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Esta página será a caixa de repercussão dos artigos e opiniões dos críticos e analistas de música, em especial sobre o jazz, o blues e o samba. Os artigos e entrevistas com grandes nomes e promessas do meio publicadas nos sites, magazines, jornais  e outros mídias serão transpostos conforme original e com o competente crédito e eventualmente poderão ser traduzidos literalmente ou terem sua versão em português guardando seu conteúdo efetivo.

A contemporaneidade, o curso atual da música, novas tendências e os emergentes na arte terão espaço aqui para se mostrarem. É evidente que a orientação é do site mas fica franqueada aos aficcionados, participantes, visitantes e colaboradores, efetivos ou eventuais, opinarem criticarem e sugerirem caminhos e edições.

Este é mais um espaço para todos. Aproveitem !!!

Published 03/31/2017 
By Mac Randall

On Jan. 4, John McLaughlin turned 75—a noteworthy birthday for anybody lucky enough to reach it, and one that seems to have led the British guitarist and composer to make some big decisions. In November and December of this year, he will embark on a tour of the United States with his current band, the 4th Dimension, featuring keyboardist/percussionist Gary Husband, bassist Etienne Mbappé and drummer Ranjit Barot. The tour will be his first jaunt around the U.S. in seven years. It will also be his last.

“Yes, this is my farewell tour of America,” McLaughlin confirmed to JT during a recent interview in New York. “That doesn’t mean I’m not coming back, but it does mean I don’t want to travel as much anymore. I’ve been on the road since I was 16, and I’ve got a lot of other musical projects in the works that I want to focus on at this point.”

McLaughlin and the 4th Dimension won’t be touring on their own. Sharing the bill with them will be another enviably talented guitarist, the North Carolinian Jimmy Herring, who came up through the ’90s jam circuit with the Aquarium Rescue Unit and now divides his time between rockers Widespread Panic and his own, more jazz-oriented projects.

Herring and McLaughlin, who share a deep passion for the blues and Indian classical music, got to know each other after becoming labelmates at Abstract Logix. They first played together in 2015, at an all-star show celebrating the 30th anniversary of PRS Guitars (a company they both endorse), and the experience soon had them discussing the possibility of doing more. McLaughlin has called Herring his favorite living electric guitarist besides Jeff Beck, and the admiration is clearly mutual. “I first heard John’s playing when I was 17,” says Herring, 55. “Right from the first few seconds of The Inner Mounting Flame”—the epochal fusion album McLaughlin cut with the Mahavishnu Orchestra in 1971—“I felt like I’d stuck my finger in an electric socket. I didn’t even know what instrumental music was then, but I knew that whatever this was, it was going to be a lifelong commitment.”

Perhaps not coincidentally, the McLaughlin/Herring tour has been given the name “Meeting of the Spirits,” after the opening track on The Inner Mounting Flame. With months to go before the first show takes place, much remains to be worked out, though one structural element seems pretty certain: Herring’s band (most likely including drummer Jeff Sipe, bassist Kevin Scott and keyboardists Jason Crosby and Matt Slocum) is going to play one set, the 4th Dimension will play another, and then both bands will team up for a final set. “Doing this tour with John is, in my mind, all about a celebration of an icon, so of course I’d imagine that I’ll be going on first,” Herring says. “But John’s thinking that we might alternate. I guess in the end it depends on what makes the most sense logistically, in terms of moving amps and keyboards and drum kits around every night.”

Repertoire is still to be determined, but expect plenty of vintage Mahavishnu material. One tune that’s being seriously considered is “Hope,” a seldom-played track from 1973’s Birds of Fire, though it may not be handled by McLaughlin. Herring covered it magnificently on his second solo album, 2012’s Subject to Change Without Notice, and that recording just happens to have been McLaughlin’s first exposure to Herring’s playing. “I’m still knocked out by what Jimmy did with ‘Hope,’” the composer says. “He plays it like he wrote it, and I’d have given my back teeth to play his solo on the album. He has to do that one every night.” Consider the gauntlet thrown down 




Al Jarreau

Published 02/10/2017    

Al Jarreau: An American Original

The venerable vocalist discusses his career highlights and gives some good advice

Al Jarreau is a master of rhythms from around the world. His bag of sounds and improvisations is informed by a host of influences—the music of the church and Africa and Brazil, for example—administered with a taste of funk. He can take you on a magic carpet ride, high above the maddening static of tweets, cell phones and digital overload. (Though he’s not above referencing those sounds when he sings.) He thrills me with his spontaneous creativity and his humor, humanity and love.

Al’s got a whole lot of it.I felt this up close in January 2015, at the Thelonious Monk Institute International Jazz Competition in Los Angeles. Al was a judge. When we met I began the process of arranging an interview for Voices in Jazz—no small task given his schedule.We witnessed a special competition that afternoon, won by New Jersey native Jazzmeia Horn. That evening,

Al performed a magical rendition of Michael Jackson’s “Human Nature.” It was pure Jarreau, and it continues to echo in my dreams.Months later, after much back and forth, Al and I connected again. We talked and laughed for over an hour. Wisdom and great stories poured from his lips. I felt like I was in the presence of a sage. I learned about his history and how he developed one of the most original voices in jazz. I am proud to share this conversation with you.Sadly, on Feb. 7, Al canceled his remaining live dates and announced his retirement from touring via his website. The statement read: “Al Jarreau is in the hospital in Los Angeles, due to exhaustion. He is receiving excellent medical care, responding to treatments, and improving slowly. 

The medical team has instructed that he cannot perform any of his remaining 2017 concert dates. Therefore, with complete sorrow, Al Jarreau must retire from touring. He is thankful for his 50 years of traveling the world in ministry through music, and for everyone who shared this with him: his faithful audience, the dedicated musicians, and so many others who supported his effort.

Roseanna Vitro: What’s your earliest memory of music?

