Sunday, January 31, 2010

Grammy Jazz Awards Announced 2010

The 52nd annual Grammy Awards blasted out of the gate with the pre-telecast awards ceremony, which started at 1 p.m. PT at the Los Angeles Convention Center. Winners in the early going included producer A.R. Rahman for “Slumdog Millionaire," best compilation soundtrack album; composer Michael Giacchino for “Up," best score soundtrack album; and writers Gulzar, A.R. Rahman and Tanvi Shah for “Jai Ho" (from “Slumdog Millionaire") for best song for a motion picture, TV or visual media. Kudos in 100 categories will be handed out during the afternoon ceremony, while nine more winners including album, song and record of the year and best new artist will be announced during the evening show, to be telecast live in the East on CBS at 8 p.m. ET.
Best Jazz Vocal Album
“Dedicated To You: Kurt Elling Sings The Music Of Coltrane And Hartman" WINNER Kurt Elling [Concord Jazz]

Best Contemporary Jazz Album
“75" WINNER Joe Zawinul & The Zawinul Syndicate [Heads Up International]

Best Improvised Jazz Solo
“Dancin' 4 Chicken" WINNER Terence Blanchard, soloist Track from: Watts (Jeff “Tain" Watts) [Dark Key Music]

Best Large Jazz Ensemble Album
“Book One" WINNER New Orleans Jazz Orchestra [World Village]

Best Jazz Instrumental Album, Individual Or Group
“Five Peace Band - Live" WINNER Chick Corea & John McLaughlin Five Peace Band [Concord Records]

Best Latin Jazz Album
“Juntos Para Siempre" WINNER Bebo Valdes And Chucho Valdes [Sony Music/Calle 54]

Best Dance Recording
“Poker Face" - Lady Gaga WINNER RedOne, producer; Robert Orton, RedOne & Dave Russell, mixers
Track from: “The Fame" [Streamline/Interscope/Konlive/Cherrytree]

Best Musical Show Album
“West Side Story" WINNER David Caddick & David Lai, producers (Leonard Bernstein, composer; Stephen Sondheim, lyricist) (New Broadway Cast with Matt Cavenaugh, Josefina Scaglione & Others) [Masterworks Broadway]

Best Instrumental Arrangement
“West Side Story Medley" WINNER Bill Cunliffe, arranger (Resonance Big Band) Track from: Resonance Big Band Plays Tribute To Oscar Peterson [Resonance Records]

Best Instrumental Arrangement Accompanying Vocalist(s)
“Quiet Nights" WINNER Claus Ogerman, arranger (Diana Krall) Track from: Quiet Nights [Verve]

Best Album Notes
“The Complete Louis Armstrong Decca Sessions" (1935-1946) WINNER Dan Morgenstern, album notes writer (Louis Armstrong) [Mosaic Records]
OTHERS
 
RECORD OF THE YEAR
“Halo," Beyonce
“I Gotta Feeling," The Black Eyed Peas
“Use Somebody," Kings of Leon
“Poker Face," Lady Gaga
“You Belong With Me," Taylor Swift

ALBUM OF THE YEAR
“I Am...Sasha Fierce," Beyonce
“The E.N.D.," The Black Eyed Peas
“The Fame," Lady Gaga
“Big Whiskey and the Groogrux King," Dave Matthews Band
“Fearless," Taylor Swift

SONG OF THE YEAR
“Poker Face," Lady Gaga & Red One
“Pretty Wings," Hod David & Musze
“Single Ladies (Put a Ring On It)," Thaddis Harrell, Beyonce Knowles, Terius Nash & Christopher Stewart
“Use Somebody," Caleb Followill, Jared Followill, Matthew Followill & Nathan Followill (Kings of Leon)
“You Belong With Me," Liz Rose & Taylor Swift

BEST NEW ARTIST
Zac Brown Band
Keri Hilson
MGMT
Silversun Pickups
The Ting Tings

http://www.allaboutjazz.com/php/news.php?id=48893

Free downloads of Miles Davis' "Lost Quintet" now online via The Heat Warps

Music-sharing blog The Heat Warps has re-posted free downloads of two performances by Miles Davis' "Lost Quintet," the late-1960s configuration that bridged the span between his classic mid-1960s acoustic ensemble and his later electric groups of the 1970s. The "Lost Quintet" featured Davis on trumpet along with Dave Holland (bass), Wayne Shorter (tenor and soprano sax), Jack Dejohnette (drums), and Chick Corea (keyboards).

The Heat Warps post includes two sets from November 3, 1969 at the Salle Pleyel in Paris and an earlier show from July 25, 1969 at La Pinède in Juan-les-Pins. You can find the links to download them here.
http://stljazznotes.blogspot.com/2010/01/free-downloads-of-miles-davis-lost.html

JAZZofilo's Year's Visits by Month & Country Share, jan 31


thank you all!

A tribute to Birdland, Charlie Parker & Jazz by Frank Rozasy....

A photographic and musical tribute to the New York Jazz club "Birdland" and Charlie "Yardbird" Parker by Frank Rozasy

Jazz, poetry and music....

Marc Myers is a journalist and corporate consultant....

Marc Myers is a journalist and corporate consultant in New York City who develops content and marketing/media solutions for magazines and global clients. He is author of three books, including "How to Make Luck: 7 Secrets Lucky People Use to Succeed," which has been published in 11 countries. He received his masters in history from Columbia University and wrote his thesis on the American Federation of Musicians' recording ban of 1942-44—which inadvertently accelerated the popularity of bebop and modern jazz. His thesis is part of the archives at the Institute of Jazz Studies at Rutgers University.
He has been listening to jazz since 1971.
http://marcmyers.typepad.com/about.html

Ron Carter On Piano Jazz

by Grant Jackson
January 29, 2010 - Ron Carter first appeared on the national scene as a member of Miles Davis' second great quintet, which coalesced around the recording of Davis' album Seven Steps to Heaven. Carter has also worked with an unbelievable range of giants from inside and outside the world of jazz: from Coleman Hawkins, Chet Baker and Eric Dolphy to Aretha Franklin, Antonio Carlos Jobim and A Tribe Called Quest.
Photo: courtesy of the artist

The session gets underway with a duet on "Blues in the Closet," written by bassist Oscar Pettiford. Carter holds down a steady bass line while Marian McPartland swings brightly through a solo; she then comps his bouncing solo with stabbing chords. "His tunes are fun to play," McPartland says of Pettiford. "They've got a sort of cheerful vibe." "It's a bass player writing for the instrument," Carter replies. "And anyone can play the tune and have a comfortable experience."

Carter and McPartland continue with a duet on "Stardust." Carter, who started out on cello in the Detroit public schools, brings a unique touch by leading the tune on bass as McPartland accompanies on the piano.
"It didn't sound rushed, and yet you played the whole verse and the whole chorus," McPartland says. "It sounded very romantic." The session continues with a duet on another Oscar Pettiford tune, "Bohemia After Dark." McPartland follows with her solo rendition of Hoagy Carmichael's "New Orleans," which naturally leads in to another duet on the seminal New Orleans tune "Basin Street Blues." "People put that tune in a certain category," McPartland says. "But it's nice the way you did that — you led me into doing things."

"One of the fun things about being a bass player is you can make those kinds of things happen," Carter says. Next, McPartland plays another Piano Jazz signature — her solo musical portrait of the program's guest. The portrait she plays for Carter is both lyrical and playful, and evokes the understated beauty of the bass part in jazz. "When one hears a musical portrait of oneself played so clearly and wonderfully as that you just played — it's a really humbling sound," Carter says. "Thank you very much."

They close with a duet on Miles Davis' iconic "So What," playing at a tempo somewhere between the steady original from the Kind of Blue sessions for Columbia and the breakneck pace of Davis' early-'60s quintet. McPartland sums up the tune and this session: "I bet Miles liked it."
Originally recorded June 20, 2006. Originally broadcast in 2007.
http://www.npr.org/templates/story/story.php?storyId=15033199&sc=nl&cc=jn-20100131

There are two ways I like to listen to a Luca Mundaca.....

