In Portuguese countryside, “Moçoila” is a common word to designate a young and attractive girl. And these can surely catch their audiences: powerful singing and traditional percussion playing, old and new songs from the land and the sea performed with unique joy and freshness.
Having the recovery of traditional Algarve music as a starting point, this vocal ensemble has a unique manner of interpreting old songs from the mountain “Serra do Caldeirão” For its most part their repertoire is composed by traditional folk songs from Algarve, rich in slang, the Algarvian cursing, and playful naggery spicing the plain love stories and social critique. This is a unique and yet to-be-discovered secret in Portuguese folk music.
Teresa Colaco – vocals, percussion
Teresa Muge – vocals, percussion
Margarida Guerreiro – vocals, percussion
Eduarda Alves – vocals, percussion
Já Cá Vai Roubado (Casa da Cultura de Loulé, 2001)
Tunamente Falando (Câmara Municipal Da Covilhã, 2002) Qu’É Que Tens A Ver Com Isso? (Ocarina, 2006)
The group’s purpose is to combine traditional Cante Alentejano (folk music from the Alentejo region of Portugal) with elements from other musical traditions, such as classical music.
Five musicians, of different generations, and with diversified musical formations, from the band. Five voices, one cellist, two acoustics guitarists, an accordionist and a percussionist bring an intimate style to Traditional Cante songs.
At the age of seven Pedro Jóia began his classical guitar studies with professor Paulo Valente Pereira at the cademia dos Amadores de Música de Lisboa,“ concluding the guitar course at the Conservatório Nacional de Lisboa with professor Manuel Morais in 1990.
In 1986 he began his Flamenco guitar studies initially on his own, and later attending master classes and improvement courses in Cordoba and Jerez de la Frontera (Spain) with guitarists Paco Peña and Gerardo Núñez.
He attended, between 1989 and 1992, the Escola Superior de Belas Artes de Lisboa.
Between 1990 and 1992 he taught the discipline of classical guitar at the “ Conservatório Regional de Loures.
From 1992 to 1998, he studied and worked with Manolo Sanlúcar in Córdoba and Sanlúcar de Barrameda (Spain).
In 1993, he began his concertmaster activity by performing at municipal auditoriums and music and guitar festivals.
He has worked for the theater, composing and arranging original music, such as, Lorca, Federico at the Teatro Experimental de Cascais with stage director Carlos Avilez.
Nowadays he teaches classical guitar for the higher degree in Music at the Universidade de Évora.
He has performed in various countries including Portugal, Spain, Belgium, Holland, India, Mozambique and Ivory Coast.
On the first of June 2001, he presented the show “ Variações Sobre Carlos Paredes “ at the great auditorium of the “ Centro Cultural de Belém.“
2002 confirmed the success of the previous year with several shows staged both in Portugal and abroad.
He was invited to perform in Macau with the Chinese Orchestra to play a mix of Portuguese and Chinese composition including Verdes Anos of Carlos Paredes.
“Early, Carlos Paredes’ music woke in me a strong “Portuguese” conscience.
With his legacy of a guitar family tradition originating from Coimbra, Paredes created an unmistakable, nostalgic sound, that punctuated the history of the last decades of 20th century Portugal.”
Guadiano (Farol Música, 1996) Jacarandá (Zona Música 2000)
Variações Sobre Carlos Paredes (Farol, 2001) À Espera De Armandinho (HM Música, 2007)
Created in 1990, Realejo appeared as a natural consequence of an all effort of investigation and recovery of specific traditional Portuguese musical instruments made by Fernando Meireles.
Among these, the hurdy-gurdy stands out once the group’s repertoire is actually directed towards this instrument. In fact Realejo have been playing all the music that is written for the hurdy-gurdy, from the Middle Age passing through the 18th century’s romantics, the French composers and the folk heritage.
Realejo are dedicated to the interpretation from the European traditions with special emphasis on music for the hurdy-gurdy, an instrument which, during the 19th century, disappeared from the Portuguese musical universe and which Fernando Meireles, with pioneering handiwork, recovered, building it from figures of 17th and 18th century Nativity scenes.
In 1995 Realejo recorded its first CD, Sanfonia, released by Movieplay. In 1997 a second CD was recorded, Cenários, released by the same company.
The hurdy-gurdy, which had completely disappeared in Portugal during the 19th century, was studied by Fernando Meireles for 4 or 5 years. This study was mainly based on nativity scenes from the 17th and 18th centuries. In 1990 he built his first hurdy-gurdy. Before this he had a similar research work for the beiroas and the toeiras guitars, instruments of rare beauty which only examples lay in the memory of times and in some Portuguese museums.
