracks and a DVD. Jobim died December 8, 1994 in New York City.
He was buried in the Cemiterio Sao Joao Batista in Rio de Janeiro. The International Airport of Rio de Janeiro is now named in his honor. Discography. Herbie Mann & Joao Gilberto With Antonio Carlos Jobim (1965). (1963). The Wonderful World of Antonio Carlos Jobim (1965). Recorded In Rio De Janeiro (1965).
(1967). A Certain Mr. Jobim (1967). (1968). (1970).
(1971). Jobim (1973). (Polygram, 1974). (1976). Terra Brasilis (1980).
E. Teresa Cristina – (Nonesuch, 2016) Teresa Cristina is one of Brazil’s most popular singers.
Canta Cartola is her tribute to one of the most famous samba songwriters, Angenor de Oliveira. His artistic name was Cartola (top hat in Portuguese). Canta Cartola is a passionate live performance released on CD and DVD by Teresa Cristina who specializes in samba and Brazilian Popular Music (MPB). She sings Cartola’s numerous classics that are well known to many Brazilians. The performance took place at Theatro Net in Rio de Janeiro. It’s an acoustic performance Teresa Cristina on vocals and Carlinhos Sete Cordas on guitar.
On Canta Cartola, Teresa Cristina and Carlinhos Sete Cordas deliver a flawless, intimate performance, rich in virtuosity, passion and good humor. I will be writing a column on Length & Time in music, in each presenting an album and its strategies that pertain to addressing Length & Time. The year is 1979.
Historically, string instrument is itself and its opposite in the game of political ideology: both an instrument of folk-ish fight and of sublime pleasure for the privileged. It was the lyre.
It now fuels trova. The left is tres popular: the Berlin Wall has yet to fall in ’89. However, though some are aware of the instrument’s history, most now revere (quietly) the violin or the cello, for example, as Art, though most listen to the guitar much more. It’s the 20th century of high art’s luster. It is why the 21st is such. It’s 1979 and Egberto Gismonti releases.
Orpheus holds court in 1979. The Carnation Revolution in Portugal had been sparked by the guitar in 1974. Bossa Nova has also happened: Tom Jobim, etc. The guitar is on the radio, in 20th century salons, but also in nightclubs.
In 1979: Gismonti plays “us” a single 8 string guitar, alone, along with piano, and surdo (drum,) placing his own ideas and ideals onto an agora’s stand. Which party have you pledged Gismonti? Do you dream of a guitar’s song that will lift the people, le peuple?
Perhaps neither to be political nor to be a flaneur but to, instead, draw his society and others a Sun, life, art, for “ not forgetting, even without seeing” to quote the Brazilian poet Armando Freitas Filho, in 1979. Dom La Nena’s EP (Six Degrees Records, 2016) Brazilian singer-songwriter, cellist and world traveler Dom La Nena has released Cantando, an EP that includes cover versions of some of her favorite songs from various international composers.
Cantando features Dom La Nena’s whispered vocals in Portuguese, Spanish, French and English. Although Dom La Nena sings her own material, from time to time she also wants to sing and record the songs composed by other artists.
The songs that appear in “Cantando” are at times included in her live concert set, others she only sings at home. “All of the songs selected for this EP are long time favorites of mine, many of which I have enjoyed since I was a child,” says Dom La Nena. With these four songs, Dom offers a diversity of feelings, languages, impressions, and time periods, revisiting her musical roots. Dom La Nena kept things simple on Cantando. She only used her cello as accompaniment. The song selection includes “Felicidade” (happiness) from Brazilian composer Lupicinio Rodrigues, a song that reminds Dom of her childhood.
“It is one of the first songs I learned to playI have a strong sense of contentment whenever I hear or perform this song. I think Lupicinio makes me feel so happy because he transports me back to my hometown of Porto Alegre (Lupicinio was also from there), back to my family roots.” Acclaimed Chilean songwriter Violeta Parra is one Dom’s biggest musical inspirations. Dom remembers passionately singing Parra’s “Gracias a la Vida” during her teenage years while in Buenos Aires.
“Scenic World” appeared in Beirut’s first album, “The Gulag Orkestar. The song reminded Dom of samba while she was living in France. “Les Vieux,” by Belgian singer-songwriter Jacques Brel is Dom’s mother’s favorite song. She introduced Dom to Brel’s music during her childhood in Brazil before Dom arrived in France. It was with this song that Dom became familiar with the French language.
Cantando is a dreamy, ear friendly set of songs by much-admired songwriters performed by Dom La Nena’s soft vocals and cello. Clarice & Sergio Assad – Clarice & Sergio Assad – (Adventure Music, 2016) An album by one of the great musical families of Brazil. Reliquia showcases the talent of one of the great musical families of Brazil, the Assads. Sergio Assad is one of the finest guitarists from Brazil. His daughter Clarice is an equally talented vocalist. On Reliquia, the duo perform a splendid set of musical pieces where Brazilian roots music is intertwined with jazz.
Clarice’s style includes songs in Portuguese as well as jazz-style wordless vocals. Sergio plays exquisite guitar, ranging from delicate passages to dazzling fast finger work. On some of the cuts, Clarice and Sergio are joined by guest musicians. The lineup on Reliquia includes Clarice Assad on vocals and piano; Sergio Assad on guitar and vocals; Derek Bermel on clarinet; Mike Marshall on mandolin; Keita Ogawa on percussion; Yasushi Nakamura on acoustic bass; Angela Olinto on vocals.