Everywhere she goes, Luca Mundaca seems to attract a devoted following of fans. Whether she’s playing a concert in Sao Paulo, Brazil, headlining a night of world music at New York City’s famous The Living Room club, or touring clubs in the United States, Luca’s combination of personal warmth and musical virtuosity captivates everyone who watches her perform. “Her abilities are unlimited,” says Seth Rothstein, vice president of marketing at Sony Legacy records. “She has a stunning voice of great intimacy and emotion, and her songwriting is first-rate.”

Luca’s music began at age 15 in Brazil, when her mother bought her the only guitar the family could afford: a clunky and cheap guitar that cost $30 new. With no money for sheet music, Luca taught herself to play, and wrote all her own songs. She locked herself in the bedroom of her family’s house south of Sao Paulo and practiced for 10 hours a day. The guitar’s cheap strings sliced her fingers, so she learned to stick her hands in the freezer to numb the pain before returning to play. She became the lead singer in a Brazilian pop fusion band, but soon discovered the music that spoke to her soul: Brazil’s own samba and bossa nova. “I loved the swinging rhythm, the intimacy of the music,” Luca says.

Luca played her first solo gig in 1997. She earned as much money in one night as she made in a month working the hot ovens of a soap factory. That’s when she decided to become a full-time musician. After building an underground following in the bars and jazz clubs of Brazil, she sold all her equipment for a one-way ticket to New York City. Within months, she was playing at The Living Room, auditioning for jazz labels and major record studios, and catching the attention of fans and music industry veterans. “Luca Mundaca is a classic example of a talent deserving wider recognition,” says Don Heckman, music critic for the Los Angeles Times. She is “(b)lessed with a sweetly engaging sound, impressive musicality and the rhythmic passion of her Brazilian roots.”

In addition to her own albums, Luca’s work has been featured on two Putumayo World Music compilations, “Women of the World Acoustic” and “Brazilian Lounge,” in which she appears alongside Brazilian music legends Bebel Gilberto , Adriana Calcanhoto and Marcos Vale. Her song “Ha Dias” was featured on the soundtrack for the movie “The Visitor,” and licensed for the TV show californiacation on Showtime. Luca was also named Best World Fusion musician in 2008 by the Independent Music Awards.

Through all of her travels and successes, Luca maintains those rare qualities that set her music apart. Intimacy. Playfulness. Soul. Hearing her play reminds us that life is a fun and romantic gift to be shared with the people we love. And like all things worth doing, good music comes when years of hard work evolve into an effortless expression of joy.

-----------------------------------------------------------
There are two ways I like to listen to a Luca Mundaca album. One is to press “Play” just as friends arrive for a dinner party. Luca’s swaying rhythms and tender vocals slide under the conversation, creating a vibe of relaxed sophistication. Other times, I prefer to listen to Luca alone. It’s like diving beneath the smooth surface of a lake to glimpse complex layers below. First I feel the beat, a rich combination of Samba’s syncopation and Bossa Nova’s seductive sway. Complex arrangements turn each song into its own intricate journey. A jazz sensibility of free-roaming virtuosity sprinkles pathos and joy.

And then there’s that voice. Wow. Always close, always intimate, by turns powerful and delicate. It’s like a lover rolling over in bed to share something important. Few musicians have the confidence or the range to get this close. In concert and on her albums, Luca’s singing has an immediacy that suggests a confident, loving presence. Luca’s songs have appeared on “Women of the World” and “Brazilian Lounge,” two collections by Putumayo World Music. “Ha Dias,” from her album “Day by Day,” was named the Best World Fusion Song at the 2008 Independent Music Awards (IMA). It’s easy to see why. Indigenous Brazilian music forms the bones of Luca’s music. Jazz creates the muscle, and the stark honesty of modern folk and rock provides the flesh.

The true test of any art, be it a song, a novel or a painting, is whether one can return to it again and again, finding something new each time. As I write this, I’m playing Luca’s album in the background. I notice how much I look forward to those three minor-C piano chords she drops into the song “Day by Day,” like small clouds on an otherwise sunny day. I’ve been listening to Luca for two years now, and little discoveries like this keep me coming back for more.

-Christopher Maag is a national journalist for publications including The New York Times, Time magazine, Popular Mechanics and Slate.
http://www.lucamundaca.com/LUCA_MUNDACA.html

Songs for Haiti.....

Alanis Morissette - Offer

OFFER

Wincing In Real Time: A Grammy Live Blog

Ethan Miller/Getty Images Entertainment
January 29, 2010 - It isn't enough to just watch the Grammy Awards telecast. These days, you have to experience it, preferably while juggling several forms of social media: If you're not watching the Grammys while tweeting from your phone, updating your Facebook status, reading a live blog, and participating in a poll to determine which song Bon Jovi will perform during the show, you might as well be staring slack-jawed at cave drawings of Perry Como.

Fortunately, NPR Music has you covered: Return to this page Sunday at 8 p.m. ET to join NPR's Monkey See blogger, Linda Holmes, and NPR Music editor Stephen Thompson as they offer rapid responses to the Grammy Awards telecast. Expect three hours of opinionated, quip-intensive, hastily typed bloviating on everything from AutoTune to what constitutes a "Best New Artist" these days.
http://www.npr.org/templates/story/story.php?storyId=123124073&sc=nl&cc=mn-20100130

Saturday, January 30, 2010

For nearly three decades, this unique vocal/guitar jazz duo....

You are either a fan...or you haven't heard them yet. For nearly three decades, this unique vocal/guitar jazz duo has cast its passionate musical spell worldwide, capturing the hearts of lovers, the respect of jazz buffs, and the jaw-dropping awe of guitarists.

With 29 years of performing together, and 26 years of marriage, the devotion forged by this extraordinary couple shows no sign of dimming from the pressure of familiarity. For them, this pressure creates more diamond than dust. Their instinct for refining their music, their technique and their career—their home studio makeover—their house and garden renovation—never wavers from their credo: It’s not done if it’s not from the heart. And what comes from the heart demands excellence.

Onstage and off, guitarist Tuck Andress and vocalist/arranger Patti Cathcart might, at first impression, strike you as an odd couple. The obvious difference in skin color is quickly overshadowed by the contrast of their personalities. Patti exudes the soft, centered yet powerful graciousness of a gospel singer; Tuck almost wears his brain on his skin, anticipating the thousands of musical decisions he’ll have to send to his ten fingers during the course of a performance. Seeing the virtuosity and complexity of Tuck's guitar work, most are surprised to learn that Patti is the actual writer, arranger, and producer. Without even blinking, Tuck-the-problem-solver brags, “Patti writes and arranges; I am just the orchestra.”

Beneath these layers, however, one hits shared bedrock, from the depth and extent of their musical training to their get-the-job-done focus to their absolute bond of partnership. Their time apart feeds their moments together. “When we're not actually recording an album,” says Patti, “I am singing notes into my little recorder to give to Tuck once we get started.

Meanwhile, Tuck might update their database and website. For I Remember You, Tuck worked out parts drawn from a Count Basie recording, then painstakingly figured a way to play all the parts on his guitar. “We might not even use any of it,” says Tuck, “You can't do it all at once, just on one guitar. But as a way to explore it, I would try to do it all at once. We hope we are suggesting it somehow.”

But Tuck points out that it would be a mistake to too narrowly cast himself as the virtuoso and Patti as the expressive heart and motivator of the duo. “Flying fingers don't impress me much anymore. I'm much more interested in what I call ‘soft virtuosity,’ where the technique is usually invisible. It’s micro-technique, where the subtleties are controlled, and that’s where the heart of the music lies. Singers hopefully don't have visibly flying anything, so it’s all about ‘soft virtuosity.’

Sometimes we have to record take after take to get the guitar the way we want it. But when I listen to Patti in each of those versions, I just hear variations on mastery. If I didn't know how much virtuosity, how much discipline and control that requires, I’d just say it sounds effortless and natural and never question it. She caresses and crafts each note as if it were the only note, yet each take somehow tells a different story—I know she didn’t practice all those details, so she’s doing it on the fly. It takes massive technique to make a human body maintain perfect control of intonation, vibrato, dynamics, attack, breathing and all the other details that go into singing excellently, not to mention with heart-rending expression. I'm glad I don’t have to try to do it; at least I can see if I’m at the right fret!