Al Jarreau: Sitting on the bench by my mom, singing in church. I could feel my heart’s “echo-grams,” and it proved that music is immediate. I could feel it. I’m always listening to my body. Rhythm and the creative source are put into our lives. Singing is like painting. It’s deep in your core, your message. It starts early.If it ain’t music, people need to find something they love to do and then do it for free. Something that floats their boat, that completes their life, that makes it right. Even knitting or sewing! Find something that makes you enjoy life.

RV: What touched you? How early did you know you wanted to be a singer?

AJ: Always! As soon as I could remember singing “Jesus Loves Me.”

RV: I know your mom was a pianist and your dad was a Seventh-day Adventist preacher. How much of an influence were your parents on your music?

AJ: Everyone sang in the house. My sisters played piano, but not seriously. I was a baseball guy, but at 19 years old I gave it up. I was a free spirit, but didn’t study music; I sang in doo-wop quartets. I loved singing the basslines. I was always singing. In junior high school, I sang in big choirs with 90 singers, tunes like “Red Sails in the Sunset.” I learned everything by ear.

RV: How did you master your percussive rhythms and original sounds?

AJ:  In 1965 I was a rehab counselor in the Bay Area and I’d sing at night, but I wasn’t good at being a rehab counselor. It was too rigid. I felt like I was an ordinary singer, not original, not like a young Tony Bennett or Diana Krall. In ’64 through ’65 I began delving deep into Afro-Cuban rhythms, the music of Tito Puente and Cal Tjader. But when I heard the music, melodies and rhythms from Brazil—God, I fell in love.Here’s a story: I was in a shoemaker store to have a new belt made. You’ll never believe a man came over to me—and it was Sergio Mendes! Oh my goodness, one of my heroes. I could never get enough of Brazil ’66—the melodies, changes, the rhythm.I loved Astrud Gilberto. She was amazing, so beautiful but so simple. As a singer, you have to remember the lesson that it’s in your story. Minimal works.In 1965 I started singing with the George Duke Trio. I stood up in front of that trio for five years at the Half Note in San Francisco. The music was great and I loved my dear friend, but I decided it was time to go on my own. I wanted to work with only solo guitar. So it was guitar, me, my cabasa shaker, a microphone and a stand. I had decided that a keyboard, drums and bass take up a whole lotta space.This was my opportunity to sing everything I was hearing, to experiment. This was a very formative and fertile period for my technique. I was listening to music all the time, all the Brazilian percussion.

RV: You were discovered shortly after this period. You performed on Johnny Carson, Mike Douglas, many of the popular television shows. What are your favorite memories from those days?

AJ: Some of my favorite memories are working on We Got By, “We’re in This Love Together,” Breakin’ Away, “Blue Rondo à la Turk.” Man, there was a lot of overdubbing there.I was touring and life was good. There was “After All” in 1984; that was a good year. In 1986 I worked with my friend Nile Rodgers who produced L is for Lover in New York at Skyline Studios.

RV: You’ve performed with the greats, and one of my favorites was the late Joe Sample. What are your memories of Joe?

AJ:  Laughter, so much joyous laughter. Joe’s personality and his approach to life, you can hear it in the music. You have to hear Joe’s work on Children of the Sun with the NDR Big Band; it was all about slaves, plantations, the Caribbean, etc. We toured together. I sang some Gershwin, “Porgy and Bess.” I miss Joe Sample.

RV: What was it like when you gigged with Chick Corea?

AJ: Chick has a beautiful spirit. We connected. He’s very serious with spiritual notions. He’s very religious in his own way. The way he applies it, it’s always about the possibility of people doing better. There’s pure brilliance coming out of his hands.

RV: What are your thoughts on Miles Davis?

AJ: I know he listened all the time. He was about knowing the lyric. It’s a message for singers. Find the message and if you’re a writer, use your language. He sang through his horn.

RV: Jon Hendricks is the Godfather of Vocalese. What was it like to sing on Jon’s historic album Freddie Freeloader? [Editor’s note: Godfather of Vocalese is also the title of a 1990 album by vocalist Eddie Jefferson.]

AJ: Jon just called me up and asked, “Will you sing with Bobby McFerrin and George Benson?” I memorized all the lyrics and the Miles solo—yes, I learned it—walked into the studio and we just recorded it. I only had a few fixes. It was all done by ear.

RV: What do you look for in a band?

AJ: First, on piano, I need someone who knows simplicity and complexity, omeone who listens well. A musician who can find those delicious additional notes in the chord that bring you to tears or make you jump up and dance. I love sophisticated chords around the melody, and like Bill Evans said, “Listen, always sten.”dation. Of course his time has to be good and, again, listen, always listen.The same for the drummer—lots of chops, but they shouldn’t forget they’re accompanying. Feeling the foot tapping on the floor is fine, but we’ve gotten beyond just that. Support!

RV: As a master vocalist with years of service to the cause, do you have any advice for young singers?

AJ: Sit down and shut up and sing your song. Do it because you love it. If you don’t love it, become a doctor. Sing because you love it and you can’t live without it.I’d advise all jazz singers and students to check out Al’s virtuosity on his recordings and YouTube clips. In particular:“Agua de Beber” – 

Glow (1976)

“Take Five,””Better Than Anything”  –  Look to the Rainbow (1977)
“Spain” – This Time (1980)
“(Round, Round, Round) Blue Rondo à la Turk” – Breakin’ Away (1981)
“Mas Que Nada” – Tenderness (1994)
“Compared to What” – The Best of Al Jarreau (1996)
“Cold Duck” – Accentuate the Positive (2004). 

E-mail de VERVE MUSICAL GROUP  de 18/02/2017

New album from Diana Krall!
Diana Krall's upcoming album, Turn Up the Quiet, celebrates Jazz and the Great American Songbook, reuniting Diana with GRAMMY Award-winner, Tommy LiPuma, her co-producer on this latest recording. 


