Monday, June 23, 2014

1 X 0

There has always been a tight association between music and soccer in Brazil, to this day Brazilian soccer is often referred to as 'samba football' in the media, although it was a choro music celebrity, who linked the association of soccer and music from the start. Pixinguinha's choro "Um a Zero" is the first registered Brazilian composition that celebrates soccer and its players. The background of the title is documented in this entry that also celbrates the first Brazilian star in a line of legendary Brazilian soccer players, Arthur Friedenreich.


Benedito Lacerda (flute), Pixinguinha (saxophone), c. 1946
"1X0" (Um a zero) is a well known and popular choro composed by Pixinguinha and recorded for the first time in 1946 as a co-work with Benedito Lacerda on a 78 rpm disc (Victor 800442A). Lacerda plays the melody part on flute, Pixinguinha contributes second voice and fill-ins on tenor saxophone accompanied by Lacerda's conjunto regional.


The title of this choro has a special background, the music was composed as a tribute to the Brazilian soccer team that won the 1919 South American championship and its first international soccer title in a match with Uruguay with the result 1-0 in favour of the Brazilian team (- thus the title, which in Portuguese reads 'um a zero').

The 1919 Brazilian soccer team
The single goal which secured the Brazilian team victory and the championship was scored by Arthur Friedenreich, the first character in a line of famous Brazilian soccer players.

Arthur Friedenreich (source: Wikipedia)
Arthur Friedenreich (1892-1969) was the son of a German immigrant and his wife, the daughter of a black freed slave. Due to his dark tan Arthur Friedenreich became the first black professional soccer player in Brazil. He started his career influenced by his father, playing for SC Germania, a Brazilian soccer team in São Paulo composed of German immigrants. After playing with a succession of São Paulo clubs from 1910 onwards, Friedenreich made his debut with the national team in 1914. He played twenty-two internationals, including wins in the 1919 and 1922 editions of the Copa América, scoring ten goals. On Brazil's 1925 tour of Europe, he was feted as the King of soccer (- and nicknamed 'The Tiger'). He also has a claim to the highest scoring record, but FIFA cannot prove these goals because of incomplete record-keeping.

Arthur Friedenreich secures the victory 1-0, 1919
As mentioned, Friedenreich was the first black professional soccer player in Brazil. He had to fight for his career both inside and outside the arena, because at that time soccer was dominated by whites and blacks were generally not accepted. He faced many barriers because of racism, and he could not always attend the same places where white players were. However, his scoring of the single goal in the 1919 match was a turning point that secured him accept and a  deserved place in the Brazilian soccer's Hall of Fame. And it was to honor this first black star in a line of legendary Brazilian soccer players that Pixinguinha composed his 'choro vivo', "Um a zero" (1x0).

Multi string virtuoso Garoto (Anibal Augusto Sardinha)
As a prelude to the alleged repeated success of the soccer World Cup 1950 in Brazil, where Brazil again was to meet Uruguay in the decisive final, Garoto (Anibal Augusto Sardinha, 1915-55) had recorded his version of "Um a Zero" in 1949 as a tribute to the Brazilian team. Unfortunately, this time Brazil lost the championship with the result 2-1 in favour of Urguay (- still a national trauma to this day!). However, the music recorded by Garoto forever stands out as one of the best recorded versions of Pixinguinha's choro


Pixinguinha's "Um a Zero" is the first registered musical composition that celebrates soccer in Brazil and honors its players. Although the music wasn't recorded before 1946 and copyrighted 1947, the score was composed at the time of the event it celebrates - Pixinguinha is said to have attended the audience at the legendary 1919 match between Brazil and Uruguay, and to express his enthusiasm for the result, he went straight home and composed the music of "1x0/Um a Zero".

NB!
The photos documenting the 1919 match betwen Brazil and Uruguay inserted above are copied from this sourceThe story of Arthur Friedenreich and inspiration for this entry owes thanks to this source.
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Jo