Both Tuck and Patti were fortunate enough to be part of musical families where records of all types were spinning on the turntable. Tuck’s father had been a leader of a jazz band in college, and his older sister inspired him with her studies of classical piano. “Little did I know that I was getting tremendous ear training that would serve me for a lifetime.” Tuck also took piano lessons, as well as latching on to her love of pop music.

Patti seemed to be born singing. "As a little girl," she recalls, "instead of talking, I'd sing a running, stream-of-consciousness commentary on life. Many people in my family sang; I started singing in church, was leading youth choirs at age 10, and directing the adult choirs before I was 16.” Patti also studied classical violin for 11 years, and in school was involved with school choirs, musicals, and various bands. She performed with many rock and jazz groups during the historic San Francisco sixties musical scene, and saw countless key performances by rock, blues, gospel and jazz greats of the day.

That was one of the wonderful things about growing up in the Bay Area,” she recalls. “I not only listened to and learned from, but got to see live a veritable who’s who of every style of music: Tennessee Ernie Ford. Leonard Bernstein. Josephine Baker. The Beatles. Leontyne Price. Howling Wolf. Ella Fitzgerald. Sun Ra. Aretha Franklin jamming with Ray Charles and Billy Preston. Roland Kirk. The list goes on and on. It was an unbelievable education.

The Fillmore, Avalon Ballroom, Carousel Ballroom, Keystone Korner and Winterland were like home to me,” she continues. “Bill Graham always looked out for me. Jimi Hendrix called me ‘Foxy Lady’ on my birthday one year. I jammed with hundreds of musicians!

While Patti was pretty “out there” from the beginning, a shy boy in Tulsa, inspired by hearing The Beatles and Rolling Stones, spent days his room, “ruthlessly and systematically” learning everything he could about guitar playing, including working his way through all 400 of the orchestral chords, complex jazz chords in the appendix of the Mel Bay chord book. Tuck studied briefly with the Atkins-inspired guitarist Tommy Crook, but most of his learning was on his own. He played with garage rock bands and school big bands, and painstakingly learned songs from records (such as Wes Montgomery, George Benson, John Coltrane, Art Tatum, Red Garland, Thelonius Monk “and a host of piano players,” not to mention blues, rock, R&B and country guitarists like B. B. King, Amos Garrett, Cornell Dupree, Eric Gale and Odell Stokes). Most important, Tuck progressed through “a great deal of practice and experimentation. From an early point the guitar and I were inseparable. I would conduct my life with a guitar strapped on and my fingers active.”

Tuck, too, was influenced by Jimi Hendrix, but the rocker’s sonic textures were so explosive, that Hendrix actually drove Tuck deeper into jazz. It was two years before he felt confident enough to figure out Hendrix’s songs and style. The sixties scene brought Tuck to the West Coast, and in 1970, he enrolled as a music major at Stanford University.

During breaks he tried out the LA studio scene. He was given the opportunity to be guitarist for the Sonny and Cher Comedy Hour, but decided to reject this commercial detour. Later he spent four years with the GAP Band, his “graduate degree in soul music.” Meanwhile he doggedly continued studying recordings of guitarists of every style, developing a knack for playing the guitar as several instruments at once. “I learned how to vary the volume and tone of each part independently of the others,” Tuck expains, “not knowing that this would become an essential ingredient of the fingerstyle guitar I would take up when Patti and I got together.”

For years, Tuck and Patti played in various Bay Area bands without meeting. Tuck, introspective and unambitious, contrasted with Patti’s persona of bandleader, one who would and did jam with every hot musician in the area. In 1978, Tuck was already guitarist for a cover band when Patti walked in to audition. “Within a few seconds of hearing her sing,” recalls Tuck, “I knew I had found my lifetime musical partner.”

It was that immediate for me too,” says Patti. “I immediately knew that the band ‘wasn't happening,’ but that I was going to steal the guy playing guitar in the corner!” The two both explain that musicians always have this radar going, sweeping for their musical soulmate, that special someone that they can communicate and collaborate with. They stayed with the band for a few months, but really got to know each other as they shared a ride to rehearsals. They became best friends. They plotted another course. Jammed with other musicians.

They realized they both had such extensive musical backgrounds that they knew hundreds of songs in common. They formed a duo, guitar and vocalist. Though Joe Pass and Ella Fitzgerald were an inspiration and model, landing live gigs with this sparse instrumentation took a little persuasion. Once booked, however, the rooms quickly filled with repeat fans. ‘We had never had so much fun, nor been so challenged,” says Tuck. “We went to play at a venue and forgot to take breaks.”

For this duo, from then on, there has not been a break. Friendship and collaboration grew to love, and the two were married in 1981. Their recording career took off when Windham Hill Jazz signed them for 1988’s groundbreaking Tears of Joy. This and several other Windham Hill albums put them on the map, and they’ve been solidifying their career, their musical conversation, their technique, and their love together ever since.

Tuck and Patti now have their own recording studio, as well as their own record label, T&P Records, which licenses their CDs to major labels for distribution around the world. They tour Asia and Europe so much that they know that home is with each other, regardless of location. They are looking forward to, at long last, taking occasional time off from touring to teach at their Bay Area home, as well as doing workshops while on tour. A concert DVD, Tuck & Patti Live in Holland, with a behind-the-scenes documentary, As We Travel Round this Circle, was released in 2005.

Their new album, I Remember You, will be released to all retail and digital retail outlets, including iTunes, on August 26, 2008. What's on the album? Love songs of course, from the Great American Songbook, inspired by Ella Fitzgerald and Joe Pass. “They are gorgeous tunes, with grand lyrics,” shares Patti. “And they sing unabashedly, unapologetically, about love.”

To have every song feel like it’s a dream to play,” says Tuck. “It doesn't happen for every performer, but for us, it happens.
Smiling, Patti adds, “You know, I think this conversation is going to last a lifetime.”
Written by Carol Wright
www.myspace.com/tuckandpatti

Katya Chamma is a songwriter, singer, poet, writer and producer....

Katya Chamma is a songwriter, singer, poet, writer and producer.
The first generation of artists from Brasilia / Brazil, served in the main theaters, concerts and events in the capital and other states. Won several music festivals, including the 1st Open MPB Festival of Brasilia. He has performed on radio, TV and the media jingles. In the 1990s, produced, devised and presented the daily television program Capital Spotlight, talk-show with a special focus for the cultural area. In 2000, she made a special concert at Roberto Menescal, Wanda Sá, in Brasilia. In 2003 he released the CD Katya Chamma, with the special participation of Roberto Menescal.

In 2005 she published the book of Mirror Dance, which includes poems, stories, essays and haicais. In 2006 the Recording the points Katya Chamma as one of the greatest names in Brazilian independent music and independent art example (issue 106). That same year, the artist brasiliense replaced by his entry in the Concise Oxford Illustrated Dictionary of Brazilian Popular Music.
www.musicexpress.com.br/katyachamma
http://katyachamma.sites.uol.com.br/
http://recantodasletras.uol.com.br/entrevistas/625556
http://www.myspace.com/katyachamma
http://twitter.com/katyachamma

Pop rock and blues with touches of reggae cd copyright of Katya Chamma, which brings a team of musicians weight brasiliense scenario, with the participation Roberto Menescal special in two of his tracks: Dust Glass (Kátya Chamma), arranged by Menescal made especially for the cd, and I cannot My Blues (Roberto Menescal / Oswaldo Montenegro) - in both the unmistakable guitar blue notes of the master of the MPB.
Tracks:
Verdades e Mentiras > (Katya Chamma) / Zarabatana (Katya Chamma) /

Olhos de Neon > (Katya Chamma) / Corsário (Katya Chamma) /
Paixão > (Kledir Ramil) / Cinemascope (Katya Chamma) /
Eu Canto o Meu Blues > (Roberto Menescal & Oswaldo Montenegro) /
Indomável > (Katya Chamma) / Máscara de Luz (Katya Chamma) /
Poeira de Vidro > (Katya Chamma) / Chinatown (Katya Chamma) /
Um Rock > (Katya Chamma)

Lígia Saavedra, Singer, songwriter and poet....

