Jazz and Bossa

O ponto de encontro para os fãs do Jazz e a música Brasileira

Informação

João Gilberto

Grupo criado para homenagear o cantor, compositor e um dos pais da Bossa Nova.

Local: Porto Alegre - RS
Membros: 44
Última atividade: 1 Out

Sobre João Gilberto


João Gilberto do Prado Pereira de Oliveira (Juazeiro, 10 de junho de 1931), mais conhecido como João Gilberto é um músico brasileiro, considerado o criador do ritmo bossa nova.


Biografia

Nascido na Bahia, na cidade sertaneja de Juazeiro, João ganhou um violão aos 14 anos de idade, e, desde então, jamais o largou. Na década de 1940, adorava escutar de Duke Ellington e Tommy Dorsey até Dorival Caymmi e Dalva de Oliveira. Aos 18 anos decide se mudar para Salvador com intenção de ser cantor de rádio e crooner. Em seguida, foi para o Rio de Janeiro, em 1950, e teve algum sucesso cantando no grupo Garotos da Lua. Entretanto, foi posto para fora da banda por indisciplina, passando alguns anos numa existência marginal, ainda que obcecado com a idéia de criar uma nova forma de expressar-se com o violão. Seu esforço finalmente foi recompensado e, após conhecer Tom Jobim - pianista acostumado à música clássica e também compositor, influenciado pela música norte-americana da época (principalmente o jazz) - e um grupo de estudantes universitários de classe média, também músicos, lançaram o movimento que ficou conhecido por bossa nova.

Bossa Nova

O ritmo da bossa nova é uma mistura do ritmo sincopado da percussão do samba numa forma simplificada e a ao mesmo tempo sofisticada, que pode ser tocada num violão (sem acompanhamento adicional), cuja técnica foi inventada por João Gilberto. Quanto à técnica vocal (parte integral do conceito de bossa nova), é uma técnica de cantar em tom de voz uniforme, com voz emitida sem vibrato, e com um fraseado disposto de forma única e não-convencional (ora antecipando, ora depois da base rítmica), e de forma a eliminar quase todo o ruído da respiração e outras imperfeições.

Apesar da fama com a então recém-criada bossa nova, sua primeira gravação lançada comercialmente foi uma participação como violonista no disco de Elizeth Cardoso de 1958 intitulado Canção do Amor Demais, composto por canções de Tom Jobim e Vinícius de Moraes. Pouco depois desta gravação, João Gilberto gravou seu primeiro LP, Chega de Saudade. A faixa-título, composta por Tom e que também aparecia no álbum de Elizeth Cardoso, foi sucesso no Brasil, lançando a carreira de João Gilberto e, por conseqüência, todo o movimento da bossa nova. Além de algumas composições de Tom Jobim, o álbum apresentava sambas mais antigos e músicas populares na década de 1930, porém todas tocadas em ritmo de bossa nova. Este álbum foi seguido de outros dois, em 1960 e 1961, nos quais ele apresentou músicas novas de uma nova geração de cantores e compositores, como Carlos Lyra e Roberto Menescal.

Por volta de 1962, a bossa nova tinha sido adotada por músicos de jazz norte-americanos, tais como Herbie Mann, Charlie Byrd e Stan Getz. A convite de Stan Getz, João Gilberto e Tom Jobim colaboraram naquele que se tornou um dos melhores álbuns de jazz de todos os tempos, Getz/Gilberto. Com este álbum, Astrud Gilberto esposa de João Gilberto na época, se tornou uma estrela internacional, e a composição de Jobim Garota de Ipanema (em sua versão em inglês, The Girl from Ipanema) se tornou um sucesso mundial, e modelo pop para todas as idades.

João Gilberto continuou a fazer espetáculos na década de 1960, porém não lançou outros trabalhos até 1968, quando gravou Ela é Carioca, durante o tempo em que residiu no México. O disco João Gilberto, algumas vezes chamado de "o álbum branco" da bossa nova (em alusão ao álbum branco dos Beatles) foi lançado em 1973, e apresenta uma sensibilidade musical quase mística, sua primeira mudança de estilo perceptível após uma década. O ano de 1976 viu o lançamento do disco The Best of Two Worlds, com a participação de Stan Getz e da cantora Miúcha, que se tornara a segunda esposa de João Gilberto em abril de 1965. Amoroso, de 1977, teve os arranjos de Claus Ogerman, que buscou uma sonoridade similar à de Tom Jobim. O repertório era composto de velhos sambas e alguns padrões musicais norte-americanos da década de 1940.

