Elba Ramalho was born on August 17, 1951 in Conceição, in the state of Paraíba, Brazil. Elba began to get involved with performing arts influenced by her father, a musician. Growing up in northeastern Brazil, she soon learned rhythms such as baião, maracatu, xote, frevo, pastoril, caboclinhos and forró, all very popular and traditional in that region.
Elba Ramalho began her musical career playing drums in the all-female ensemble “As Brasas.”
Elba is one of the greatest artists of Brazil. Her shows cover all audiences in large theaters, arenas, jazz festivals, forró festivals, carnivals, and rock festivals.
She has won various Latin Grammys and Awards of Brazilian Music.
Ave de prata (Epic, 1979) Capim do vale (Epic, 1980) Elba (Epic, 1981) Alegria (Ariola, 1982) Coração brasileiro (Ariola, 1983) Fogo na mistura (Ariola, 1984) Do jeito que a gente gosta (Ariola, 1985) Remexer (Ariola, 1986) Elba (Ariola, 1987) Fruto (Ariola, 1988) Popular brasileira (Ariola, 1989) Ao vivo (Ariola, 1990) Felicidade urgente (Ariola, 1991) Encanto (Ariola, 1992) Devora-me (Ariola, 1993) Paisagem (BMG, 1995) Leão do Norte (BMG, 1996) Grande encontro (BMG, 1996) Grande encontro 2 (BMG, 1997) Baioque, RCA, 1997) Flor da Paraíba (BMG, 1998) Solar (BMG , 1999) O grande encontro 3 (BMG, 2000) Cirandeira (BMG, 2001) Elba canta Luiz (BMG, 2002) Elba ao vivo (BMG, 2003) Elba e Dominguinhos ao vivo (BMG, 2005) Qual o Assunto Que Mais Lhe Interessa? (Ramax, 2007) Balaio de Amor (Biscoito Fino, 2009) Marco Zero Ao Vivo (Biscoito Fino, 2010) Vambora Lá Dançar (Sala De Som Records, 2013) Do Meu Olhar Pra Fora (Coqueiro Verde, 2015) Cordas, Gonzaga E Afins (Coqueiro Verde, 2015) O Grande Encontro 20 Anos (Sony Music, 2016) O Ouro Do Pó Da Estrada (Deck, 2019)
Two of Rio de Janeiro’s best known samba funk artists, singer-songwriter and actor (City of God, Irmandade) Seu Jorge and his colleague, guitarist and songwriter Rogê, are set to perform at the Townhall on Thursday, January 16, 2020 at 8:00 p.m.
The New York concert is part of Winter Jazzfest 2020. After that, the Brazilian artists will be performing in Washington, D.C.’s Howard Theatre (January 17) and Berkeley, California’s UC Theatre (January 19). They will play songs from the their new album, Seu Jorge & Rogê, together with their best known tunes.
The concert will also include an Israeli musician with close ties to Brazil: Anat Cohen, clarinet and saxophone player player. Two of Cohen’s Brazilian albums, Rosa dos Ventos and Outra Coisa: The Music of Moacir Santos, received Grammy nominations. At The Town Hall she will appear with her Brazilian band, Choro Aventuroso.
Seu Jorge’s greatest hits are “Carolina,” “Amiga da Minha Mulher” (My Woman’s Friend), and “Burguesinha” (Bourgeois Girl).
Hermeto Pascoal is a prominent Brazilian composer and multi-instrumentalist. His compositions appear on albums by Miles Davis and other jazz heavyweights.
He was born in 1936 in Lagoa da Canoa, a small town in northeastern Brazil. His reputation in Brazil is the result of a varied career. As a juvenile he learned to play the flute, appearing on a multitude of occasions. When his family moved to Recife in 1950 he spent the following six years as an accordion player for radio stations, ending as the director of a complete orchestra. Pascoal then moved on to Rio, stunned by the possibilities and musical opportunities arising for him.
In 1964 he joined Aito Moreira in a group called Trio Sambraza. Two years later, again with Airto, a first record was released in Brazil with the Quarteto Novo. When in 1969 the group broke up and Airto Moreira left for the States to play with Miles Davis, Hermeto stayed behind.
Pascoals’ international career began two years later. Airto called him to arrange his productions in New York. Miles Davis, who was fascinated by the wilfulness of Brazilian and especially Pascoal’s music gave him room for two compositions of his own on the album Live Evil. In the same year, 1972, Hermeto Pascoal’s first album, together with Flora Purim, Airto Moreira and Ron Carter was released; called Hermeto.
