sexta-feira, 31 de maio de 2013




The Father Of Invention TOM ZÉ






Tom Zé began his career together with Caetano VelosoGilberto GilGal Costa, and Maria Bethânia. As a composer, he influenced Caetano and many others and delivered an expressive body of work through his own discography. A restless thinker, he was adept at modern erudite music experimentations, yet he was always ignored by both industry and audiences until he was discovered by David Byrne. He can be better understood through his self-coined definition: "I don't make art, I make spoken and sung journalism."

In 1989 while visiting Brazil, David Byrne found a used copy of Estudando o Samba, which he took as a didactic work. When he listened to the album, he was immediately taken by 's sound and called Arto Lindsay, who gave him what information he had about . When a Brazilian journalist from a renowned newspaper interviewed Byrne, he saw a note on his desk, "When in Brazil, look for Tom Zé." He reported that and  was alerted. Radiant, he phoned Caetano for more information and Caetano replied that the attention wasn't about him, but rather Tuzé de AbreuByrne's friend -- which prompted a certain level of reserve by  in subsequent interviews. However, Byrne did sign  as the first artist of his Luaka Bop label. His releases there would get favorable reviews in The New York Times, The Village Voice, Rolling Stone, Billboard, and Le Monde, and win a Creativity Award in Telluride, CO. In 1991, his album The Best of Tom Zé was voted the third best album by critics and fourth by the readers of Down Beat. In 1992, he recorded The Hips of Tradition (also on Luaka Bop) and participated in the Zurich Jazz Festival in Switzerland. He then departed for a successful series of tours in Europe and the U.S. He is the first Brazilian musician to be presented at New York's Museum of Modern Art (1993), and the first Latin American composer to be presented at the Walker Art Center in Minneapolis, MN. He also opened a concert at the London International Festival of Theatre at Queen Elizabeth Hall in London, England. He appeared in concert and at festivals in Canada (Vancouver, Montreal, Edmonton, Saskatoon) and New York, and received 20th Century Artist honors and performed at Summerstage in New York's Central Park.




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Todos os Olhos (1973)


Estudando o Samba (1976)


Nave Maria (1984)



Estudando a Bossa (2008)





Tropicália Lixo Lóxico (2012)






terça-feira, 28 de maio de 2013


Céu



CéU proved to one of the more internationally appealing singers to break out of Brazil around the time of her 2005 debut, ultimately winning a Latin Grammy nomination for Best New Artist and garnering interest for herself in Europe and North America. Her singing is what earned her acclaim, yet her music is novel as well, a fusion of samba, reggae, and electronica, with touches of jazz and soul. She was born Maria do Céu Whitaker Poças in São Paulo; however, she bills herself as simply CéU. (In Portuguese, céucan mean either sky or heaven, depending on the context; more specifically, the word comes from the Latin word caelu and refers to the infinite space overhead, including the sky as well as the cosmos.) She grew up in a music family; her father is a composer, arranger, and musicologist. At an early age, she learned to appreciate renowned Brazilian composers such as Heitor Villa-LobosErnesto Nazareth, and Orlando Silva, and as a teenager, she decided to become a singer. Rather than go to college, she studied music, including theory as well as the violão, a nylon-stringed guitar native to Brazil.

CéU eventually moved to New York City for a while once she was old enough to leave home. There she encountered many new influences, including old-school jazz singers such as Billie Holiday and Ella Fitzgerald as well as contemporary R&B singers such as Lauryn Hilland Erykah Badu. Also while in New York City, she befriended Antonio Pinto, a fellow Brazilian musician; he is perhaps best known for composing the score to City of God (2002), among other films. In time, after moving back to Brazil and fronting a couple groups, CéU recorded her debut album, a self-titled release produced largely by Beto Villares, with the aid of PintoCéU was released in 2005 by Urban Jungle, a label based in São Paulo, in partnership with Ambulante Discos, Villares' label. The album was later licensed by Six Degrees, a stylish label based in San Francisco that is known for its catalog of Brazilian releases, after CéU had already been met with success in parts of Europe, including France -- and, by association, French-speaking Canada as well. Thanks to the buzz surrounding her debut, CéU earned a Latin Grammy nomination in 2006 for Best New Artist. Her sophomore release, Vagarosa, arrived in early 2009. For 2012's Caravana Sereia Bloom, CéU worked with producer Gui Amabis, to radically alter her approach to recording. She drew inspiration from earlier tropicalia while incorporating everything from Peruvian chicas and cumbias to reggae to alter her sound.


