In 2008 was recorded a live concert featuring Yamandú Costa and Hamilton de Holanda from a performance at the Auditório Ibirapuera in São Paulo. The live recording has now been released on a cd, 'Luz da Aurora', through the Som Livre/Atracao company. I have not heard the cd yet, but judging from previews and already published reviews in Brazil it is worth waiting for in this part of the world. Contents of the disc according to the Discos do Brasil web service is to be reached here. The disc can be obtained from online retailers in Brazil, a good service is provided here.
The release of the 'Luz da Aurora' cd was covered by the TV Estadão, SP, through an interview with Yamandú and Hamilton. During the interview the duo played a couple of the tunes available on the cd. Both the interview (- in Portuguese, of course) and the recorded music has been uploaded at YouTube. Below I insert the two videos featuring Yamandú and Hamilton performing, here is their version of 'Samba do Véio', a composition by the duo - enjoy!
The other video features a version of 'Samba pro Rapha', a composition by Yamandú Costa excellently performed here by the duo at TV Estadão
Ever since the music of Ernesto Nazareth (1863-1934) was introduced to an American and international public with a helping hand from Disney and Zé Carioca in cartoons of the 1940s as pointed out by Daniella Thompson in an article, it was soon swallowed up by the pop-industry outside Brazil to make it digestable for a mainstream audience devoting its tastes to light entertainment, dance and an Americanized understanding of Brasilian culture. Only in recent years another understanding and appreciation of Nazareth's works is beginning to unearth, mainly thanks to great initiatives taken by ragtime societies in the US,ChoroMusic.com and, not least, the magnificient work directed by the Brasilian researcher and pianist, Alexandre Dias, who by now has published the result of his research in an official website devoted to the works of E. Nazareth including free access to all 218 registered scores in a revised version, a milestone in preserving this musical heritage for future generations. The website is definitely worth a visit for serious followers of Nazareth and can be launched here.
However, like choro musicians were among the first to embrace the music of E. Nazareth and make it a part of the standard repertoire at rodas, in radio and recording sessions thus spreading it to the public all over Brazil, it is also of historical importance to remember and recognise how this music was received and percieved by the music scene outside Brazil. Among the renown ambassordors in spreading the music of Nazareth to a larger public through performance, recordings and participation in movies was bandleader Edmundo Ros and His Rumba Band,during the 1940s and 1950s a highly popular ensemble of the time. I found a couple of examples on YouTube featuring the audiotracks of compositions by E.Nazareth as interpretated by Edmundo Ros and His Rumba Band - the first features 'Apanhei-te cavaquinho' as recorded in 1945, enjoy!
Here's a recording from about the same time of Nazareth's maxixe-tango, "Dengoso"
The lasting quality of the music performed by musicians like Edmundo Ros and His Rumba Band depends on the ability of such bands to make the output danceable. And if you don't think that it's possible to dance to the music of E. Nazareth after listening to the video-tracks above, let Fred Astaire and Ginger Rodgers show you how it's done:
A Feliz Ano Novo - A Happy New Year 2010! to readers of this blog, that counts its entry no 200 since June 2006.
The importance of the music of Pixinguinha (1898-1973) cannot be overestimated, his works as a musician, composer and arranger continue to inspire musicians worldwide. Choro ensembles were the first to embrace the music of Pixinguinha, which is not so strange, as Pixinguinha redefined the choro and had a lasting impact on the conception of the genre through his compositions and recorded legacy. Pixinguinha is the founder of the choro as it is performed today, and both erudite and popular musicians have taken advantage of the guidelines drawn by the master. Villa-Lobos was a great admirer of Pixinguinha and so was Radamés Gnattali, and countless musicians, amateurs as well as erudite, have found a profound inspiration in his works. Here we'll concentrate on a new cd devoted to music composed by Pixinguinha and performed as a solo recital by classical guitarist Roland Dyens.
One of the qualities of Pixinguinha's music is his choice of simple, beautiful melodies reflecting a classical conception of harmony and arranged with a multi-layered understanding of instrumental voices, and then add to this the always sensible rhythmic pulse of African origins that makes the output a sparkling and swinging affair when performed as intended by the composer. The music of Pixinguinha is a challenge to perform as a soloist, whatever the instrument chosen; it demands complete understanding and demand of the instrument's range to cover all nuances. When it comes to performing Pixinguinha's music on the guitar/violão in a solo recital, the shown cd above comes close to the perfect match. Roland Dyens has a done a magnificent work transcribing 11 of Pixinguinha's compositions for solo guitar, and the performance of the recorded pieces is marvellous, a brillant excersise that captures the soul of the music and draws the attention of the listener. The cd is highly recommended to everyone with an open ear for the possibilities of the classical solo guitar, a great experience that makes repeated listening a simple 'must' to explore nuances further. Roland Dyens shows off a contempory understanding of Pixinguinha's music, that never neglects the intention of the composer, but completes it in a perfectly excecuted recital recorded in high quality audio by GSP. - Learn more about the contents of the cd by clicking cd-cover above or here
Roland Dyens (b.1955 in Tunisia) is a Tunisian-French classical guitarist, composer, and arranger. Dyens studied guitar with the Spanish master guitarist Alberto Ponce and analysis with Désiré Dondeyne. He has won several prizes in competitions for classical guitar performance as well as for composition. As a performer, Dyens is known for his extraordinary capacity for improvisation. His guitar music draws on many elements of folk music and jazz, and has become popular with other players. Learn more about Roland Dyens at his official web-site, clickhere
A more extensive review of the cd 'Naquele Tempo' is found here
'Tango en Skaï (1985), is probably the best-known piece composed by Roland Dyens, and as I did not find a video showing a perfomance by Dyens playing Pixinguinha I'll insert a performance of the mentioned 'Tango en Skai' to give you an opportunity to enjoy a remarkable modern master of the classical concert guitar
To end this, here's a performance of the well known tango 'El Choclo' as arranged and played by Roland Dyens, enjoy!