Singer, songwriter and poet sings from the '80s and is coming to the thirty-year career with national and international presentations, He was founder of the Pau Brasil do Hilton Belém group, in the solo part in several music festivals and performed in bars, theaters, plazas and etc. ...

He participated in CD's Alcyr Guimarães, brother and friend and the Eduardo Dias 'The Curumim' by those who have great admiração.Tem work alongside Zeca Baleiro and Rita Ribeiro when he passed by São Luís which earned him the handle until the samba Avenue of the "Turma do Quinto", School of Samba in the first group alongside Roberto Ricci. In letters written with the soul and is recognized as having been awarded for his poetry and short stories.

On this CD "Além dos Muros" sings three of his compositions. "Cristais de Saudade" with music from Pedrinho Cavalléro also brother and friend and "Me Permito" and "No Balanço do Mar" with Marlon do Cavaco nephew who inherited the gift. In 2002 Lígia Saavedra had his career interrupted by a cancer that departed from the stage but not the true friends who brought her back after his recovery. Today at 55 years is that spurs him to sing is knowing that you must show that: "Yes, there is much joy and hope after pain, neglect, abandonment and loneliness."
http://alamadeartista.ning.com/profile/LigiaSaavedra
http://jazznbossa.ning.com/profile/LigiaSaavedra
http://clubecaiubi.ning.com/profile/LigiaSaavedra
http://www.overmundo.com.br/perfis/ligia-saavedra

Evolution of Zenos Frudakis's Nina Simone Sculpture for Tryon....


The Eunice Waymon—Nina Simone Memorial Project (NSP) exists to honor the remarkable life and legacy of a native Tryon, North Carolina daughter, who achieved international recognition for her unique talent and her formidable contribution to the musical arts.
The musical talent of Eunice Waymon, who was born in 1933, evidenced itself early on. By age 4 she had begun to play piano; by age 7, she had begun to play organ as well—each of which she did for St. Luke’s C.M.E. Church. Waymon’s formal musical training began shortly thereafter under the tutelage of Muriel Mazzanovich, wife of noted artist Lawrence Mazzanovich.

That Waymon possessed a prodigious talent was recognized by many, so much so, that enthusiastic Tryonites created ‘The Eunice Waymon Fund’ to help underwrite the costs of her future studies. Those studies continued with Carl Friedberg at the Juilliard School of Music in New York City, and with Vladimer Sokoloff of the Curtis Institute of Music in Philadelphia.

Waymon’s professional career, as Nina Simone, began in 1954. Her unique musical style merged a strong classical training with an exceptionally broad range of musical genres, which run the gamut from classical, gospel and jazz to pop, folk and spiritual. That Simone asserted a powerful artistic impact upon late-twentieth-century American popular culture is evident in her expansive discography, her musical arrangements and her original compositions. She was and is a powerful musical force in a global theatre.

Your participation in the Eunice WaymonNina Simone Memorial Project supports the recognition of an international musical legend and an icon of human potential realized.



Evolution of Zenos Frudakis's Nina Simone Sculpture for Tryon, NC, with an invitation to the sculpture dedication on 21 February 2010 at 3:00pm in Nina Simone Plaza (54 South Trade Street) and concert at 4:00pm at Polk County High School auditorium.

The CareFusion Jazz Festival will be held in New York City....

NEA Jazz Master and producer George Wein is always ready to talk about music, especially jazz. One afternoon, he was sitting around his Manhattan apartment with no one to talk to, so he put his thoughts to paper -- thoughts about the return of his jazz festival to New York and the many people/venues that are helping to make it happen. It's 2010 and the ever cool George Wein is starting a blog! At almost 85, he's seen, heard and experienced a lot, so he will probably just write whatever is on his mind and maybe your mind, too! Check it out and let us know what you think. If you see something you like, feel free to use quotes or extract excerpts. Also, if you have issues about which you'd like to hear George's thoughts, drop us a line and we'll see what he has to say. We'll get back to you soon with a link, so you can read more about jazz in the Key of G. Thanks!

The CareFusion Jazz Festival will be held in New York City from June 17 - 26, 2010. I first produced a jazz festival in New York in 1972. An incident at Newport the previous year, involving kids storming the stage, had meant for the time being it would be necessary to take the Newport Jazz Festival to an urban area. New York was barren in the summer, so 1972 saw me producing a June jazz festival for the next 36 years. When there was no jazz festival in 2009, I was quite amused to see a great deal of publicity bemoaning the fact, amused because for more than several years the critiques of the festival had been less than lukewarm. In fact, I was beginning to wonder why I continued to work so hard to produce an event that nobody in the jazz press seemed really to care about. In spite of this, when CareFusion, a leading global medical device company, sponsored my comeback to Newport in 2009, I suggested that maybe we should bring back a June jazz festival in NYC in 2010. They agreed. So here we are.
 
The question is: why have a jazz festival in NYC when there is literally a cornucopia of jazz every night? In perusing the two publications, "Jazz Inside New York" and Hot House, I realized that in the month of December 2009 alone, you could count up to 1,000 nights of jazz, Latin jazz-tinged music and Indie Rock (many fine jazz musicians are playing this music) appearing in clubs concerts, at schools and even free concerts. These events feature all styles of jazz from Vince Giordano's band that so beautifully recreates the big band sounds of the 20's and 30's to the most contemporary sounds that can be heard many nights at the Jazz Gallery, a hidden upstairs space in an isolated section of Hudson St., or on the lower West Side of Manhattan.

It's interesting that at the same time as all this is happening, 12 months a year in New York City, that some writers who have a voice in national press are spreading the rumor that jazz is dead. It is true that most of these venues are small. But does this mean death for jazz? I spent many nights in my youth as often as I could get to NYC. 52nd St. was a Mecca for me. It was the late 30s and early 40's before I went in the Army (1943) to help end war forever!! I heard Coleman Hawkins, Art Tatum, and the Count Basie Orchestra to name a few.

Towards the end of the 40's, after my service, I was still going to 52nd St., and Dizzy, Bird and Miles and so many more had been added to the mix. But none of the venues on 52nd Street and the other clubs I frequented in NY held more than 100-150 people. I didn't know it at the time, but the musicians were "well" paid! They made as much as $40 a week (sometimes). But jazz dead? No way. It was alive, well, incubating and leading up to the concert and festival era and in a sense the first major institution for jazz funded by the cultural billions of dollars now available in NY (JALC) and even to the President of the United States bringing jazz to Stockholm for the Nobel Prize awards. So is jazz any more in the throes of expiring than it has ever been? I don't think so.

Thousands of young men and women are dedicating their lives to this music. JALC is perhaps the single most important and best financed venue for jazz in the city, but it doesn't begin to encompass the energy that is pouring out of talented musicians of all ages every night in NYC. If I were to gather this energy to create a unique New York jazz festival I would need help - a lot of help.

What I noticed in checking out the jazz scene over many nights out on the town was that in addition to the plethora of musical creativity, there had developed a group of young producers who were totally enmeshed with jazz that was directing their lives. So I realized I could take advantage of that. Here was the help I needed.

At the Jazz Gallery I met Rio Sakairi who has a reading on the pulse of the young experimenting musicians in the city. Rio was quick to come to my aid. We have produced six evenings at the Jazz Gallery that will enhance the image of what jazz is in NYC. At the Jazz Standard, I encountered Seth Abramson who works with more established artists at Danny Meyer's rib joint, which has become, along with the Vanguard, the Blue Note, Iridium and Birdland, one of the preeminent jazz clubs in the Apple. We will do five evenings there.

I felt jazz should have more of an exposure uptown, so I asked Laura Kaminsky of Symphony Space to work with me. We have produced some interesting concerts which include the contribution of Eric Offner and the Bechet Society. While recognizing youth, I still believe jazz is a noun from J to Z. Harlem had to be on the agenda. I asked Pat Cruz at the Harlem Gatehouse and we have several concerts there. In addition, over the years we have established a tradition of presenting concerts at the Schomburg Center and The Studio Museum in Harlem. Both Howard Dodson and Thelma Golden, respectively, were eager to be part of the CareFusion Jazz Festival.