Vagarosa (2009)





Céu's second album, arriving four years after her debut, finds her sticking to the style that brought her to the attention of the world music and hipster-lounge communities. She's still mixing the relaxed grooves of her native Brazil with those of downtempo/trip-hop acts like Thievery Corporation; still throwing in surprisingly capable reggae grooves "("Cangote," the first full song on this CD, boasts a deep dub bassline and some extremely haunting organ); and still multi-tracking her vocals into a conversation. It's a lilting yet heady blend that she pulls off with an utter confidence that's fascinating in such a young artist. Brazilian music has an innate lightness that Céu engages with on basically a molecular level. Her songs flirt with a Tom Waits-like clatter sometimes, but always resolve themselves into drifting bliss. Her psychedelic take on Jorge Ben's "Rosa Menina Rosa," the only song on Vagarosa she didn't write, works itself into a whirling storm of reverb and phasing effects, yet never loses its essential breeziness even as the throbbing bassline heads nearly into "Journey to the Center of the Mind" territory. Computer-generated vinyl crackle turns up on the album intro, as well as "Somnambulão" ("Sleepwalking"), the most ordinary song on the album and one which almost lives up to its title, though some dubwise melodica livens things up. The last track, "Espaçonave," throws in field recordings of rain forest creatures and multi-tracked vocals alongside fuzzed-out guitar, creating a feel reminiscent of the work of similarly brilliant Mexican art-pop princess Natalia Lafourcade. This is an extremely impressive, assured album well worth a listener's time, whether one speaks Portuguese or not.








Tribalistas



Arnaldo AntunesCarlinhos Brown, and Marisa Monte -- three noted Brazilian pop artists -- formed Tribalistas and released a self-titled album in 2003. Mostly acoustic, with splashes of electronics,Tribalistas centered mainly around Monte's vocals while remaining loosely tied to the trio's Brazilian roots. The album generated a handful of Latin Grammy nominations, including Album of the Year, Record of the Year, Best Brazilian Contemporary Pop Album, and Best Brazilian Song (Portuguese Language).




Tribalistas (2002)









Thiago Pethit



Berlim, Texas (2009)




Estrela Decadente (2012)






Felipe Catto




Fôlego (2011)





Paulinho Moska


Muito Pouco (2010)









Tiê




Sweet Jardim (2009)





Katia B


Espacial (2007)





Maria Gadú


Maria Gadú (2009)




segunda-feira, 27 de maio de 2013


Chico Buarque 







Of the early stars of MPB (música popular brasileira), Chico Buarque was one of the first to become a certifiable pop star. With his warm, nasally croon, elegant phrasing, and considerable skill at lyric writing, Buarque (who is handsome to boot) became extremely popular with women, who loved his understated sensuality. However, Buarque was uncomfortable playing the role of pop star, preferring to be seen as a serious artist. Throughout his career, he's managed to have the best of both worlds, but not without some significant bumps along the way. Still, he remains a towering figure in Brazilian pop music, one of the country's greatest singer/songwriters and interpreters of the samba.





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Chico Buarque de Hollanda Vol;1 (1966)






Chico Buarque de Hollanda Vol.3 (1968)






Construção (1971)




Carioca (2006)





Chico (2011)



Maria Rita


Maria Rita took the MPB world by storm in 2003 with her debut album, winning all kinds of awards and crossing over abroad in light of her mammoth success. The beautiful and beautiful-sounding young lady is the daughter of one of Brazil's most (if not the most) legendary vocalists, the late Elis Regina, and if that alone weren't enough to make her a star in waiting, her father is César Camargo Mariano, one of the country's top arrangers, producers, and pianists, and her namesake is Rita Lee, yet another MPB legend. Add to that a close musical partnership with Milton Nascimento, who penned "A Festa," the opening track of her debut album, and you can see why the MPB world was eagerly awaiting her recording debut.




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Maria Rita (2003)






Samba Meu (2007)