10 MOST INFLUENTIAL ANA FLAVIA ZUIM - PORTINHO PAULO BRAGA ROGER DAVIDSON - Brazilian Music Foundation
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Aug-Sep. 2018 - Edition#12
Interviews
10 MOST INFLUENTIAL ANA FLAVIA ZUIM
From Church to Broadway
PORTINHO
PAULO BRAGA
ROGER DAVIDSON
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table of
Online Magazine
CONTENTS
News | Events | Performances | Culture | Education
SPECIAL EDITION — BOSSA NOVA 60 YEARS—AUG/SEPT 2018
3 EDITOR’S NOTE
4 EDITORIAL TEAM
10 ANA FLAVIA ZUIM - FROM CHURCH TO BROADWAY
13 DAN COSTA—CD RELEASE
14 PORTINHO—DRUMMER
16 ROGER DAVIDSON— CITIZEN OF BRAZILIAN MUSIC
18 PAULO BRAGA—DRUMMER
20 TATI VITSIC—GRAPHIC DESIGNER
22
25
BOSSA NOVA - 60 YEARS
AVANT-GARDE POPULAR MUSIC
ANA FLAVIA ZUIM 10
26-27 RADIO ERA/GOLDEN YEARS
28 ORFEU DA CONCEIÇÃO/BLACK ORPHEUS—THE PLAY
30 BRASÍLIA AND BOSSA NOVA
32 THE BOSSA GROUP—THE BEGINNING
34 THE MEETINGS AT NARA LEAO’ APT.
36 FIRST RECORDING OF “CHEGA DE SAUDADE”
37-39 JOÃO GILBERTO FIRST RECORDINGS
40 THE SAMBA SESSION
41 THE BOTTLES BAR
42 AN ENCOUNTER—THE HISTORY MADE SHOW
44 TOM/VINICIUS AND THE GIRL FROM IPANEMA
46
47
RONALDO BOSCOLI– 1ST BOSSA NOVA PRODUCER IN BR.
FELIX GRANT-THE BOSSA NOVA PROJECT DC.
PORTINHO 14
49 STAN GETZ/CHARLIE BIRDY -THE BOSSA CRAZE IN DC.
50 CREED TAYLOR– 1ST BOSSA NOVA PRODUCER IN THE US.
52 BOSSA NOVA GOES INTERNATIONALLY—CARNEGIE HALL
54 THE SUDDEN HALT OF BOSSA NOVA IN BRAZIL
56 THE SONG AGAINST REPRESSION - BEGINNING OF MPB
58 BOSSA CRAZY IN US & IN THE WORLD
60 FRANK SINATRA AND TOM JOBIM
61 THE CONTINUATION OF THE BOSSA NOVA JOURNEY
62 – 85 10 MOST INFLUENTIAL BOSSANOVISTS
86 - 87 BOSSA NOVA EDUCATIONAL - TIPS
88 BOSSA NOVA BOOKS
22
89 BOSSA NOVA 2ND GENERATION
90 LINKS AND CREDITS
BOSSA NOVA-60 YEARS
Published by Asuos Productions
Supported by Brazilian Music Foundation
Editor In Chief Madalena Sousa
info@bossamagazine.com
2 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12
E ditor’s N ote
It is with great pleasure that we are launching the 12th
edition of Bossa Magazine with a great theme, a subject
We are thrilled to include the profiles of the 10 most
influential Bossanovists that were responsible for presen-
that is for us Brazilians a topic of great pride and admira- ting Bossa Nova to the world. Also, in this edition, there is
tion, "60 years of Bossa Nova." Bossa Nova was a vehicle for an interview with Ana Flavia Zuim and her trajectory since
the propagation of Brazilian music and culture around the her first performances in churches in her city to the great
world, it led the music to a plateau never before achieved. musical "Hamilton" on Broadway.
The summer of 1958 was the year of Bossa Nova. Sixty This month, we continue presenting the “Brazilian Percus-
years ago, a movement of melody, harmony, lyrics, and sion Series”, with stories and insights from Portinho and
rhythm sent a fresh wave of sound throughout Brazil. Paulo Braga, ( drummers and percussionists) who proudly
September 22, 1958 was the first Samba Session where a showcase Brazilian Jazz in New York City and globally.
Bossa Nova Group was introduced. Since then Bossa Nova
has won the world stage, conquered by a small group of In our series of interviews about “The Citizens of Brazilian
idealistic musicians — including Antonio Carlos Jobim, Music” , a way to warmly refer to musicians promoting
Vinicius de Moraes, Johnny Alf, João Donato, João Gilberto, Brazilian Music in United States, we will include an inter-
Nara Leão, Silvinha Telles, Roberto Menescal, Carlos Lyra, view with pianist, Roger Davidson.
Baden Powell, Luiz Bonfá, Sérgio Mendes, and a handful of
others — who would write some of the most enduring mel- Bossa Magazine welcomes the generosity of new contribu-
odies in music history. They have their names etched in tors who offered their stories for this edition. We also recog-
gold in Brazilian musical history. nize and appreciate everyone (our unsung heroes) helping
behind the scenes:
Bossa Nova is now heard in various parts of the world and
is one of the major representatives of Brazil on the world "Thank you, Gracias, Merci and Obrigado”!
stage. When a foreigner is asked about what he knows of
Brazilian culture, doesn’t he often hum "Girl from Ipanema" We appreciate your continued support of Bossa Magazine's
as an answer. Aware of the relevance of this event to our mission which is to promote, educate, and advance Brazilian
culture, we feel that it is essential to highlight this expan- Art and Music worldwide.
sion to other countries, especially to the United States.
If you would like to contribute content for future publica-
We are presenting a synthesis of what was the Bossa Nova tions, kindly email to: info@bossamagazine.com.
movement, a brief summary of the most important
moments in the history of Bossa Nova. It is very likely that Thank you all for your support!
some important moments have not been mentioned in this
issue and we apologize for missing them. But we will
continue adding information to this edition until we have
the complete history, we know it will take us months to Madalena Sousa
include every moment of its history.
Today, many of Bossa Nova’s originators, including Tom Brazilian Music Foundation
Jobim, Vinícius de Moraes, Johnny Alf, Silvinha Telles, Luiz Founder/President/CEO
Bonfá, and Baden Powell, are long gone (The 86-year-old Bossa Magazine
Gilberto isn’t, but he rarely performs.). And yet, six decades Founder/Editor In Chief
later, the music they created still has a hold on the world.