In 1964 he joined Aito Moreira in a group called Trio Sambraza. Two years later, again with Airto, a first record was released in Brazil with the Quarteto Novo. When in 1969 the group broke up and Airto Moreira left for the States to play with Miles Davis, Hermeto stayed behind. Pascoals’ international career began two years later. Airto called him to arrange his productions in New York. Miles Davis, who was fascinated by the wilfulness of Brazilian and especially Pascoal?s music gave him room fo two compositions of his own on the album Live Evil. In the same year 1972, Hermeto Pascoal?s first album, together with Flora Purim, Airto Moreira and Ron Carter was released; called Hermeto.
Due to the recognition Pascoal received in the United States, the Brazilian record industry’s interest grew rapidly. In 1973 he released an album called A Musica Livre De Hermeto Pascoal. It was due to his innovative power, his restlessness, his search for unconventional musical instruments: bottles, stones, water splashing, and almost everything else that could create sounds; that people started calling him “Bruxo”, the wizard.
His masterpiece, a milestone in the Brazilian music world, was the album Slaves Mass, released 1977. Many other releases followed after this breakthrough.
His influence on Brazilian music extends well beyond his own remarkable output as a writer an multi-instrumentalist. As the father-figure for avant-garde Brazilian Jazz, Pascoal’s pioneering music has prepped a generation of musicians who are now having a great deal to say about the direction of the American music scene.
Airto, had this to say about his mentor: “He is the most complete musician I ever met in my life. I consider him almost a genius.“
Pascoal plays flutes, keyboards, guitar and bass with equal facility; and reads, writes and arranges without the benefit of any formal training.
Conjunto Som 4, with Conjunto Som 4 (1961) Em Som Maior, with Sambrasa Trio (1966) Quarteto Novo, with Quarteto Novo (1967) Brazilian Octopus, with Brazilian Octopus (1969) Hermeto Pascoal, reissued on CD as Brazilian Adventure (1970) A música livre de Hermeto Pascoal (Sinter, 1973) Slaves Mass (Warner Bros. Records, 1976) Trindade (1977) Zabumbê-bum-á (Warner Bros. Records, 1979) Ao vivo Montreux Jazz Festival (Atlantic, 1979) Nova história da Música Popular Brasileira, compilation (1979) Cérebro magnético (Atlantic, 1980) Hermeto Pascoal & Grupo (1982) Lagoa da Canoa, Município de Arapiraca (Happy Hour Music, 1984) Brasil Universo (1986) Só não toca quem não quer (Intuition, 1987) Hermeto solo) por diferentes caminhos (Som Da Gente, 1988) Festa dos deuses (1992) Instrumental no CCBB, with Renato Borghetti (Tom Brasil, 1993) Música! o melhor da música de Hermeto Pascoal, compilation (1998) Eu e eles (Rádio Mec, 1999) Mundo verde esperança (2002) Chimarrão com rapadura, with Aline Morena (2006) Bodas de Latão, with Aline Morena (2010) The Monash Sessions (Jazzhead, 2013) No Mundo dos Sons (SESC SP, 2017) Viajando com o som (Far Out Recordings, 2017) Natureza Universal (2017) Palmares Fantasy (Far Out Recordings, 2018) E Sua Visão Original Do Forró (Scubidu Music, 2018)
André Cibelli Abujamra was born May 15, 1965 in Sao Paulo. Boldness has always been part of André Abujamra’s more than forty-year career. He has experimented with many musical genres. He is a Brazilian score composer, musician, singer, guitarist, actor, and comedian of Lebanese and Italian origin.
André has worked on nearly 30 films, and has composed the soundtracks to acclaimed Brazilian films such as Durval Discos (2002), Carandiru (2003), and Cafundó (2005). He has also had several minor roles in Brazilian films and has written soundtracks for Brazilian TV.
Together with Maurício Pereira, André is also part of the experimental rock duo Os Mulheres Negras. He also finds time for his experimental projects Fat Marley, Gork and Okê Arô. His solo projects include O Infinito de Pé (2004), Mafaro (2010), O Homem Bruxa (2015).
His album Omindá – A União das Almas do Mundo Pelas Águas (The Union of Souls of the World by the Waters), is the fruit of eleven years of research, travels and friendships. He follows the same innovative way of his previous works, where he mixes film, music, theater and technology.