2016 Berklee Honorary Doctorate: Milton Nascimento

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Milton Nascimento, a well-known Brazilian singer-songwriter and guitarist, was born in Rio De Janeiro, Brazil. His father ran a radio station, where Nascimento was a DJ from time to time. He has lived in several cities around Brazil including Três Pontas, Laranjeiras, and Tijuca. His musical career really took off when working with two samba groups, Evolussamba and Sambacana. He developed a friendship with songwriter Lô Borges; together, they developed the artist collective Clube da Esesquina (which in English means “Corner Club”) in Belo Horizonte. Some of the artists who were part of this collective were guitarist Toninho Horta and pianist Wagner Tiso.

In 1966 Nascimento appeared on TV with Elis Regina; eventually the collective released Clube da Esquina in 1972. Nascimento’s trademark is his distinguished falsetto voice and the range he is able to reach, featured on songs such as “Maria, Maria” and “Bailes da Vida.” His big breakthrough occurred when international musicians discovered Nascimento’s voice, including saxophonist Wayne Shorter. Shorter featured Nascimento on the 1974 release Native Dancer, where his distinguished voice can be heard on the opener “Ponta de Areia”.

In 1994 Nascimento released Angelus, which featured greats such as Pat Metheny, Ron Carter, and Herbie Hancock. It wasn’t only jazz music in which Nascimento was involved: through his friendship with guitarist Warren Cuccurullo, he did work with 80s pop group Duran Duran. He co-wrote the song “Breath After Breath,” and when the group toured Brazil, he played with them. Other collaborations over the years included the Red Hot Organization for an AIDS-Benefit Album in 1996 and his 2004 work with a Brazilian heavy metal band Angra on song called “Last Redemption.”

Milton Nascimento at International Jazz Day in 2013
Wayne Shorter – Ponta de Areia
Angra – Last Redemption
Milton Nascimento – Dancing 
Milton Nascimento with Duran Duran
Milton Nascimento with James Taylor
Milton Nascimento with David Sanborn

03/01/2017 - VERVE NATAL

Jazz Times Holiday Giveaway

Ella Fitzgerald and Louis Armstrong: Ella & Louis Christmas
Have a Merry Christmas with two of the most legendary voices in jazz. This album features Christmas standards performed by Ella Fitzgerald and Louis Armstrong.

 Fitzgerald and Louis Armstrong: Ella & Louis Christmas

Ella Fitzgerald: Ella Wishes You A Swinging Christmas
A swingin' Christmas and a jazzy new year-that's what this joyous 1960 Ella LP will bring you. She sings (and swings) Jingle Bells, Sleigh Ride, Winter Wonderland, and more!

Ella Fitzgerald: Ella Wishes You A Swinging Christmas

Diana Krall: Christmas Songs
This is first full length holiday recording by this Grammy Award winning artist. It is an uplifting collection of seasonal favorites, with Krall sounding better than ever on both piano and vocals. Features swinging big band arrangements by John Clayton and several tracks for quartet, including string arrangements by Johnny Mandel. Produced by Tommy LiPuma and Diana Krall. Verve. 2005.

Diana Krall - Christmas Songs


Verve Spotify Playlist: Jazzy Christmas To You

Jazzy Christmas To You

CHRIS STANDRING - Guitarrista inglês de jazz radicado na Califórnia com 13 CDs no mercado, entre os quais o genial Love & Paragraphs e o último Let's Dance!
Hoje com seus manuais ensinando você a tocar o que ouve.

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News from

Hi sidnei,

Just one more week to go until the official launch of my brand new Play What You Hear Volume Two. Tuesday December 13th is the big release day, and as promised I am going to give you a special discount for being a loyal subscriber.

Next tuesday, look for an email first thing and I will give you a coupon to get 15% off. This coupon will be good for one week only, then the regular price will revert.

If you have been through PWYH volume One, or either of my two Jazz Guitar Video Masterclasses, you will be perfectly prepared for this new in depth program. I'm going to talk about new concepts and ideas and prepare you for another lifetime of inspiration and tools to develop your jazz guitar skills. And every example I discuss is shown in high def video.

Did I mention this might be a great holiday gift? Yes, it could very well be. Talk to you again next Tuesday!


Chris Standring


PELO TELEFONE de Donga e Mário Almeida

Martinho da Vila interpreta o primeiro samba gravado - 27 de novembro de 1916.

Pixinguinha e seus amigos

100 anos de samba: Conheça as raízes 

"Quem não gosta de samba bom sujeito não é", diz o refrão de uma famosa música brasileira. O samba é considerado o ritmo mais popular do país. Você sabia que em 2016 o samba completa 100 anos?

A data remete ao primeiro samba oficialmente registrado no país na Biblioteca Nacional. A música “Pelo Telefone” foi registrada em 1916 por Donga (1890-1974), mas foi composta coletivamente na casa de Tia Ciata (ver abaixo).  Com essa música, a palavra samba também apareceu pela primeira vez no selo de um disco de vinil.

“Pelo Telefone” é considerado um maxixe (ritmo fruto da fusão da polca europeia com o lundu de origem africana), mas que entrou para a história como o primeiro samba oficial do país. Apesar disso, muitos outros sambas foram compostos antes de "Pelo Telefone".

Herdeiros de Tia Ciata

No início do século 20 o Rio de Janeiro era um lugar efervescente. A República acabara de se proclamada e o país vivia os primeiros anos após a Abolição da Escravidão (1888). A cidade crescia e se modernizava, atraindo uma massa de trabalhadores negros e migrantes vindos de diversas regiões do país.

Na zona portuária da capital carioca se destacava a região da Pedra do Sal, considerada berço do samba carioca. Desde o século 18 funcionava no local um mercado de escravos, o Cais do Valongo, que entre 1769 e 1830 foi porta de entrada no Brasil para 500 mil escravos oriundos da África. No século 19, escravos vindos do Nordeste também desembarcam na cidade para trabalhar nas plantações de café do Vale do Paraíba e no interior paulista.

Após a Abolição, os escravos alforriados foram marginalizados e não houve uma política de integração dos libertos. Muitos foram viver nos arredores da praça Onze e da Pedra do Sal, local em que já existiam remanescentes de um quilombo. Soldados negros egressos da Guerra do Paraguai também foram viver nos morros próximos. Essa comunidade negra de diferentes origens passou a ser conhecida como “Pequena África”, onde hoje ficam os bairros de Santo Cristo, Saúde e Gamboa.