The music performed by Realejo suggests a journey of Interceltic characteristics with its Breton and Gaelic echos side by side with the repertoire taken from the traditional heritage of the north of Portugal. Therefore it is also revealing and determinant the fact that the group aims, in a diversity of expressions, at the cultural roots which identify in a careful and rigorous process, the authenticity of the traditional music.
Fernando Meireles – Hurdy Gurdy, Mandolin and Ukelele
Amadeu Magalhães – Bagpipe, Flutes, Braguesa Guitar, Melodion, Mandolin and Ukelele.
Fernando Araujo – Acoustic Bass
Jorge Queijo- Percussion
Miguel Veras – Guitars
Catarina – Voice
Ricardo Rocha is unanimously considered the best Portuguese guitar player of his generation. Rocha plays several instruments (Portuguese and classical guitar and piano) and also composes pieces for other singers and musicians.
He divides his career between well known fado houses (Taverna do Embufado and Velho Pateo de Santana) and performances with other artists. Rocha has been playing with popular Portuguese performers like Maria Ana Bobone, Maria Joao, Joao Paulo Esteves da Silva and Amelia Muge.
Luz Destino (MA Recordings, 1996)
Voluptuária (Vachier & Associados, 2003)
Tributo À Guitarra Portuguesa (Corda Seca, 2004)
Luminismo (Mbari Musica, 2009)
Resplandecente – Quartetos E Solos Para Guitarra Portuguesa (Mbari Musica, 2014)
Gaiteiros de Lisboa is a folk-traditional-world band of multi-talented musicians who got together around a sonorous project that stands on the constant search for new sounds. This has leaded the group to the creation of original instruments such as Tubaros d’Orpheu, Tubaroes, Orgaz, Cabecadecompressorofone, Clarinete acabacado and Serafina. Their experimental attitude sets up a bridge between Tradition and Modernity. by blending traditional styles with contemporary sensibilities.
The group has started out in 1991 as a street animation group. After several changes, it is presently formed by Carlos Guerreiro (voice, sanfona, panflutes, tubaros de Orfeu, buzio, percussion); Jose Salgueiro (voice, flugel, panflutes, tubaros de Orfeu, búzio or conch shell, percussion), Rui Vaz (voice, gaita, ocarina, panflutes, percussion), Pedro Casaes (voice, panflutes, percussion), Jose Manuel David (voice, trompa or French horn, gaita, flutes, percussion), Paulo Marinho (gaitas, flute, svina, panflutes, buzio, percussion) and Paulo Charneca (percussions, tubaroes).
They have played with the most important Portuguese musicians and bands having backgrounds in different genders such as rock, jazz, pop, folk, classical and early music.
A rising star in the new fado generation, Moutinho became popular in the 1990s after releasing his first album called Sete Fados e Alguns Cantos.
Helder Moutinho was born in 1969, in Oeiras, where the Tagus River meets the Ocean, and maybe it was from this daily intimacy with the sea that came the major characteristic of his career: a multiple capacity of understanding and living his music, by singing, composing, producing, managing, constantly probing wider horizons, of solid and neat banks and rich, steady stream. From his family of old fado lovers, and from accompanying them to the traditional fado circles, he got not only his taste for this kind of song, but above all his determination to sing it, and so entering in fado’s unique universe.
It was in Moutinho’s late teens that, after getting familiar to other musical styles, fado began to take an increasing importance in his life. This is perhaps the reason to explain his enduring, inevitable relation with Lisbon. After the lifelong calling of the sea, now is Tagus River that requests him, revealing him Lisbon, the city of passions, of poetic and nostalgic nights, of high flying gulls that he will forever on sing and write about. He initially sang only to friends, but his gift could not remain hidden, and he soon got his first invitation to sing in one of Bairro Alto’s fado bars.
By this time, Moutinho’s all latent talents began to show themselves. In reunions of fado singers, all night long, among other fado lovers, he began to sing his own lyrics that he would later include in his first album, Sete Fados e Alguns Cantos (Seven Fados and Some Songs). Concurrently, Helder Moutinho began revealing himself in other and important activities: those of a manager, agent and music editor. The transition from singing in fado bars and in concerts – one must mention his participation in projects organized by Lisbon City Hall and included in “Lisbon 94 – European Capital of Culture”, the Festima Festival at “Expo’ 98”, along with performances throughout Portugal and abroad – is a process that Moutinho himself can’t explain – but soon the stress-free approach of his beginnings turned to become a deeper, compromised one. His first record, released by Ocarina in 1999, got flattering notice from magazine “Strictly Mundial” (of the “World Music International Exibition”), and very good reviews from Portuguese and international press.
Joana Amendoeira is a New Generation fado singer. Through her voice, fado reaches unique, sublime moments, powered by her sensuous and moving harmonies.
Amendoeira was born in Santarem, Portugal in 1982. Her singing style is classic and traditional, yet her unique vocals bring a bright, new glow to fado.
