Sunday, January 28, 2018

1 Sem 2018 - Part Four


By Fernando Rios
Integrado por ocho composiciones nuevas y propias, tres del saxofonista Damián Fogiel y el resto del pianista Nicolás Guerschberg, este séptimo disco de Escalandrum, y primero en vivo en toda su carrera, renueva su enorme presencia en el escenario local, luego del excelente “Piazzolla plays Piazzolla”, con el que en 2012 ganaron el Gardel de Oro (máxima distinción de la industria musical argentina) y el Gardel al Mejor Album de Jazz.
Para Nicolás Guerschberg “Vertigo” es todo un desafío. “Después de revisitar la obra de Astor Piazzolla, retomar nuestra senda con composiciones propias no era fácil, pero salimos muy enriquecidos de la experiencia, con un lenguaje urbano y contemporáneo aplicado en la improvisación y una amalgama del grupo con todos estos años de experiencias juntos.
Para Mariano Sívori este “Vertigo” tiene que ver con el viejo anhelo del grupo de grabar en vivo en un club de jazz, pero también, dice, “es una apuesta a seguir proponiendo nuevas variaciones sobre nuestro sonido, luego del homenaje y riesgo de ‘Piazzolla plays Piazzolla”.Aquí además Guerschberg asume el doble desafio de la autoría en cinco de los temas “Como compositor siempre trato de dar mi mayor esfuerzo por lograr la mejor calidad posible en las obras y ‘Vértigo’, asegura, es el reflejo de todo esto con el plus de ser nuestro primer cd totalmente en vivo”.
Martín Pantyner también adhiere al concepto. Este disco cierra un año idílico para el grupo, en el que hicimos más de 60 conciertos por Argentina y por el mundo y ganamos el Gardel por el mejor disco de jazz y el Gardel de Oro. Como dirían en el barrio, el sueño del pibe”.
También desde doble sitial de saxofonista y autor, Damián Fogiel pronostica que el nuevo disco de Escalandrum será un punto de inflexión en la rica historia del grupo.
Este disco “sintetiza la búsqueda del sonido propio, sobre el cual venimos trabajando hace muchos años y refleja el crecimiento individual y colectivo que logramos tras nuestra intensa revisión de la música de Astor Piazzolla”, reseña Fogiel.
Escalandrum lleva 14 años como grupo con su formación original y han editado siete discos. Han actuado en más de 40 países y cosechado numerosos premios. En 2002 fueron distinguidos por la Fundación Konex como una de las cien figuras más importantes de la cultura argentina. En 2011 el grupo argentino fue nominado a los Grammy Latinos compartiendo terna nada menos que con Chick Corea y Al Di Meola.
Daniel “Pipi” Piazzolla, batería; Nicolás Guerschberg, piano; Mariano Sívori, en contrabajo.
Gustavo Musso, en saxo alto; Damián Fogiel, saxo tenor; 
Martín Pantyrer, clarinete bajo y saxo barítono.

Amaro Freitas
Sangue Negro

By Tratore
Sangue Negro, disco de estreia do pianista Amaro Freitas, produzido pelo gaúcho Rafael Vernet, acompanhado pelo baixista Jean Elton e pelo baterista Hugo Medeiros, com participações do saxofonista Eliudo Souza e do trompetista Fabinho Costa. O disco reinaugura uma linhagem de jazz autoral. Minimalismo, Bebop, Afrojazz, Samba, Frevo e Balada, estas são algumas das sonoridades que permeiam Sangue Negro.

Jerónimo Carmona

By Jakob Baekgaard

Jazz listeners familiar with the characteristic sound and aesthetic of Argentinian label Rivorecords will know the deep, swinging sound of bassist Jerónimo Carmona, who has been a strong presence on many releases on the label, including albums by pianists Ernesto Jodos and Paula Shocron. With Lament, Carmona gets the chance to step into the spotlight himself.
Lament is conceived as a duo album, but it isn't a duo album in the traditional sense. Instead, the album consists of a series of duets between the bassist and the musical voices of saxophonist Sebastián Loiacono, flugelhorn-player Mariano Loiacono, pianist Guillermo Romero and guitarist Marcelo Gutfraind.
Romero plays with the mournful sensitivity of pianist Bill Evans on "Lament" and the crisp chords of guitarist Gutfraind add an extra touch of sophistication on "Indian Summer" while Mariano Loiacono's warm flugelhorn swings fluorescently on a relaxed interpretation of Dizzy Gillespie's "Groovin' High" where the bassist's walking bass patterns and precise punctuations on the theme is a joy to behold.
Throughout the album, Carmona underlines why he is in demand as a sideman. It is primarily his sense of space that makes him such a good bassist. He makes the grooves grow organically out of the air.
The album ends with a strong solo interpretation of "I Fall in Love Too Easily" and indeed it is also easy to fall in love with the music on Lament.
Track Listing:
If I Should Lose You; Milestones; Groovin' High; You're My Everything; Lament; The Way You Look Tonight; Blue and Sentimental; Indian Summer; In Your Own Sweet way; I Fall in Love Too Easily.
Jerónimo Carmona: bass; Sebastian Loiacono: tenor saxophone; Mariano Loiacono; flugelhorn; Guillermo Romero: piano; Marcelo Gutfraind: electric guitar.