3 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12
Editorial team
BOSSA MAGAZINE Madalena Sousa:
PROMOTES Editor In Chief/Designer
Contributors
Mila Schiavo
Proofreading
Exhibitions , Concerts, Interviews, James Lemos
Reviews, History, Education, Cristine Larson
Lectures, Workshops, and more…
Become one of our collaborators!
Contact:
info@bossamagazine.com
www.bossamagazine.com
Brazilian Art and Music
ONLINE MAGAZINE Supported by:
Brazilian Music Foundation
Published by:
Asuos Productions
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FROM CHURCH TO
BROADWAY
A MAJOR CAREER
JUMP FOR
ANA FLAVIA ZUIM
At age twelve Ana Flavia Zuim
started playing keyboard and
singing at a church in her
hometown, Mandaguari, Parana, Brazil.
Should she’ve had her way she
would’ve started earlier. It all began
with a piano kept at home by the
parents, which she began exploring
since an early age before she was
allowed to begin taking piano lessons
at age 8. When the time came for her to
apply for college the pressure from
friends made consider other careers
but no other area attracted her.
While discouraged by many, who said
that she was choosing a career that
would be faced by many challenges
and low financial compensation, Ana
chose to follow her calling and pursue
music. The challengers were indeed
many and the road was filled with
doubt during challenging times, but
the motivation to do her best keep her
hoping for better opportunities and
she entered through every open door
that appeared in front of her.
continue...
Photo credit: nyu.edu/about/news-publications
10 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12ANA FLAVIA UP CLOSE & PERSONAL INTERVIEW
By Madalena Sousa
ZUIM She graduated in Music from the State University of Londrina (UEL)
Editor In Chief
and moved to the United States immediately after (2003). A trip that was
meant to be a quick visit to her dad living in Florida at the time turned into an
earned scholarship to pursue a Master's degree. Now, 15 years later, she holds
a master's in piano performance (Lynn University, 2006), a PhD in Fine and
Performing Arts (Florida Atlantic University, 2012) - and a Vocology certifica-
tion (University of Utah, 2015) and works as musical director, conductor
pianist, vocologist and electric bass player. The award-winning musical
director now serves as Director of Vocal Performance at the Steinhardt School,
Believe it!
Y es, she made the right choice!
Since then her life has changed
from water to wine!” She said!
always enjoyed playing chorinhos
and listening to Brazilian Jazz, Tom
Jobim being among my favorites.
you are early you are on time, and if
you are on time you are late.” This
experience literally changed the
There is something about the har- course of my life, because it was
To better understand this water-to- monic progressions used by Djavan from there that that same conductor,
wine process, Ana Flavia agreed to that fascinated me and I used to Dr. Carl Ashley, invited me to play
be interviewed by Bossa Magazine spend hours transcribing his songs piano in the pit for his high school
and talked about career and work in and figuring out the inversions of the production of The King and I.
the United States. chords he was using. I still have a Dr. Ashley and I worked on several
xerox copy of a book I put together productions together and it was a
- Interview by Madalena Sousa from his lyrics and chords found huge school for me.
online.
You studied classical piano, sang in How was the experience working
church choir and also learned How did you get the idea of coming with the musical The Billy Elliot? The
electric bass, where you performed to the United States? I came to US in show, Billy Elliot, won several awards
in a band. Has this musical diversity 2003 to visit my father who was livingand after the show’s success on
caused you any doubts in which way in Florida at the time. I had just Broadway a tour was launched.
to take your musical career? graduated college and had planned I joined the second National Tour in
Absolutely! I was always passionate to stay in the US only for two 2012, and began as rehearsal pianist
about music, but the classical tradi- months. Upon arriving in Florida and later became the Assistant
tion was the only types of degrees I found out about Lynn University Conductor of the tour. I traveled with
made available for young musicians and longed to study with Dr. Roberta the show for a little over a year in the
like myself. When playing at church Rust, but the selection process was USA, Canada and also São Paulo,
and in popular bands I found myself very competitive. Even so I decided Brazil. After this tour, I’ve had the
learning an entire different language, to take a chance and with the grace privilege of serving as Musical Director
playing by chord symbols, and of God I passed and earned a schol- on the Ogunquit Playhouse produc-
dealing with transposition in a way arship to earn a master's degree in tion of the show, for which I’ve
that I wasn’t accustomed to in classi- piano performance. I’ve graduated earned an IRNE award for best
cal training. However, while I learned from Lynn University in 2006, and musical director in 2015. I later music
both at the same time it felt like a then went on to pursue a PhD in Fine directed the show at the Maltz
natural process to integrate one with and Performing Arts from FAU Jupiter Theatre and was nominated
the other. I just didn’t know what to [Florida Atlantic University. After for a Carbonell Award in 2016.
do with it because I wasn’t intro- many challenges along the way, Throughout this journey I’ve learned
duced to musical theatre until the I finally concluded the PhD in 2012, a lot, not only about the score in
age of 23. When I discovered how only a few months prior to embarking itself, but also about my abilities to
musical theatre intertwined tradi- on the tour of Billy Elliot. It couldn’t
lead singers and musicians. Some of
tions of both classical as well as have been more perfect timing. these lessons I will carry for life and
popular music I was marveled and they made me a better person in
excited to learn more. I didn’t have Did you write or co-write any book in addition to enriching my musical
knowledge of repertoire or musical vocal performance? No, not yet, but horizons.
theatre history and tradition, so I have a few ideas for the future.
had a lot of catching up to do before The US, especially New York, are a
going on my first tour with Billy How did you get involved in musical world reference in terms of artistic
Elliot. I’ve played and conducted theater? It all happened by accident activity, was it difficult to conquer
over 50 musicals prior to that. What when I was pursuing my Master’s and your professional career there?
at first seemed to me as a very my mentor said that the choir was in It was not easy for the competition is
diverse background ended up need of an accompanist; however, enormous. As everything in my ca-
serving me well as a musical director the rehearsals began that very reer up to my moving to New York, it
later. evening, and I was unaware that she was the recommendation of people
had also reached out to another who knew my work that got me to
Tell us a little about the beginning of pianist. I jumped at the opportunity the positions I later enjoyed and
your music career. In college I played and arrived early and ready to work. learned from. Similarly to how I was
with various bands, played church The other pianist arrive exactly on recommended by Jon Rose for the
and at weddings. I worked with the time and by that point we had Billy Elliot tour happened with
duo João Marcio & Fabiano and in a already began looking at material Hamilton, when Alex Lacamoire
female band called Hi-Fi. and began rehearsal promptly on (with whom I had worked in Florida
time, so I ended up getting the gig. as rehearsal pianist for a concert
Which artist inspired you the most This was a huge lesson for me and entitled “Viva Broadway”) gave me
growing up? I didn’t have one one I share with my students always the opportunity to join the music
particular artist growing up, but I by quoting the popular saying: “if team. continue....