Era na Pedra do Sal, local simbolizado por uma rocha, que estivadores começaram a se reunir em rodas para cantar e dançar. Ali também eram realizadas rodas de capoeira e surgiram os primeiros ranchos carnavalescos, afoxés e rodas de samba.

A cultura afro-brasileira se formou a partir da cultura trazida pelos escravos com a mistura de influências europeias. Os batuques estavam presentes nas fazendas coloniais e em festas religiosas, em manifestações afro-brasileiras como o jongo, a umbigada, o tambor de criola e a congada.

Os gêneros musicais considerados ancestrais diretos do samba são o lundu e o maxixe, que ficaram muito populares no final do século 19 e no começo do século XX. O lundu trazia músicas com letras bem-humoradas e uma dança com caráter sensual. O maxixe usava flauta, violão e cavaquinho em sua formação e influenciou a criação do chorinho.

Um dos grupos mais numerosos de migrantes no Rio de Janeiro eram os negros que chegavam da Bahia.  Um grande fluxo de baianos foi viver em volta do cais e nos cortiços e velhas casas do centro, onde a moradia era mais barata e os homens podiam buscar emprego como estivadores.

As famílias baianas se organizavam em torno de tradições religiosas iorubás e sob a liderança de mães e pais de santo que criaram seus candomblés em casas da Pequena África. O famoso terreiro do babalorixá João Alabá atraia gente de toda a cidade. Esses centros desempenharam um papel fundamental para fortalecer a organização social daquela comunidade negra. 

As mulheres baianas eram conhecidas como “tias” e se destacavam pela rede de relações e pelo apoio que prestavam à comunidade e às famílias que chegavam ao Rio. Muitas eram donas de pensões e vendiam comida para os trabalhadores. Nos terreiros das casas das tias baianas aconteciam os ritos e celebrações religiosas, mas também festas que só terminavam na manhã seguinte.

Outra base de formação do samba carioca foi o samba de roda baiano, trazido pelos migrantes baianos. Com origem no século 19 no Recôncavo baiano, o samba de roda é uma manifestação cultural em que em que os homens tocam e as mulheres dançam uma de cada vez, ocupando o centro da roda.

Existe ainda o formato em que o casal ocupa o centro da roda, acompanhados por canções e palmas. Os músicos tocam tamborins, cuícas, pandeiros, viola, reco-recos e agogôs. Acredita-se que o gênero teria surgido inspirado pelo “semba”, ritmo africano.

Os baianos também estavam à frente dos ranchos negros, que promoviam festas em datas religiosas com batuques, danças e cortejos pelas ruas do centro do Rio de Janeiro. Os chamados “ranchos” são considerados importantes para a origem dos desfiles de carnaval e podem ser comparados aos atuais blocos carnavalescos, com fantasias e enredos próprios.

Uma das baianas mais famosas foi Hilária Batista de Almeida, a Tia Ciata. Nascida em Santo Amaro da Purificação, ela foi mãe de santo, costureira e doceira. Vendia quitutes e doces no tabuleiro pelas ruas do centro. Em sua casa na praça Onze, Tia Ciata atuava como uma verdadeira agitadora cultural e promoveu lendários bailes que atraiam visitantes de diferentes partes da cidade e que formaram uma nova geração de músicos cariocas.

O samba passou a usar inovações melódicas e instrumentos musicais como a flauta, o cavaquinho e o violão, instrumentos que vão fundar a base do chorinho. Na sala de Tia Ciata, o choro e o maxixe eram tocados por grupos instrumentais. No quintal, aconteciam as rodas de samba num formato mais livre.   

A palavra samba era utilizada inicialmente como sinônimo de festa e não como um gênero musical: “Vamos a um samba na casa de Tia Ciata”. As letras nasciam nas rodas e os versos eram improvisados por todo o grupo, com o público marcando o ritmo na palma das mãos.  Ainda não existia o rádio e essas festas também serviam para divulgar sambas novos.

Pela casa de Tia Ciata passaram grandes nomes da música negra brasileira como João da Baiana, Pixinguinha, Sinhô e Donga, considerados por muitos sambistas como os grandes mestres do gênero. Em 1916, reunidos na casa da Tia Ciata, Donga e outros músicos compuseram “Pelo Telefone” em uma roda de samba.

A morte de Tia Ciata, em 1924, é considerada como o símbolo do fim de uma época - o nascimento do samba carioca.  Mas a Pedra do Sal se tornou um tradicional ponto de encontro de sambistas e admiradores deste estilo musical e hoje é um dos principais locais de memória e resistência da cultura afro-brasileira.

Em 1928 é fundada no Rio de Janeiro a "Deixa Falar", considerada a primeira escola de samba da história. Ela deu origem à atual Escola Estácio de Sá. Seus integrantes são considerados pais do formato clássico do samba - com ritmo mais dançante (menos influenciado pelo maxixe) e introdução do uso de cuíca, surdo e tamborim no ritmo.

A partir de 1930 o samba conquistaria espaço no mercado cultural e passa a tocar em rádios até se tornar popular e ser difundido por todo o país. Nas próximas décadas, outros gêneros seriam criados a partir do samba, como partido-alto, pagode, samba-enredo, samba-rock e a bossa nova.

O samba abriu as portas para que a música abertamente negra fosse aceita no cenário cultural. Com o tempo, o samba passou a ser um dos maiores símbolos da identidade brasileira, assim como o futebol e o carnaval.

A origem da palavra samba

A palavra “samba” é de origem africana. Seu primeiro registro no Brasil remonta ao ano de 1838, na revista “O Carapuceiro”, de Pernambuco. No entanto, ainda não existe um consenso entre os historiadores sobre suas possíveis origens. Segundo o pesquisador Nei Lopes, seria a etnia quioco, na qual samba significa brincar, divertir-se como cabrito. Há quem diga que vem do quimbundo “semba”, com o significado de “umbigo” ou “oração”. O quimbundo é uma língua banto falada na Angola. Para muitos povos bantos, a música era um elemento religioso e a umbigada se referia a danças sagradas, em uma espécie de ritual de fertilidade e conexão com as forças do universo.