Fred Hersch
Open Book

By Dan McClenaghan
In the aftermath of his coma and very possible demise back in 2008, pianist Fred Herschblossomed from a status as a first rate jazz pianist into the rarified air of one of the handful of top practitioners of that art form. A series of post-illness albums, from Whirl(2010), to Alone At The Vanguard (2011) to Floating (2014), Solo (2015) and Sunday Night At the Vanguard (2016), all on Palmetto Records, are all solo and trio outings that reveal a heightened artistic clarity and unabashed vulnerability, alongside a deeper emotive approach, this in comparison to his uniformly excellent, but perhaps more cerebral output before his struggle with serious health problems.
Now we have Open Book, Hersch's eleventh solo piano outing.
Intimacy is a hallmark of Hersch's music, and "The Orb," the set's opener, taken from Hersch's autobiographical music/theater piece, My Coma Dreams, is the tenderest, loveliest of love songs, a look at a paramour through, with justification it seems, rose-colored glasses. "Whisper Not," Benny Golson's classic tune, takes things into a turn of the playful, via crisp, prancing piano notes singing over a serious and assertive left hand. Hersch visits an old friend, Antonio Carlo Jobim, with "Zingaro," a sublime reverie.
The centerpiece, "Through The Forest," is something unheard of on record by Hersch. It's a nineteen minutes-plus, stream-of-consciousness, improvised in-the-moment masterpiece. An ebb and flow dreamscape of sorts—the most fragile of delicacies and the most sacred and quiet moments slipped in beside emphatic percussive energy—music as enchanting as anything the pianist has ever created.
Then in walks Monk. Hersch includes a Thelonious Monk tune in most every set, most every recording. "Eronel" is a spritely interpretation by Hersch, who immerses himself the challenging music deeper than most anybody, peppering the stride-side with sparkling, water-splashing-off-the-rocks sounds, rolling into jagged eddies, leading into the closer, Billy Joel's "And So It Goes," solemn, simple, honest, beautiful.
Honesty—another hallmark of Hersch's art.
This is a recording that makes it seem as though Fred Hersch is the finest jazz pianist in the world. That's an impossible assertion, of course. There are a dozen, maybe more pianists who have achieved this level artistry. But for now, with Open Book, he can wear that title.
Track Listing:
The Orb; Whisper Not; Zingaro; Through the Forest; Plainsong; Eronel; And So It Goes.
Fred Hersch: piano

Sunday, January 21, 2018

1 Sem 2018 - Part Three

Manuel Fraga Trio
Woody & Jazz

By Amazon
Argentinean pianist Manuel Fraga hails from Buenos Aires. He studied jazz and improvisation with Carlos Balmaceda, and later harmony, composition, form, and analysis with Manolo Juarez. Fraga performs here with his trio, consisting of himself, Damian Falcon, and German Boco, all of whom have thriving careers individually and are that much more special when they perform together. The theme of this release is unusual but fun. All of the jazz pieces performed were featured in films that starred American legend Woody Allen.