Wednesday, May 21, 2014

Choro Conversations

Brazilian choro was for a long time an unfamiliar musical phenomenon outside Brazil. Few available music recordings of original Brazilian choro, even less printed music and only scattered articles in popular or academic journals from Portuguese-speaking researchers and writers have been the usual approach of other nations' knowledge of choro. In fact, it is only within the last 10 years that there has finally been released a survey of choro music history in English. The basic description of the story of choro in English was made public accessible with the release of the excellent 'Choro - A Social History of a Brazilian Popular Music' by T.E. Livingston-Isenhour & T.G.C. Garcia in 2005 (Indiana University Press).
At the same time Mika Kaurismäki's documentary on choro, 'Brasileirinho', was released and presented a fascinating filmed view of the contemporary choro scene in Rio including interviews with musicians and live recording of choro music performance - a great documentation of a rich musical tradition and its contemporary practitioners recorded in 2002 on location in Rio and released worldwide in 2005.
A little later the Brazilian flutist, Daniel Dalarossa, founded the Global Choro Music company with offices in both the U.S. and Brazil aiming to spread the knowledge of choro by providing commercial publications of highly qualified arrangements of play-along choro music sheet including original CD recordings of the material designated for musicians interested in learning to play choro - a giant step to spread the knowledge of choro and choro practise among musicians worldwide.

Daniel Dalarossa & Julie Koidin
Daniel Dalarossa also took the initiative to publish another major contribution to contemporary choro. In 2011, the American flutist, Julie Koidin, published a series of interviews in Portuguese with choro musicians and other personages, all with connections to choro in Brazil, in her book 'Os Sorrisos do Choro' printed and published by Global Choro Music, and next, in 2013, the translation in English with the close assistance of Daniel Dalarossa, 'Choro Conversations -  Pursuing Life, Love and Brazil's Musical Identity', also was published by Global Choro Music.
The printed English version of 'Choro Conversations' contains more than 500 pages in a paperback format and registers the live story of choro through 52 interviews with a broad range of characters involved with choro from Rio to Brasília and from the Northeast to São Paulo. In 2002, Julie Koidin started her research for this project with the assistance of a  Fulbright lecture-research grant.

Julie Koidin, (Press photo)
Chicago born flutist, Julie Koidin, is a professional musician and music teacher. She traveled to Brazil for the first time in 1997 and has since returned eighteen times to research choro, perform, and give masterclasses throughout the country. A detailed career profile is available here
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In her introduction of the book Julie Koidin gives an account of how she personally got involved with choro and Brazil through a string of coincidences that led to her first visit to Brazil and a lasting friendship with world renowned flutist Altamiro Carrilho, who became her personal teacher and guide into the choro community. Then follows the main part of the book with interviews of characters from Rio, Brasilia, Fortaleza, Natal, Recife and São Paulo.

Each interview is framed by a contextual review of the circumstances of the interview, and all interviews follow a structure of questions setting out to clear the family background of the interviewed, his or her introduction to choro, influences and what instrument was chosen as a musician, how and when the learning process started and progressed. Further, also questions about the attitude of the interviewed to choro as a music genre or style and its contemporary and future situation. Finally also the question about which single choro composition the interviewed would prefer bringing with him or her if having to be living on a desert island for the rest of life. This approach to all interviewed generates a lot of interesting (- sometimes contradicting) answers, anecdotes and facts that provide the reader of the book with a lot of useful and entertaining knowledge about choro as perceived by its living practioners at the time of the interview. 

The book is an excellently written oral documentation of the state of art in the choro community of Brazil on the threshold of this millennium and the 500 plus pages are easy to overcome. The reader is engaged by the personal engagement and involvement with the subject shown off on every page and all the way through the book by both the interviewer and the interviewed individuals. - The book moreover has a detailed index, bibliography and notes to each interview and a glossary in English of frequently quoted Portuguese words, concepts and phrases with affinity for choro and Brazilian institutions.

As an important supplement to the above mentioned pioneering work in English on choro history by T.E. Livingston-Isenhour & T.G.C. Garcia, Julie Koidin's magnificent book of interviews undoubtedly will help new readers to better understand and appreciate choro as both a genuine Brazilian phenomenon and as an expression of a cultural identity that involves a community founded on mutual understanding, accept and friendship. Recommended, definitly!

The book is available for purchase here or by contacting Global Choro Music, here

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Jo

Wednesday, April 23, 2014

Pixinguinha and Choro Day

Pixinguinha (1897-1973)
Alfredo da Rocha Vianna Filho (1897-1973), better known as Pixinguinha, was a choro composer, arranger, flutist and saxophonist born in Rio de Janeiro. Through the legacy of the pioneering choro composers of the 19th century and of the Afro-Brazilian tradition, Pixinguinha produced some of the most important choro works of all time. His work as a composer, bandleader, flutist/reedplayer and originator of the choro genre is of invaluable importance, historically and from a musical point of view. The work of Pixinguinha may be considered important at the same level as the work of initial American jazz composers like Duke Ellington - both helped shaping a musical form that had success nationally and internationally.


