Zezo Ribeiro is a Brazilian guitarist born in Sao Paulo, with an impressive artistic career. Since 1992 he has participated in many recording projects, but it was at the end of the 1990s when he decided to release his own work.
If as instrumentalist he is a virtuoso guitar player, aware of what is happening in jazz and flamenco world, as composer he explores all the rhythms of his fertile homeland. With the same natural way that he flies vertiginously over an intricate samba, he plays slowly with the intimacy of a calm bossa.
In a permanent searching of his roots, Zezo studies deeply the traditional music to adopt other rhythms and influences.
“Gandaia” features John Patitucci on bass, Brazilian drummer Cristiano Rocha, Spanish flamenco guitarist José Luis Montón, and Spanish singer Uxía.
Tiago de Melo Andrade, better known as Ze Cafofinho is part of Recife’s music scene. has one of the richest music production in Brazil. Situated in Northeast of this country, this city has been the birthplace of many talents, specially in the last fifteen years. Chico Science and Na?ao Zumbi, Siba & Fuloresta of Samba and DJ Dolores are just few examples. They have been responsible to bring a new vibration and rhythm in Brazil, mixing heritage from its historical tradition and contemporary tendencies and sounds. Ze Cafofinho, nickname of Tiago Andrade, belongs to this scene.
Ze Cafofinhoe is a musician, composer and singer. He has worked on music professionally for over 10 years, period in which Ze Cafofinho developed his mix of ska, jazz, macumba (afro religion) and samba. It is music from Pernambuco, Brazil, and it is good for dancing and listening.
He was a band leader of Songo, a group witch he created in 1990s; worked together with many important artists of Recife and had other experiences and projects, such as Variant and Versos, vialejos & quebranguladas.
Yamandu Costa was born in Passo Fundo, Rio Grande do Sul, Brazil in 1980. There, he began his guitar studies with his father Algacir Costa, band leader of “Os Fronteiriços”, when he was 7 years old. Later, he perfected his technique with Lucio Yanel, Argentine virtuoso who was then living in Brazil.
Until the age of 15, Yamandu’s only music school was the folk music from the south of Brazil, Argentina and Uruguay. Nevertheless, after he heard Radam?s Gnatall’s work, he decided to get in contact with the music of other renowned Brazilian musicians, such as Baden Powell, Tom Jobim, Raphael Rabello, among others. When he was 17, he played for the first time in Sao Paulo at “Circuito Cultural Banco do Brasil” (BB Cultural Tour). The event was produced by “Estudio Tom Brazil” (Tom Brazil studio), and from then on he was recognized as one of the most gifted guitar players of Brazil.
Considered by some one of the greatest geniuses of Brazilian music of all times, Yamandu deserves the highest praise. Whenever he is on stage, he fills with joy the most select audience since his impressive performance shows the deep intimacy between Yamandu and his guitar.
Yamandu is a guitar player, composer and arranger that does not fit into a single music style, yet he creates his own when he combines all of them playing his 7-string guitar. Yamandu Costa’s diverse styles include chorinho, bossa nova, milonga, tango, samba and chamamé.
Dois Tempos, with Lúcio Yanel (Bagual Produções, 2000)
Yamandu (Eldorado, 2001)
Yamandu ao Vivo (Bagual Produções, 2003)
El Negro Del Blanco, with Paulo Moura (Biscoito Fino, 2004)
Brasileirinho (Rob Digital, 2005)
Tokyo Session (Koala Records, 2006) Lida (Biscoito Fino, 2007) Lado B, with Dominguinhos (Biscoito Fino, 2007) Ida e Volta (GHA Records, 2007)
Mafuá (Biscoito Fino, 2008)
Yamandu Costa e Rogério Caetano (2011) Live, with Hamilton de Holanda (Adventure Music, 2011)
Continente (Biscoito Fino, 2013)
Tocata à Amizade (Biscoito Fino, 2015)
Música do Brasil Vol.I (2005)
Yamandu Costa ao Vivo (2005)
Vitor Da Trindade is a percussionist, singer and guitarist, teacher of Brazilian dances. He played with the bands Bazar dos Baratos, Réquiem Napalm and Flor do Luar, Banda Kalimba, Cometa Gafi and Maria da Fé, with the dance groups Batacotô, Popular Theater Solano Trindade, Grupo Fuá.
Participated in the films O samba mandou me chamar, of Sérgio Zeigler, with Zezé Mota and Pascoal da Conceição, and Deusa Negra, of Ola Balogun, co-production Brazil and Nigeria, with Jece Valadão and Vera Gimenez. Composed for the bands Semente of Baobá, Duo Baobá, Maria da Fé and Moleque de Rua, and for several theatrical shows.