No Brasil, o batuque de umbigada é uma forma de dança e música que se desenvolveu partir do século XVI, trazido pelos escravos de origem banto, povos vindos de regiões como o Congo e Angola. O batuque é caracterizado pela troca de umbigadas entre os casais participantes, dispostos em fila, dançando ao som do toque de tambores.

by Carolina Cunha do UOL



Busto de Monarco é inaugurado com festa na Portela

Rio - Considerado um dos maiores nomes da história da Portela, o cantor e compositor Monarco, de 82 anos, foi o grande homenageado da 12ª edição do Plumas & Paetês Cultural, tradicional premiação voltada para os artistas dos bastidores do Carnaval, que foi realizada na noite do último sábado, na quadra da escola, em Madureira. Além de receber o troféu pelo conjunto da obra, o baluarte, que também é presidente de honra da agremiação, ganhou um busto de bronze que ficará exposto no Portelão.

Busto de Monarco é inaugurado com festa na Portela

Foto: Marcos Mello / Divulgação

Foi uma homenagem muito sincera por parte das pessoas que fazem esta premiação. Estou muito feliz, porque não é comum alguém receber este tipo de homenagem ainda em vida. Então estou recebendo as flores em vida, como diz a música famosa do Nelson Cavaquinho. Já consegui muita coisa na vida. Sou uma pessoa realizada! Agora só falta o título da Portela, que está muito perto de chegar", exaltou o compositor, que será enredo da escola de samba Lins Imperial em 2017.

Após a inauguração, o presidente da Portela, Marcos Falcon, reverenciou Monarco. "Esta é uma noite muito importante para toda a Família Portelense, pois estamos podendo homenagear um grande portelense, que é o nosso mestre Monarco, uma pessoa que dispensa comentários e que é o grande representante da nossa escola diante do Brasil e do mundo", exaltou Falcon. 

Busto de Monarco é inaugurado com festa na Portela
Jornal: O Dia
Foto: Raphael Perucci / Divulgação

Monarco -Tudo menos amor.

Lightning Hopkins - Baby, Please Don't Go em filme de1979.

Nicholaas Payton


Nicholas Payton - In Conversation

New Orleans trumpeter Nicholas Payton has never conformed to anyone or anything. Reading his Facebook posts and Twitter “tweets”, you sort of get an idea about how un-traditional he is. He speaks his mind and, should someone attempt to challenge him on his views, is hardly lost for words. His outspoken nature has allowed him to create material for “Bitches”, a CD with a controversial title with tracks that draws experiences from his own love life. 

The tracks on “Bitches” are pleasantly unique and listeners can hear Nicholas sing on tracks that have the sort of unexpected musical nuances that transcend the boundaries of jazz music.  Nicholas plays just about every instrument on this new collection and he has also employed the services of some jazz vocal heavyweights including Cassandra Wilson, Grammy award winner Esperanza Spalding, N’Dambi and Chinah Blac to name a few.  The music of “Bitches” deviates from what might be described as Payton's signature sounds and this musical diversity adds hugely to what is an extremely appealing mix.

The hybrid of jazz blended with funk, R&B, neo soul and pop music is engaging to say the least.   “Bitches” was developed in two acts: one of burgeoning love and the other of a breakup. The first track, the funk-induced “By My Side”, is a tune that is reminiscent of 80s funk with all the trimmings of synth bass and drum machines while Payton's vocals can be compared to a controlled CeeLo Green.  “Freesia” is the track that follows. It features Esperanza Spalding on vocals and develops into a groovy, head bopping number that is an immediate fan favorite. The song gets its shine from Nicholas’ fluid flugelhorn which darts in and out of the unique melody.  Elsewhere, Nicholas is charming on the sexy and melodically ballads that form much of the first act and this is particularly so on “Togetherness Foreverness” for which he is paired with singer N’ambi.

Pour the wine, recline and enjoy the beguiling “Shades of Hue”, a track which features Payton's eloquent trumpet solo. Tracks like “Indigo” and the “You Are The Spark” are delightful numbers that close off the first act. The second act is when the music advances into third gear and “The Second Show (Adam’s Plea)” has the mood of an eighties pop song which places the listener firmly into the wonderful land of synths and high-pitched harmonies.   In terms of personal favorites “Flip the Script” features Saunders Sermons and I predict that deejays will have a field day spinning out remixes to this one. With a melody that follows niether rhyme or reason its flexibility is perfect for the addition of musical tricks.

As eccentric as the beats on this track are, they all come together quite seamlessly when you least expect it.  Other notable tracks on the Second Act is the playful “iStole your iPhone” and the evocative “You Take Me Places I’ve Never Been Before” which proves to be a stunning ballad that features Cassandra Wilson as guest vocalist. The CD closes with the title cut, a rollicking song with humorous lyrics and the perfect way to end the CD.  

Nicholas, who has been busy promoting the release of his new CD, took some time out to talk to  

Jazz Review: Nicholas, most would admit that this new CD deviates from some of the music you have done in the past; this time around you used a lot of synth instruments and of course you sing. Tell us more about your decision to do this.  

Nicholas Payton: It’s something I’ve been working towards for quite a few records, back to “Dear Louis.” I also sang a tune on “Into The Blue.” Electronic instruments were heavily employed on “Sonic Trance” and my love for R&B goes as far back as “Payton’s Place” with “People Make the World Go ‘Round” and  “Nick @ Night” with “Sun Goddess.”  I think in a lot of ways these ideas are things I experimented with progressively throughout my discography. It is something I’ve wanted to do for a while.  

Jazz Review: How long did the CD take to put together? 