The name and legacy of Pixinguinha is kept well alive in Brazil, in September 2000 President Fernando Henrique Cardoso signed an official document to announce April 23th the National Day of Choro in Brazil in honor of Pixinguinha. Every year since then choro has been celebrated officially on the 23th of April through countless events in Brazil and around the world where Brasilian culture is a part of the local community. Let's follow this tradition and celebrate the day by playing some choro music by Pixinguinha.

Os Oito Batutas
Pixinguinha demonstrated ability on both flute and cavaquinho as a kid and started composing at an early age. By the age of 14, he had composed his first choro, 'Lata de leite', and was already an accomplished flute player. In 1913, he made his first choro recordings, and by the time he was 15, he was playing professionally - at 18 he was one of the most popular musicians and choro composers in Rio de Janeiro. In 1919, Pixinguinha formed the legendary Os Oito Batutas (- meaning 'The Eight Remarkable Players' in English). The group consisted of flute (- and later saxophone), guitars, cavaquinho, bandolim, bandola, pandeiro and assorted percussion. - Led by Pixinguinha, Oito Batutas was formed to entertain the audience of Rio's prestigious Cinema Palais in its foyer. Opening on April 7, 1919, the group was a success from its debut. The Carioca élite were taken by surprise by the repertory of maxixes, sertanejo songs, batuques, cateretês, and choros. In 1920, the group performed for the King of Belgium and in the next year they toured Brazil. Returning to Rio, they went to play at the luxurious Assírio Club, accompanying the dancing duo Duque & Gaby. In January 1922, the group departed for Paris, France, financed by millionaire Arnaldo Guinle. Introduced as Les Batutas at the Scherazade club, they performed there for six months with great success. - Also in 1922, they left for Argentina, performing at the Empire Theater (Buenos Aires) and recorded 20 sides for the Argentinean Victor label. Upon their return to Brazil in 1923, they diminished their performances until they soon dissolved the group. - Among the recorded material by Oito Batutas there was a composotion by initial guitar choro originator, João Pernambuco, who was a member of the group for some time - here his choro 'Graúna' is performed by Pixinguinha on flute accompanied by the Batutas 



In the late 1920s, Pixinguinha was hired by RCA Victor to lead the Orquestra Victor Brasileira, and during his tenure there he refined his skills as an arranger. It was common for choro musicians at the time to improvise their parts based on a simple piano score, but the growing demand for radio music from large ensembles required fully realized written scores for every instrument, and Pixinguinha was one of the few composers with this skill. It was in this role that he created some of his most famous compositions, i.e. 'Lamentos' and 'Carinhoso' - Here is inserted the original recording of 'Lamentos' from 1928 



Benedito Lacerda (flute), Pixinguinha (saxophone)
In 1939, Pixinguinha left Victor to join flautist Benedito Lacerda's band, where he took up the tenor saxophone as his primary instrument and continued to compose music for the group. Lacerda's band was a conjunto regional, the name given to in-house bands hired by radio stations to perform music and accompany singers, often live in front of a studio audience. It was with Lacerda that Pixinguinha began another fertile period of composing and recording. Due to economic troubles as the regionais fell out of favor in the late 40s, Pixinguinha had to sell the rights to his compositions to Benedito Lacerda, who for this appears a co-composer of many of Pixinguinha's tunes, even those composed while Lacerda was still a boy. In the recordings with Lacerda, Pixinguinha plays secondary parts on the saxophone while Lacerda plays the flute part on tunes that Pixinguinha originally wrote on that instrument. - Here's an example of the co-work between Pixinguinha and Lacerda, the recording of Pixinguinha's choro 'Vou vivendo' (1946)



By the mid 1950s, changing tastes and the emerging popularity of samba and American jazz in Brazil led to the decline of the choro regional as other genres became dominant on the radio. Pixinguinha spent his time in retirement, appearing in public only on rare occasions. - Here's a rare film from this period showing Pixinguiha and his conjunto playing his famous choro 'Um a zero' - enjoy!