11 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12UP CLOSE & PERSONAL INTERVIEW WITH ANA FLAVIA ZUIM
Being in New York and working with so How does Brazilian Music takes place in
many talented professionals keeps you on your work? Do you apply any Brazilian
your A game and it motivates you to rhythm in your vocal classes? The richness
improve and grow constantly and contin- of rhythm and harmonic structure of
ually. Brazilian music greatly influences the way
I play groove, so I can say that it is hard to
In thinking about your artistic journey, dissociate all I’ve learned with Brazilian
how has your experience as a musical music; it is part of who I am and continues
performer influenced your teaching style informing everything I do. When teaching
with your students? Having those experi- syncopation and 16th note subdivision to
ences allowed me to look at the big students, Brazilian rhythms are a great
picture and help students identify the tool. I’ve had instances of students not
gaps in their training instead of being only wanting learn how to sing in Portu-
caught up on tradition for tradition sake, guese but also needing to do so for audi-
but rather use tradition as part of the tions at Cirque du Soleil as well as other
training while they are honing their tech- gigs. It always feels like home when I get
nique and performance skills. It allowed to work on Brazilian repertoire with a
me to help guide them to a successful student.
level of communication through music
while focusing both on technical abilities Is there any goal you still dream of achieving?
as well as on a truthful delivery of text. Most definitely. It feels like I’m only begin- What are you presently work on? What's
ning and sometimes I find myself being is your next project ? I’m currently
You have a diverse skill set, what kind of just like the little girl I was, confused and preparing myself to music direct Guys and
work most fascinates you? What I love the curious to see where music was going to Dolls at the Loewe Theatre at Steinhardt
most is working with people and learning take me next. I guess this is just how it in September, followed by a concert
from others. I truly love music directing goes when you are in the business of version of Anything Goes at the end of the
because it is where I get to tap into many creating something as abstract and as Fall.
of the skills I’ve been honing throughout concrete at the same time as music.
my life and career, and it is also the most It feeds the mind and the soul and it is an This year Brazilian are celebrating 60
rewarding community experience where unexpected road to be followed and years of Bossa Nova. Do you believe that
I get to work with so many singers and explored. Brazilian Music has captivated the world
musicians and make music together. and can it get a revival in the US, like
While growing up some people would tell If you had stayed in Brazil would your Bossa Nova was in the 60s? Brazilian
me that I had so many interests (piano, career have developed like in the US? It is music has not only captivated the world
bass, voice, conducting) that I would hard to predict, but I believe I would most but changed the way we interact with
never be able to fully focus on anything. likely not have gotten the chance to work American Jazz as well as influenced
However, I find that all these interests and learn more about American Musical Broadway. What it is commonly known
have given me a greater ability to focus on Theatre, for the Musical Theatre market in and identified as Brazilian music is the
detail and equipped me to enjoy diverse Brazil is still relatively small. Here, both style that was being written during that
opportunities and play a myriad of musi- high schools and Universities put on time period, but I do not believe a lot of
cal styles. I truly enjoy the rehearsal musical theater productions every year, the music that has been written in Brazil
process, even more than an actual perfor- for it is part of their culture. That is how I at the moment resembles the same
mance, because it is then that I have the came in contact with musicals and was characteristics of earlier MPB. However, it
opportunity to make music with others able to learn the differences and nuances is my hope that American audiences will
and create the final sound that till then it between classical conducting versus regain the motivation to once again focus
is only abstract in my mind. I find it to be a musical theatre conducting. on the music of that time and develop an
surreal experience when you finally hear appreciation for it that will lead to
the sound you envision and witness a another revival in the US.
room full of musicians playing so in sync; Do you ever think of going back to
it is almost as if every heart in the room is Brazil to work and pursue a career there? Feel free to add any other information or
beating at the same pulse for a moment in I never say never, but at the moment it is comments that you deem relevant ...
time. not something I’m considering. I believe It is great to have the opportunity to share
I can contribute more effectively by with the readers a little of my story and
How did being Brazilian influenced your collaborating with my colleagues in Brazil I want to thank everyone who were part of
career? Besides the richness of the expe- while continuing to pursue my career in my journey so far, family, friends, mentors
riences with Brazilian music and all the the US. I’ve been engaging with the Brazilian and colleagues. Without the support and
positive aspects of how the Brazilian community through webinar series as well guidance of so many I would certainly not
culture and tradition influenced my music, as occasional visits to the country have surpassed some of the obstacles
there were challenges related to lan- to minister workshops and masterclasses, faced along the way. It is my hope that
guage. I grew up in a very small town and it is always an incredibly rewarding the dreamers reading this interview will
where I didn’t have the resources or experience, and one I’m most grateful for. find encouragement in these words as
opportunity to learn a second language. I found encouragement through the life of
This became the first great barrier upon Who would be your dream artist to collab- Joseph, while being reminded of his story
arriving in the US at age 23, for I had to orate with? I guess I’ve missed my chance while playing on the tour of Joseph and
learn English and learn it fast to pass the to collaborate with Leonard Bernstein and the Amazing Technicolor Dreamcoat. May
Toefl exam in order to continue in the George Gershwin, so I will have to wait we all persist like Joseph until we achieve
master’s program. When my career was and see who hires me next. I feel privi- our goals and be able to share with others
already established, being Brazilian and leged and grateful to Alex Lacamoire for and make this world a better place by how
able to interact with professionals from the opportunity he gave me of working on we live while in it.