The bandolim is a popular instrument in Brazil and has obtained a major position as a solo voice in choro thanks to great instrumentists in the tradition from Luperce Miranda to Jacob Bittencourt (aka Jacob do Bandolim), and on the contemporary scene the position of the bandolim is maintained and kept up to date by stellar performers like Armandinho, Hamilton de Holanda, Danilo Brito a.o.. Jacob do Bandolim is generally considered the single most important agent in favour of recognising the instrument as a solo voice, his efforts in promoting the instrument and in collecting fitting repertoire of music are of enourmous importance in the still expanding popularity of the instrument. Among the many activities of historic notice maintained by Jacob do Bandolim was his co-oporation with composer Radamés Gnattali in arranging Gnattali's suite 'Retratos' for bandolim and symphonic orchestra documented in the important historic recording of the work in 1964 featuring Jacob do Bandolim as a soloist. The recording of 'Retratos' was an example of the fact that the boundaries between popular music traditionally connected with the bandolim, notably choro, and erudite, compositional work had dissolved, however, the boundaries were never as strictly pointed out in Brasilian culture as elsewhere and especially in European tradition. The aftermath of 'Retratos' meant that choro musicians extended their repertoire to include written music from the erudite compopositional tradition of works by both Brazilians and classical composers like J.S. Bach, Vivaldi and Chopin a.o.
One of the leading figures in this movement was bandolimist Joel Nascimento (b.1937), who founded the Camerata Carioca choro ensemble early 1970'ies with guidance by Radamés Gnattali. Nascimento persuaded Gnattali to arrange his 'Retratos' suite for a choro ensemble and surprised the maestro at a party by bringing in his Camerata Carioca ensemble to perform the re-arranged work, later Gnattali participated in the arranging and recording of a homage to the music of Jacob do Bandolim by Camerata Carioca (LP,1979). The Camerata Carioca ensemble and Radamés Gnattali also had a co-work on the project devoted to music by Vivaldi and Pixinguinha (LP,1980). Since the revival of choro dawned during the 1970s it is no longer unusual to find music by erudite, classical composers mixed with traditional choro works in the repertoire of contemporary choro ensembles. The new cd shown above featuring Hamilton de Holanda and Joel Nascimentoreflects this tradition by mixing works by choro icons like Nazareth, Pixinguinha and Jacob do Bandolim with compositions by J.S.Bach, Vivaldi and Beethoven in the repertoire of the disc, moreover the cd has a short piece by Radamés Gnattali documenting the importance of his music in contemporary Brasilian culture and in evolving the concept of choro containing both popular and erudite elements.
Last year Joel Nascimento and Hamilton de Holanda went into the studio to record the cd, 'De Bandolim a Bandolim', showcasing the bandolim and the tradition of mixing popular and erudite music. The result is a marvellous experiment documenting for the first time, I think, a duo recording of two bandolins in interplay without a back-up ensemble, further it is the first time Nascimento and Hamilton de Holanda have recorded together. The two musicians, however, know each other well, Hamilton was a student with Nascimento earlier, and this relation shines through and generates an intimate atmosphere in the set-up of the recording. Generally, Joel Nascimento takes the lead voice while Hamilton provides the accompaniment contributing chordal work, fill-ins and rhythmic support, but he is also given space in introducing of themes and gets a chance to show off his exceptional skills as an improviser with complete demand of his chosen instrument, the 10 string bandolim. The role of the two musicians' part in the game is not defined as a teacher-student combination as could be expected, rather it is the nature of the used instruments that defines the roles of both musicians. While Nascimento plays the conventional 8 string bandolim designed for playing lead, Hamilton's 10 string instrument provides the extended possibility of adding elaborate bass lines and complex accompaniment thanks to the two lower strings, thus, the musical possibilities of the instruments point out the appropiate set-up for interplay in the work by the duo.