Brice Rosenbloom and Simon Rentner are two young entrepreneurs who work at Le Poisson Rouge. They have a multitude of ideas, so we are doing several nights there. In addition, Brice and Simon will produce a concert at historic Town Hall. CareFusion asked if it were possible to do something in Central Park. We approached Central Park SummerStage, and after a meeting with James Burke and Erika Elliot, we have come up with one of the most exciting free jazz concerts New York will ever see.

What about Brooklyn? I keep hearing that there is an exciting jazz scene over the bridge. So one night a few weeks ago, New Festival Productions team members Bennett Jackson and John Phillips and I headed off to check it out. At Zebulon I met Jef Soubiron, who runs the club along with his brother Joce. We were greeted by Olivier Conan at Barbès and at Puppet, Jaime Affoumado was happy to see us. So we will have at least nine or 10 nights of jazz in this energized metropolis. In addition, for several years we have established a tradition of including a free concert in Prospect Park. We are working with Jack Walsh and Rachel Chanoff. This will continue.

In Queens, working with Michael Cogswell of the Louis Armstrong House to produce a fulfilling program for Pops' fans at the Armstrong House has been a rewarding experience. This will be one of the highlights of the CareFusion Jazz Festival New York. The finale of the festival will be a midnight jam session hosted by my old friend, Michael Dorf at his beautiful new City Winery.

One important concern - I want to make jazz concerts available to the young fan who does not have as much money to spend in his/her pocket. I have asked all these venues to charge only $15.00 admission with no additional minimum. For the majority of locations, this will be the case. In addition, we will have a limited number of tickets priced at $15 for our bigger concerts at Carnegie Hall. These will be important events and in several cases the artists performing will be making their only NYC appearance of the year.

On January 9th I attended several Winterfest Jazz Festival events on Bleecker Street in the Village. Thousands of predominantly young fans filled the street going from club to club, enjoying pure jazz. I hadn't seen such energy for a genre of music since the folk scene in Greenwich Village when Dylan, Peter, Paul and Marry, The Clancy Brothers and many other wonderful artists were emerging. I was very impressed by the spirit and energy and I think it bodes well for the future of jazz.

So that is a short description of the CareFusion Jazz Festival New York and how I hope to make the world ever more aware that NYC is the jazz capital of the world and to acknowledge the people who work so hard to make this a continuing effort.
# Key of G #
from Carolyn McClair Public Relations

Friday, January 29, 2010

Joyce Collins, 1930-2010

The pianist and singer Joyce Collins died recently in Los Angeles following a long illness. She was 79. Highly respected in jazz circles, Collins played with a sensitive touch and subtle use of chords. Her singing was an outgrowth of those values, with attention to interpretation of the meaning of songs and, as Marian McPartland put it, "...deep feeling, a way of lingering over certain phrases, telling her story in a very poignant way." Collins's recorded debut as a leader had Ray Brown on bass and Frank Butler on drums.

Earlier, she worked with Bob Cooper and Oscar Pettiford, among others, and later toured and recorded as a pianist and vocalist with singer Bill Henderson. Collins's following included many musicians who sought out her gigs, which became increasingly rare in recent years as she depended increasingly on teaching for a living. Most of the recordings under her own name and with Henderson have become collectors items going for elevated prices on Amazon or as bargain LPs on eBay, but one of her best, Sweet Madness, with bassist Andy Simpkins and drummer Ralph Penland, is still in print.

Collins was born in Nevada and went to college in northern California, but not for long, for a reason I explain in Take Five: The Public and Private Lives of Paul Desmond.
http://www.artsjournal.com/rifftides/2010/01/joyce_collins_1930-2010.html

With a brilliant balance between passion and precision, Ray Blue....

SAXOPHONIST-COMPOSER RAY BLUE is a natural connector - a conduit, a channel, a bridge. He is an intuitive communicator who speaks so eloquently, in and through the music.

With a brilliant balance between passion and precision, Ray Blue swoops and soars through a melody then launches into a spirited solo, engaging a soulful communication that leaps off the bandstand and speaks deeply to the audience. Whether waxing poetic or laying down a hard groove, The Ray Blue Sound is at once big and warm, dynamic and romantic, nostalgic and modern. It's "Blue Jazz". The fire is contagious, as evidenced by the host of world-renowned musicians with whom he has shared the stage, including Steve Turre, Eddie Henderson, Gary Bartz, T.K. Blue, Blues Legend Bob Gaddy, Wycliff Gordon, Benny Powell, Sun Ra Arkestra and The Cotton Club All-Stars. He currently holds a chair with the Spirit of Life Ensemble, and tours annually with The Ray Charles Show. http://www.rayblue.com/

At Ronnie Scott's....

When Ronnie Scott tried to get a late license for his club, it took him countless months of negotiations. Thus we're doubly thrilled to be taking advantage of it in 2010! Here, we present a new late night series at Ronnie Scott's. Starting from February 1st every Monday - Thursday 11pm till late, great bands will be featured in the main club with a new late time slot bringing musicians a home to play or just a hang after hours!
HOSTED BY MICHAEL MWENSO

BANDS CONFIRMED FOR FIRST 2 WEEKS:
Monday 1st- Tues 2nd: Brian Edwards and Alan Weekes Quartet
Wed 3rd Feb: Alex Garnett Quartet
Thur 4th Feb: Steve Fishwick / Darryl Kenylworth Steeles Band
Mon 8th-Tue 9th Feb: Jay Phelps Quintet
Wed 10th-Thur 11th Feb: Anita Wardell
Mon 15th Feb: Jonathan Gee Trio
Tue 16th: TBC
Wed 17th-Thurs 18th Feb: Femi Tomowo Organ Trio
Mon 22nd-Tue 23rd Feb: Troy Miller Quartet
Wed 24th: Zhenya Strigalev / Jim Hart Group
Thur 25th: Drugstore Cowboy - Quentin Collins & Brandon Allen

'Catcher In The Rye' Author J.D. Salinger Dies At 91


The author of The Catcher in the Rye died of natural causes, his literary representative has said. Salinger was famously reclusive, and his fans hoped for decades that stores of unpublished fiction might be stashed in his New Hampshire home. His last published work was a short story that took up almost the whole New Yorker magazine in 1965.
http://www.npr.org/templates/story/story.php?storyId=114186193&sc=nl&cc=bn-20100128

Kurt Rosenwinkel: 'Reflections' Of Monk

by Evan Haga
January 28, 2010 - Listeners and players can seem like separate factions in jazz, with listeners more concerned with history, style and aesthetics and players focusing more on chops and equipment. Guitarist Kurt Rosenwinkel is the rare musician who can satisfy both camps equally, a feat that's all the more impressive given his instrument; guitar performance too often appears as a kind of sport.
Photo by: Lourdes Delgado

Rosenwinkel's playing and composing over the past two decades, particularly in groups with saxophonist Mark Turner, has formed an influential ideal for young musicians of his and following generations, and his music has a unique ability to soothe as it burns: Folk- and pop-informed melodies careen through complex harmony and inventive forms, the guitarist's explosive technique neutralized by flowing legato phrasing and glassy tone.

Reflections, Rosenwinkel's recent trio recording with the first-rate rhythm section of bassist Eric Revis and drummer Eric Harland, puts his dual appeal in plain sight. At first glance, it might seem like the sort of rote repertory album guitarists' guitarists make, but Reflections is more conceptual: It's a sharply designed ballads project, with a Rosenwinkel original and two compositions apiece by Wayne Shorter and Thelonious Monk. Of late, Monk has gotten a lot of worthwhile attention from guitarists: Both Peter Bernstein and Bobby Broom paid fine album-length homage to the pianist in recent years, and both covered his "Reflections." Neither of those interpretations, however, approach Rosenwinkel's rendition in its dreamlike grace.