Omindá in Yoruba is the junction of the words Omin (water) and Da (soul). The meaning signals the goal of the project: to be a great celebration of diversity and communion for art, an artistic encounter with these artists from various parts of the world, living with various cultures, traditions, and music and drawing connections between Brazil and abroad.
The list of artists who make Omindá one of the most interesting projects conceived by a Brazilian artist in the last decade is vast, over 65 minutes (and 15 videos), composed by André and with partners like Xis, Theo Werneck, Oki Dub, Mauricio Pereira, besides Mintcho Garramone, Anelis Assumpção and Martim Buscaglia, among others.
The international lineup includes The City of Prague Philharmonic Orchestra, The Mystery of the Bulgarian Voices, Zaza Fournier (France), Ballaké Sissoko (Mali), Maria de Medeiros (Portugal), Sasha Vista (Russia), Oki Kano (Japan), Julia Ortiz and Dolores Aguirre (Argentina), Rishab Prasanna and Sharat Srivastava (India), as well as Marcos Suzano, Ricardo Vignini, Trupe Chá de Boldo, Ritchie and Paulinho Moska. “I’ve been meeting these wonderful people along the way,” says André.
André was inspired by the theme of water – this commodity that abounds and is missing. With a multicultural orchestra, a red turban, a necklace with the mystic symbol of the design (used by all participants) and always a guitar on the shoulder, André Abujamra unites the improbable in a fascinating mashup.
“In these technological times where borders become non-existent, but mental barriers still prevent us from living in unity, I seeks inspiration in the waters, which know no boundaries,” says André.
Coco is a dance from the states of Pernambuco, Paraiba and Alagoas in the north-east of Brazil, with various names, depending on each region – Coco de Roda, Coco do Sertão, Coco de Praia, Catolé, Toré, Coco de Umbigada, Coco de Desafio, etc. The Coco de Desafio is the only version that features men. The rest are for both sexes. From the Bantu African side comes the rhythm, based on the use of drums and shakers, and the refrain-verse format. From the native Brazilian side we have the group format, either a line or circle of people.
Again depending on the region, there are various names for its rhythms (Coco de Ganzá, Coco de Zambê and Coco de Mungonguê) and for the way it is sung (Coco Agalopado, Coco de Sétima and Coco de Embolada).
Various theories try to explain its origins. Some say it started in the quilombo dos Palmares, the settlements of runaway slaves in Alagoas. The ex-slaves used coconuts for food as well as creating bowls, spoons, sculptures, etc. While breaking the fruit some would sing while others danced. Others claim it origins with the sugar-cane workers. It reached its height of popularity as a dance during the 1950s, until replaced by samba and the Baião. Although popular throughout the year, it is generally performed at religious festivals, especially in the month of June.
The musical instruments are: Triangle, Ganzá rattle, Surdo drum, the small Zambê drum, the Zabumba bass drum, the Cuíca friction drum, the small wooden Alfaia drum, the Pandeiro tambourine and tamancos. These are sandals made of wood and leather that the dancers use, together with hand-claps, to beat out the rhythm (generally three strong steps with the right foot followed by a weaker one on the left).
Artists such as Flora Mourão, Jackson do Pandeiro, Lula Calixto, Bezerra da Silva, Selma do Coco, Lia de Itamaracá and Zé Neguinho do Coco have incorporated Coco into their repertoire.
Coco is also present in works by Alceu Valença, Gilberto Gil, Gal Costa, Dominguinhos, Sivuca, Zé Ramalho, Renata Arruda, Elba Ramalho, Chico Science & Nação Zumbi, Otto, Silvério Pessoa, Comadre Fulorzinha, Escurinho, Issar França, Cascabulho, Alessandra Leão and Lenine.
If you have even the slightest affinity for Brazilian music you need a copy of Vitto Meirelles’s Da Hora, out on the Cooking Vinyl label. And, I’m not just saying that because the cover features Mr. Meirelles in the buff with just a guitar. Yes, after years of bitter complaints about CD covers exploiting women’s bodies to boost sales, we can just chalk this up to an About Time Moment. Regardless of the cheesecake photo connotations, Mr. Meirelles has crafted a first rate recording that is a smart, savvy and satiny follow-up to previous recordings Da Fonte and Vem Rei.
Conjuring up an airy and intimate feel on Da Hora, singer, composer and musician Mr. Meirelles enlists percussionists Domenico Lancellotti, Marivaldo Paim, Carlos Sales and Pedro Fonte in addition to his own playing guitar, piano, bass and electric keyboard to weave this silky smooth Brazilian musicscape. Mr. Meirelles’s past work with the like of Gilberto Gil, Salif Keita and Seu Jorge and composing for film and theater serves him well on Da Hora in crafting engaging tracks and moods.