Sarah Vaughan
Live At Rosy's

By Fred Kaplan at Stereophile
On the heels of its revelatory release of long-lost sessions by Larry Young in Paris during the mid-1960s, Resonance Records pulls another treasure from the archives—Sarah Vaughan's appearance at Rosy's, a now-defunct New Orleans jazz club, in May 1978.
Vaughan was 54 and in the midst of a merry comeback, recording a slew of albums for producer Norman Granz on the Pablo label and performing in a string of small clubs around the world (I saw her around this time at a very small venue, holding maybe 50 people, in Washington, DC), all with stunning virtuosity leavened with a playful verve.
She also had a great trio: Walter Booker on bass, Jimmy Cobb on drums, and her young arranger, Carl Schroeder, on piano. That's the group heard on the two CDs of Live at Rosy's. The club date was recorded for NPR's Jazz Alive, a wonderful program from that era (I'm surprised its archive hasn't served as the source for dozens of albums). A few years ago, Tim Owens, who produced the series, told Zev Feldman, Resonance's proprietor-sleuth, about the existence of tapes that didn't make the cut for the show's hour-long broadcast—hence this album, and there's nothing second-string about it.
Sarah, the Divine One, is clearly having a grand time, swooping octaves, holding whole notes with a velvet vibrato, turning ballads into vamps, vamps into speed-fests, and sometimes playing songs straight and level too. She also shows great comic flair. Check out Disc 1, Track 9, when she calls for requests from the audience and hears back "A-Tisket A-Tasket" (from someone apparently confusing her with Ella Fitzgerald, who'd made a huge hit of the song 40 years earlier), prompting Vaughan to deadpan, "Well, I'll be damned . . . He thinks I'm Lena Horne," then to dive into the tune anyway, in a dead-on impression of Ella's little-girl voice of way back then.
Mainly she sings her long repertoire of standards: "I'll Remember April," "I Fall in Love Too Easily," "East of the Sun," "Time After Time," and, of course, "Send in the Clowns," which I've never heard any Broadway star sing more movingly.
This ranks right up there with the best Sarah Vaughan albums from this period (she died of lung cancer in 1990). And the sound quality, while a little thin on the drums, is very good too.

Jorge Anders Jazz Orchestra
Going Home

By Amazon
Celebrating his return to his homeland of Argentina after many years of living and working in NYC, Jorge Anders is a part of the continuum of great Argentinean jazz musicians, bandleaders and arrangers of the 50s and 60s such as Gato Barbieri , Lalo Schifrin, amon others. His career also included a playing and arranging with the Mercer Ellington-led Duk Ellington orchestra in the 1980s and his arrangements have also had a prominent place on the bandstands of Mel Lewis, Butch Miles, Machito and more. This aptly titled album brings together live recordings of different performances of Anders Jazz Orchestra in Buenos Aires between 2011 and 2014, including a track that features Anders wife and vocalist, Maryanne Murray front and center.

Gustavo Musso & Francisco Lo Vuolo
Back In Town

By Jakob Baekgaard
Playing in a duo exposes the communication between two musicians. Like a good conversation, there's a chance to get a special level of depth and intimacy. A good conversation with a stranger can make us feel like we have known the person for years, but if the conversation grows stale then the reaction might become estrangement.
Keeping a good conversation alive is all about flow and the ability to listen. To know when to pause and when to react. These are qualities that the Argentinian musicians, pianist Francisco Lo Vuolo and saxophonist Gustavo Musso, possess in abundance.
Their topic of conversation on Back in Town is the great repertoire of jazz, ranging from standards, swing and bop to the hard bop of saxophonist Joe Henderson. Hearing Henderson's famous composition "Inner Urge" without the insistent heavy groove provided by drums and bass is fascinating. Musso and Lo Vuolo cools it down and highlight the melodic intricacy of the composition as their lines dance lightly around each other in the spirit of legendary saxophonist Charlie Parker.
The fugue-like nature of Parker's music is also illuminated on a reading of his classic composition "Confirmation" where they once again slow the tempo down.
While both Lo Vuolo and Musso show superior technical skills, they don't try to impress or interrupt each other. Instead, they concentrate on their musical conversation, telling stories filled with emotion, warmth and an empathic sense of the history of jazz.
Track Listing: 
The Gypsy; Confirmation; Inner Urge; Mood Indigo; On a Slow Boat to China; Invitation; Isotope; Reflections.
Gustavo Musso: alto saxophone, tenor saxophone; Francisco Lo Vuolo: piano.