In its composer's hands, "Reflections" boasted Monk's prickly textures and halting delivery; Rosenwinkel varnishes those surfaces, underscoring the whimsy of the melody and filling out the harmony in the process. The arrangement is straightforward enough, with bookends of rubato chord-melody playing, a lyrical bass solo and a stretch of comfortable, confident swing that upholds the leader's velvety single-note lines. Finely controlled power is a key to great ballad playing, and this ensemble has that in spades. Clocking in at nine-plus minutes, it's a bewitching ride.
http://www.npr.org/templates/story/story.php?storyId=123064293&sc=nl&cc=sod-20100128

At Iridium Jazz Club....

LILAH began as a singer of standards of MPB and Bossa Nova....

Lilah began as a singer of standards of MPB and Bossa Nova. He developed his vocal skills and expressive of the best choral performers from Bahia, led by conductor Cicero Alves Filho and technical guidance, vocal singer Reis. As a singer of Blues has partnered with the pianist and music director Miguel Archanjo, the front of the Black Soul Project Concerts and the band Black Soul Blues. They received 4 nominations in the XIII Trophy Caymmi - Miguel Archanjo (best instrumentalist), Fred Baker (best instrumentalist), Black Soul Blues Band and Best Lilah as best performer - with the show held in December 2003 in the choir room of the ACT (Bahia ).

Lilah emerged victorious with the trophy for best interpreter of Best of 2003-2004, and first Blues singer to stand out in awards typically dedicated to MPB. Is a former student of the Advanced Course, Corner Federal University of Bahia, Brazil. He participated in masterclasses and private lessons with teachers: Dr. Corner Antonio Salgado (Portugal) and the Jazz vocalist Ronald Douglas (Netherlands). Served as assistant to the maestro conducting Cicero Alves Filho and Eduardo Torres.

Performed 7 shows in 4 city Pensilvannya in September 2005 with the choir performative Coronlaine. She taught singing popular Evening Courses UFBA for 1 year and a half. He taught theory, music perception and vocal technique, and it works with recordings, preparation of vocal bands, advertising jingles and phrases. Since 2005 been working on solo career and his last forming the band was as Aline Cunha & Hard Blues, with the presence of Brazil Cassio (drums), Jerry Marlon (bass), Ricardo Flash (guitar) with a repertoire full of grooves, hard and many classic blues singer.

Lilah - First Steps

Lilah | Vídeo do MySpace

Born in South Wales June 1980, Amy Sinha....

Born in South Wales June 1980, Amy, the youngest of three sisters remembers being surrounded by music and musical instruments and influenced heavily by her older sisters who were convinced that one day the “charmed ones” would be the new “Supremes”. She was dragged into her first talent contest aged six, singing “Somewhere over the Rainbow”, terrifying moments as she could barely reach the microphone but also turned out to be exhilarating. This marked the beginning of her love of music and performance.

The new “Supremes” may have become childhood dreams but Amy Sinha studied classical piano & singing and developed an intimate affair with the world of Jazz in her teens. A difficult and mature genre for this modern generation but one that touched Amy very deeply. She went on to graduate from "Leeds College of Music with a BA (Hons) Degree in music specialising in Jazz. There she studied under tutors such as; Graham Hearn, Lee Gibson, Tina May and Anna Stubbs. She was a keen participant in many different musical workshops led by musicians such as: Jullian Joseph, Daryl Sherman, Alan Barnes and Jim Mullen.

Other than singing, Amy loves writing poetry, is an avid reader, has a thing for the fantasy and paranormal, playing classical piano and poker. PerformancesAmy has performed at many different venues and events across the UK, including theatres, blues bars, private functions, churches and cathedrals. Although Jazz has been her first love, she also indulges in soul and RnB always keen to fuse various styles, producing her own fresh and silky sound.
 
From the jazz scene Amy has sung with the Cottle brothers, Ian Thomas, Dave O'Higgins, Danny Moss, Alex Garnett, Damon Brown and Alan Barnes - to name an illustrious few.

Charity Amy has taken an interest and an active part in the much respected jazz club of Swansea (Swansea Jazzland), run by jazz musician Dave Cottle. She is involved with many different charitable organisations, including - “Friends of the Welsh National Opera”, “The Bible College Of Wales“, “Women In Jazz”, the latter organisation based in Swansea, bringing the history of Women’s place in Jazz to the modern day people. A charity, that also enables women of all ages to work with other musicians, and then perform jazz and blues to the public.

Thursday, January 28, 2010

Colombian-Spanish Soprano Patricia Caicedo is an international concert and recording artist


Colombian-Spanish Soprano Patricia Caicedo is an international concert and recording artist and the leading interpreter of the Latin American and Spanish Art Song. Singing in Spanish, Portuguese, Quechua and Catalan she draws listeners into the world of beauty, poetry, and warmth that is the Latin American Art Song – a world that continues to thrive because of her determination to ensure its future.

Caicedo’s distinguished career includes concerts with symphony orchestras and recitals in the United States, Canada, Europe, and Latin America where she is hailed by audiences and critics alike. As one reviewer noted, “Reflecting her deep emotional connection to the music, she interprets the repertory with extraordinary sensitivity and sweetness.”

She has recorded two CDs dedicated to the Latin American Art Song -- “To My Native City” (2005) and “Art Songs of Latin America” (2001)-- has collaborated on other CDs, and is preparing a new recording of Colombian art songs. Both CDs are available for purchase on this website. As a musicologist, Caicedo is internationally recognized as the leading expert in the study and performance of the Latin American art song, a tradition she has almost single-handedly rescued from extinction. Her pioneering book The Latin American Art Song: A Critical Anthology and Interpretive Guide for Singers was published in Barcelona. In January 2009 Mundo Arts Publications published her two new books title: The Colombian Art Song - Jaime León: Analysis and Compilation of his works for voice & piano Vol.1 & 2.

She is the founder and artistic director of the Barcelona Festival of Song, the only summer course and concert series focused on the study of the history and interpretation of the Latin American & Spanish Art Song repertoire. With her talent, knowledge, and determination to preserve an important part of the world’s musical heritage, Patricia Caicedo is indeed The Voice of the Latin American & Spanish Art Song.

Classes
An experienced voice teacher, Dr. Patricia Caicedo offers voice lessons to students of all skill levels and voice ranges at reasonable prices. She offers lessons in Barcelona & New York. If you are interested in classes visit http://www.voicebcn.com/ or write her to patricia@patriciacaicedo.com.

Because the singer’s instrument is his or her entire body, effective voice teaching must be a full-body-mind, integrated approach, and much more than a narrow technical approach focused exclusively on the vocal cords. Dr. Caicedo is an experienced performer and brings all of her experience to her teaching. Her training as a physician, classical singer and musicologist gives her a very unique set of tools to help the student achieve his or her goals.

In terms of teaching, Patricia has a wide range of experience with students of all levels. She specially enjoys working with beginners since she thinks the most important part of the training is just when the student is building the foundations of his/her technique. Each year she accepts students who come to Barcelona from different countries to study with her. Although her specialty is the Latin-American & Spanish Vocal repertoire, due to her vast experience she also trains singers in musical theater, opera, jazz and pop.

Patricia also works with people who are looking for opening their energy channels , people who learn how to sing as a way to improve their self confidence and people who believes in the power of music to heal their body and minds. Dr. Caicedo incorporates her knowledge of the human body and mind in their teaching and believes that the process of discovering the own voice is a process that brings spiritual and human growth. She is full member of the National Association of Teachers of Singing (NATS). She was invited to perform at the International Voice Teacher Convention held in Vancouver in August 2005 and presented a Poster paper in the same convention in 2010 in Paris. She also had presented workshops for NATS members in New York City.

Dr. Caicedo offers her students complete training that includes:
Anatomy and Physiology
Breathing
Posture
Vocalization
Diction and Interpretation
Audition Preparation
Care of the voice
Repertory
Music History
Applied Alexander Technique for singers

She also offers production consultation for record labels and special production for classical singers interested in recording the repertoire of Latin America or Spain.
Production / Consultation for Record labels

Her goal is that the each student acquires a "complete vision of their resources and possibilities as a singer." Patricia Caicedo is frequently invited to Universities to give lectures and master classes. She is a former faculty member at the Eolia Institute of Musical Theater in Barcelona, Nova University School in FL and has taught students from throughout Europe and USA. She is now is living in Barcelona (Spain) where you can contact her.