Opening with the “A Fonte Secou” featuring Denis Lavant, listeners are teased with flirty bit of opening accordion before riding the easy, breezy vocals of Mr. Meirelles and some delicious percussion dashed with a bit of cuica.
Lazing his way into “Nada E melhor do Que Voce,” listeners are lulled by backing Brazilian drumming, guitar and keyboards against Mr. Meilleres’s vocals before giving way to sections of just percussion and vocals.
Full of interesting turns of vocal phrasing and percussion, Da Hora transforms what might have been ordinary Brazilian fare into something extraordinary. Equally delicious are servings of “Outro Ceu,” the savvy swinging “Le Cannibale,” “Um Tempo ao Tempo,” the delicately worked “Tudo Era Leve” and the faint vocal backing of easy feeling “O Amor E Tudo.”
Title track “Da Hora” is indeed a standout track, along with “Sou Menina Menino” and the bonus tracks “Tu T’laisses Aller” and “Aguas de Marco.”
Da Hora’s warm intimate feel is dreamy drowsy laze steeped in Brazil, and we all know if Brazilian music is playing then all is right with the world. And hey, there’s a naked man with a guitar on the cover.
Brazilian percussionist and composer Adriano Adewale was born
in Sao Paulo, Brazil. For many years he was known as Adriano Pinto, a colonial
name he received at birth. After his visit to Africa (Nigeria and the Benin
Republic), searching for his roots, he changed his name to Adriano Adewale
Itauna, respectively from the Yoruba-Nigeria and Tupi Guarani-Brazil. Adewale
means royal child who come back home and Itauna means black rock.
Music has always been part of Adriano’s life. His father, an
aficionado percussionist, used to play drums during carnival, and drumming was
also a big feature of family gatherings. Adriano’s maternal grandfather used to
play clarinet, his uncle accordion and every weekend they would meet and play
‘Chorinho music’, a style also known as Brazilian Jazz.
Two uncles played a great influence on Adriano’s career;
Claudio Silva, who was a virtuoso ‘pandeiro’ player, and Joao Nicanor, a singer-songwriter,
guitarist and actor.
While working as an actor, Adriano took piano and percussion
lessons, followed by a degree/BA in classical music-percussion at the
University of Sao Paulo State. In April 2000, Adriano moved to the UK, quickly
establishing himself as a respected percussionist, composer, educator and band
In 2002, Adriano was introduced to Italian guitarist Antonio
Forcione and soon became part of the Antonio Forcione Quartet.
In 2004, Adriano went
to Africa (Nigeria-Benin) in search for his roots and also to study music with
great master percussion players. The trip deeply changed Adriano’s playing and
understanding of his own culture in many aspects.
Upon his return, he went on to study further, this time a
Masters course in Music/Performance at SOAS – School of Oriental and African
Studies in London. His first UK band, Sambura, released the album: Cru in 2006.
In 2008, Adriano released his first solo album, the
critically acclaimed Sementes (Segue records) produced by Gilad Atmov. It
featured the ‘Adriano Adewale Group’, an international line up of musicians,
including Australian born double bass player Nathan Riki Thomson, Senegalese
Kora player Kadially Kouyate and Brazilian flutist and saxophonist Marcelo Andrade.
In 2012, he released The Vortex Sessions, a collaboration with the leading Brazilian piano player Benjamin Taubkin. This was followed by Raizes (Caboclos Records) in 2014, his second solo album with the ‘Adriano Adewale Group’, produced by Chris Kimsin (Rolling Stones, Jimmy Cliff).
Adewale is also the mentor behind Catapluf’s Musical Journey, a concert that introduces young audiences to Jazz, commissioned by the EFG London Jazz Festival. With one CD released, Catapluf’s Musical Journey has toured many parts of Europe including Norway, Sweden, France and Scotland.
Adriano’s characteristic sounds come from organic materials, connected to nature. They are made out of wood, clay, metal, skins and the philosophy behind it is the connection with the four classic elements: water, earth, air and fire. Playing percussion is about making music.
Over the years, Adriano has worked as a curator and artistic director. From 2009-2010 Adriano was an artist in residence at the Lakeside Theatre, Colchester. He also curated ‘Festival Brasileiro’, which involved theater, dance, music and fine arts from Brazil, and challenged presiding conceptions of Brazilian culture. As part of the festival, he arranged for and conducted the Essex Youth Jazz Ensembles.