Sunday, January 14, 2018

1 Sem 2018 - Part Two

Harold Mabern
Afro Blue

By Christopher Loudon

Though elder statesman Harold Mabern’s blocky, aggressive piano style may seem better suited to the small army of horn players he’s worked with-from Miles, Ornette and Freddie Hubbard to George Coleman and Eric Alexander-it’s worth remembering that Mabern’s early career also placed him with Betty Carter, Johnny Hartman, Sarah Vaughan and Joe Williams. At age 78 he remains a sterling vocal accompanist, as demonstrated across this album featuring five of the finest singers around: Kurt Elling, Gregory Porter, Jane Monheit, Norah Jones and Alexis Cole.
Alongside regular trio mates John Webber (bass) and Joe Farnsworth (drums), Mabern bookends the album with original instrumental tributes, opening with the propulsive “The Chief,” for John Coltrane, with guests Alexander (on tenor) and trumpeter Jeremy Pelt, and closing with the ice-cool swinger “Bobby, Benny, Jymie, Lee, Bu.”
Porter steps in for another salute, the Mabern-penned “The Man From Hyde Park,” for Herbie Hancock, and a blistering treatment of the title track. Jones shines on “Fools Rush In” and the misty “Don’t Misunderstand.” Monheit’s kittenish allure is gorgeously realized on a lilting “I’ll Take Romance” and a satiny “My One and Only Love.” Evincing strong echoes of Chris Connor, Cole traverses another original, Mabern’s breezily philosophic “Such Is Life.” And Elling, distinctive as ever, helps define three widely diverse tracks: a sizzling, scat-fueled “Billie’s Bounce”; a tenderly reflective “Portrait of Jennie”; and this project’s biggest surprise, a near-anthemic rendering of the Anne Murray hit “You Needed Me.”

Jimmy Cobb
The Original Mob

By C. Andrew Hovan
As the Smoke Sessions list of titles continues to grow, so too do we get to check out some of the country's greatest drummer. The much in-demand Joe Farnsworth has been featured on the label's releases by Harold Mabern and David Hazeltine. Furthermore, one of the most recent titles is a headlining date for the legendary Louis Hayes. Now, comes along a new set that puts the spotlight on renowned drummer Jimmy Cobb, a gentleman that for most of his career worked almost exclusively as a sideman. However, since the late '90s, Cobb has had more than several occasions to step out as a leader with several versions of an ensemble he calls Cobb's Mob.
So the story goes, the original line up of Cobb's Mob mentioned in the title goes back some 20 years when the drummer worked with pianist Brad Mehldau, bassist John Webber, and guitarist Peter Bernstein at The Village Gate. Since each musician is a leader in their own right and quite busy, it's no surprise that the opportunities to work with Cobb have been limited in the ensuing years. That's what makes this album so special.
It should be noted that unlike all the previous releases from Smoke Sessions, this date was not recorded before a live audience. Instead, the tables were removed and things were set up like a studio session. Cobb mentions in the liners that it reminded him of recording in the home of Rudy Van Gelder back in the '50s when the living room served as the studio. The overall sound seems lazar etched, but with a sense of warmth and just the right amount of reverberation to make things sound natural. In fact, Cobb's drums have rarely sounded better.
The repertoire is nicely balanced between choice standards and originals by Cobb, Bernstein, Mehldau, and Webber. There are also some fine solos from Cobb and he trades fours on occasion, sounding particularly musical on "Sunday in New York." It is also a treat to hear Mehldau away from the introverted type of performances that constitute much of his work as a leader. On his original piece, "Unrequited," Bernstein drops out and the pianist delivers a piquant bossa that ever so tastefully integrates bebop lines with classically-inspired runs.
Bernstein finds his own time in the spotlight, sounding particularly fine on "Composition 101," where he delivers the melody in the Blue Note style of Grant Green, then goes on to weave some wonderful lines that span the upper and lower registers of the guitar. The guitarist's own "Minor Blues" is the type of engaging waltz tempo that has become somewhat of his own trademark. It is set off nicely against the rest of the program, which is made up of medium to brisk swingers.
Much has been made lately of the idea that jazz has to somehow eschew key elements of its identity to mature and advance itself. Cobb and crew create the kind of timeless and rewarding jazz that satisfies on so many levels and yet is accessible enough for even the most neophyte listeners. If that isn't advancing the art form, then I don't know what is.
Track Listing: 
Old Devil Moon; Amsterdam After Dark; Sunday in New York; Stranger in Paradise; Unrequited; Composition 101; Remembering U; Nobody Else But Me; Minor Blues; Lickety Split.
Peter Bernstein: guitar; Brad Mehldau: piano; John Webber: bass; Jimmy Cobb: drums.

