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).
Revista do Samba is based in São Paulo and was formed in 1999. Since then, the trio, with Leticia Coura, Beto Bianchi and Vitor da Trindade, has been performing throughout Brazil and Europe.
The music arose out of research into repertoire, which extended into the origins of samba and an exploration of how sambas written in the 1920s and 1930s are still fresh in the minds of so many Brazilians and are still a part of the ‘repertoire’ of ordinary people, people who were never alive when samba was everywhere in Brazil.
Revista do Samba do samba returns to the time when samba was the main cultural expression of the Brazilian people and brings it up to the moment. The trio performs the songs of the greatest of the samba composers. The songs are part of the personal history of every Brazilian – familiar to everyone.
The musicians recorded the first album of the group, produced by Wolfang Loos, for the label Traumton of Berlin, released in September 2002. From their own repertoires, Coura, Bianchi and da Trindade have made a collection of beautiful old songs for this first CD. Some, incredibly, were never a national success – but are remembered generations later.
In performance, the trio plays with humor – with each other and with the audience. Samba is theatrical´. It depends on – and generates a buzz between the stage and the floor. The lyrics and the turns of the songs are often funny, as is felt by anyone listening, no matter of what nationality. The melodies are somehow light and immediate – yet distant and haunting.
With the lightest of modern sensibilities, Revista do Samba revive the feeling of what samba was like at its height, both live and on album.
Revista do Samba (Traumton Records, 2004) Outras Bossas (Traumton Records, 2005
Revista Bixiga Oficina do Samba (Tratore, 2006)
Hortensia du samba, with Tante Hortense (Les Disques Bien, 2017)
Jorge Ben Jor is a composer of Brazilian hits likes “Mas, Que Nada,””Chove Chuva,””Que Pena,” and “Pais Tropical.” This happy master of samba-funk consistently has had best selling albums on Polygram, Warner, and Sony.
Jorge Duilio Lima Menezes, better known as Jorge Ben and later as Jorge Ben Jor, was born March 22, 1945 in Madureira and raised in Catumbi, Rio de Janeiro’s suburbs, Jorge enjoyed singing with the church choir and going out with carnival bands from an early age. In his teens, he was a given a guitar and started playing Bossa Nova and Rock n Roll with it. Raised by his mother to be a pediatrician, by his father to be a lawyer, and by his instincts to become a soccer-player, he chose to be a musician instead.
In the 1960s, he performed at Beco das Garrafas, which later became a legendary nightclub area in Copacabana and home of the Bossa Nova movement. And that’s where he was spotted by a producer, who promptly offered him a record deal. Soon, in 1963, the first single was out, featuring “Mas Que Nada” and “Por Causa de Voce, Menina”, performed along with the group Copa Cinco. That same year, he released his first LP, Samba Esquema Novo.
Ben headed to the United States, where his compositions “Zazoeira”, “Mas Que Nada” and “Nena Nan?” hit the charts and were re-interpreted by musicians such as Sergio Mendes, Herb Alpert, Jose Feliciano and Trini Lopez. In the era of musical shows on TV, Ben managed to remain faithful to his multi-faceted techniques, appearing on bossa nova, rock’n’roll and tropicalist productions. In 1969, he relished on success with songs like “Pais Tropical” and “Que Maravilha”, besides competing on a festival with “Charles Anjo 45”.
He was placed first in 1972, when Maria Alcina sang his “Fio Maravilha”. Ben Jor released other albums in the 1970s, including the classics A Tabua de Esmeralda (1974) and Africa Brasil (1976). During the next decade, he dedicated to spreading Brazilian music throughout the world.
In 1989 he changed his name from Jorge Ben to Jorge Ben Jor. His song “W Brasil,” released in 1990, hit the dance floors in 1991 and 1992, turning into a long-lasting fever. At that point, his records took on a more pop direction, nonetheless keeping his trademark swing.
Jorge Ben Jor’s music holds a unique role in the Brazilian scene, due to the merging of new elements in his swinging mix and to the way he plays the guitar, revealing his appreciation of soul music and American funk, yet incorporating the influence of African and Arabic music, legacy of his Ethiopian mother.
Samba Esquema Novo (1963) Ben é Samba Bom (1964)
Sacundin Ben Samba (1964)
Big Ben (1965)
O Bidú Silêncio no Brooklin (1967) Jorge Ben (1969)
Força Bruta (1970)
Negro é Lindo (1971)
10 Anos Depois (1973) A Tábua de Esmeralda (1974)
Solta o Pavão (1975)
à l’Olympia (1975)
Gil e Jorge, with Gilberto Gil (1975) África Brasil (1976)
Samba Nova (1976) Tropical (1977)
A Banda Do Zé Pretinho (1978)
Salve Simpatia (1979)
Alô, Alô, Como Vai? (1980)
Bem Vinda Amizade (1981)
Ben Brasil (1986)
Ben Jor (1989)
Live in Rio (1992) 23 (1994)
Homo sapiens (1995)
Musicas Para Tocar Em Elevador (1997)
Puro Suingue (2000)
Acústico MTV (2002)
Reactivus Amor Est (2004)
Recuerdos de Assunción 443 (2007)
Favourites From Samba Esquema Novo 1963 – África Brasil 1976 (2008)
Luiz Feliciano Antonio Marcondes, better known as Neguinho da Beija-Flor, was born in Nova Iguaçu, Brazil on June 29, 1949. He is considered one of the most important Carnaval samba-enredo singers of all time.
Son of a trumpeter of the famous Orquestra Tabajara, Neguinho began his career in music when he was still a kid. At ten he won a contest by singing a samba by legendary carioca artist Jamelão.
