by Drayton Nejaim
Graphic Designer, Andrea Carvalheira
The doctor Giovanni Papaléo is 78 years old, speaks six languages and has always enjoyed good music. He raised his sons, Giovanni and Adriana, listening to big band, bossa nova, the divas of jazz, Frank Sinatra and Tony Bennett. In childhood, Giovanni Papaléo Son did a duet with her sister in school parties singing Italian songs typical. Adriana played classical guitar, Papaleozinho, percussion.
The doctor Giovanni Papaléo is 78 years old, speaks six languages and has always enjoyed good music. He raised his sons, Giovanni and Adriana, listening to big band, bossa nova, the divas of jazz, Frank Sinatra and Tony Bennett. In childhood, Giovanni Papaléo Son did a duet with her sister in school parties singing Italian songs typical. Adriana played classical guitar, Papaleozinho, percussion.
The musical heritage originated in Italian grandfather, a merchant who sang opera. The parents were scared to death that the musical trend turned profession. Turned. But only after Giovanni graduated in mechanical engineering and become a civil servant in CBTU / Metrorec in the maintenance area.
24 years, with the first paycheck of Metrorec, Papaléo bought a drum and began studying with a jazz drummer, Mauricio Chiapetta, which increased the taste for the genre. His first foray was as a musician in a rock band which did not debut. He honed his training taking classes with percussionist and scholar Professor Anthony Baker, responsible for its foundation and definition of musical identity within the world of percussion.
It fell to the businessman friend Theofilo Serur show him what was the blues. At that time, Papaléo felt isolated musically. The groups were few and closed to hold an inexperienced rookie set without musicality. Giovanni began to correspond with the great names of drums, people like Billy Cobham (father of jazz fusion), Peter Magadino (drummer / writer) and Flávio Pimenta, São Paulo entrepreneur who built the first school in the capital city of drums, the Drum.
So far Papaléo liked many things and knew I needed to mature musically. During this period expanded its network of musical contacts in Brazil and abroad, until in March 1995 decided to undertake a major event of percussion in Pernambuco. First, however, had traveled and understood the mechanics of events of its kind in Brazil and the United States.
Here met the then President of the Culture Foundation, Ralph Henry, a design enthusiast titled Percussion Workshop of Pernambuco, institutional and financial support along with Aky Records, Cultura Inglesa, Disclosing, and Spettus Odery (factory percussion instruments). The event lasted seven days and used the stage of Fundaj, Teatro de Santa Isabel and Pernambuco Conservatory of Music, mixing big international names such as Chuck Silverman and Chris Adams, national, and Robby Smith, and places such as Maracatu Nação Pernambuco, Antulio Madureira and Zombie Nation.
The initiative has produced a huge cultural exchange and spontaneous media coverage was impressive, culminating in a matter of ten pages in Modern Drummer Magazine, the most revered drum magazine in the world. Despite the success, Giovanni did not realize the secondedition, continuing in search of their identity, now as a producer. In 1997, Papaléo decided to create his band, the Uptown Band, which debuted with a weekly program at the Downtown Pub, in Recife Antigo.
The band specializes in blues, was part of the look entrepreneur Giovanni, who noticed the absence of a musical alternative to the proposed profile. The shot on the fly and Uptown was assured by the pioneering and important to recall a sound quality that resonated in a news story, especially supported initiallyin the social column of John Albert and Recbeat Sobral, Marcelo Pereira, broadcast in local papers.
In the same year Papaléo embraced a project to disseminate the culture of Pernambuco abroad called Code Brazil - Recife Target. We invested $ 200 thousand in a CD recording, led by drummer Airto Moreira (settled in the U.S. since the 60s), which brought together Tavares da Gaita, master Salustiano, Banda de Caruaru Pífanos Nation and Ere.
The initiative was supported by FUNDARPE, chaired at the time by Jair Pereira, and released worldwide.The repercussions of these projects gave the Papaléo age, who received an invitation from the largest manufacturer of cymbals worldwide, Avediz Zildjian, to produce the Zildjian Day in the region, a drum clinic at night, held at the Park Theatre, bringing together large drummers worldwide. The event was part of a tour and producer Pernambuco directed three editions (1999-2001), all with full house.
Papaléo followed firm as manager of maintenance and the cancha Metrorec acquired as a producer and the Uptown, a planned project that would professionalize the needs of production, bridging the great musicians who play for opinion leaders and guarantee the return of the sponsor.Thus arose, in 2003, HI Blues By Night, which took Dimitri Rocha and Marcelo Pereira, executives from the telephone company, its major sponsors.
The project runs for eight years and six hits capital with a simple mechanics: the Uptown is the host and always brings a big name nationally or internationally to share the stage. The event crystallized the name of Giovanni and accredited in scene for new flights, as Garanhuns Jazz Festival, which began in 2008 as a cultural alternative to the carnival period, prompted by Mayor Luiz Carlos Oliveira at the drummer's brother, Francisco Papaléo.
The event, in its third edition, this year brought together 20 000 people in three days the revelry of Carnival injecting $ 1.6 million into the economy of the city at a cost of 10% of this amount. This path has given the cultural entrepreneur Giovanni muscles needed to express critical opinions. The leader of the Uptown Band Pernambuco states that do not currently has a policy of encouraging the perpetuation of covering designs tested and consolidated incommunity, leading producers every year starting from zero stress on sustainability of initiatives.