In 2009 she was guest teacher at:
Orquesta Filarmonica de Bogota, Bogota, Colombia
In 2008 she was guest teacher at:
Keene State College, NH, USA
Florida State University, Tallahassee , FL (USA)
In 2007 she was guest teacher at:
Brigham Young University, Utah, USA
University of South Florida, Tampa, FL (USA)
Wake Forest University, Winston-Salem, NC, USA
New York University, New York, USA
Barcelona Festival of Song, Barcelona, Spain
In 2006 she had been teacher at:
University of South Florida, Tampa, FL (USA)
Barcelona Festival of Song, Barcelona, Spain
Loyola University, Chicago, USA
New York Chapter of NATS
New York University, New York, USA
Teacher's College of Columbia University, New York, US
Universidad de Cádiz, Spain
In 2005 she was guest teacher at:
University of South Florida, Tampa, FL (USA)
Barcelona Festival of Song, Barcelona, Spain
VI International Voice Teacher Convention, Vancouver, Canada
Gordon College, GA, USA
University of Texas at Austin
Conservatorio de Puerto Rico

Wednesday, January 27, 2010

Hamilton de Holanda, born in Rio de Janeiro neighborhood of São Cristóvão

1976
* Born in Rio de Janeiro neighborhood of São Cristóvão, Hamilton de Holanda Vasconcelos Neto, son of José Américo and Iélva Nídia of Pernambuco.
1977
* His family moved to Brasilia, the new Capital of Brazil.
1979
* It is encouraged by his father to sing sambas and play 'musical toys'.
1981
* Got his first musical instrument, a melodica.
* Your first presentation is the Clube do Choro de Brasília, playing melodica, his brother Fernando Cesar - fellow music and life - the ukulele and his father - his master - the guitar.
* Win a Christmas present from his grandfather Hamilton the first bandolin. The first song I learned to play the new instrument was "Flor Amorosa ', Joaquim Calado.
1982
* Make your first gig playing bandolin in the group formed by his brother Cesar, 7-string guitar, his father with the ukulele and Pernambuco do Pandeiro.
* Pernambuco available for fostering the brothers and the group is now called 'Two Gold' group with which Hamilton did most of their presentations to the 22 years of age.
* That same year, participates in several TV shows in the capital, including the Children's 'Carousel', and the local 'Brasília Urgent'.
1983
* Along with the informal learning of the wheels of crying, Hamilton studied at the School of Music of Brasilia and begins to learn the violin and the traditional Japanese Suzuki method.
* Participate in a spectacle in honor of Waldir Azevedo, the Teatro Nacional, Sala Villa-Lobos, directed by Klécius Caldas, where he met great musicians, but also set Altamiro Carrilho and young Nilze Carvalho.
* With Two Gold, makes his first appearance outside of Brasilia Program Four (video), Globo.
* Begins his study with the professor of music / guitar Everaldo Pinheiro. At this time, the city of Brasilia was not a professor of mandolin, so Hamilton has studied other instruments, always applying their learning to the small mandolin. In your home, what else plays on the phonograph disks are Jacob, Deo Rian, Pixinguinha, Tom Jobim and Joao Gilberto, and the great American orchestras.
* Join a great show in honor of Jacob do Bandolin, the Teatro Nacional, Sala Villa-Lobos, directed by Klécius Caldas, where he meets major bandolinistas as Ronaldo's Mandolin (with all the Golden Age) and Armandinho, the latter reference final to the then boy Hamilton.
* Make more room Funarte shows in Brasilia and in other theaters of the city with the Group Two Golden.
1985
* Participates in Project Pixinguinha in Brasilia. After this presentation is invited to play in the Project Pixingão, Room Funarte Sidney Miller, Rio de Janeiro. His "Two of Gold" divide the stage with the set of Pernambuco Choro, Dalva musician and miner Torres Nivaldo Ornellas. On this occasion knows Radames Gnatalli and Raphael Rabello.
* Travels to Cachoeira do Campo, Minas Gerais, making the show with two Gold and also playing in the historic town of Mariana.
1986
* With Choro & Cia is awarded the Best 'Group Crying', the Festival of Goiania.
* Shows Funarte-Brasilia.
* In his first composition 'Chorinho pra Pernambuco'.
* Starts studying guitar with Paulo André Tavares. Hamilton had definite lessons to your life as a musician, especially in the field of harmony. Thereafter, the young musician has not only think about music as a 'player of melodies'. Opens a window through which he can now see the top 3 musical elements more clearly: melody, rhythm and harmony.
1989
* Together with his friends Edward and Julian, as the rock group 'The Pizza Delivery, "which played at meetings in his family and the ballroom of Block I of SQS 103. The repertoire, Rock Nacional. At that time, Hamilton was playing bass with the band, but continued to study music and the wheels, always used to playing the traditional repertoire of crying, and also things Cartola, Ataulfo Alves, Nelson Cavaquinho, among many other great composers Brazilians.
1990
* This year, Hamilton is taken by a passion for music of Joao Gilberto. Know the complete discography of John, listen to infinite times, to the point of taking each chord that the master of bossa nova touches.
1991
* At school, in Brasilia, as the band 'Left Ball' with Alex and friends Oswaldo education that would later grow with the addition of Jorjão, Jomba and equity Duckling. The repertoire, MPB Djavan, Gil, Caetano and the like.
1992
* In July, part of a show celebrating the 50-year career of flute Carlos Poyares. At that time shares the stage, among others, with his brother Fernando César, Pixinguinha, Deo Rian, Orlando Silveira Chesky Records, which has always been one of its major references as a musician. Raphael started playing Wow and transcends borders.
* Then at 17, passes through a turning point in his professional life, this decision is not final. Through the influence thoughts and behavior of society in general, choose to tryout for a course that could - according to a conservative thought and even fearful - give them food and keep the music only as a hobby. Moves to accounting ... ... ... ... ...
* Know the mandolin Ceará-Rio Jorge Cardoso. A round of crying in Fortaleza, the teenager Hamilton is impressed with Jorge playing. It was an important passage in your life.
1994
* But of course it was a moment of realization and certainty. 1 year of study at the School of Accountancy was enough for Hamilton to meet and to let go of a pre-condition with established society that live music is very difficult. Hamilton is more music every day.
1995
* The important thing is that this year 95 Hamilton locked the course and passed the entrance exam at the University of Brasilia, for Bachelor's Degree in Composition.
* Another important event in his career: it takes an unprecedented way 5 songs (3 his 1, his father and brother, and 1 flute Leonardo Miranda) to the end of the II Festival de Choro do Estado do Rio de Janeiro. Among the 12 finalists 'Destroçando the cassava' wins second place and Hamilton comes out as the 'Best Performer' Festival.
* Enter the UnB and now his musical universe grows with each passing day. As part of the course curriculum of composition, Hamilton is more intimate repertoire of music called 'classical'. Among the composers who most fascinate are Villa-Lobos, Debussy, Shostakovich and, of course, Bach. Among his teachers are: Bohumil Med, Ricardo Dourado, Jorge Antunes, Mercia and Sergio Pinto Nogueira, this, in its final training as a composer. Since the beginning of the course, fuels the idea of finalizing the formal studies composing a Concerto for Bandolin and Orchestra.
1997
* Releases the album with the Group Two Golden called 'Destroçando the cassava'. At this time, the Two Golden consisted of Hamilton, Caesar, Americo, Francisco de Assis, Beto and Cunca, with the participation of Evander Barcellos e Alencar 7 strings. In the show's launch, hit the record crowd of Theater of Banking in Brasilia, in a show was attended by Armandinho, Dirceu Leite and Paulo do Pandeiro.
From 1998 to 1999
* The Group Two Golden has a reputation for excellence that made him critical acclaim and public in their own city, Brasilia. Rarity in music. (Typically, the holy house is not a miracle, you need to leave home and go out.) This is due thanks to a few things: the vocation of the city for that - public, journalists, musicians, ordinary people - the cycle of pupils Hamilton had the Clube do Choro de Brasília, the talent of the brothers, and anything else that can not be explained ... ...
* One more launch of Two Gold (with Hamilton, Caesar, Americo, Leander Motta, Sandro Araújo, Rogério Caetano, André Vasconcellos), the CD 'The new face of the old cry', title of journalist Irlam Rocha Lima. At one time, the disk is subject to the "Gazeta Mercantil" as a blockbuster. In Stores network 2001/Gabriela Records, "sells more than Disk Rolling Stones'.
* Starts a partnership with the great guitar player, always a source of inspiration, Marco Pereira. Marco was instrumental in the career development of Hamilton. With him, made his first two international trips in the year 98 and 99 for Venezuela and France. Marco also opens the door to Hamilton in Rio de Janeiro, the music market, and also that of your home.
* Study the Concerto for Bandolin and Orchestra Radames Gnatalli with Joel Nascimento.
* Join the I Prize Visa MPB Instrumental. It placed third and the prize of the audience.
* 'The new face of the old cry' is chosen album of the year by the newspaper Correio Braziliense.
* In Brasilia, opened the first school of Brazil Choro: 'Brazilian School of Choro Raphael Rabello'. Hamilton is a teacher-founders and the first coordinator of the school.
* Hermeto Pascoal becomes a reference constant.
* Switches to hear more often the Jazz. The repertoire of Chick Corea, Keith Jarrett, Pat Metheny, George Benson is already part of their hearings.
* This year, so natural and spontaneous, Hamilton begins to offer a new opportunity to play the mandolin. The cry is no longer the only way to express their art. It is a very important year. His compositions no longer can be classified into one style. He's already thinking about having an instrument that enables the realization of their musical ideas 'orchestral'. Fluency in improvisation is increasingly noticeable.
* Together with friends Rogério Caetano and Daniel Santiago, creates the "Brasilia Brazil," a trio that has proposed to Brazilian instrumental music avant-garde. At that time, they rehearsed nearly every day, all day, in search of a language that could really be called avant-garde art.
* Through the friend Daniel Santiago, knows the music deeper mining. If you love the music of Milton Nascimento.
From 2000 to 2005
* In a phone call to the luthier Virgil Lee, Hamilton makes the following request: 'Virgil, I need a new instrument. Get the size of my 8 strings, divided by 4, multiply by 5 and the compensation that makes you feel necessary. We will try to reach the ideal measure of 10-string bandolin. Please do with wood roaches, if by chance, we do not like the damage is not great '. In 3 months the 10-string bandolin was ready, and what was to be a prototype, turned his official instrument.
* It makes a super show at the Free Jazz Festival in Rio and Sao Paulo. His group was formed by Fernando César, Americo, Rogério Caetano, Leander Motta, Sandro Araújo, Hamilton Pinheiro.
* Launches the disks: Strings of Light, with Marco Pereira; Abre Alas, with the Brasilia Brazil (for the record label Velas); Two Gold, with his brother Fernando César (Pau Brazil).
* The Two Golden crosses borders and touches the Arts Alive Festival in Johannesburg, South Africa
* In December, Hamilton performs the show 'Three is too much' (see video in multimedia) with Marco Pereira and wizard Hermeto Pascoal.
* Make a special disk 'Beth Carvalho canta Nelson Cavaquinho' for Bandolin and Orchestra. Becomes the first Brazilian mandolinist to write a musical work of this importance.
* Wins the Nobel unanimously Icatu-Hartford Arts as the best musician of Brazil. Win a scholarship and a special accommodation at the Cité International des Arts in Paris for 1 year.
* In 2002 farewell to France, made a historic show in the city of Santos, São Paulo, in Brazil (listen below).
* This was a very important year in the life of Hamilton. Lives alone in Paris. Learn about another culture, learn other languages, make new friends. Alone that Hamilton was definitively developed the technique of playing the bandolin strings 10.
* Throw the disc 'Hamilton de Holanda', recorded for Velas. On this album, recorded with various configurations, which was already an embryo of the quintet.
* In the same disk, writes the classic 'Vibrations' Jacob's Mandolin with the Conjunto Época de Ouro.
* In a partnership with Marcos Portinari and the National Assembly (Shopping GMT), performs the victorious project 'Culture in Premium Set ". Project that brings together poetry, music sung and instrumental music. (photos: Zélia Duncan and Tuca Andrada / João Bosco and Danielle Winits / Leticia Sabatella, Jorge Vercilo and Dudu Nobre / Matheus Nachtergale)
* Travel over 15 countries with his bandolin.
* In Brazil, traveling from north to south releasing his records.
2006 to 2009
* His quartet becomes quintet, now with the harmonica player Gabriel Grossi. With the quintet launches the disc 'Brasilianos' (Biscuit Fine / Brasilianos). The disc is a kind of manifesto for the new instrumental music made by young Brazilian musicians.
* Hamilton devotes more and more activity as a composer.
* Launches the discs 'Samba Airplane' (Kind of Blue), distributed in Europe, with the participation of French accordionist Richard Galliano, New Words / New words (Adventure Music), with mandolinist Mike Marshall, distributed in the U.S.
* It makes a big national tour for the CD Brasilianos, sponsored by Natura.
* Goes on with the project 'Culture Together Premium', in Brasilia. (photos: Camila Pitanga / Alexandre Pires, Letícia Spiller / Maria Bethania) Writes bonuses CD / DVD João Bosco (Obrigado Gente), Ivan Lins (Acariocando) and Flávio Venturini.
* The special guest Mike Marshall and David Grisman's "Mandolin Symposium in California, with the presence of 200 bandolinistas the world.
* Together with Richard Galliano, touches on some of the most important festivals in Europe, as the 'Jazz in Marciac' and Jazz Festival in Paris.
* With the quintet, is show in history WOMEX in Seville.
* Does tour in Italy.
* In Brasilia, the show is celebrating 25 years of Two Gold.