His first album, “Vida No Peito” was released in 1980, followed by other 15 albums until 2000, featuring hits such as “Os Cinco Bailes da História do Rio” and “Aquarela Brasileira”.
In 1991, he won the Sharp prize as Best Samba Singer. In 2001, Neguinho released his first live album, “25 Anos de Fé e Raiz”, celebrating his 25-year career.
Since 1975 Neguinho has been affiliated with samba school, Beija-Flor de Nilópolis, in Rio de Janeiro, which became part of his artistic name. In 1976, his samba-enredo “Sonhar Com o Rei dá Leão” gave him the first title in the Rio Carnaval. Since then, the samba school has won 12 parade competitions, making Neguinho da Beija-Flor one of the most popular Carnaval figures of Brazil.
Samba star Neguinho da Beija-Flor is set to perform on February 24th, 2018 at Cafe Club Fais Do-Do in Los Angeles. Considered one of the most celebrated Carnaval performers of Brazil, Neguinho has been affiliated with parade winner, Beija-Flor de Nilópoles, one of the largest samba schools of Rio de Janeiro. This will be his first time touring in the United States.
Cafe Club Fais Do-Do
5257 W Adams Blvd, Los Angeles, CA 90016
Dance of Time by celebrated Brazilian pianist and vocalist Eliane Elias won the Best Latin Jazz/Jazz award at 18th Latin Grammy Awards.
The award-winning album includes high profile guests such as Amilton Godoy on piano, João Bosco and Toquinho on vocals and guitars, Randy Brecker on trumpet, Mike Mainieri on vibraphone and Mark Kibble (Take 6) on vocals.
American jazz vocalist produced her new album, Minha Casa / My House. It’s a collection of jazz and samba songs in English and Portuguese. The music selection includes songs by Cole Porter, Guinga, Bill Cantos, Dizzy Gillespie/Eddie Jefferson, Joni Mitchell, Branislaw Kaper, Henry Nemo, Eden Ahbez, and Carol Bach-y-Rita.
Carol Bach-y-Rita has a warm voice that fits well with her repertoire. She also uses her voice as a percussion instruments at times. The instrumental line-up includes a mix of talented American jazz musicians and Brazilian percussionist Dudu Fuentes.
Lineup: Carol Bach-y-Rita on vocals and vocal percussion; Bill Cantos on piano; Larry Koonse on guitar; John Leftwich on bass; Mike Shapiro on drums and percussion; and Eduard “Dudu Fuentes” on percussion duet.
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.
Vocalist and samba star Elza Soares is set to perform on Sunday, November 13, 2016 at Barbican Hall in London. The concert is part of this year’s EFG London Jazz Festival. The show will include special guest Eska.
Known for her husky vocals, Elza Soares has been a defining presence in Brazilian music since the 1950s. She has appeared on over 50 albums and has worked with significant Brazilian artists such as Caetano Veloso, Chico Barque and Jorge Ben Jor.
Elza Soares’ latest album, The Woman at the End of the World (Mais Um Discos), released in June 2016 includes a set of experimental samba sujo (‘dirty samba’) where samba is with rock, free-jazz, noise and other experimental music forms, created with São Paulo’s underground musicians.
Soares will be joined on stage by special guest artist, singer-songwriter Eska, who will be performing with her band.
Fans of the Brazilian songwriter and songstress Luisa Maita are set to be rewarded a big payout on their patience in waiting around for her follow-up recording to her 2010 hit recording Lero-Lero. It’s not like she hasn’t been busy with world touring, working with the electronic band Ladytron’s Daniel Hunt, recording with British group Da Lata and lending her voice to Rio’s Olympic Games opening ceremony. One listen to Ms. Maita’s Fio da Memoria or Thread of Memory, set for release on September 23rd on the Cumbancha music label, and one gets that this sleek, silky lushness isn’t something pounded out in an afternoon.
Teaming up DJ and electronic musician Tejo Damasceno and bass player and producer Ze Nigro, Ms. Maita has taken popular Brazilian musical constructs like the samba and bossa nova, along with pop music and the rich collection of Brazil’s female singers, and squeezed and condensed that sound through a filter of electronic and beat music. The effect is densely lush and cutting edge delicious.
Ms. Maita says of the recording, “It is a very subjective, personal and emotional record. I tried not to limit myself to a certain musical style, and in this diversity there is unity. I wanted to revisit the Brazilian rhythms and other sounds that I have heard growing up from a contemporary, electronic and urban perspective.”
Opening with a subterranean sultry on “Na Asa,” listener come up against the wonderfully seductive vocals of Ms. Maita against a backdrop of the hip sharpness of electronica conjured up on Fio da Memoria. And, it just gets better with an almost predatory combination of bass, guitar and percussion on the fierce “Around You.” Wrapped up in synthesizers, electronic beats, effects, Brazilian percussion and Ms. Maita’s tantalizing vocals, Fio da Memoria rides waves of electronic edgy and savagely cool.
“The record is about what Brazil is today aesthetically, in this electronic age,” says Ms. Maita.
The deliciousness gets good with the meaty beat and razor sharp electronica on “Porão,” the kickass groove of title track “Fio da Memoria” and the guitar laced “Sutil” and the Brazilian percussion packed “Folia.” Perhaps my favorite track is the dreamy “Ela” with its lazy coolness punctuated by Ms. Maita’s sultry vocals and an easy and jazzy feel. Fio da Memoria closes with “Jump,” a lush listen to Ms. Maita’s layered solo vocals that is much too short but well worth a listen.
If this is what Brazil’s electronic age sounds like I’m all for it.