Nicholas Payton: I’ve been writing tunes with lyrics for over 10 years now. I wrote “Freesia” in 1998 making it the oldest tune on the record. Most of the songs with live bass and drums were written for "Into The Blue", the rest were composed around the summer of 2009. 

Jazz Review: You play all the instruments on this CD plus you sing, I think this is very impressive. Why didn’t you use other musicians this time around? 

Nicholas Payton: When I did “Into the Blue,” I recorded demos before I went in the studio. I sent them to the cats in advance so they could get a feel for the vibe of the record. I remember one of my musicians at the time said jokingly, “You can make the record yourself. You don’t need us.” That stuck with me. People had been telling me for years I should do a record playing all the instruments, but I never wanted it to be a thing of novelty. It grew organically out of me recording these demos and that was the genesis of the tracks for “Bitches.”  

Jazz Review:: The music here is filled with beats that seem mismatched with lovely chord progressions like I've never heard before, but they manage to all fall in place to make something really fantastic. You also have different types of moods to each track. Talk more about that. 

Nicholas Payton: I’m just being true to me. I’m not trying to be original per se, just writing what I feel. I mean, all of these tunes are derived from real-life experiences. The songs here tell a story and they all represent a different aspect and manner of love. I put words and music to things that I really felt at one particular time so in that regard it was pretty easy to be original or different. Writing it was therapeutic, I put my energy and emotion into it.

JazzReview: What inspired you to write this CD?

Nicholas Payton: All my music is autobiographical, however some of it is not necessarily from my perspective but how I imagine someone else would feel in a situation. Regardless of the source, they are all ultimately filtered through my vision. 

Jazz Review: On your Facebook wall you posted a link of a Bessie Smith song and said that you used her reference of “sausage meat” in the song “Bitches.” Did you borrow a lot of phrases from old jazz songs the way you did here?

Nicholas Payton: “Sausage meat” was taken from a song by Bessie Smith called, “Kitchen Man.” I used to hear my dad play that tune in a New Orleans play based on the Vaudeville era called “One Mo’ Time” written by Vernel Bagneris. I recalled it by virtue of the environment that I grew up in but made no conscious attempt to insert it into my piece. When things like that come through, it is because they are a genuine part of my life. 

Jazz Review: How long does it take you to compose a song? 

Nicholas Payton: When I write a tune, I’m in the zone so it doesn’t take too long. I wrote “iStole Your iPhone” in five minutes. I don’t really write music or tunes per se, I don’t sit at a piano and say “I’m going to write a song.” I just get a feeling. Something inspires me and I immediately hear chords or rhythms which feel like that experience to me. There are times when I can’t control the compositional aspect because it just keeps coming. At a certain point, I feel almost like I want it to stop because it’s painful, like having a baby. It’s exhausting. The creative part of it is so heavy, so fast and rapid, I feel like I can’t contain it. I didn’t set out to do a record like this, the story told itself.

Jazz Review: Okay, let’s talk about your guest vocalists, because you have managed to get some of the best in the industry on this album. How did you go about choosing them? 

Nicholas Payton: Because I played all the instruments on the recording, I wanted to have some other energy to balance the project out so guest vocalists seemed like the way to go. Each piece has a character and I selected the guests according to who I felt would best represent a particular song.  

Jazz Review: So what do you think real straight-ahead jazz musicians, those who never stray from a specific genre, what would they think about “Bitches?” 

Nicholas Payton: To be honest, I don’t really give much consideration at all to what musicians think. That said, most cats I know are open-minded, critics that’s another story. “Bitches” is a blues record. I don’t look at music in terms of being jazz or bebop. Genres are like colors to me. When I’m trying to paint a picture, the idea is not to limit myself. The more colors, the more options and different places I can go. Will everybody like it? No. But that’s okay, not every soul and R&B artist will like it either. Most of the guys I know who swing like all sorts of music even if they don’t play it. 

Jazz Review: What sort of feedback are you getting so far with the new CD? 

Nicholas Payton: Feedback has been positive for the most part. However, there are people who have been turned off from the title of the record alone. After much debate, Concord Records decided not to release it, so they gave it back to me. Fortunately, I was able to secure a licensing deal with In And Out records which, quite honestly, is a much better situation. 

Jazz Review: What are they saying about the title of the CD in particular? One must admit it can get people talking. 

Nicholas Payton: There appears to be a lot of controversy surrounding the title. It garnered a lot of buzz even before the record was released. I believe it’s largely due to the fact that the album is called “Bitches” and it’s an R&B record from an artist who is considered straight-ahead. I don’t pay mind to the categorizations. I’m an artist and I express myself in different ways; through song, through composition, through my voice, in words, in music and many different aspects. I can’t make everybody happy, nor do I try. I create music that is true to me, and whether you like it or not, it’s real. That’s really my whole thing, to make music that’s honest. I haven’t been wrong in that. Some people out there will get it. Some won’t. The more personal my journey is, the deeper it gets, the stronger the reaction.  

Jazz Review: So, now that the CD has been launched, what do you have planned next? 

Nicholas Payton: I have a couple of projects in mind. In terms of music and ideas, I have enough material for five records ready to go right now.  Last year was the American debut of my 21-piece big band The Nicholas Payton Television Studio Orchestra. I love the energy of an ensemble of that size so I want to focus heavily on getting it off the ground as well as my other groups of various sizes. For the rest of the year I am going to chill and resume touring in 2012.

Nelson Sargento

Nelson Sargento fala

Nos versos "Negro, forte, destemido/Foi duramente perseguido", da canção "Agoniza, mas não morre", de 1978, o sambista Nelson Sargento, 92, quis fazer uma crítica à perseguição da polícia ao samba e à invasão de ritmos estrangeiros nas rádios e na televisão. O músico só não imaginava que, hoje, a letra permaneceria tão atual.

"Era para os compositores da época não se entregarem. Sempre fizeram samba. Correndo ou não da polícia, eles faziam samba. E quando houve uma invasão de música estrangeira, o 'Ieieiê', bolero, tango, o samba ficou naquela balança", explica o sambista, que entende que novas vertentes também colocam o ritmo, agora, em uma situação parecida com a de quase 40 anos atrás.