Pixinguinha's music continues to inspire and challenge musicians of all kind to play their version of his famous compositions, here's a new uploaded video showing the harmonicaplayer Vitor Lopes performing 'Lamentos' as a solo piece to end this small celebration of Pixinguinha and Choro Day



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Jo

Tuesday, April 15, 2014

Rio, Choro, Jazz - A Contemporary Tribute To Ernesto Nazareth

CD cover: Rio, Choro, Jazz ... AAM Music, 2014
A new CD by the Brazilian pianist, composer, arranger and producer Antonio Adolfo is a tribute to the music of Ernesto Nazareth recorded last year and released a couple of weeks ago at Adolfo's own label, AAM Music. The CD has ten tracks, nine of them are compositions by Nazareth and the title track is a new composition by Antonio Adolfo, a contemporary interpretation of the different musical influences that are the inspiration of this project: choro and jazz. The musicians taking part in the recorded ten tracks are: Antonio Adolfo (piano, arranger), Claudio Spiewak (guitars), Jorge Helder (bass), Marcelo Martins (flute, soprano saxophone), Rafael Barata (drums, percussion) and Marcos Suzano (percussion). - The nine featured compositions by Nazareth are "Feitiço" (1897), "Brejeiro" (1893), "Fon-fon" (1913), "Tenebroso" (1913), "Não caio noutra" (1881), "Coração que sente" (1903), "Cuéra" (1912), "Nenê" (1895) and "Odeon" (1909) - the audio of the last mentioned in Antonio Adolfo's new arrangement has been uploaded at YouTube



What caracterizes Adolfo's interpretations of Nazareth's music is the freedom of improvisation, an element exposed in both choro and jazz, here in a contemporary form that may be considered a hybrid between the two genres. The result is neither traditional jazz nor choro, but a mixture that blows fresh air into Nazareth's musical themes through be bop inspired improvisation - in the liner notes Adolfo mentions Bill Evans as an inspiration working with the arrangements featured on the disc.

Antonio Adolfo
Antonio Adolfo (b 1947) grew up in a musical family in Rio de Janeiro and began his studies at the age of seven. At seventeen he was already a professional musician. His teachers include Eumir Deodato and Nadia Boulanger. During the 60's he led his own trio and toured with singers Elis Regina and Milton Nascimento. Adolfo wrote tunes that gained great success and have been recorded by such artists as Sérgio Mendes, Stevie Wonder, Herb Alpert, Earl Klugh, Dionne Warwick, and others. He won International Song Contests on two occasions. As a musician and arranger he has worked with some of the most representative Brazilian names, besides having released several albums. In 1985 he created his own school of music in Rio de Janeiro. Currently he is conducting a music school in Hollywood and teaches Brazilian music and jazz. More info on Antonio Adolfo's career at his official website, here 

Antonio Adolfo, photo by Paul Constantinides
The new arrangements of Nazareth's music by Antonio Adolfo continue and extend a longtime fascination with the founders of Brazilian Choro music, Adolfo released another CD featuring music by Nazareth and Chiquinha Gonzaga in 1991 and he has participated in other choro and jazz projects in Brazil as well. To end this small review of the new CD, here's another audio take from the CD uploaded at YouTube, Nazareth's "Fon-Fon"



The CD Rio, Choro, Jazz ... by Antonio Adolfo is available for purchase here.
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Jo

Monday, March 10, 2014

Toinho Gomes - Choros

While searching SoundCloud for choro recordings  I had the good fortune to find some uploaded streams by Toinho Gomesamong these were the music recorded at the shown CD above. The CD is available as mp3-files for purchase from both Amazon and CD Baby Music Store. I highly recommend this issue, if you are looking for magnificent choro recordings in the great tradition from Época de Ouro a.o..

Toinho Gomes (b.1953) is from Minas Gerais, Brazil, and a selftaught cavaquinista, who also composes. The CD has 16 tracks of compositions by Toinho Gomes, his work as a composer of choros has earned him critical applause from many authorities in this idiom, a.o. Henrique Cazes and Reco do Bandolim, who considered Toinho Gomes as one of the greatest composers of choro in Minas Gerais. In 2001, one of the compositions available on the CD,'No Boteco do Hélio', was a finalist of the Festival Chorando no Rio, held by the Museu da Imagem e do Som, and in 2011 another composition by Gomes, 'Antônio Caetano' (-also available on the CD), was a semifinalist of the Festival Choro Novo, conducted by Brasil com S, in Belo Horizonte.

