Tag Archives: Brazil

Artist Profiles: Dona Onete

Dona Onete – Photo by Adriano Fagundes

Dona Onete was born on June 18, 1939 in Cachoeira do Ararí, located in the delta of the Amazon River, across from Belém. She grew up further down the river, in Igarapé Miri, 100km away from Belém, where she regularly attended local dances of carimbó, siriá and banguê. She explains she only started to sing suitably at the age of 11. “I used to spend the whole day on the river banks, washing clothes. One day, I saw a dolphin and thought that I should sing for him. The next day I sang again, and another came, and another, and soon a whole family of dolphins came to listen!”

By the age of fifteen, she was singing samba, quadrilhas, boi bumba and other northeastern Brazilian genres in the bars of her hometown. “One of my biggest musical influences are Marajoara, local cowboys who improvise songs. They turn common phrases into beautiful poetry and whenever I write a song, I remember them”.

She became a Professor of History and Amazonian Studies in Igaparé Miri and passionately researched the rhythms, dances and traditions of the indigenous and black people of the area. This led her to form several music and dance groups, which regenerated traditional customs, and that eventually saw her elected as the Municipal Secretary of Culture of Igaparé-Miri. “I helped local musicians and local culture that people didn’t value. I have the chance to help Amazonian communities through my music so I cannot just sing and close my eyes to the people’s plight.”

Dona Onete – Photo by Adriano Fagundes

Absorbing multiple genres and rhythms, Dona Onete also began to compose, creating the hybrid genre for which she would later become famous, the carimbó chamegado.

Carimbó is a rhythm and dance from Pará, influenced by both African and European traditions. However, Onete has her own vision of the genre – carimbó chamegado: “I took lundum and carimbó, two wonderful genres, and mixed them with the rhythm of the songs from the slaves to create carimbó chamegado. It’s slower and more sensual than carimbó,” she adds. She composed throughout her career over 300 songs, but it was not until she retired that her musical career took off, and even then, it was only by accident.

She and her second husband moved to the quiet area of Pedreira in Belém, with the intention of relaxing the rest of their days, singing as she always had done, for her own pleasure. A local band heard her singing though and she claims, “thought I was a young woman, because my songs are pretty cheeky. But when they caught sight of me they were shocked to see a lady of my age!”

Dona Onete – Photo by Adriano Fagundes

Her age and spicy sense of humor was undeniably part of the charm for this band who invited her to sing with them. Believing herself to be past her prime, Dona Onete initially rejected the offer but she agreed eventually and before long, she had become something of a cult figure in Belém. “Sometimes, when you think you’ve given all you’ve got, you realize that, in fact, you have a lot more ahead of you,” she stated.

She recorded her debut album Feitiço Caboclo aged 73 and an international release from Mais Um Discos in 2014 saw critics fall immediately for this high-spirited, saucy and sexy septuagenarian. Dona Onete received invitations to perform at high profile world music festivals and venues: WOMAD UK, Paris’s Cabaret Sauvage, and Portugal’s FMM Sines in 2015.

On Banzeiro, Onete proved that age is nothing but a number as she increased the tempo with tracks such as the banguê that is the title track plus the lively carimbó ‘Faceira’, among others. Banzeiro is the wave created by boats as they pass through the river.

After Banzeiro, Onete’s reputation has blossomed in Brazil. She performs throughout the country to mostly young audiences. She composed and sung the theme song for one of Brazil’s leading soap operas (A Força do Querer) and was awarded the Brazilian Ordem do Mérito Cultural in recognition for her contribution to Brazilian culture. She also plays benefit shows for endangered Amazonian tribes.

In 2019 she released Rebujo an album that features styles born in Belém: carimbós and bangues, as well as cumbia, romantic brega and samba. The album includes numerous Amazonian allusions: the piranha (Festa do Tubarão), mango-scented ticks (Vem Chamegar), biting tucandeira ants (Balanço do Açaí), African deities such as Borocô (Tambor do Norte) and banho de cheiro: an herbal bath used to ward off evil spirits (Mistura Pai D’Égua).