The producer also questions the practice of FUNDARPE inherited from other governments, to pay the fee to attractions in advance national and international artists and the land with up to 90 days after services rendered. Papaléo states that governments have a responsibilityon the poor professionalism of local artists and producers because the conditions to be dependent.
Drummer stays condemns the attitude of government managers, who do not prioritize the adoption of a policy that addresses, forms and professionalize cultural entrepreneurs, preferring to remain hostage to the local artist, and dependent on his knees to the mighty of the time."The consequence of this reality is that many local artists are hiding in the room they use for the guitar solos worldwide cultural icons like Led Zeppelin, Eric Clapton and Jimmy Hendrix, replacing it with a fiddle without having invested in training that qualifies the to do so. They learn early that the fiddle Funcultura releases funds and support from governments. This cycle is embedded in the cultural scene for decades of Pernambuco, "laments Giovanni.
He added with a reflection: "Those who call themselves stakeholders in the development of the cultural scene state have ignored the good examples of those who were able to transcend the elements of our culture and equilibrálos with universal elements, such as Lenin, CharlesTeon, Alceu Valenca, Josildo Sa and Nana Vasconcelos, "says the producer, who launches an important question:" With this government posture our young artists do not develop a musical identity and free will be reduced to caricatures of our mediocre masters of popular culture, which are already old. What will be left after them? "
The musician recalls that never bowed to the pre-requisite to say amen to popular culture to get encouragement and appreciation. For him "the culture has no boundaries or labels." He believes that popular culture of Pernambuco ends up being reduced by patronizing manner with which it is supported. "Our culture deserves more than handouts," Papaléo causes, which then triggers: "I do not use the culture of Pernambuco as a job. For me it is a passion that needs to be oxygenated coexisting with other influences. "
From www.revistanegociospe.com.br
The initiative was supported by FUNDARPE, chaired at the time by Jair Pereira, and released worldwide.The repercussions of these projects gave the Papaléo age, who received an invitation from the largest manufacturer of cymbals worldwide, Avediz Zildjian, to produce the Zildjian Day in the region, a drum clinic at night, held at the Park Theatre, bringing together large drummers worldwide. The event was part of a tour and producer Pernambuco directed three editions (1999-2001), all with full house.
Papaléo followed firm as manager of maintenance and the cancha Metrorec acquired as a producer and the Uptown, a planned project that would professionalize the needs of production, bridging the great musicians who play for opinion leaders and guarantee the return of the sponsor.Thus arose, in 2003, HI Blues By Night, which took Dimitri Rocha and Marcelo Pereira, executives from the telephone company, its major sponsors.
The project runs for eight years and six hits capital with a simple mechanics: the Uptown is the host and always brings a big name nationally or internationally to share the stage. The event crystallized the name of Giovanni and accredited in scene for new flights, as Garanhuns Jazz Festival, which began in 2008 as a cultural alternative to the carnival period, prompted by Mayor Luiz Carlos Oliveira at the drummer's brother, Francisco Papaléo.
The event, in its third edition, this year brought together 20 000 people in three days the revelry of Carnival injecting $ 1.6 million into the economy of the city at a cost of 10% of this amount. This path has given the cultural entrepreneur Giovanni muscles needed to express critical opinions. The leader of the Uptown Band Pernambuco states that do not currently has a policy of encouraging the perpetuation of covering designs tested and consolidated incommunity, leading producers every year starting from zero stress on sustainability of initiatives.
The producer also questions the practice of FUNDARPE inherited from other governments, to pay the fee to attractions in advance national and international artists and the land with up to 90 days after services rendered. Papaléo states that governments have a responsibilityon the poor professionalism of local artists and producers because the conditions to be dependent.
Drummer stays condemns the attitude of government managers, who do not prioritize the adoption of a policy that addresses, forms and professionalize cultural entrepreneurs, preferring to remain hostage to the local artist, and dependent on his knees to the mighty of the time."The consequence of this reality is that many local artists are hiding in the room they use for the guitar solos worldwide cultural icons like Led Zeppelin, Eric Clapton and Jimmy Hendrix, replacing it with a fiddle without having invested in training that qualifies the to do so. They learn early that the fiddle Funcultura releases funds and support from governments. This cycle is embedded in the cultural scene for decades of Pernambuco, "laments Giovanni.
He added with a reflection: "Those who call themselves stakeholders in the development of the cultural scene state have ignored the good examples of those who were able to transcend the elements of our culture and equilibrálos with universal elements, such as Lenin, CharlesTeon, Alceu Valenca, Josildo Sa and Nana Vasconcelos, "says the producer, who launches an important question:" With this government posture our young artists do not develop a musical identity and free will be reduced to caricatures of our mediocre masters of popular culture, which are already old. What will be left after them? "
The musician recalls that never bowed to the pre-requisite to say amen to popular culture to get encouragement and appreciation. For him "the culture has no boundaries or labels." He believes that popular culture of Pernambuco ends up being reduced by patronizing manner with which it is supported. "Our culture deserves more than handouts," Papaléo causes, which then triggers: "I do not use the culture of Pernambuco as a job. For me it is a passion that needs to be oxygenated coexisting with other influences. "
From www.revistanegociospe.com.br