Nos anos 80 no Brasil, João Gilberto colaborou com Gilberto Gil, Caetano Veloso e Maria Bethânia (criadores, em fins da década de 1960, do movimento conhecido como Tropicália). Em 1991 lançou o disco João, que não tinha nenhuma composição de Tom Jobim. Ao invés disso, teve trabalhos de Caetano, Cole Porter e de compositores de língua espanhola. João Voz E Violão, lançado em 2000, assinalou um retorno aos clássicos da bossa nova, como "Chega de Saudade" e "Desafinado". O CD, uma homenagem à música de sua juventude, foi produzido por Caetano Veloso.

Intercaladas com estas gravações em estúdio, surgiram também gravações ao vivo, como Live in Montreux, Prado Pereira de Oliveira ou Live at Umbria Jazz.

Atualmente

Anunciada uma das raras turnês de João em 2008 pelo Brasil, disputados em filas homéricas os ingressos, para duas apresentações no Auditório Ibirapuera em São Paulo foram todos vendidos em aproximadamente uma hora, no Rio de Janeiro, para uma apresentação no Theatro Municipal, o mesmo aconteceu. Nos concertos de São Paulo as grandes surpresas foram a execução de canções não antes registradas por João, como 13 de Ouro, Dor de Cotovelo, Hino Ao Sol / O Mar, Chove Lá Fora, Dobrado de Amor a São Paulo, e uma música inédita de sua própria autoria, em homenagem ao Japão.

Curiosidades

Em sua versão em CD, o álbum João, de 1991, trouxe duas faixas-bônus: Sorriu pra mim e Que reste-t-il de nos amours. Isso também aconteceu com o relançamento de Prado Pereira de Oliveira, que incluiu as canções Aquarela do Brasil, Bahia com H, Tim tim por tim tim e Estate, que não entraram no LP original por problemas de espaço.

João Gilberto tem, há muito, a reputação de excêntrico, recluso e perfeccionista. Não tolera celular, cochichos na platéia, ar-condicionado barulhento ou caixas de som desreguladas. Continua a fazer (raras) apresentações, com enorme sucesso no Brasil e no exterior.

Discografia

* Chega de Saudade (1959)
* O Amor, o Sorriso e a Flor (1960)
* João Gilberto (1961)
* Getz/Gilberto (1964)
* Getz/Gilberto #2 (1965)
* João Gilberto en México / Ela é Carioca (1970)
* João Gilberto (1973)
* The Best of Two Worlds (1976)
* Amoroso (1977)
* João Gilberto Prado Pereira de Oliveira - ao vivo (1980)
* Brasil (1981)
* Live at the 19th Montreux Jazz Festival - ao vivo (1986)
* João (1991)
* Eu Sei que Vou Te Amar - ao vivo (1994)
* Live at Umbria Jazz (1996)
* João Voz e Violão (2000)
* In Tokyo - ao vivo (2004)

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2 Comentários

Manny Cepeda Ritmo Caribe Comentário de Manny Cepeda Ritmo Caribe em 5 dezembro 2008 às 1:46
Here is one of the great masters!!! Amazing performance!!
Claudia Martinez Comentário de Claudia Martinez em 1 dezembro 2008 às 0:02
UUUUUUUUF... WOW!!
Y CON DESAFINADO... ALGO ASI COMO.. MI BIOGRAFIA...DE LO PRIMERO QUE ESCUCHE DE BOSSA NOVA...CAI RENDIDA, ME CONQUISTO!
GRACIAS...QUIERO MAS! ABRAZO!

CLAUDIA.
 

Membros (43)

Luís Valério Wilbert Sostre Claudia Martinez MILTON E. RUSS II / NANTAMBU Patricia Julia Yoli Planagumá Magdalena diana bellone Kike Goya Manny Cepeda Ritmo Caribe celso krause Leandro Santos Liza Lee Eugénia Melo e Castro Mara Melges Marietti Fialho Robin Aleman Jobinho Minas Nadja Benetti Anamaria Modesto Vieira heloisa nau soninha PAULA MORENO NANCY Fabiana Passoni Ângela Moreira Flach Luiz Santos ZaRiYa eLeTea
 
 

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Artista da semana

Artista da Semana (novembro 15 -21) - Anat Cohen

Artista da Semana - Anat Cohen





Anat Cohen

An established bandleader and prolific composer, idiomatically conversant with modern and traditional jazz, classical music, Brazilian choro, Argentine tango, and an expansive timeline of Afro-Cuban styles, Anat Cohen has established herself as one of the primary voices of her generation on both the tenor saxophone and clarinet since arriving in New York in 1999.