The cd contains ten titles, four of which are from an erudite reperoire: 'Concerto Para Bandolim e Orquestra II Movimento' (Radamés Gnattali), 'Chorale Prelude 'Nun Komm der Heillan' Adagio' (J.S.Bach), 'Concerto Para 3 Bandolins em G II Movimento' (A.Vivaldi) with guest participation by Armandinho Macêdo to cover the three instruments score and finally 'Sonatina em C Menor' by Ludwig van Beethoven originally composed for piano and mandolin. The remaining titles cover pieces by Catulo da Paixão Cearense/Alfredo Dutra, 'Tu Passaste Por Este Jardim', a romantic theme introducing the cd. 'Gotas de Ouro' by Ernesto Nazareth, a famous waltz from the composer's book, further the choros 'Os Cinco Companheiros' by Pixinguinha and 'O Bom Filho á Casa Torna' by Bonfiglio de Oliveira. There is also a reading of the romantic yet complex 'Falta-Me Você' by Jacob do Bandolim and, surprisingly, a very lively rendition of the tango 'Por Una Cabeza' by Carlos Gardel/Alfredo Le Pere complete with rhythmic tapping on the bandolim box and elaborate improvisation of the theme by the duo. The fascinating mix of repertoire of the disc invites to repeated listening to digest the magnificent contributions by the duo, the cd is definitely designated to highlight the bandolim as a fitting instrument for chamber music of a high level and it is likely that the record may rank as the most important in the category of instrumental music released in Brazil in 2009. You have the opportunity to listen to the music in full length at Radio UOL, click picture of cd above or hereto get access. --- To end this small review of 'De Bandolim a Bandolim' I'll insert a couple of video fragments featuring Joel Nascimento and Hamilton de Holanda performing together during a studio recording of the dvd-project "Ao Jacob, seus Bandolins". - The first fragment is a performance of Jacob do Bandolim's 'Alvorada', the bandolinists are accompanied by Rogério Caetano on violão 7 cordas - enjoy!
From the same studio sessions as above, here's an improvised rendition of Jacob do Bandolim's 'Noites Cariocas' - enjoy!
The accordion is a popular instrument often used in various Brazilian music styles, notably in forró and baião, but it has also been used with success in bossa nova and choro. When national radio broadcasting of live music acts started in Brazil during the 1930, the staff of musicians often had an accordionist among its members to supply solo voice and accompaniment in interplay with string instruments and reeds of the ensemble accompanying popular singers and playing choros and waltzes during intermission. Renown accordionists like Orlando Silveira, Chiquinho do Acordeon (Romeu Seibel) and Sivuca all started their career as members of a radio regional, the accompanying music ensemble used during radio transmission of live music, and the same set-up was also used by the record industry to promote popular vocalists and stars from radio. The popular choro 'Tico-tico no fubá' by Zequinha de Abreu was first recorded in 1930 by a typical regional, Orquestra Colbaz, that had an accomplished accordionist in front playing the melody, and following the world success of the tune it was soon adopted by accordionists as part of the standard repertoire. - I found an excellent solo version of 'Tico-tico no fubá' to illustrate the range of the instrument when playing choro. Enjoy Dorival Pinhata's solo accordion in 'Tico-tico no fubá'
The accordion - or as it is also named in Brazil: the sanfona - is well suited for playing solo, like the piano the accordion allows applying chord accompaniment in the left hand while playing the melody with the right. Here's another example of a solo accordionist playing choro applying modern harmony to the well know 'Lamentos' by Pixinguinha. Enjoy Olivio Filho's rendition of 'Lamentos'
In the studio group used by Jacob do Bandolim for recording sessions during the 1950s one of the accompanying musicians was an accordionist (- from time to time it was Orlando Silveira), who also had a solo spot on one of Jacob's hits, 'Doce de coco', from this period. Here's a contemporary version of 'Doce de coco' as performed by accordionist Chico Chagas accompanied by Nando Duarte on violão de 7 cordas - enjoy!
As mentioned above the accordion - or the sanfona - is used in different music styles all over Brazil. Especially the various North Eastern genres of music from the Pernambuco and Bahia regions are closely connected with the accordion. However, choro also blends in the repertoire of accordionists from this part of the country, here's an example of a master of the forró tradition, Oswaldinho do Acordeon, playing choro
One of the master accordionists known outside Brazil is Sivuca (- from Paraíba, Pernambuco), who excelled in various local genres as well as choro, bossa nova and even jazz. To end this small contribution enjoy Sivuca alone on stage performing his virtuosic version of 'Quando me Lembro', a typically North Eastern flavoured composition
In 2008 was recorded a live concert featuring Yamandú Costa and Hamilton de Holanda from a performance at the Auditório Ibirapuera in São Paulo. The live recording has now been released on a cd, 'Luz da Aurora', through the Som Livre/Atracao company. I have not heard the cd yet, but judging from previews and already published reviews in Brazil it is worth waiting for in this part of the world. Contents of the disc according to the Discos do Brasil web service is to be reached here. The disc can be obtained from online retailers in Brazil, a good service is provided here.
The release of the 'Luz da Aurora' cd was covered by the TV Estadão, SP, through an interview with Yamandú and Hamilton. During the interview the duo played a couple of the tunes available on the cd. Both the interview (- in Portuguese, of course) and the recorded music has been uploaded at YouTube. Below I insert the two videos featuring Yamandú and Hamilton performing, here is their version of 'Samba do Véio', a composition by the duo - enjoy!