João Bosco, composer, singer and musician....



João Bosco Mucci, composer, singer and musician, was born in Ponte Nova / MG - Brazil, on 13/07/1946. His mother played piano and violin, as his sister, who was the club crooner of Ponte Nova. Grew up listening to all kinds of music and, as a young boy was crooner and percussionist of all saxophonist Mafra Filho. She went on to sing the whole rock X-Garey, later called The Charm Boys, who formed a group of friends.

He was studying engineering in Ouro Preto / MG, in 1962, where he lived in the republics of students, always playing guitar. Knew, five years later, Vinicius de Moraes, with whom he composed a series of songs: Samba do Pouso, Rosa dos Ventos, O Mergulhador, and others. He was interested in working Guinga in 1969, when she saw him on television present themselves at the festival and the following year, on vacation in Rio de Janeiro / RJ - Brazil, met the lyricist, who have since started to swap tapes , partnering the distance: one in Rio de Janeiro, one in Ouro Preto.

In 1972, he sang and played guitar in the first recording of a song by the duo: Agnus know, first launched in the Disco de Bolso, produced weekly by O Pasquim, which also launched Waters of March that same year, he graduated from engineering profession who has never exercised, he moved to Rio de Janeiro and began to devote himself exclusively to music.

The first composition of the team to success was with Bala com Bala, included in the LP that has Elis Regina recorded in 1972 by Phillips. The following year he recorded his first LP, the label RCA Victor, playing guitar and singing songs of the duo, including Agnus Sei, with Bala com Bala and Cabaret. New compositions of the two partners appeared on LP Elis Regina recorded in 1974 by Phillips, O Mestre Sala dos Mares, Dois Pra lá Dois Pra cá, Caça a Raposa.

Already with the guaranteed public came out in 1975 the second LP, Caça a Raposa, also for RCA Victor. One of the songs contained in it was Kid Cavaquinho, which had been recorded successfully by the singer Maria Alcina. In the 80 and 90, after ending its partnership with Guinga, starts to act more frequently as a singer, and find other partners such as weeding in paper mache, another great success, Waly Salomão and Antonio Cicero in 'Olofotes', and the son of the poet Francisco Bosco, who composed the tracks on the disc As Mil e Uma Aldeias.

In 1988 he composed the score for the ballet Benguelê, of the Body Group, made in Rio, Sao Paulo, Belo Horizonte and in international festivals.