Brazil was a great gift and allowed me to Hamilton. Working with and learning from
open my horizons while investigating the him was an opportunity I never dreamt
implications that translated material possible.
(English - Portuguese or vice-versa) have www.anaflaviazuim.com
on the singing voice due to vowel choices
across the vocal range.
Photos by: nyu.edu/about/news-publications
12 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12RISING TALENT
T
wo years after his debut album “Suite Três Universidade Estadual de Campinas (São Paulo,
Rios”, Dan Costa records “Skyness” at Arte Brazil). He has attended workshops coached by mu-
Suono studios in Italy, an invitation to outer sicians such as Kevin Hays, Scott Colley, Kurt Rosen-
harmony and inner peace. It features US sax winkel, Jorge Rossy, Chick Corea and César Camargo
player Seamus Blake, Brazilian flute player Teco Mariano. He has co-directed musicals, performed
Cardoso and Portuguese guitarist Custodio Castelo with orchestras and big bands, and starred as both a
as well as Brazilian guitarists Nelson Faria, Romero pianist and composer in projects in countries such as
Lubambo and Roberto Menescal, one of Bossa the UK, France, Finland, Germany, Spain, Greece and
Nova’s foremost composers. The album takes the the USA. In January 2016, he recorded his debut
listener on a journey inspired by the sky and its unify- album “Suite Três Rios” in Rio de Janeiro, Brazil,
ing strength, reflecting ideals of open- mindedness with musicians such as Jaques Morelenbaum,
and embracing styles such as Bossa Nova, Samba, Ricardo Silveira, Teco Cardoso, Rafael Barata,
Fado and Flamenco. It is also an ode to the idyllic Marcos Suzano and Leila Pinheiro. It peaked at #1 on
Cycladic islands in Greece, where most of the tracks the iTunes Jazz Chart and Top 10 across all genres in
were written. Portugal, prior to hitting the #1 slot on the CMJ Top
Adds Chart in the USA and being top 10 for several
Praised for his musicianship by Down Beat Magazine weeks on Roots Music Report. One of the best
and All About Jazz, Daniel Greco Costa, known as albums of the year for Down Beat Magazine, it
Dan Costa, was born in 1989 in London (UK) to a achieved rave reviews from countries such as the
Portuguese and Italian family. He initially studied USA, Russia, Canada and Brazil. It was performed live
classical piano for six years at the Académie de in countries such as Greece, Brazil, India, Cyprus,
Musique Rainier III in the south of France, and under- Italy and Israel.
went further classical training at the Académie Inter-
nationale d’Été de Nice as well as at the Aurora Music In May 2018 he recorded his new album "Skyness" at
Star Festival in Sweden. He was awarded a diploma Arte Suono in Italy, featuring US sax player Seamus
with merit at Sir Paul McCartney’s Liverpool Institute Blake, Brazilian guitarists Nelson Faria, Roberto
for Performing Arts in the UK. His strong interest in Menescal and Romero Lubambo, Brazilian wind
his Latin roots coupled with his passion for jazz led player Teco Cardoso and Portuguese Fado guitarist
him to study at the Escola Superior de Música e Artes Custodio Castelo.
do Espectáculo in Portugal, where he graduated in
jazz piano with an award for outstanding achieve- SKYNESS
ment, bestowed upon him by Rotary Club Porto-Foz Release date: September 2018—Worldwide
in 2015. During his course, he was also awarded a http://www.dancosta.net
merit grant to study Brazilian music at UNICAMP –
13 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12BOSSA MAGAZINE
Interview with
PORTINHO
Drummer
By Madalena Sousa/Editor In Chief
The drummer and arranger,
Portinho, was born in the south of
Brazil, in a town called Rio Grande/RS.
He is a quiet, modest man and with
integrity. Since arriving in the US in
the 1970‘s, Portinho has worked with
such Latin Jazz royalty as Paquito
D’Rivera, Airto Moreira, Gato Barbieri,
Harry Belafonte, Dom Salvador,
Astrud Gilberto, Michel Camilo,Tania
Maria, Nancy Willson, Herbie Mann,
Ron Carter, and many others. He has
contributed to the recordings of Yana
Purim's "Harvest Time" as well
as played on the album at the Mikell's
Jazz Club (New York City), with a
group composed by Argentine pianist
Daniel Freiberg and Texas bassist
Frank Gravis. Portinho also worked in
collaboration with the trombonist and
longtime associates Claudio Roditi and
Jay Ashby, whose lyricism carries
Carlos Lyra’s "Canção Que Morre No
Ar".
Everything he plays encompases a
statement and the groove never stops
- " Modern Drummer“, portrait by Carl
Stormer (1988).
Continue...
VIDEO LINK
Photo Credit: Christopher Drukker
14 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12Bossa Magazine
by Madalena Sousa
Editor In Chief BRAZILIAN PERCUSSION SERIES — PORTINHO
P
ortinho has performed on tours in What made you move to New York City? listened to a lot of music, trying to figure out
several countries such as Denmark, I wanted to develop my playing and meet jazz how I wanted my drums to sound. Now,
Switzerland and Germany. In 2008, he musicians. I already knew some musicians unless I play a commercial gig or work behind
recorded his own Jazz MCG CD entitled living in New York City, and had met Charlie a singer who needs something specific, I will
"Port Wine" with his "Portinho Trio". In it Rouse in Mexico but did not know how to play pretty much like Portinho.
there is a perfect balance of drums, piano, reach him. For months hung out, listening
bass and trombone. It includes Portinho on and meeting people. Later on, Airto Moreira What record do you feel gives the best repre-
drums; piano, bass and trombone with discovered that I was in NYC and invited me to sentation of your playing? My second CD
Portinho (drums), Klaus Mueller (piano), play in his group. This was right after Airto “Vinho Porto” (Port Wine) recorded with my
Itaiguara Brandão and Lincoln Goines (bass and Flora Purin had recorded the “Fingers' trio; it represents my signature playing.
and trombone, respectively) and special album. I worked with them for six months. I
guest Jay Ashby (percussion). The CD has then spent two months in California but re- The Samba you first learned when you were a
songs arranged by Portinho and Mueller turned NYC to Gato Barbieri. kid has changed through the years? Yes,
Klaus. "Port Wine" which combines songs much has changed since then. There are
from Brazilian genres of Bossa Nova, samba some many different types of samba, and
and songs from the New York City jazz scene. whatever tempo you play, it is still samba! In
general, samba is in 2/4 meter, with an
After 48 years of living in the United States, emphasis on the upbeat. The surdo pattern
Portinho continues playing drums in New has not changed a lot in traditional samba.
