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
Personnel: 

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
Urubupeba



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.
SOBRE O COMPOSITOR

  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.