Contemporary America – Another Center
This CD, for me, is the fruit of a magical encounter and the realization of a dream. Iâve always asked myself why Brazil has such little contact with the other South American countries. This is a question that has intrigued me for the past 15 years. Little by little, by way of some projects and the work of a few people, this accomplishment became possible. My collaboration with the Mercado Cultural da Bahia opened doors on a variety of fronts: through the materials that came in from several South American countries, whose quality really surprised us; though my acquaintance with the artists and producers that participated in the event over the years; as well as the trips that Iâve taken to these countries since 2001. Complimenting these connections was my contact with Carlos Aguirre, who I have had the privilege of playing with on other occasions.
So we began to think about the possibility of establishing a group with this formation. And through the suggestions, contacts, and partnerships we had with this diversity of musicians and producers, we came up with this current ensemble. Other countries are still missing… but this is a process under-construction that will give rise to new projects of collaboration and exchange; of rich and delightful mutual experience; of many stories and tales…
I hope this adventure of ours touches you all in the same way.
Carmelita, adiĂłs (Carmelita, Goodbye) (traditional folk song) â Lucia Pulido
A bullerenge. A womenâs song with ritual origins from Colombiaâs Atlantic coast.
La musica y la palabra (The Music and the word) (Carlos Aguirre)
A chacarera doble, a traditional rhythm from northern Argentina
Misterios de mayo (Mysteries of May ) (Alvaro Montenegro)
A piece based on the âsaya-caporalâ rhythm, a derivation of the Afro-Andean rhythms that gradually came to influence the whole spectrum of folk music in Bolivia.
Panguito Lando (Doing the Panguito) (traditional folk song) â Lucia Pulido
A traditional song from Colombiaâs Pacific coast
A mis hermanos (To My Brothers) (Aquiles Baez)
A Venezuelan merengue dedicated to Aquilesâ brothers, Julio and Gustavo
Cantos de vaqueria (Cowboy songs) (traditional folk song) / El gavilĂĄn (The Hawk) (Angel Custodio Loyola)
Traditional verses from the Colombian cowboys
Vale do JucĂĄ (JucĂĄ Valley) (Siba)
A poem that speaks of ancestrality, origins and our search for them, set to the rhythm of the ciranda, a traditional circle dance in Pernambuco state
Cajoneando (Cajon-ing) (Lucho Solar)
A cajon solo with Afro-Peruvian rhythms inspired by the black slaves that came directly from Africa to Peru. The cajon is an authentic Peruvian instrument, that was absorbed by the Flamenco (just 30 years ago), and consequently spread the world over.
Tonada para mi niĂ±a (A Tonada for My Little Girl ) (Christian Galvez)
Based on a tonada chilena, a rhythmic and harmonic sophistication of la cueca, Chileâs national rhythm and dance, inherited as a result of the mix between Chileâs indigenous populations and its Spanish colonizers
Primavera (Spring) (ZĂ© Miguel Wisnik)
âSpring is when no one else expects it.â
Alvaro Montenegro – Bolivia
Composer, flutist and saxophonist, Alvaro Montenegro is one of the most active figures on the Bolivian music scene. With music in his blood (his father was a violinist and his grandfather, a pianist) he began studying music at age 8. He studied in the U.S and Nicaragua, and played in the Chamber Orchestra of Nicaragua from 1986 to 1989. As a composer, he has done soundtracks to films, plays, and dance performances. His compositions have been executed by important orchestras including the National Symphony Orchestras of Cuba and Bolivia, and have been presented in the principal festivals around the world. Versatile, he traverses through a variety of genres â from jazz to rock, from classic to pop. As a member of dozens of orchestras, he has transited through repertories from a diversity of times and spaces. In 1998 he released the CD MĂșsica Latino Americana del Siglo XX in partnership with Japanese guitarist Gentaro Takada. In 2001, he released El Parafonista, which gave rise to the Parafonista band, a Latin-American contemporary fusion sextet. With this band heâs released Los Frutos Prohibidos and RepĂșblica.
Ari Colares – Brazil
Percussionist and professor, for 25 years he has dedicated himself to the study, the practice, and the teaching of Brazilian percussion. He lectures in the Tom Jobim Center for Musical studies, USP, and Anhembi Morumbi. He has played with NanĂĄ Vasconcelos, Egberto Gismonti, etc. He is a musician in the Orquestra Popular de CĂąmara, directed by Benjamim Taubkin, as well as in the group A Barca. He plays with MĂŽnica Salmaso and in Palavra Cantada with Sandra Peres and Paulo Tatit.
Aquiles BaĂ©z – Venezuela
Venezuelan arranger, composer, and guitarist. His characteristic is to create a singular sound by mixing Latin American rhythms with sophisticated harmonies. With five albums recorded, heâs collaborated with artists like Paquito de Rivera, Farred Haque, John Patitucci, Ilan Chester, Mike Marshall, Gioria Feidman, and has participated in concerts like Ensamble Gurrufio, Worlds of Guitars and Boston Symphony, Simon BolĂvar and
Bach Academy Orchestras. Aquiles BĂĄez has won the âVenezuelan National Award for Best Artist of the Yearâ; the Leavitt Award at Berklee College of Music and other awards for the soundtracks heâs written for theater, cinema, and dance performances. He administers workshops at universities in the United States and in Europe. He currently lives in New York.