York City and other countries in classic form. From where I come from, they play different
In a interview with Bossa Magazine, Portinho rhythms like baiao, candomblé, coco, xaxado,
shares about his professional journey. Get to caterete, and frevo.
know Portinho today!
What is to play pretty much like Portinho?
In an exclusive interview with Bossa Maga- Just think of Samba and Jazz, at the same
zine, Portinho reflects on the highlights of his time, and play! Let the creation get in!
professional life since his arrival in the USA. That’s it!
— By Madalena Sousa Discography
When was your first encounter with percus- RON CARTER – (JUST RECORDED A WEEK AGO)
sion instruments? I started playing pandeiro NANCY WILSON – TURNED TO BLUE
GATO BARBIERI - LIVE AT THE BOTTOM LINE, VIVA EMILIANO
( tambourine ) with my father and my older ZAPATA, LA DESBANDADA AND RUBIRUBI
brother at seven years old. I joined in while HARRY BELAFONTE - TURN THR WORLD AROUND
they were rehearsing with their group PAQUITO D'RIVERA - WHY NOT, EXPOSION AND MINUS ME
TANIA MARIA - COME WITH ME AND MADE IN NY
( Regional do Chiquinho ). They played Chori- ELIANE ELIAS - PAULISTANA
nho, a type of classical Brazilian Music but ASTRUD GILBERTO - TEMPERANCE
with deeper rhythms. When I was ten years CLAUDIO RODITI - SLOW FIRE
MANFREDO FEST - BRAZILIANA, JUNGLE CAT, TO BEGIN AGAIN
old, I performed with my father‘s group for How did you get to play with Gato Barbieri's AND FASCINATING RYTHUM
the first time. It was scary. It was my first time Group? When I came back from California, DOM SALVADOR - MY FAMILY
playing in public. The group played samba someone told me that Gato was looking for a CLAUDIO RODITI & PAQUITO D'RIVERA - RETURN TO IPANEMA
LENNY ANDRADE - IN MEXICO
with a never-ending fast beat. When I was percussionist. I actually got the gig with HENDRIK MEURKENS - A VIEW FROM MANHATTAN, OCTOBER
eleven years old, I started playing percussion Gato’s band in 1974. During a break in a COLORS, POEMA BRASILEIRO AND DIG THIS SAMBA
at a samba school, with neighborhood guys. rehearsal, I was fooling around with the MICHEL LEGRAND - LE JAZZ GRAND
MIGUEL BRAGA – (TRANSATLANTIC) MADEIRA JAZZ FESTIVAL LIVE
Mostly, in the streets, then at Carnival every drums. When Gato came back to the studio RECORDING
year, in dance clubs. We were playing for the said ‚“I did not know you played drums
money. I first learned how to play all percus- like that“. I said: “Well, I told you I was a
sion instruments. Following my time in the drummer.“ My first gig with him turned out to
Army, I started playing drums. be as a drummer, not as percussionist.
Who were your music influences? When I was I worked with him for two years and played
young, I was influenced by my brother. on few of his records. After I left Gato in 1976, I
I then started listening to Jazz in the 1960’s; worked as a freelancer musician. I played
especially Tony Williams, Elvin Jones, and with the Lloyd McNeill quartet at a Lower East
Max Roach, and Art Blakey. It was very diffi- Side club called "Tin Palace“. That was the
cult to get records in Brazil during the 1960’s; first time I played with Ron Carter.
still very difficult to do so.
When did you start working as a professional
drummer? I started playing in a big band
when I was in my early 20s at dance parties.
We played everything; Samba, baiao, mam-
bos, cha cha cha, and American big band
swing tunes. This was before rock’n roll. PORTINHO TRIO
Klaus Mueller, piano
Who are your favorite musicians? I love to Lincoln Goines, bass
hear the pianist Oscar Peterson and Errol Portinho, drums
Garner.
What kind of equipment you are presently Contact: portinhot@gmail.com
using? Mapex Drums & Paiste cymbals.
How did you get start playing with Breno
Sauer Group in Brazil before you came to US?
Breno Sauer called me to play on a gig. I had
always wanted to play with his group. I was Dom Salvador was the pianist. I began receiv-
the substitute for about a week. Turns out, ing calls for studio work. I worked with Charlie
I continued playing with them for 12 years! Rouse and with Dom Salvador in 1976; we
We did several records in Brazil, and received recorded the album “My Family”.
two awards for best instrumental record. At
that time, the instrumentation was like the What is your playing signature? What makes
Modern Jazz Quartet: Vibraphone, piano, your playing different from other drummers? I
bass, and drums. We played many songs by like to play the syncopation straight forward
American Jazz composers with samba swing. (para frente). I developed my own style from
We played in Brazil until it became necessary listening to many different musicians. Good
to leave the country. In 1971, we contracted musicians always play something that you
to play in small club in Texas called Nuevo can incorporate into your own playing: The
Laredo. We were playing there for about two way they phrase, how they swing in their When buying Portinho’s CD you are
months when we secured a one year contract solos, etc. For example, Herbie Hancock,
to play in Minneapolis. Shortly thereafter, we Clifford Brown, Oscar Peterson, or Oscar automatically donating to Brazilian Mu-
began touring the United States and Canada. Pettiford are rich in their rhythmic playing. sic Foundation by using Amazon
In 1973 (twelve years after playing with Breno You don't have to play like them but, you can Smiles—Click the image
Sauer Group), I decided to move to New York take advantage of what they play. When I
City. started, I did not think about this. I just
15 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12Interview
with
Roger
Davidson
16 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12ROGER DAVIDSON - CITIZEN OF BRAZILIAN MUSIC
Bossa Magazine
Interview by Madalena Sousa
Editor In Chief
F
or Roger Davidson, music is a world in 1962; the second was when I started Do you frequently perform anywhere?
without boundaries. Though com- writing my own Brazilian tunes in the I perform in New York City (from time to
monly termed a classical artist, 1970’s; third was when I first heard Brazilian time), and sometimes in Brazil. Most of
Roger has developed a fearlessly carnival samba music. After that, it was in my time is dedicated to composing
eclectic reach, both as a composer and Brazil when I travelled to Rio de Janeiro music.