On the shown CD Toinho Gomes is accompanied by recognized soloists like Ausier Vinicius and Márcio Almeida Hulk on cavaquinho, Ronaldo do Bandolim (Trio Madeira Brasil and Época de Ouro) and Tiago Souza (Regional Carioca) on bandolim, saxophonist Daniela Spielmann (Rabo de Lagarixa), clarinetist Rui Alvim (Água de Moringa), flutist Alexandre Maionese, trombonist Fabiano Segalote, the trumpeter Silverio Pontes and accordionist Kiko Horta. The basic team includes  the seven-string guitar player Toni Sete Cordas (Época de Ouro), the six-string guitar player Rogério Souza (Nó em Pingo d'Água) , the cavaquinho base player Márcio Almeida Hulk and the percussionist Márcio Gomes. - To give you an impression of the recorded compositions by Toinho Gomes, I'll insert a couple of uploaded videos from YouTube, here is first the crtical acclaimed 'No Boteco do Hélio' with still footage from the recording of the CD - enjoy!

Here is another composition by Toinho Gomes from the CD, 'Mineiro Sincopado', featuring cavaquinho player Ausier Vinicius as soloist

It's an amazing and joyful experience to be listening to the compositions by Toinho Gomes, and if the above short review has caught your interest, don't hesitate to visit CD Baby or Amazon to buy your mp3 copy of the CD today.
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Jo

Sunday, February 09, 2014

Taruíra - Choro from Rio

'Taruíra' is the local name of a small gecko, common in the Brazilian state of Espírito Santo. But Taruíra is also the name of a choro ensemble in Rio de Janeiro - a sextet that mixes traditional and modern music and "(...) brings multiple languages together and focuses on the Brazilian and Latin music – always with a little bit of jazz" according to the press info of the group. The group started in 2002 as a trio and is today formed by Breno Morais (soprano saxophone and flute), Carlos Watkins (tenor saxophone), Guto Menezes (cavaquinho and viola), José Roberto Leão (violão 7 cordas), Leandro Mattos (pandeiro) and Yuri Garrido (drums).
Taruíra's first CD was released in 2007 and had 14 tracks of arranged music by composers such as Pixinguinha, Tom Jobim, Hermeto Paschoal and Maurice Ravel, among others. The bandolinist Paulo Sá was responsible for the arrangements of this independent work. The CD is sold out, but you have the opportunity to listen to the recorded tracks at Tauríra's profile on SoundCloud, here

In 2007, the group began its most important project: the rodas de choro that took place on a square in Petrópolis, Taruíra’s hometown, and went on for more than three years. The event started out as a musical gathering outdoors, but it became gradually popular and continued for hundreds of Sundays. The project was eventually subsided by a federal law and became part of the cultural upbringing of the inhabitants of Petrópolis and its surroundings.


In 2011, Taruíra was able to bring to life the desire to record its very own DVD. The DVD was called “Nas nuvens”, in a reference to the scenery in the mountains of Rio de Janeiro, where the group comes from, and proved to be a perfect match for Taruíra’s visual identity. The DVD is uploaded at Taruíra's official website and is available on the group's YouTube channel - Here are a couple of extracts from the DVD inserted below, first the group's version of Jacob do Bandolim's "Assanhado"

Another fragment from the DVD, "A pasta do Carlinhos" (José Roberto Leão) - enjoy!

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The music performed at the DVD has been uploaded at Taruíra's official web and is free accessible on SoundCloud too, here [https://soundcloud.com/taruira/sets/taru-ra] - Currently the group is in the studio recording its second CD according to the press info. - You can follow the group at FacebookTwitter and Taruíra's official website.

Thanks to Nathália Pandeló for notifying us about Taruíra and forwarding press kit.

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Jo

Wednesday, December 04, 2013

When You Wish ... New Choro Recordings For Christmas

December is a hectic month for most people, preparations for the season's holidays seem to occupy much of your time, many wishes and expectations are stated and have to be confronted - especially if you have kids in your family. But even resonable grown-ups also have wishes and expectations, thus, if you - dear reader - are a resonable grown-up and have a wish of some new choro recordings for Christmas, but don't know what to expect, I have had a little help from the charming and generous Zé Carioca to help guiding your wishes and let your expectations materialize.