In September 2008, Anat Cohen released Notes From The Village, her fourth album as a leader. Recorded at Avatar studios in New York City, the album builds on Cohen's acclaimed 2007 releases, captures the thrilling energy of her live shows, and proves her to be an artistically adventurous writer and performer. Notes From The Village finds Anat leading a quartet of some of the most sought-after, engaging young performers in New York, including pianist Jason Lindner, bassist Omer Avital, and drummer Daniel Freedman, with accompaniment from guitarist Gilad Hekselman on three tracks. The album features compositions written by Cohen as well as her interpretations of songs by Fats Waller, John Coltrane, Sam Cooke and Ernesto Lecuona.

“In preparing for the recording,” says Anat “I really wanted to capture the free, risk-taking, open quality this band achieves when performing live. I also wanted to stretch my compositions, and arrangements.” Early responses to the album have been overwhelmingly positive; The New York Times’ Nate Chinen wrote that “Notes From The Village is a resounding confirmation; yes, she is the real deal”, DownBeat Magazine awarded the release four stars, stating that “Cohen makes it seem easy, mixing a gift for melody and an improvisational fluidity that has few peers today.” Anat’s previous outings, Noir and Poetica were released simultaneously in April 2007, inspiring a string of enthusiastic reviews. The Washington Post said that “Cohen has emerged as one of the brightest, most original young instrumentalists in jazz [...] [she] has expanded the vocabulary of jazz with a distinctive accent of her own.” The Village Voice spoke of her “Enviable insouciance” and how “she alludes to the mystical in a merry way,” and Downbeat magazine expressed the opinion that “Noir could be a classic” and “[Cohen’s] stately intonation and unforced elegance on clarinet could take her to the top.”

Anat has performed for audiences in New York’s Village Vanguard, Jazz Standard, Iridium, The Jazz Gallery, and the JVC Jazz Festival. She has also appeared at the Chicago Jazz Festival, Washington DC’s Kennedy Center, San Francisco’s Yoshi's, Boston’s Regattabar, the North Sea Jazz Festival, the Monterey Jazz Festival, and the Montreal Jazz Festival. Anat’s July 2007 engagement at the Village Vanguard in New York was a historic one; Anat is the first female reed player, and the first Israeli to headline at the club. Ms. Cohen’s accomplishments have been recognized in a flurry of awards and distinctions from critics and fans alike; She topped the Rising Star- Clarinet category in DownBeat Magazine’s critics poll in both 2007 and
2008, and placed prominently in a total of four categories including Rising Star Jazz Artist - where she ranked second and was the only female artist to make the list. Anat was also mentioned on DownBeat’s readers poll in 2007 and 2008. The Jazz Journalists Association named Anat Cohen Clarinetist of the Year by in both 2007 and 2008 – the first time in the history of the awards that an artist has earned top clarinet honors two years running. Noir and Poetica both appeared on many year-end best-of summary lists, including those of Paste magazine, The New York Sun, Slate, JazzTimes and others.

Born in Tel Aviv, Israel, Anat grew up with musical siblings; her older brother Yuval is himself a saxophonist of note, and her younger brother, Avishai, is one of New York’s busiest trumpeters. She began clarinet studies at age 12 and played jazz on clarinet for the first time in the Jaffa Conservatory’s Dixieland band. At 16, she joined the school’s big band and learned to play the tenor saxophone. The same year, Anat entered the prestigious “Thelma Yelin” High School for the Arts, where she majored in jazz. After graduation, she discharged her mandatory Israeli military service duty from 1993-95, playing tenor saxophone in the Israeli Air Force band.
In 1996, Anat matriculated at Berklee College of Music in Boston. There she met faculty member Phil Wilson, who encouraged her to play clarinet, and other inspiring teachers such as Greg Hopkins, Ed Tomassi, Hal Crook, George Garzone, and Bill Pierce, and an elite international peer group of students.

During her Berklee years, Anat visited New York during breaks between semesters, making a beeline for Smalls to soak up the hybrid of grooves, world music and mainstream jazz that people like Jason Lindner and Omer Avital were then evolving. Back in Boston, she played tenor saxophone in a variety of musical contexts with various bands including Afro-Cuban, Argentinean, klezmer, contemporary Brazilian music and classical Brazilian choro. Anat also began her association with Sherrie Maricle’s top-shelf allwoman big band Diva Jazz Orchestra, which continued into the new millennium.

Once ensconced in New York, Anat quickly found work in various Brazilian ensembles like the Choro Ensemble and Duduka Da Fonseca’s Samba Jazz Quintet, and started performing with David Ostwald’s “Gully Low Jazz Band,” which explores the music of Louis Armstrong, Bix Beiderbecke, Jelly Roll Morton, Sidney Bechet and their Pan-American contemporaries. Anat documented her bona fides on her debut CD, Place and Time, one of All About Jazz-New York’s “Best Debut Albums of 2005.” On the liner notes for Notes From the Village, Ira Gitler writes “She is formidable. Long may she continue to enrich the music in myriad ways.” There is every indication that her star will continue to rise for a long time to come.

http://www.AnatCohen.com
http://www.imnworld.com/anatcohen
http://shorefiremedia.com/clients/acohen

Artista da semana (novembro 8 - 14) - Miguel Zenón

Artista da Semana - Miguel Zenón




http://www.miguelzenon.com/index.htm



Miguel Zenón Bio

“This young musician and composer is at once reestablishing the artistic, cultural, and social tradition of jazz while creating an entirely new jazz language for the 21st century.”

--MacArthur Foundation,2008.

Guggenheim and MacArthur Fellow Miguel Zenón was born and raised in San Juan, Puerto Rico. There, he studied classical saxophone at the famed Escuela Libre de Musica. Although Zenón was exposed to jazz while in high school, it wasn’t until he began his studies at the Berklee School of Music that his formal jazz training began. After graduating from Berklee, Zenón received a scholarship to attend Manhattan School of Music and in 2001, he received a Masters in Saxophone Performance. The distinguished list of educators he has studied with include: Angel Marrero, Leslie Lopez, Rafael Martinez, Danilo Perez, Dick Oatts, Dave Liebman, George Garzone and Bill Pierce.

In his relatively short, but rather illustrious career, Zenón has performed and/or recorded with a quite a diverse array of artists including: David Sanchez, Charlie Haden, The Village Vanguard Orchestra, Bobby Hutcherson, Bob Moses and Mozamba, The Either Orchestra, Guillermo Klein y Los Guachos, The Mingus Big Band, Jerry Gonzalez & The Fort Apache Band, Ray Barretto, and Steve Coleman, among others.

In 2004 Zenón was asked to become one of the founding members of the SF Jazz Collective; an octet whose past and present members include Joshua Redman, Bobby Hutcherson, Nicholas Payton, Joe Lovano, Dave Douglas and Brian Blade. The members, who participate in a residency period where they workshop and rehearse new music, divide their time (roughly two months) between composing, performing and teaching. The SF Jazz Collective has toured in the US, Canada, Asia, and Europe and to date, have released five critically acclaimed live recordings, garnering them a spot in the Downbeat Critic’s Poll Rising Star Small Group category in both 2006 and 2007 – an honor which, coincidentally, they shared with Zenón’s own quartet.

The Saxophonist and Composer has released four recordings as a Leader. His debut CD Looking Forward, was selected by the New York Times as the number one independent jazz record of 2002. In 2004, after being one of the first artists signed to Marsalis Music, he released the critically acclaimed Ceremonial. This same year also marked the beginning of three consecutive years on the top of the Downbeat Critic’s Poll in the Rising Star Alto Sax category. Zenón topped that category as well in 2008,making that the fourth time in the last five years. In 2005 Zenón was honored by Billboard magazine as one of the “Faces to Watch-- 30 Under 30: Top Young Acts and Executives.” That year Zenón also released Jibaro, a tribute to the "Musica Jibara" of Puerto Rico and commissioned by a grant from the New York State Council of the Arts. Like his previous recordings, Jibaro was uniformly well received and appeared on many top ten lists including The New York Times, Latin Beat, El Nuevo Dia, and the Chicago Tribune. In 2006, the readers of Jazz Times Magazine voted him the Best New Artist of the Year. Awake, his fourth recording as a leader was released in April 2008. It was chosen as one of the Best Jazz Cd's of 2008 by Jazz.com, Jazz Improv Magazine, Cuadernos de Jazz, JazzTimes and El Nuevo Dia, among others. (Read Reviews)

In addition to touring extensively throughout the US and Europe and Latin America with his quartet, Zenón has made teaching a priority in his professional career. In 2003, as part of the Kennedy Center’s Jazz Ambassador’s Program, Zenón’s quartet was selected to teach and perform throughout West Africa. Since then he as done master classes, clinics and/or residencies in such diverse institutions as the Banff Centre, University of Manitoba, LeMoyne College, UMASS-Amherst, the Brubeck Institute, Berklee College of Music, Conservatoire de Paris, Rotterdam Conservatory, Manhattan School of Music, Amsterdam Conservatory and the Diaz Institute. Zenón also serves as a private saxophone instructor at The New School for Jazz and Contemporary Music in New York. Starting in the Fall of 2009, Zenón will be joining the Jazz Faculty at the New England Corservatory in Boston,MA.

In April 2008 Zenón received a fellowship from the prestigious John Simon Guggenheim Foundation to work on his next project, which focused on Plena Music from Puerto Rico. Later that year he was one of 25 distinguished individuals chosen to receive the coveted MacArthur Grant, also know as the “Genius Grant”.

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