pianist. “Music is for the world,” says to play my music. Additionally, my fondest
Roger, whose acclaimed catalog ranges memories of Brazilian music are the tunes What's your next project? To date, I’ve
from chamber, symphonic, and choral I have been writing for my wife Nilcelia in
published two books of my Brazilian
pieces to jazz, tango, Klezmer, children’s the last five years since we have been tunes, and am putting together a third
music, a wide span of Latin and Brazilian together. She is (now) my greatest inspi- one, which should be out in 2019. I am
projects. His recently published books of ration! interested in getting more of my Brazilian
original Brazilian-inspired compositions, compositions into the hands of other
To Brazil with Love , and Saudade do Bra- Who are your favorite Brazilian musi- musicians.
sil, represent the variety of his Brazilian cians? Rhythm? Groups? CD's? Tom
compositions. Jobim, Carlos Lyra, Marcos Valle, Francis Feel free to add any other information or
Hime, Gilberto Gil, João Donato, Sergio comments that you deem relevant ...
Michael G. Nastos of All Music Guide Mendes, Leny Andrade, Roberto Menescal,
termed him an “extraordinary” pianist Jorge Ben, Vinicius de Moraes, and many My love for Brazilian music feels very
devoted to “reaching for the inner soul.” others. My favorite Brazilian rhythms are organic; I am not just approaching it out
Jazz Weekly’s George Harris labeled him all of them! And, I love samba music for of curiosity, but rather out of a deep
“one of the most lyrical and romantic carnival. As for CDs, there are too many passion for Brazilian culture. For this
pianists around.” As both composer and good ones to mention! reason, Brazil feels like another home
pianist, Davidson reaches out to cultures country; when in Brazil or among
outside his countries of origin -- and Were you influenced by old records from Brazilians here, I never feel like a foreigner.
having been born in France, raised in the Brazil? Which ones? Brazilian records
United States and having traveled exten- which I heard while growing up were
sively, music from around the world has mainly by Jobim, João Gilberto, Carlos Upcoming event:
been a major theme throughout his life. Lyra, Vinicius de Moraes and Milton
But the country that keeps coming back Banana. Sun, September 23 @ 4PM
to him is Brazil. Jazz Forum
Did you record any CD with Brazilian 1 Dixon Lane
Davidson’s life-long love affair with Tunes? Did you record any other CD?
Brazilian music has recently been I have recorded several CDs with my own Tarrytown, NY 10591 information.
enhanced by the love of his life, Nilcelia Brazilian tunes, including a double CD set
Davidson, who continually inspires a large recorded in Rio de Janeiro in 2011. My
body of work in this genre. Davidson has latest CD, to be released in September TICKETS
recorded several albums with renowned 2018, is called “Music from the Heart” and
Brazilian musicians, including Journey to is mainly a love note to my wonderful
Rio, a double-CD of his Brazilian composi- Brazilian wife, Nilcelia.
tions, recorded in Rio de Janeiro in 2011. NEW CD RELEASED ON SEPT /2018
More recent albums include the live CD, What do you expect of the future of
Oração para Amanhã, and the upcoming Brazilian Music? I think the world loves
Music from the Heart, both with Hendrik music from Brazil, as it seems to connect
Meurkens on vibraphone and harmonica. everybody in a spirit of joy – so I think
Brazilian music has a great future!
When did you start playing piano and
singing? Do you also compose? I started What rhythms do you like the most?
playing the piano when I was four years (see previous questions) – All of them!
old, and began composing at age six. And I love “batucadas”, as I also play
some percussion instruments.
When did you get involved with promoting
Brazilian music? I first heard Brazilian How do you see the bridge between jazz
music when I was ten years old, and have and Bossa Nova? There is a natural
been in love with it ever since. Later on, bridge, as they go together very well; one
I started writing Brazilian tunes, then influences the other.
actively recorded and performed them.
How can Americans become more aware
Why did you choose Brazilian music? of Brazilian music? Americans can
I love Brazilian music because of its become more aware of Brazilian music
rhythms, melodies and the passion of its by listening to the first jazz samba CDs
spirit. from the 60s and 70s, as well as by listening
to Brazilian musicians playing and singing
What was the first Brazilian tune(s) you in all styles of Brazilian music. They can http://www.rogerdavidsonmusic.net
learned? The first Brazilian tune I learned also learn to dance to Brazilian rhythms.
was “Garota de Ipanema”. The first
Brazilian tune I wrote was “Brazilian What kind of message do you want to
Love Song” (in 1978). send to the world with your music?
I want to send a message of love, joy,
What are your fondest Brazilian musical passion, building cultural bridges and
memories? The first was when I heard faith in the future of the world.
Stan Getz play Brazilian music on a record
17 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12DRUM UP BRAZILIAN MUSIC
PAULO It ’s not unusual to hear com-
ments that Paulo Braga is
perhaps one of the greatest
Brazilian drummers or stories about
his decade-long legacy playing with
BRAGA
Tom Jobim’s band.
Paulo has accompanied artists such
as Elis Regina, Tim Maia, Carlos
Drummer par excellence
Lyra, Emílio Santiago, Simone, Chico
Buarque, Nara Leão, Gilberto Gil,
Djavan, Ivan Lins, Edu Lobo and
many others. During the 1990s , he
lived in the USA and played with Joe
Henderson, Pat Metheny, David
Sanborn, Michael Brecker and John
Pizzarelli.
Currently, he plays with Jobim Trio,
featuring Paulo Jobim (Acoustic
Guitar) and Daniel Jobim (Piano);
Tom Jobim’s son and grandson.
Paulo Braga’s interview is a personal
retrospective:
In the beginning of the Bossa Nova,
you were about 18 years old. How
was the movement at that time,
and who were the drummers that
influenced you?
When Bossa Nova started we were
young and I lived in Belo Horizonte.
My generation listened to every-
thing. The “movement” included
many great composers such as: Tom
Jobim, Carlos Lyra, Roberto Menescal,
Marcos Valle to name a few.