Bandolinist Hamilton de Holanda released the shown CD, Mondo de Pixinguinha, some months ago, and if you haven't added this to your collection of choro recordings already, it's an obvious wish for Christmas. The CD has twelth tracks of compositions by Pixinguinha performed by Hamilton in interplay with international as well as Brazilian musicians. The aim of the CD was not just to record a selection of Pixinguinha's compositions reliving a part of his music. According to Hamilton's notes, it was also to give musicians from other countries with a different background the opportunity to participate in Pixinguinha's legacy in new interpretations of the presented music. On these conditions the tracks are recorded in various places and countries with participation of great pianists like Chucho Valdés and Omar Sosa (Cuba), Stefano Bollani (Italy), Mario Laginha (Portugal), the French master of the accordeon Richard Galliano and the US jazz trompetist Wynton Marsalis. The Brazilian musicians, besides Hamilton, are André Mehmari (piano), Carlos Malta (tenor sax) and Odette Ernest Dias (flute). Ten tracks are duet performance featuring Hamilton in interplay with the mentioned foreign artists - the first track is a solo interpretation by Hamilton of the well known "Naquele Tempo" and the last track is a quartet version of "Carinhoso" by the Braszilian crew. Every track has new variations of the presented music, the CD gives the listener a great opportunity to explore and enjoy new aspects of Pixinguinha's music performed by true masters in amazing interplay, higly recommended - anytime. - You have the opportunity to buy and listen to all tracks in streaming audio at Hamilton's official web, the CD is also available in mp3 format for purchase here. - To give you an impression of the music and musicians on the CD, here's a video presentation featuring a live performance by Hamilton in interplay with  accordeonist Richard Galliano and pianist Omar Sosa - the music is Pixinguinha's "Ingênuo"



A capella sextet ORDINARIUS
 
2013 has celebrated the 150. anniversary of Ernesto Nazareth, one of the founding figures of choro. Many concerts, activities and new recordings by contemporary artists have been managed in Brazil to celebrate the jubilee. To participate in this renewed interest for Nazareth's legacy a vocal ensemble - the a cappella sextet ORDINARIUS - pointed me to the group's version of "Brejeiro" - inserted here
 
 
This wordless and very skilled a cappella version of Nazareth's tune reminded me of some of the vocal arrangements of classical music presented by the Well known and succesful US ensemble The Swingle Singers. -  You may learn more about ORDINARIUS here and also have the opportunity to listen to their debut CD in streaming audio.
 
Another remarkable presentation of Nazareth's music is available on the shown CD by Grupo Choro & Companhia - Nazareth: Fora dos Eixos, released last year. The title of the CD (- meaning 'off-axis') points to what is to be expected of the enclosed music. The presentation here is of compositions by Nazareth that are outside the repertoire of well known titles like 'Brejeiro, 'Odeon', 'Apanhei-te, cavaquinho' and other popular pieces. The chosen material for the CD is new arrangements of unpublished or neglected scores from the preserved archive of Nazareth's written music. The CD has eleven tracks of delightfull, well arranged and skillfully performed music, more info on single tracks available at Discos do Brasil, here. - The Choro & Companhia ensemble was originally formated in 1985 in Brasilia by a.o. Hamilton de Holanda and his brother Fernando César, today the group is a quartet and only Fernando César (violão and violão 7 cordas) remains from the original group. The other members of the quartet are Pedro Vasconcellos (cavaquinho), Ariadne Paixão (flute) and Amoy Ribas (percussion). On the CD the quartet is extended with guest performers in some of the tracks, they are Juninho Alvarenga (banjo), Alexandre Días (piano), Hamilton de Holanda (bandolim), Ricardo Dourado Freire (clarinet, clarone) and Roberto Corrêa (viola). All involved in the project have created an exciting recital of unknown works by Nazareth in up-to-date arrangements, the CD is higly recommended and an obvious choice for all lovers of original Brazilian music. The CD tracks are available for purchase in mp3 format here. - Choro & Compania presented the repertoire of the Fora dos eixos-CD in a TV production by TV Câmara, the show is almost one hour and has spoken information in between the music. It is well worth lending you attention, even though you don't speak or understand the Portuguese language (- no subtitles in English). Use extended view to have the best experience, enjoy
 
 

The Choro das trés ensemble continues their successful career and released the shown CD this summer in advance of a lenghty tour of the US. The CD is the third outing by the group and the title Boas Novas ( - meaning 'Good news' in English) points to the contents.There are 14 tracks of new choro pieces especially composed for Choro das trés, some of them by members of the ensemble, but most of them by friends and members of the choro society in the São Paulo area. The CD is produced by Choro das trés and released by the group's own label, Macole - more info to be found here. - The music on the CD contains great examples of contemporary choro that continue the tradition in a flawless and most enjoyable performance, highly recommended.The future of choro still looks bright thanks to the dedication and devotion to this original Brazilian music by talented and skilled musicians like Choro das trés. - The Boas Novas CD was presented in a live performance with participation of some of the contributors of the repertoire, a video fragment from the concert mixed with filmed footage from the recording of the CD is inserted below to give you an impression of the presented music - enjoy
 
 
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Jo