He gives percussion and Brazilian dance workshops in the Sesc divisions, and in the cultural centers Oswald de Andrade, Alfredo Volpi, Cândido Portinari, Butantã and Itaquera, in the state of São Paulo. Participated in Samba Syndrom 98, 99, 2000, 2001 and 2002, by invitation of the Landesmusik Akademie of Berlin, Germany, where he taught rhythm, songs and Afro-Brazilian dance. In 2001 released the CD Airá Otá with Carlos Caçapava.
Toured in Brazil and Europe with Revista do Samba in 2001 and 2002.
Virginia Rodrigues was born in Salvador, Brazil, December 31, 1964. Virginia Rodrigues is a woman of humble origins who grew up in Salvador de Bahia. She spent her youth singing in church choirs and Afro-Brazilian candomble ceremonies. She was invited to participate in the Olodum Theater, a musical theater open to young people from the favelas (shanty homes), where legendary artist Caetano Veloso first heard her. Captivated by her voice, he immediately asked her to record for his label, Natasha Records, with the help of Olodum director Marcio Meireles.
Virginia’s first concerts in Rio de Janeiro and Sao Paolo were a tremendous success. Sophisticated Brazilian critics and media were left speechless and often in tears. Her visits to Expo ’98 in Lisbon and New York City left these audiences equally amazed at the power and beauty of her voice.
Caetano Veloso wrote about producing her debut album, “This is our wealth: the love that in Brazil those who love music devote to one another. No one takes this from us. And the voice of Virginia is as the expression of this loving substance in a pure state.”
Virginia’s second CD, Nos, was produced by cellist Jacques Morelembaum. A work of great beauty, the CD features Virginia’s unique interpretation, simultaneously ceremonial and rhythmic, of traditional Bahian standards.
On Mares Profundos, Virginia Rodrigues, along with her mentor Caetano Veloso and producer/guitarist Luiz Brasil, presents a fascinating look at Afro-Bahian music and culture. Her album is devoted to the “Afro Sambas”, a legendary collection of songs written by Vinicius de Moraes and Baden Powell. De Moraes, the author of the lyrics of most great songs of bossa nova, such as “Girl From Ipanema” and the film music of Orfeo Negro, wrote a series of sambas that pay a tribute to the African culture of Bahia.
Sol Negro (Natasha Records/Hannibal, 1998) Nós (Natasha Records/Hannibal, 2000) Mares Profundos (Natasha Records/Deutsche Grammophon, 2004)
Recomeço (Biscoito Fino, 2008)
Mama Kalunga (Tratore, 2015)
Marcus Vinicius da Cruz e Mello Moraes, better known as Vinicius de Moraes was born October 19, 1913 in Rio de Janeiro, Brazil.
Vinicius de Moraes was one of the most influential figures of the Bossa Nova and Brazilian popular music. He worked with many other Brazilian artists and composers including Antonio Carlos Jobim. Together, the two partners gave birth to words and images of Brazil so strong that many around the world cannot think of Brazil without hearing “The Girl From Ipanema” or recalling the images, colors, feelings and sounds of Marcel Camus’ film “Black Orpheus” which was based on a play by Moraes and introduced their music to the world.
Vinicius de Moraes died July 9, 1980.
Orfeu da Conceição (Odeon, 1956)
Vinícius e Odete Lara (Elenco, 1963)
De Vinícius e Baden especialmente para Ciro Monteiro (Elenco, 1965)
Vinícius e Caymmi no Zum Zum (Elenco, 1965)
Os Afro-sambas (Elenco, 1966)
Vinícius: Poesia e Canção]] (Forma, 1966)
Garota de Ipanema, soundtrack (Philips, 1967)
Vinícius (Elenco, 1967)
Vinícius em Portugal (Festa, 1969) En La Fusa with Maria Creuza and Toquinho (Diorama, 1970)
Como Dizia O Poeta… (RGE, 1971)
Toquinho e Vinícius (RGE, 1971)
Vinícius + Bethânia + Toquinho – En La Fusa (Trova, 1971)
Marilia/Vinícius (RGE, 1972)
Vinícius Canta: Nossa Filha Gabriela (Polydor, 1972)
São Demais os Perigos Desta Vida (RGE, 1972)
O Bem-Amado (Som Livre, 1973)
Vinícius & Toquinho (Philips, 1974)
Saravá Vinícius! (Mercury, 1974) Vinícius & Toquinho (Philips, 1975)
O Poeta e o Violão (RGE, 1975)
Deus lhe Pague (EMI, 1976)
Antologia Poética (Philips, 1977)
Tom, Vinícius, Toquinho e Miúcha (Som Livre, 1977)
10 Anos de Toquinho e Vinícius (Philips, 1979)
Um Pouco de Ilusão (Ariola, 1980)
Testamento… (RGE, 1980)
A Arca de Noé (Universal, 1980)
A Arca de Noé 2 (PolyGram, 1981)
Poeta, Moça e Violão – Vinícius, Clara e Toquinho (Collector’s Editora LTDA, 1991)
Vinícius & Amigos (Seleções/Reader’s Digest, 2006)
Um encontro no Au bon gourmet (Doxy, 2015)
Renowned Brazilian composer, singer, guitarist and percussionist, Vinicius Cantuaria was April 29, 1951 in Manaus, Amazonas, Brazil. He has garnered widespread acclaim based on his precise guitar playing, world-class songwriting, and seductive Portuguese language vocals. As a composer, Cantuaria has had his music recorded by many of the top popular artists in Brazil, including Caetano Veloso, Gilberto Gil, Gal Costa, among others.