I belonged to a trio with Wagner
Tiso and Milton Nascimento (known
as “bituca”). We were fans of
Tamba Trio. I liked drummers Edson
Machado and Dom Um Romão. My
strongest influence was certainly
Helcio Milito; his drum brushes
were unmatched. My “idol” howev-
er was Elvin Jones.
18 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12BY MILA SCHIAVO
Elis Regina and Paulo Braga
How do you see the Bossa Nova today
in Brazil and in the world?
Bossa Nova continues to have a
presence around the world and, of
course, in Brazil. In my opinion, the
music has endured.
Please give a tip for a drummer that is
beginning the career?
My advice to those early in their
careers is to follow your intuition
which is how I charted my journey. Be
sure to include your personality in the
music and avoid copying.
What is your favorite type of music?
You played with the most influen- I like many types of music especially
tial names of the Bossa Nova, what the soul music that I recorded with Tim
was your differential? Maia, Djavan, Elis & Tom, and Raul
Seixas, all of which were great hits.
I played with Elis Regina who called Hard to specify!
me a “carioca mineiro” (a person
born in Minas Gerais but appeared
to originate from Rio de Janeiro).
Tom Jobim said that “I made the Berimbau Trio: Wagner Tiso, Paulo
Braga and Milton Nascimento
drums a musical instrument”; he
was very generous. I worked with
an American studio technician who
said: “Braga, you can be invisible but
when I turn your drums off I feel
that something is missing in the
music”.
How is the Jobim Trio Going?
We have two formations: The
“Jobim Quartet” with me, Rodrigo
Villa (bass), Paulo Jobim (guitar) and
Daniel Jobim (piano); and “Banda
Nova” which is Tom's original band
consisting of me, Jaques Morelenbaum
(cello), Paulo Jobim and Daniel
Jobim. We’ve been performing
around the world.
Sources & Photos:
Photos: Paulo Braga’s Facebook
19 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12Wallpaper-ArtNouveau
Art by Tati Vitsic
20 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12TATI VITSIC – International Graphic Designer
Since then, she’s been working in NYC in
the fashion industry, creating designs for
baby, children and women apparel and
accessories, for clients like: Lucky Brand,
Roxy, Reebok, Elle Baby, Macy’s, etc.
Recently, she worked on a project
designing Christmas sweaters at the
largest company in the field in the US.
On December 3rd 2017, Tati Vitsic had her
first Christmas Pop-Up Shop, where she
introduced her brand “Pommy New
York”, exhibited original artwork and sold
artistic and unique printed scarves, hand-
bags, pencil cases and other products.
The event took place at the Brazilian
restaurant Beija-Flor, and had a perfor-
mance of a live Brazilian band.
The Brazilian channel “Record News”
covered the event:
T ati Vitsic was born in Rio de She worked at Alexander Interactive -
Janeiro, Brazil, in April 1976.
Daughter of an engineer father
and an artist mother, she showed
her talents to the arts very early. When
she was 10 years old, she started taking
drawing classes and, as young as 13
an award-winning internet company in
Manhattan - and created work for clients
such as: Citigroup, Caché, Ivanka Trump,
Steiner Sports, PetCareRX, Kaplan, Action
Envelope, etc. At Ai, she won an
Outstanding Achievement Award from
https://www.youtube.com/watch?
v=rjdpP1v9eIk&t=22s
The designer was also interviewed by
the largest TV channel in South America
the IMA (Interactive Media Awards), for
“Globo International”, giving tips on
years old, she was already participating how to make personalized Christmas
in adult Art Salons. Since then, she being the leading designer at Caché
Prom 2008 website. ornaments: https://www.youtube.com/
Salons and has won 4 medals and other watch?v=BzRW2KWwhmY&t=4s
awards.
Back in Rio de Janeiro, she created in
In 1994 she started to study Graphic 2010 the stationery/invitations company Visit the online Pommy New York shop:
Design in Rio de Janeiro. Two years later, MERCI DESIGNS and worked as a full-time
she lived in New York City and took designer at Petrobras.
https://society6.com/pommy/collection
classes at the School of Visual Arts in
Illustration, Graphic Design and Comput- In May 2014, Tati finished an Associate
er Art. In New York, she had the oppor- Degree in "Textile/Surface Design" at For more info about Tati Vitsic and to
tunity to take classes with the designer Fashion Institute of Technology, in New see her portfolio, visit:
Milton Glaser and to participate in some York, and created her surface design
lectures with well-known artists, like the brand Pommy New York. www.tati.com.br.
illustrator Paul Davis.
In Brazil, she took illustration and
engraving classes with the artist Amador
Perez and also studied children's book
design and illustration with Guto Lins.
The medium she uses mostly in her art-
work is pastels, but she also utilizes pen,
pencil, colored pencil, dyes, gouache
and digital illustration.
Tati Vitsic graduated in 1999 and worked
for some graphic design companies. A
year later, she started working in the web
design industry, developing Html and
Flash skills and specializing in web
design. She also took marketing classes
at ESPM in Rio, and in 2002, she started
working as a marketing assistant at USA
Network TV Channel, being responsible
for their website.
After a couple of years working as a free-
lancer, she decided to go back to New
York in 2005 to start a career as an inter-
national designer.
21 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12The Story of the Brazilian Mus
BOSSA
Bossa Nova was a movement of Brazilian popular music that emerged in
the late 50's, characterized by a musical style with strong influences from
American jazz and samba from Rio. During the 1950s, Brazil was experi-
encing the euphoria of economic growth generated after the Second
World War. Based on the "Golden Years" wave of optimism, a group of
young musicians and composers from the upper middle class in Rio de
Janeiro began to look for something really new and capable of escaping
the operatic style that dominated Brazilian music.
60 Y
This all happened in the midst of the process of urbanization and indus-
trialization in Brazil, under the government of Juscelino Kubitschek (1956
-1961), with the Goals and Development Plan Policy highlighted by the
motto "five years in five". The economy grew, Brasilia was built, the
Brazilian team won its first World Cup. It was in this environment, with a
lot of cultural effervescence, that Bossa Nova conquered the most refined
ears. Since then, the Bossa Nova has been the standard.