Benjamim Taubkin – Brazil
Brazilian music has been the playing field for this instrumentalist, arranger, composer, and producer. As a musician he has participated in several formations â that range from soloing to symphonic orchestras – presenting in Brazil and abroad. Some of the most recent projects heâs participated in as musician and arranger include: Jobim SinfĂŽnico, Samwad – Rua do Encontro, MilĂĄgrimas, Orquestra Jazz SinfĂŽnica, Paulo Moura and Monica Salmaso. His current projects include: the Orquestra Popular de CĂąmara, the choro ensemble Moderna TradiĂ§ĂŁo, and his work with the traditional music group AbaĂ§ai. He directs the label NĂșcleo ContemporĂąneo, focused on recording Brazilian instrumental music. He is present as a musician or producer on more than 130 discs. He has coordinated projects for institutions like ItaĂș Cultural, and the SĂŁo Paulo State Secretary of Culture. He has developed programs for SESC, CPFL, and CCBB. He is the musical curator for the Mercado Cultural da Bahia and is a member of the European Forum for World Music.
Christian Galvez – Chile
With highlighted participations in the foremost jazz and world music festivals, this Chilean bass player has recorded three discs: Christian Galvez (2000), Cero (2002) and DinĂąmica solista (2004). He has participated in productions and recordings with important international musicians: Joe Vasconcellos (Chile), Luis Salinas (Argentina), Fareed Haque
(United States), Bruce Hart (United States), among others. He is a music professor that has lectured in several Chilean schools, and has given clinics in countries like Argentina, Mexico and Brazil. He created the band GĂĄlvez Quinteto together with Jorge Diaz (guitar), Lautaro Quevedo (keyboards), Rodrigo GĂĄlvez (drums) and ClĂĄudio Ortuzar (percussion). He is currently the musical director of Pez ProduĂ§Ă”es.
Lucia Pulido – Colombia
Colombian singer, who sings anything from jazz to her countryâs traditional music. For more than 13 years, she partnered with the singer/composer Ivan Benevides in the duet âIvan and Lucia.â They recorded three discs and toured through Spain, England, Colombia and Ecuador. Since arriving in New York in 1994, her work has been focused on traditional Colombian rhythms. In 1995 she recorded her first solo CD, Lucia (on the Sonolux label). With a full calendar, she has presented in theaters, universities, and clubs in the United States, as well several important festivals in New York. She is constantly invited to participate in concerts and on CD recordings by jazz musicians like Ed Simon, Erik Friedlander, Dave Binney and Fernando TarrĂ©s. Her most recent CD is Dolor de Ausencia. Currently, Lucia is dedicating herself to projects with musicians in New York and from Latin American countries: an experimental one with Argentinean guitarist Fernando TarrĂ©s that is based on traditional songs from Colombia and Argentina; the recording of the CD Pure and Impure by Erik Friedlander, based on poems by Colombian poets; and lastly, her next disc, contemporary arrangements of traditional Colombian music. Her calendar remains full of performances scheduled in Europe, the United States and Latin America.
Luis Solar Narciso – Peru
Peruvian percussionist who, for 15 years, presented nationally and internationally
with the group Peru Negro. He has played with important names in music such
as Nestor Torres,
Luis Salinas, Paquito de Rivera and Eva AyllĂłn, among others. He participated on
the CD Acuarela de Tambores by Alex AcuĂ±a, which was nominated for a
Grammy in 2002.
At the moment, Luis Solar Narciso is a member of the group Wayruro, as well as
Jean Pierre Magnetâs Grand Banda.
Lula Alencar – Brazil
Pianist, composer, arranger and acordion player, Lulinha began studying piano and jazz improvisation. He formed the instrumental trio LSDÂŽJazz and also formerly was in the Banda BuscapĂ©, focusing on regional music. As an accordion player, Lulinha has been playing with groups such as MafuĂĄ, Mawaca, AntĂŽnio Barros and others.
Siba – Brazil
Musician from NazarĂ© da Mata, Zona da Mata–Pernambuco state. As a member of the band Mestre AmbrĂłsio, Siba moved to SĂŁo Paulo in the early 90âs. A few years later he returned to the city of his childhood, where he has been exploring new aesthetic possibilities for ciranda and maracatu, thus providing new vitality and youth to the northeastern traditions. In NazarĂ© da Mata, he recruited a trio of percussionist/singers (Biu Roque, ManĂ© Roque and Manoel Martins) to release his first solo CD, Fuloresta do Samba. This discâs relationship to the sound of Mestre AmbrĂłsio is apparent due to Sibaâs peculiar voice as well as the format of its songs (percussion, trombone, trumpets, and voices), but at the same time it differentiates itself from the band by way of its ancestral sound that negates contemporary influences, thus bringing us a simpler, more rural Brazil, full of poetic subtleties.
ProduĂ§ĂŁo: Benjamim Taubkin
Assistente de produĂ§ĂŁo: Marcia Duarte
GravaĂ§ĂŁo ao vivo por Alberto Ranellucci – em novembro de 2005, no EstĂșdio Loop e Sala SĂŁo Luiz
Assistentes: Deco e Carlinhos
Mixagem: Ricardo Mosca – no estĂșdio Mosca
MasterizaĂ§ĂŁo Classic Master por Jade Pereira
Projeto GrĂĄfico: Teresa Maita e Wagner Germano
Fotos tecidos: Teresa Maita e Wagner Germano
Fotos espetĂĄculo: Angelica Del Nery