Cantuaria moved deom Brazil’s Amazon region to Rio de Janeiro to play drums with O Terco, one of the legendary bands (together with Os Mutantes and Sagrado Coracao da Terra) of Brazilian progressive rock.
The music that Cantuaria created over the 1990s decade represents a bridge between classic bossa nova and the hip 21st Century variations on the Tropicalia sound coming out of Rio De Janeiro, New York City and Tokyo.
In a career that has spanned more than three decades, Cantuaria has both absorbed tradition and broken all the rules. While living in Rio, he performed alongside Brazilian superstars Gilberto Gil, Chico Buarque and Caetano Veloso, for whom he wrote Caetano’?s first million-selling hit, Lua e Estrella.
After moving to New York City in 1995 to pursue his solo career, Cantuaria has been relentlessly sought after as a percussionist and guitarist by cutting edge figures in rock, jazz, world music and performance art like Laurie Anderson, David Byrne, Bill Frisell, Angelique Kidjo and Ryuichi Sakamoto. Most of these illustrious collaborators have returned his favors by appearing on the albums in which Cantuaria, possessed of a seductively gentle voice, takes center stage.
Vinícius Cantuária (1982)
Gávea de Manhã (1983)
Sutis Diferenças (1984)
Nu Brasil (1986)
Rio Negro (1991) Sol Na Cara (Gramavision, 1996)
Amor Brasileiro (1998) Tucumã (Verve/Polygram, 1999) Vinicius (Transparent, 2001)
Live: Skirball Center (Kufala, 2003)
Horse and Fish (Bar/None, 2004) Silva (Hannibal, 2005)
Cymbals (Naïve, 2007)
Samba Carioca (Naïve, 2009)
Lágrimas Mexicanas, with Bill Frisell (Naïve, 2011) Índio de Apartamento (Naïve, 2013) RSVC, with Ricardo Silveira (Adventure Music, 2013) Vinícius canta Antonio Carlos Jobim (Sunnyside, 2015)
Featuring three of Brazil’s most in-demand musicians, Trio da Paz updates the infectious spirit of jazz-oriented Brazilian music. Formed in 1990 by Romero Lubambo, Nilson Matta and Duduka da Fonseca, the Trio redefines Brazilian Jazz with their harmonically adventurous interactions, daring improvisations and dazzling rhythms. All three are seasoned masters of both jazz and Brazilian music with impressive resumes. The list of legendary musicians the members of Trio da Paz have recorded and performed with is extensive.
Trio da Paz as a group has recorded and performed with Charlie Byrd, Herbie Mann, Lee Konitz, Kenny Barron and Nana Vasconcelos, among others.
The Trio’s critically acclaimed, multi-faceted debut recording Brazil from the Inside, with special guests Herbie Mann, Claudio Roditi, Joanne Brackeen and Maucha Adnet, received the “Indie” award for best album of the year. Trio da Paz followed that success with a daring and ambitious concept album, an exploration of the well-known themes from Black Orpheus, the soundtrack that set Brazilian music on a new course.
Their third release, Partido Out, is a mix of original compositions embracing the full range of rhythms, fusing jazz and Brazilian music in a most fresh and exciting way. This CD won the Jazz Journalists Association award of “The best Brazilian jazz album of the year” in 2002.
The Trio’s Cafe album includes special performances by Cesar Camargo Mariano, Dianne Reeves and Joe Lovano.