In 1994, a young Amendoeira participated in the Lisbon Grand Fado Gala, where she received enthusiastic praise from the jury and the audience. In the following year, she won the Female Interpreter Award at the Oporto Gala. From that date on, she has been performing non-stop around Portugal and the world. Some of her favorite experiences include traveling to Budapest to perform in front of a remote Portuguese community, performing with fado legend Carlos do Carmo at the Radio Alpha Auditorium in Paris, and her first time in the Americas as a headliner at the Commemorations of the 500th Anniversary of the Discovery of Brazil.
Four years later her first album was released: 1998’s Olhos Garotos (Playful Eyes), thereby giving her the honor of being the youngest fado singer with a published CD. Her second CD followed shortly thereafter in 2000, when Aquela Rua (That Street) was released to outstanding reviews. This was also the year that Amendoeira began singing regularly at Clube de Fado (The Fado Club), one of most renowned fado houses in Lisbon.
Her growing international acclaim brought the fadista to more corners of the world, receiving invitations to sing in Japan, Moscow and Holland (at the prestigious Muziekcentrum Vredenburg). Meanwhile, back in her homeland of Portugal, Amendoeira was asked to take part in some of the top fado anthologies, such as Novas Vozes, Novos Fados (New Voices, New Fados) and Nova Biografia do Fado (Fado’s New Biography). She also contributed to the Moniz Pereira homage album, as well as the soundtrack to the TV series Joia de Africa (African Jewel).
In 2003, her third CD, the self-titled Joana Amendoeira, received enthusiastic praise from fado devotees, reviewers and audiences alike. The album?s promotional tour sent Amendoeira once again through Europe, this time performing in Spain, France and Austria, to name a few. The tour also brought her to Canada for the first time, where she performed at Montreal’s Strictly Mundial.
Amendoeira achieved further success when she received the 2004 Revelation Award from Casa da Imprensa (The Portuguese Press Association). That same year she presented her first solo show at one of Lisbon’s oldest and most illustrious stages: The Sao Luiz Theatre. This performance would later be turned into her first live album, Ao Vivo Em Lisboa (Live in Lisbon), released in July 2005.
Olhos Garotos (Espacial, 1998) Aquela Rua (Espacial, 2000)
Joana Amendoeira (Companhia Nacional De Música, 2003)
Ao Vivo em Lisboa (Companhia Nacional De Música, 2005) À Flor da Pele (HM Musica, 2006)
Joana Amendoeira & Mar Ensemble (HM Musica, 2008) Sétimo Fado (Nosso Fado, 2010)
Amor Mais Perfeito (Tributo a José Fontes Rocha) (Companhia Nacional De Música, 2012) Muito Depois (Companhia Nacional De Música, 2016)
Jorge Fernando celebrated his 25 years in show business in May 2000 with a celebrity concert in Lisbon’s Tivoli theatre. He was 16 when he became a professional fado singer and guitarist. Jorge Fernando toured more than 5 years the world when Carlos Goncalves asked him to join the band of Amália Rodriguez.
His first solo success happened in 1983 when he performed at the RTP festival with the song “Brancas Para O Meu Amor” which earned him a record deal. In 1985 Fernando performed again at the RTP festival and the song “Umbada” became a number one hit for several months in the Portuguese hit parade.
These days Jorge Fernando is considered as one of the most important male fado singers and writer/composer in Portugal. He released several successful albums in Portugal in his long spanning career.
Enamorado (EMI, 1986)
Coisas da Vida (EMI, 1988)
Boa Noite Solidão (Polygram, 1989)
À Tua Porta (Polygram, 1991)
Oxála (Polygram, 1993) Terra d’Água (Movieplay, 1997)
Rumo ao Sul (Movieplay, 1999)
Inéditos ao Vivo No Tivoli (Popular/VC, 2000) Velho Fado (World Connection, 2002)
Memória e Fado (Som Livre, 2005)
Vida (Farol, 2009)
Chamam-Lhe Fado (Farol, 2012) De Mim Para Mim (Glam Music, 2018)
Even though he’s been involved in traditional and folk music since the early 1970s, José Medeiros was, for some time, mostly known by his award-winning film-making for the television in the Azores. Later re-discovered as a singer and composer, he was part of the revival of folk music in the islands.
For his stunning and powerful singing, Medeiros was called too often the Portuguese Tom Waits. His songs are strongly rooted in the tradition, and reflect both the deepness and the nostalgia of the islander feeling.
ala-bote! (DisRego, 1986)
Balada Do Atlântico (Disrego, 1987)
O Feiticeiro Do Vento – Rtp Açores (DisRego, 1995)
Cinefilias E Outras Incertezas (Memórias, 1999)
Fados, Fantasmas E Folias (Algarpalcos, 2010)
Your Connection to traditional and contemporary World Music including folk, roots and various types of global fusion