João Bosco
Mano Que Zuera

By SomLivre
Depois de 8 anos sem lançar nenhum projeto inédito, o cantor e violonista mineiro João Bosco traz ao público ‘Mano Que Zuera’, um álbum composto de 11 belas canções, entre elas algumas parcerias inéditas com o filho Chico Bosco, que também assina a produção musical do álbum. Dessas parcerias o single ‘Onde Estiver’, que nasceu de conversas entre pai e filho, merece destaque pela força poética e arranjo primoroso, que já toca nas principais rádios do Brasil. Além das inúmeras parcerias com o filho, o projeto conta ainda com clássicos como ‘Sinhá’ (parceria com Chico Buarque), ‘Duro na Queda’ e ‘João do Pulo’ (Parcerias com Aldir Blanc), esta última contando com uma fusão sonora com a canção ‘Clube da Esquina No 2’, e o encontro inédito com a composição de Arnaldo Antunes em ‘Ultraleve’, onde a filha Júlia Bosco faz uma participação mais que especial com sua voz doce e potente. Trata-se de um clássico da MPB que acabou de nascer!

Dado Moroni/ Eddie Gomez/ Joe La Barbera
Kind Of Bill - Live At Casino Di Sanremo

By Michael Scullin
What's to like about this album? This is a tremendous album and perhaps his best (and he has many really good albums). Accompanied by Eddie Gomez (a jazz gold standard for years – going back to accompanying Bill Evans) and Joe La Barbera who has likewise been around for years and is, as always, in top form. They swing like mad and sound as though they had been playing together for years. Their choice of music lends itself to great listening. I would go six stars were it possible - and this after listening to it once. Furthermore it is relatively inexpensive and comes in a nice slim cardboard case. All together I found all three to be in top form and to be a musical team that would be tough to beat. Don't know Moroni? this is a really good place to start.

Sunday, January 07, 2018

1 Sem 2018 - Part One

Gregory Porter
Nat"King"Cole & Me

By Matt Collar
On his fifth studio album, 2017's lovingly produced Nat "King" Cole & Me, singer Gregory Porter takes a purposefully traditional approach, paying tribute to one of his biggest influences, legendary vocal icon Nat King Cole. To help craft his tribute, Porter recorded the album with Grammy Award-winning arranger Vince Mendoza and the illustrious London Studio Orchestra, as well as several tracks featuring Los Angeles studio stalwarts. Also on board are Porter's longtime bandmates, pianist Christian Sands, bassist Reuben Rogers, and drummer Ulysses Owens. While primarily known for his contemporary, genre-crossing style of jazz and R&B, Porter here leans nicely into a distinctly old-school sound. Mendoza frames the singer's warm, supple voice with shimmering orchestral arrangements that wouldn't be out of place during the golden age of '50s and early-'60s traditional pop. While never mimicking Cole's distinctive style, Porter manages to straddle the line between evincing the storied artist's burnished vocal sound, and displaying his own virtuoso talents. Tracks like the Cole songbook regulars "Nature Boy," "Mona Lisa," and "The Christmas Song" are lushly arranged renditions that envelop the listener. Also engaging are the upbeat swingers like "Ballerina" and "L-O-V-E," which features a guest solo appearance from trumpeter Terence Blanchard. There's also a cinematic quality to many of the cuts, as on "Miss Otis Regrets," in which Mendoza's dramatic, classical-tinged opening quickly settles into an intimate, candlelit reading of the melancholy classic. Porter even applies his vintage-influenced approach to a reworking of his original "When Love Was King." Romantic, sophisticated, and rich with vocal prowess, Nat "King" Cole & Me lives up to both Cole and Porter's own immense creative reputations.