The title Rebujo is the name for the turbulence in a river created as currents pass through. The rebujo raises silt and detritus from the riverbed giving the Amazon its muddy color – and making the waters unsafe for swimmers.

Dona Onete produced Rebujo with long-time collaborator Pio Lobato (guitar) and also includes Breno Oliveira on bass, Marcos Sarrazin on saxophone, Vovô Batera on drums, and JP Cavalcante on percussion.

Dona Onete has gone from playing small bars in her hometown to thousand capacity shows across Brazil and some of Europe’s most respected festivals. “My energy comes from the river,” she says. “It’s like blood rushing through my veins, there’s no stopping it – or me

Discography:

Feitiço Caboclo (Na Music, 2012)
Banzeiro ( Mais Um Discos/Na Music, 2017)
Rebujo (Mais Um Discos, 2019)

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Artist profiles: Pretinho da Serrinha

Pretinho da Serrinha

Ângelo Vitor Simplício da Silva, better known as Pretinho da Serrinha, was born August 30, 1977 in Rio de Janeiro, Brazil.

Pretinho da Serrinha has become the most requested musician of the new samba generation because of his unique, talented way of playing percussion and cavaco (cavaquinho). Many of the greatest Brazilian artists have invited Pretinho to tour and record with them – names like Caetano Veloso, Chico Buarque, Gilberto Gil, Marisa Monte, Seu Jorge, Sergio Mendes.

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Artist profiles: Rogê

Rogê

Brazilian guitarist Rogê was born April 25, 1975 in Rio de Janeiro, Brazil. He was inspired by masters like Baden Powell, Heitor Villa-Lobos, Dorival Caymmi, and Noel Rosa.

Rogê represents the new generation of artists of the Brazilian Popular Music movement. He plays a captivating kind of samba and moves effortlessly from bossa nova to samba and reggae with the ease of a prolific composer.

Rogê’s shows also present the roots of the Brazilian music and its connection to Africa through a combination of jongo, samba, afoxe and maculele.

He has released six albums (‘Rogê’ in 2003, ‘Brasil em Brasa‘ in 2008, ‘Fala Geral‘ in 2010, ‘Brenguele‘, 2012, ‘Baile do Brenguele‘ in 2014 and ‘Nomade’ in 2018) and 2 side projects (‘4 Cabeça’, that got a Brazilian Music Award as best album; and ‘NA VEIA’, along with Arlindo Cruz, leading them to a Latin Grammy nomination as best samba album).

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Artist Profiles: Zezo Ribeiro

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.

Discography:

Gandaia (NubeNegra, 1998)

Flamencando (NubeNegra, 2001)

Brincadeira, with Chico César (NubeNegra, 2004)

Turbilhâo (NubeNegra, 2005)

Casa Verde (NubeNegra, 2005)

Acoustic Brazil, with Flavio Sandoval (Paulinas-Comep, 2016)

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Artist Profiles: Ze Cafofinho & suas corrente

Ze Cafofinho

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.

Discography:

Um pé na meia, outro de fora (Tratore, 2007)
Casulo (Joinha Records, 2015)
Zé Cafofinho no Estúdio Showlivre (Ao Vivo) (Showlivre, 2017)

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Artist Profiles: Yamandu Costa

Yamandu Costa

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.

Discography:

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)

DVDs:

Música do Brasil Vol.I (2005)
Yamandu Costa ao Vivo (2005)

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Artist Profiles: Vitor Da Trindade

Vitor Da Trindade

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.

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Artist Profiles: Virginia Rodrigues

Virginia Rodrigues – Photo by Mario Cravo Neto

 

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.

 

Virginia Rodrigues – Photo by Mario Cravo Neto

Discography:

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)

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Artist Profiles: Vinicius de Moraes

Vinicius de Moraes

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.

Discography:

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)
Amália/Vinícius (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)

Boxed sets:

A Bencao, Vinicius: A Arca do Poeta, 18 CDs+2 Compilations (Universal Music)

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Artist Profiles: Vinicius Cantuaria

Vinicius Cantuaria

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.

Discography

Vinícius Cantuária (1982)
Gávea de Manhã (1983)
Sutis Diferenças (1984)
Siga-me (1985)
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)

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