"Investem muito nos ritmos que estão em volta do samba. O samba reggae, o samba pop, samba não sei mais o quê. Mas isso não perturba, porque eu chamo de movimentos. Movimentos passam, já o samba não, porque o samba é uma instituição. Não vai passar nunca".

Presidente de honra da Estação Primeira de Mangueira, Nelson Sargento esbanja vitalidade na militância da música brasileira e até presenteia o público com apresentações. Numa feijoada em comemoração aos seus 92 anos, realizada em São Paulo, o sambista cantou e encantou (assista ao vídeo). E ele lembra que o samba, embora tenha sido registrado pela primeira vez há 100 anos, já corria pelas nossas veias havia muito tempo. "Cem anos é muito pouco", acredita.

Carioca da gema, Nelson Sargento teve o primeiro contato com o samba, por incrível que pareça, ao lado de um português. Sua mãe, Rosa Maria da Conceição, casou-se com Alfredo Português após a morte do pai de Nelson, Olímpio José de Mattos, e acabou se mudando com o então menino para o Morro do Salgueiro e, mais tarde, para o Morro da Mangueira.

O cantor e compositor tinha 12 anos. "Eu comecei a ouvir samba na voz de Cartola, Carlos Cachaça, Geraldo Babão, Carlos Pereira, Aloísio Dias, porque minha mãe foi morar com um português que fazia samba. E esse pessoal frequentava a casa do Alfredo. Eu via eles cantarem samba, discutir", afirma.

Embora tivesse os bambas na sala de casa com frequência, Nelson só foi entender a oportunidade que teve após passar pelo Exército, em 1945, de onde surgiu o sobrenome Sargento. "Em 1948, o Alfredo fez um samba-enredo para a Mangueira e eu musiquei. Foi meu primeiro contato real com o samba", diz. "Apologia ao Mestre", que se tornou o samba da Mangueira em 1949, venceu o Carnaval do Rio de Janeiro.

Além desse, outros dois sambas feitos pelo sambista e seu pai adotivo conquistaram o Carnaval: "Plano SALTE - Saúde, Lavoura, Transporte e Educação", em 1950, e "Rio de Janeiro de Ontem e Hoje", em 1954. Ao lado de Jamelão, Nelson Sargento ainda conquistou um vice-campeonato pela Mangueira com o famoso "Cântico à Natureza".

Nelson Sargento é cantor, compositor, artista plástico, escritor e ator. Nos anos 1960, ele passou pelo musical "Rosa de Ouro", o que o projetou na imprensa da época e consolidou sua carreira. "Eu participei mesmo com muito entusiasmo. Foi um acontecimento muito bom para mim porque eu comecei a ser projetado na imprensa. E quando a peça acabou, eu, com os companheiros Jair do Cavaquinho e Elton Medeiros, criamos um conjunto chamado 'Os Cinco Crioulos'".

O grupo além de abrir as portas para o mangueirense no mundo do samba, contribuiu para novas parcerias, como Paulinho da Viola e Zé Keti, que integraram não apenas "Os Cinco Crioulos", mas também "A Voz do Morro" ao lado de Sargento.

O músico revela, ainda, que não gravou muitos discos, mas foi um campeão de participações: "O 'Rosa de Ouro', 'Os Cinco Crioulos' e o 'Voz do Morro' foram algumas delas. Sozinho eu fiz pouca coisa", diz Nelson, que chegou a fazer shows em muitos países, como Japão, Dinamarca, Estônia e Noruega.

No campo da atuação, o sambista diz ter vivido sua maior emoção da carreira. Em 1997, o curta-metragem "Nelson Sargento no Morro da Mangueira", de Estevão Ciavatta, rendeu um prêmio especial. "Me valeu o maior prêmio do cinema brasileiro, que é o Kikito", revela, referindo-se às categorias Melhor Montagem e Trilha Sonora. 

Se, até aquele momento, ele não sabia se era um ator de verdade, a atriz Fernanda Montenegro o consagrou com um belo elogio: "Conversa vai, conversa vem, ela me disse uma frase que eu não desmaiei porque tenho um santo forte. 'Nelson, você sabia que era ator?'". 

Quando questionado sobre suas realizações, Nelson Sargento é enfático. "A resposta que eu dou é 'não'. Eu não estou realizado. Porque quando se está realizado, a gente não faz mais nada. Vai fazer mais o quê?  Deita na cama e põe-se a dormir. Mas não é o meu caso. E o que eu procuro fazer é aprimorar mais tudo aquilo que eu sei fazer. O samba, a arte. Estou esperando que alguém me convide para participar de um filme, nem que seja uma pontinha. Mas eu estou pronto para fazê-lo", afirma, rindo.

Quando o assunto é a raiz do samba, Nelson Sargento volta a falar que, embora o centenário seja comemorado neste ano, os batuques correm nas veias do povo brasileiro há mais tempo: "Cem anos é pouco".

"O samba veio da Bahia, o samba de roda. No Rio, ele tomou um novo andamento e transmitiu para o resto do Brasil. Todos os estados hoje têm escolas de samba, e boas. Mas oriundos de onde? Do Rio de Janeiro", revela Nelson ao traçar o caminho de progresso do samba. Para ele, a capital fluminense teve uma participação importante por conta das tias do samba; foram elas que protegeram e ampliaram os encontros para se fazer samba no Rio. "A casa da Tia Ciata foi um bom princípio, impôs condições ao samba. Porque ali o samba não era perseguido", diz.

Atualmente, o sambista vê grandes dificuldades, principalmente no Carnaval, porque muito do que se defendia e lutava na época das tias mudou. "As escolas de samba têm um problema muito grande, problema de gente. Porque você passar cinco mil pessoas naquela passarela em 80 minutos é realmente um absurdo, embora eu faça parte deste absurdo. Mas são mudanças que aconteceriam, pois a alta sociedade entrou nas escolas. Lentamente, mas entrou. Devagar e sempre, como diz o ditado".