Dan Costa
Suite Três Rios

By Paul Naser

The rich musical history of Brazilian music parallels the development of jazz in the United States' in many ways. At the same time, the two informed and influenced each other as they matured. Brazilian legends like Antonio Carlos Jobim and Dori Caymmi are remembered for their influence on the development of Bossa Nova, and Jobim, like few composers of popular music in the 20th century, continues to be revered for his many contributions and innovations.
All this history is instantly recognizable in the compositions on pianist Dan Costa's latest record, Suite Três Rios. Tunes like "Samba" that begin with that joyfully familiar groove and its unmistakable lilt remind the listener that they are listening to musicians who are steeped in tradition, while the very same opening, simply by the fact that it is orchestrated on the modern drum set, also hints at what the new generation has to offer. The harmony is unmistakably modern jazz.
The crystalline opening chords in the high register of the piano that begin the opening track "Alba," indicative of a deep awareness of touch and tone, remind us of Jobim's fascination with the classical tradition. The rest of the track introduces us to a pianist and composer with a great respect for his peers. With hints of Geoffrey Keezer and Brad Mehldau in both feel and phrasing, Costa has clearly listened as much as he has practiced.
Judging by the solos on tracks like "Baião," Costa brought a band that really came to play. Guitarist Ricardo Silveira plays beautifully on the track, as he does throughout the record, and percussionist Marcos Suzano's subtle yet poignant percussion playing lends both atmosphere and drive to the track. Other highlights include the gorgeous "Bossa Nova" featuring vocalist Leila Pinheiro and the closer "Aria"
Fans of contemporary jazz will undoubtedly enjoy the latest from Dan Costa, and though those looking for Brazilian music in the style of Joao Gilberto or his contemporaries may not find what they are looking for, they will surely be pleasantly surprised to discover that Brazilian jazz, like its American counterpart, has fondly remembered its roots as it unabashedly moves forward.
Track Listing: 
Alba (ft. Jaques Morelenbaum); Chorinho; Samba; Bossa Nova (ft. Leila Pinheiro); Baião (ft. Marcos Suzano); Maracatu; Modinha (ft. Teco Cardoso); Aria
Dan Costa: Piano, Compositions, Arrangements, Production; Ricardo Silveira: Guitar, Executive Co-production; Marcelo Martins: Alto & Tenor Sax; Vittor Santos: Trombone; Alberto Continentino: Double Bass; Rafael Barata: Drums, Pandeiro; Jaques Morelenbaum: cello; Leila Pinheiro: voice; Teco Cardoso: baritone sax; Marcos Suzano: percussion

Fabio Torres
Pra Esquecer das Coisas Úteis

By Tratore
Nascido em janeiro de 1971, Fabio Torres iniciou seus estudos de música logo aos cinco anos de idade. Após formar-se em piano erudito no conservatório, em 1990, ingressou no curso de Composição na Escola de Comunicações e Artes da USP. Nesta fase, paralelamente ao estudo da música eurdita, o músico lecionava piano, tocava em bandas de baile e casas noturnas, onde praticava a música popular.
Em 1992, aos 22 anos, formou a Banda Mistura e Manda, com a qual gravaria seu primeiro CD. No ano seguinte, venceu o Projeto Nascente –prêmio da Editora Abril destinado a revelar talentos na USP.
Integrante do Trio Corrente.

Antonio Carlos Bigonha

By RevistaDeLuxo
Talento brasiliense, o procurador da República, compositor e pianista Antônio Carlos Bigonha lança hoje (14) seu segundo CD, batizado de “Urubupeba”, com uma coletânea de músicas instrumentais inéditas de sua autoria. O repertório é composto por MPB, com acordes de bossanova e jazz. São treze músicas, com destaque para a faixa-título, Urubupeba, para Tango Brasileiro e Valsa do Mar. Os arranjos e regência são de Dori Caymmi. Bigonha fará três shows no Clube do Choro, nos dias 14, 15 e 16 de setembro, apartir das 21h. Censura: 14 anos, sendo que menores devem estar acompanhadosdos pais ou responsáveis. Ingressos a R$ 20,00 e R$ 10,00. O CD Urubupeba estará à venda no local. Valor: R$ 25,00.
O trabalho de Bigonha vem ganhando destaque no cenário musical. Nana Caymmi gravou uma música de sua autoria,“Confissão”, em seu mais recente disco, “Sem Poupar Coração”, lançado pela SomLivre. Bigonha participou da produção do CD “Flor de Pão”, de Simone Guimarães, lançado com o selo Biscoito Fino, cuja faixa-título do disco é de sua autoria. O trabalho foi indicado ao Grammy Latino em 2009. Em 2004, ele foi o vencedordo IV Festival BDMG Instrumental, em Minas Gerais. Suas músicasrecebem influência de compositores que vão de Ernesto Nazaré a Tom Jobim,mescladas ao conhecimento de quem estudou, em sua formação clássica, osprelúdios de Chopin e Debussy.
  O músico Antônio Carlos Bigonha tem uma trajetória rara. Formado em piano clássico, ele começou a tocar ainda na infância, a partir dos sete anos de idade. Concluiu a formação em piano na adolescência, ingressou na UnB no curso de Direito e transformou a música num hobby. Nos Anos 90, tornou-se procurador da República e, como integrante do Ministério Público Federal, passou a atuar em ações contra improbidade e crimes do colarinho branco na Capital do país. Na década seguinte resgatou seu talento artístico e começou a compor para piano. Em 2004 lançou seu primeiro disco, “Azulejando” . Nesse primeiro CD, ele contou com a participação especial de Toninho Horta, Juarez Moreira, Marina Machado, Flávio Henrique.