22 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12sic That Seduced the World
NOVA
Bossa Nova emerged more precisely in 1958 , with the launch of the single
disc of João Gilberto, one of the greatest representatives of the musical
movement. The word “Bossa” was Carioca slang that, at the end of the
1950s, meant “new way”, “new style”, “new trend.” However, the term
"Bossa" was used for the first time in a song composed by Noel Rosa, “
São Coisas Nossas” (Our Stuff) in the 1930s. The movement emerged with
the intention of seeking something new and with this, young people from
Rio come together to create a musical innovation.
The new sound conquered the world in the sixties and was immortalized
YEARS
in Brazil and many other places around the world. The Bossa Nova craze
in the United States was sparked by a legendary concert at Carnegie Hall
in 1962. Featuring such figures as Tom Jobim and João Gilberto in perfor-
mances of such classic songs as "Samba De Uma Nota So,” "A Felicidade,"
and "O Barquinho". This performance was a landmark event that intro-
duced one of the most influential Latin America’s musical styles to the
world, the Bossa Nova!
23 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12Art by Madalena Sousa 24 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12
Bossa Nova Avant-garde Popular Music - By Rafael Lemos
Is it possible to have avant-garde
popular music?
way of being Brazilian. In contrast,
from 1956 to 1961 under the presi-
dency of Juscelino Kubitschek, Brazil
twelve half-tones of a scale) in Brazil,
and later studied with Tomas Terán-
a Spanish composer close to Villa-
underwent an intensive process of Lobos. As one of the main names of
At first glance we may think that progress and modernization. To align Bossa Nova movement, Tom highly
these two terms, “avant-garde” and with this industrial boost, the Ku- regarded Brazilian cultural diversity,
“popular” are opposites. In fact, con- bitschek government supported a shift but his composing style employed
sidering the definition of avant-garde towards new and more international modern techniques not previously
that the 20th century left us, it is diffi- cultural directions. Built during the used in Brazilian popular music. In
cult to imagine something that could JK years, Brasília is the most repre- the same way, Vinicius de Moraes, a
be further from what we call popular sentative work of his tenure. notable Brazilian poet and diplomat,
music or, more acutely, pop music. had an exceptional knowledge of
“Avant-garde music” - or at least Connected to the events of its own humanistic tradition, and as a song-
what is usually called “avant-garde” - time, the Bossa Nova movement writer he was able to combine it with
is comprised of a broad range of new relates the post-war artistic mindset Brazilian popular traditions, bringing
musical definitions, from intricate to the form of samba (considered the Brazilian popular music to a more
compositions that could sound weird official Brazilian musical manifesta- sophisticated lyrical level. We also
(but still music!) to sparse sounds tion during Vargas era). The traditional have to mention Newton Mendonça,
coming from different speakers made rhythm of samba as well as its har- who wrote the lyrics for “Desafinado”
to be specifically appreciated in a mony were broadened to fit the and “Samba de uma nota so”, two of
certain space (and that would sound sophisticated musical ideas coming the mosT emblematic Bossa Nova
like no music at all!). Additionally, directly from avant-garde composers. songs.
another definition is necessary: while It made samba seem a little bit out of
“pop music” may refer basically to range to listeners accustomed to the One of the novelties Bossa Nova
the same thing in the US and in Brazil, tonal system and the usual patterns brought to popular music in Brazil
popular music can roughly corre- of samba. The lyrics of “Desafinado”, was the consonance between the
spond to the broader sense of Ameri- one of the most acclaimed Bossa sounds of the words and melody and
can “folk music” (for instance, post- Nova songs, is about this phenome- harmony. Furthermore, the intent of
1965, Bob Dylan, the Grateful Dead, non: the singer is trying to convince unifying content and form was also
and Belle and Sebastian could still be his loved one that he is not singing an innovative feature brought in by
considered folk). out of tune,“isto é Bossa Nova, isto é the Bossa Nova movement. In this
muito natural”. He is trying to explain sense, João Gilberto appears to be
In Brazil, the decade of 1950 was that bossa employs dissonant tones the singer of the era. Although a
marked by the rise of new features in in its composition, and that he is not declared fan of Orlando Silva (a fa-
the artistic field. If the Modernist out of tune; the thing is that disso- mous Brazilian singer, known for his
movement maintained a dialogue nant sounds are also part of music. At operatic style of singing), João
with regional Brazilian traditions, the end of the song, the singer gives seemed to be aware of the new musi-
Post-war Avant-garde movements up on his expectation of being under- cal technologies; the use of micro-
were oriented toward universal con- stood and says that deep within the phones and speakers allowed him to
cepts. The debate of regional versus out-of-tune singer, a heart beats, too. develop a new style of singing, exper-
universal would last for at least two In other words, out of tune or not, we imenting with the duration of each
decades in Brazil, and its influence in have feelings, too (or we compose syllable in a word and holding the
all art is evident. For instance, instead songs, too). What is to be taken from duration of the notes of the melody
of a neoclassical appearance, the this is that Bossa Nova built a bridge over the harmony, which made him
works of Oscar Niemeyer and Lucio between popular and classical music, sound more like he was talking than
Costa demonstrate a radical turn in similar to what modern jazz did in the effectively singing.
architecture. In poetry, the concrete United States. The processes that
poetry movement intended to put an both movements assimilated into All these new features mentioned
end to the verse and to compose popular music are somewhat com- above contributed to the develop-
poems in a minimalistic form. mon in classical music. This bridge ment of the unique sound of Bossa
was paved by composers who were Nova. On November 21, 1962, these
Usually, popular music doesn’t take either learned in classical music or musicians performed a landmark
place in this discussion, but the were personally aware of the changes concert at Carnegie Hall, drawing the
Brazilian political situation at that in music during the twentieth century attention of musicians such as Stan
time may have opened a path where and were also somehow connected Getz, Charlie Byrd, Herbie Mann, Dave
both worlds, popular and avant- to popular music. Brubeck, Miles Davis, Bill Evans,
garde, could meet. Concerning artis- among others. Since then, Bossa
tic manifestations, Getúlio Vargas, Tom Jobim, for example, was disciple Nova became an worldwide influencer
president of Brazil from 1930 to 1945, of Hans-Joachim Koellreutter- a among both popular and classical
and from 1951 to 1954 adopted a German composer who introduced composers, players, listeners and
position of valuing regional themes dodecaphony (a composition tech- music lovers in general.
as a way to build the notion of nique established by Schoenberg,
“brasilidade”, an officially sanctioned consisting of the equal use of the
25 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12You can also read