A descaracterização da festa do Carnaval, que, antes, era um objeto de resistência do negro, levanta, por fim, um alerta de Nelson Sargento: "Eu cheguei à conclusão de uma coisa: quando você quer acabar com um negócio, não persegue. Se infiltra. E você, infiltrado, vai lentamente mudando. Quando você espantar, não está mais na sua mão", finaliza.

Nelson Sargento - O samba agoniza mas não morre.

E-mail recebido hoje de Chris Standring divulgando seu último trabalho TEN e convidando para seu próximo show
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News: October 2016
chris Newsletter


Hi Sidnei,

Fall is here. It even rained today in California. The touring season has ended for me for another year and I'm back in my studio working on new recording projects. I just co-wrote and produced a future smash hit for Cindy Bradley's new album. Look out for that next year. And if I can grab a minute to practice my guitar soon, well that would be really something!

I booked a Christmas show again this year which will feature my lovely friend Kathrin Shorr, and of course yours truly. It's always a packed house and quite the holiday celebration so I would love you to jump in early and book a table before they all go. Here are the deets:

Where: The E-Spot Lounge (Vitello's Restaurant)
4349 Tujunga Ave.
Studio City, California 91604 Tel: 818-769-0905

When: Thursday December 8th, 8:00pm

Tickets: Book online now

Sure hope you can make it if you are to be in the neighborhood. I'll rap at you again soon.

Take care!

Une encyclopédie vivante du jazz

Jazz Hot n°1, Mars 1935

Fondée en 1935 par Charles Delaunay – le fils des célèbres peintres Sonia et Robert Delaunay – et par une équipe comprenant entre autres Hugues Panassié,  Pierre Nourry, Jacques Bureau, Jazz Hot est la doyenne des revues de jazz du monde encore en activité. Orchester Journalen (Suède) et Down Beat (USA), créées en 1934, et qui existent encore, ne sont, à l’origine, pas des revues exclusivement dédiées au jazz comme le fut Jazz Hot.

Charles Delaunay est aussi le fondateur du premier label exclusivement jazz (Swing) et l’auteur dès 1936 d’une discographie du jazz. Cette authentification précoce du jazz comme culture originale n’est donc pas un fruit du hasard.

Au même titre que son ancienneté, le caractère international voulu dès l'origine en fait l’originalité : la revue a été bilingue français-anglais de 1935 à 1939 et son équipe a été recrutée aussi bien en France qu’aux Etats-Unis, en Grande-Bretagne, Roumanie, Belgique, Suisse, Italie, Espagne… Cette volonté donne à son contenu un aspect universel et encyclopédique.

Charles Delaunay, Jazz Hot n°11

L'histoire du jazz en France et dans le monde se parcourt en live au long des 40 000 pages de la revue. La curiosité toujours en éveil, on la doit à l'ouverture d'esprit exceptionnelle de son fondateur, Charles Delaunay, qui fut également le soutien moral et financier de la revue jusqu'à 1980. Il a insufflé un enthousiasme étonnant à ses différentes équipes dont le renouvellement régulier a évité la sclérose. Jazz Hot est ainsi devenu le berceau de la critique de jazz en France, et on peut dire sans exagérer que tout ce qui touche au jazz en France est né de cette matrice. Charles Delaunay, Hugues Panassié, Boris Vian sont bien sûr les fleurons de cette revue, mais on pourrait en citer de nombreux autres qui aujourd’hui constituent, quelle que soit leur sensibilité, la mémoire de la critique de jazz en France : Frank Ténot, Lucien Malson, André Hodeir, Laurent Goddet, sans oublier un nombre incalculable de musiciens plus ou moins célèbres et d’éminents critiques étrangers comme Stanley Dance, Helen Hoaklay, John Hammond, Marshall Stearns, Walter E. Schaap, Leonard Feather et Ira Gitler toujours parmi nous…

Aujourd'hui, Jazz Hot prolonge le sillon entamé par ses illustres devanciers.  Les qualités d’une équipe rédactionnelle et d’une mise en valeur du jazz prolonge l’aventure depuis 20 ans. Précision, information, travail de fond, mémoire, clarté de rédaction, lisibilité, souci esthétique, ouverture sur tous les courants du jazz, indépendance sont les motivations de cette équipe.

Cette longue aventure n'existerait pas sans la passion communicative des lecteurs (trices) qui, depuis l'origine, apportent leur concours indispensable à la vie et à l'indépendance de notre revue. Ils ont pour les premiers découverts le jazz dans Jazz Hot et ont transmis à leurs enfants, à leurs amis, l'amour de cette musique. La vocation pédagogique de Jazz Hot est une réalité quotidienne comme elle l'était à l'origine.

Enfin, ces 80 ans d'histoire ont été animés par tout ce qui participe de cette sphère particulière qu'est le jazz : les musiciens, les annonceurs, les clubs, les festivals, les salles de concerts ; ils peuvent pour beaucoup relire leur parcours dans les pages de Jazz Hot.

Mais tout cela n'aurait pas de sens sans la musique, sans le jazz, sans la capacité particulière de cette musique à se renouveler, en respectant une culture, expliquant ainsi la longévité de Jazz Hot. Il est donc essentiel, pour la compréhension et la poursuite de la belle histoire du jazz, de prendre en compte que sa richesse est celle des musiciens, des lecteurs-amateurs, des producteurs, des lieux de concerts, de Jazz Hot. La bonne santé de l'économie du jazz réside dans la faculté de l'ensemble de ses acteurs à jouer de cette synergie, à respecter et à encourager l'indépendance : celle des lecteurs, celle de Jazz Hot (comme de tout autre média), des musiciens, des lieux, des producteurs de grandes ou petites compagnies.

Les revues de jazz sont rares, une revue comme Jazz Hot est exceptionnelle, à nous, amateurs de jazz, d'en profiter !

Yves Sportis

Chris Standring

Chris Standring - Love and Paragraphs.