Brasil from the Inside (Concord Jazz, 1992)
Black Orpheus (Kokopelli, 1994)
Partido Out (Malandro, 1998) Café (Malandro, 2002)
Somewhere (Blue Toucan Music, 2005)
Live at JazzBaltica (Maxjazz, 2008) 30 (Zoho, 2016)
Antônio Pecci Filho, better known as Toquinho, was born July 6, 1946 in Sao Paulo, Brazil. He began playing guitar at 14 and used the nickname his mother had given him, Toquinho. he learned music with masters such as Paulinho Nogueira, Edgar Janulo, Òscar Castro Nieves, Isaías Sávio and Leo Peracchi. In the 1960s he started to accompany professional performers, such as Elis Regina, Chico Buarque, Trio de Zimbo, Señales De Valle, Trío Jazz de Bossa Nova Tayguara, etc.
At 17 he made good friends with Chico Buarque, with whom he composed one of his first songs Luna Llena. In 1966 he recorded his first LP, O violâo do Toquinho, and a year later, he composed Boca da Noite, together with Paulo Vazolini, which became one of his best known songs.
In 1969 he traveled to Italy with Chico Buarque and they played over 40 concerts. Back in Brasil, he recorded his second LP, Toquinho, which includes his first hit, “Que maravilha,” written with Jorge Benjor.
It was at Buarque’s home where he met Vinicius de Moraes and the renowned poet was very impressed with the young guitarist. Vinicius said: “I have collaborated with excellent musicians like Tom Jobim, but I am petrified with my new colleague: Toquinho is extremely versatile. He performs a waltz like a samba; he is a prodigious person who manages to communicate with all means”.
Toquinho was 33 years younger, but the connection was sensational. In 11 years they recorded 110 songs and they collaborated in over one thousand shows. Brazil and the rest of the world were charmed by this collaboration and productivity. This relationship had its first rewards in august of 1970, with a recording at cafe La Fusa (Buenos Aires), which also included Maria Creuza. The La Fusa LP became a hit worldwide.
Other highlights from Toquinho and Vinicius de Moraes are the recording of La pazzia, l’inconscieza, l’allegria (1976), with Ornella Vanoni; the Caneçao (Río de Janeiro) show in 1977, with Tom Jobim, Vinicius, Toquinho and Miúcha, and the show Dez anos de Toquinho e Vinicius, in 1979.
Tania Maria Correa Reis, better known as Tania Maria was born May 9, 1948 in São Luís, Maranhão, Brazil.
Tania Maria showed strong signs of musical talent but did not dedicate herself to her craft until the mid 1970s. After playing in nightclubs in Brazil, Maria moved Paris where her career took off.
The turning point in her career came in Washington in 1980, when she met the late Carl Jefferson of Concord Records via guitarist Charlie Byrd. Jefferson decided to send Maria into the studio with the Latin Jazz vibraphonist, Cal Tjader, as producer. The result was her critically acclaimed American debut, Piquant, released by Concord in 1981.
Since the mid-80?s, Maria has become an international star and one of the most popular Brazilian musicians of her time. Though she is best known for her fiery interpretations of Brazilian, Afro-Latin, and Pop music, Maria is a talented improviser, often harmonizing her piano solos with her voice. Her versatility, displayed on all twenty-one of her albums, has made her popular with fans of every genre.
In 2002, Tania Maria’s stint at The Blue Note with her Viva Brazil Quartet resulted in Live at the Blue Note, her most recent live recording to date.
Intimidade was released in June 2006 on Blue Note Records. It is an energetic display of Brazilian and world music highlighted by her trademark silky smooth vocal stylings that keep her fan base strong.
Apresentamos (Continental, 1969)
Olha Quem Chega (Odeon, 1971)
Via Brasil (Sunny Side, 1977)
Via Brasil, Vol. 2 (Sunny Side, 1977)
Live (Accord, 1979)
Piquant (Concord, 1980)
Taurus (Concord, 1981) Come with Me (Concord, 1983)
Love Explosion (Concord, 1984)
The Real Tania Maria: Wild! (Concord, 1984)
Made in New York (EMI, 1985)
Forbidden Colors (Capitol, 1988)
Bela Vista (Blue Note, 1990)
Lady from Brazil (EMI, 1986)
Outrageous (Concord, 1993)
The Best of Tania Maria (Blue Note, 1993)
No Comment (TKM, 1995)
Bluesilian (TKM, 1995)
Europe (TKM, 1997)
Viva Brazil (Concord Records, 2000)
Happiness (Recall Records UK, 2002)
Tania Maria Live at the Blue Note (Concord)
Outrageously Wild (Concord, 2003)
Olha Quem Chega (reissue) (Import, 2004)
Tania Maria in Copenhagen, with Niels-Henning Ørsted Pedersen (Stunt, 2005) Intimidade (Blue Note, 2005)
Brazil with My Soul (Universal, 2005)
Tempo (with Eddie Gómez) (Naïve Records, 2011) Canto (Naïve Records, 2012)
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion