10 MOST INFLUENTIAL ANA FLAVIA ZUIM - PORTINHO PAULO BRAGA ROGER DAVIDSON - Brazilian Music Foundation

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10 MOST INFLUENTIAL ANA FLAVIA ZUIM - PORTINHO PAULO BRAGA ROGER DAVIDSON - Brazilian Music Foundation
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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10 MOST INFLUENTIAL ANA FLAVIA ZUIM - PORTINHO PAULO BRAGA ROGER DAVIDSON - Brazilian Music Foundation
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
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10 MOST INFLUENTIAL ANA FLAVIA ZUIM - PORTINHO PAULO BRAGA ROGER DAVIDSON - Brazilian Music Foundation
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.

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10 MOST INFLUENTIAL ANA FLAVIA ZUIM - PORTINHO PAULO BRAGA ROGER DAVIDSON - Brazilian Music Foundation
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

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ANA 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....

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UP 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

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RISING 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 # 12
BOSSA 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 # 12
Bossa 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 # 12
Interview
                                                                                     with

                                                                        Roger
                                                                      Davidson

16 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12
ROGER 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 # 12
DRUM 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 # 12
BY 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 # 12
Wallpaper-ArtNouveau

                                  Art by Tati             Vitsic
20 WWW.BOSSAMAGAZINE.COM|BMF |ASUOS PRODUCTIONS|BRAZILIAN ART AND MUSIC|NEW YORK – AUG-SEP 2018 |EDITION # 12
TATI 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 # 12
The 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 # 12
sic           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!

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Art by Madalena Sousa

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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

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