As a composer, Adriano has been commissioned by Bath Music
Festival to write a new music piece for the opening of 2011 and 2012’s Bath
festivals. He was also a composer/music director of dance-theatre piece
Ballroom of Joys and Sorrows, a collaboration with Kate Flatt (original
choreographer of Les Miserables). He has composed for dance companies,
including Phoenix dance company 2016, with whom he wrote the score for
‘Undivided lovers’, a dance piece based on and celebrating Shakespeare’s 400
Education is part of Adriano’s life. He is often writing new
music to collaborate with primary school pupils both singing and playing
Adriano has performed with leading word musicians such as the great singer Bobby Macferrin, and pianist Joanna McGregor with whom he still works and play as duo, combining classical, jazz and contemporary classical music.
In 2018, Adriano formed AKA Trio, together with Italian guitarist Antonio Forcione and Senegalese kora player Seckou Keita. The trio released an album titled Joy in 2018.
Carlos Malta was born February 25, 1960 in Brazil. A master of flutes and other wind instruments, he has been described as The Wind Sculptor. Carlos plays piccolo, flute, fife, indigenous flutes, clarinet, and saxophone, among others.
He began playing professionally at the age of eighteen, performing with musicians such as Johnny Alf, Antonio Carlos & Jocáfi and Maria Creuza. In 1981 he joined Hermeto Pascoal, collaborating with him until 1993, when he began his solo career.
Carlos also performed with Egberto Gismonti, Pat Metheny, Gil Evans, Marcus Miller, Charlie Haden, Wagner Tiso, Laércio de Freitas and Nico Assumpção.
He frequently acts as a studio musician, having participated in albums by Guinga, Lenine, Sergio Ricardo, Leila Pinheiro, Marcus Suzano, Paralamas do Sucesso, Caetano Veloso, Gilberto Gil (on the album São João Vivo, 2001).
In 1993, he teamed up with Swiss cellist Daniel Pezzotti to record the album “Rainbow”, competing for the 1995 Sharp Award.
He has participated as an instructor in festivals in Brazil and abroad since 1994. That year, he founded the groups Coreto Urbano (varied formation) and Pife Muderno (Carlos Malta, Andrea Ernest Dias, Marcos Suzano, Oscar Bolão and Durval Pereira).
In 1998 he released his first solo CD called “The Wind Sculptor”. The following year, the album “Carlos Malta and Pife Muderno” (1999) came out.
In 2003 participated in the CD Os Bambas da Flauta, released by Kuarup.
Hermeto Pascoal e Grupo, with Hermeto Pascoal (Som da Gente, 1982) Lagoa da Canoa, with Hermeto Pascoal (Som da Gente, 1984) Brasil Universo, with Hermeto Pascoal (Som da Gente, 1986) Só não toca quem não quer, with Hermeto Pascoal (Som da Gente, 1987) Festa dos Deuses, with Hermeto Pascoal (Polygram, 1992) Instrumental no CCBB, with Laércio de Freitas (1993) Rainbow, with Daniel Pezzoti (1993) O Escultor do Vento (1998) Carlos Malta e Pife Muderno (Rob Digital, 1999) Pixinguinha – Alma e Corpo (2000) Pimenta (500 Anos De Som, 2000) Mapa (Tratore, 2005) Wonderland (Edge Music, 2006) After The Carnaval (Stunt Records, 2009) Na Paleta do Pintor (Tratore, 2009) Leve o Que Quiser (Tratore, 2015) Samba Noir (Tratore, 2015) O Mar Amor – Canções de Caymmi (Deckdisc, 2016) Dreamland (Stunt Records, 2017) Besouros (Deckdisc, 2017) Alabê Ketujazz (Tratore, 2018) Sertão do Mar (Madame Bobage production, 2019)
A Moment of You is the debut album from talented Florida-based Brazilian singer-songwriter Daniela Soledade. Although Brazil is a country rich in musical genres, the majority of the Brazilian music productions mad in the United States gravitate towards bossa nova and this is the case here as well.
The highlights of the albums are the upbeat samba and baiao songs, when their lively beats come to the surface, featuring outstanding Brazilian percussion by Duduka Da Fonseca and producer Nate Najar’s guitars and cavaquinho. Another standout track is the exquisite “Veja Bem Meu Bem” featuring Yves Dharamraj’s magnificent cello.
The slower songs drift towards smooth jazz with the pre-requisite sax solos
and melancholic harmonica.