Tuesday, July 31, 2007

Playboy Tour at Bypass, Geneve, Tonight!


Pour la première fois cette année, le magazine Playboy vous donne rendez-vous à Genève ! Playmate, Bunnies...sensuelle la fête nationale au Bypass !
Carrefour de l’Etoile 1 ,
1227 Les Acacias Genève
*** 0022 300 6565

Bergman's "The Magic Flute" on DVD

The Magic Flute (DVD)

Director: Ingmar Bergman
Actors: Josef Köstlinger, Irma Urrila, Håkan Hagegård
Rated: G
Languages: Swedish
Subtitles: optional English
Regional Code: All Regions
Screen: Color, 1.33:1 aspect ratio,
Length: 136 minutes..
Studio: Criterion Collection
ISBN: 0-7800-2308-0

Ingmar Bergman puts his indelible stamp on Mozart’s exquisite opera in this sublime rendering of one of the composer’s best-loved works: a celebration of love, forgiveness, and the brotherhood of man. The Magic Flute (Trollflöjten) stars Josef Köstlinger as Tamino, the young man determined to rescue a beautiful princess from the clutches of parental evil. (1975).
Elisabeth Eriksson, Ulrik Cold, Birgit Nordin, Ragnar Ulfung, Erik Saedén.
Optimal image quality: RSDL dual layered.
Lush color transfer, featuring the rarely heard stereo score in uncompressed PCM sound.

R.I.P: Ingmar Bergman - Film Trilogy

Os filmes de Bergman marcaram a minha infância. Assisti à maioria deles nos cinemas Pax e Cinema 1, hoje demolidos. Meus preferidos: "Cenas de Um Casamento", "Gritos e Sussuros", "Fanny & Alexander", "Face a Face" (me impressionei tanto que até comprei o livro!) e "A Flauta Mágica", a única filmagem de ópera que deu certo. Mozart, exultante, deve ter dado suas famosas gargalhadas. Vale a pena reve-los em DVDs, todos lançados nos Estados Unidos.

A Film Trilogy by Ingmar Bergman (DVD)

Director: Ingmar Bergman
Actors: Max von Sydow, Harriet, Gunnar Björnstrand
Languages: Swedish
Subtitles: optional English
Regional Code: Region 1
Screen: Black & White.
Length: 266 minutes total.
Studio: Criterion Collection
ISBN: 0-78002-701-9

The Ingmar Bergman Trilogy: Through a Glass Darkly, Winter Light, and The Silence.
At the beginning of the 1960s, renowned film director Ingmar Bergman began work on what were to become some of his most powerful and representative works—the Trilogy. Already a figure of tremendous international acclaim for such masterworks as The Seventh Seal, Wild Strawberries, and The Virgin Spring, Bergman turned his back on the abundant symbolism and exotic imagery of his ‘50s work to focus on a series of impacted, emotionally explosive chamber dramas examining faith and alienation in the modern age. Utilizing a new cameraman—the incomparable Sven Nykvist—Bergman unleashed Through a Glass Darkly (1961), Winter Light (1962), and The Silence (1963) in rapid succession, exposing moviegoers worldwide to a new level of intellectual and emotional intensity. Each film employs minimal dialogue, eerily isolated settings, and searing performances from such Bergman regulars as Max von Sydow, Harriet Andersson, Gunnar Bjornstrand, Ingrid Thulin and Gunnel Lindblom in their evocation of a desperate world confronted with God’s desertion. Drawing on Bergman’s own severely religious upbringing and ensuing spiritual crisis, the films in the Trilogy are deeply personal, challenging, and enriching works that exhibit the filmmaker’s peerless formal mastery and fierce intelligence.
4-Disc Box Set!

Optional English-dubbed soundtrack.
Winter Light.


New high-definition digital transfers, Exploring the film: Video discussions of each film with Ingmar Bergman biographer Peter Cowie, Original theatrical trailers, Promotional poster gallery, New English subtitle translations for all films, A 144-minute documentary on Bergman directing


Other DVDs featuring: Ingmar Bergman
Autumn Sonata (DVD) --- Cries and Whispers (DVD) --- Fanny & Alexander (5 Disc Set) --- Fanny & Alexander (DVD) --- The Magic Flute (DVD) --- Scenes From a Marriage (3 Disc Set) --- The Seventh Seal (DVD) --- Smiles of a Summer Night (DVD) --- The Virgin Spring (DVD) --- Wild Strawberries (DVD)

Jim Galloway interviewed

The Canadian soprano saxophonist Jim Galloway has traveled a million miles as he tells Geoff Chapman ( The Toronto Star ). But he does not complain about the hardships of traveling as much as he does about the fact that there are fewer and fewer venues featuring his kind of melodic, swinging jazz. He rather uses trains than airplanes, especially when traveling Europe. In Germany he had problems getting vegetarian meals. (We can assure him: that has changed!). At Heathrow Airport they have good malt whiskey at the liquor store. In Miami and Orlando passengers are treated like cattle. Air Canada is okay, Asian airlines are good, many American airlines, though, are dropping their standards. He never lost an instrument - but then a soprano saxophone doesn't take up much space. He loves Paris and Vienna where he plays the Jazzland club since 30 years, the Italian cuisine, small hotel rooms in San Francisco, the hospitality in Japan. Sometimes he travels just for pleasure, to Prague for instance, to the Provence or to Scotland. Two countries he yet wants to see are Russia and Turkey.

R.I.P.: Sal Mosca

The pianist Sal Mosca died July 28th in White Plains, New York, at the age of 80. Mosca took lessons with Lennie Tristano, and in the 50s and 60s played mainly with Lee Konitz. In the 70s he worked as a soloist, also performing in bands around Warne Marsh and being active as a private teacher. Obituary: http://www.salmosca.com/.

Oliver Jones in Montreal

The 73 year old pianist Oliver Jones has performed at the festival Jazz de Montreal since 1981, as J.D. Considine reports ( Toronto Globe and Mail ). He opened and closed the festival - and he likes the closing spot more. Jones grew up in the Montréal quarter where Oscar Peterson's family lived, and he took piano lessons from Peterson's sister Daisy. As a pianist he has often been compared to Peterson, though he likes to keep back stylistically, preferring ballads to up-tempo tunes. And he loves to accompany, for instance the singer Ranee Lee with whom he has recorded an album two years ago. He thinks that it is important to actually know the lyrics to the ballads he plays. His generation still lived those lyrics; today many musicians just know the melody to the tunes. Among his favorite songs is Billy Strayhorn's "Lush Life" which you don't have to improvise a lot over - "you can play that just the way it was written".

Keith Jarrett at the Philharmonie Essen

Keith Jarrett performed at the Philharmonie Essen, and the journalists for the daily newspapers were (moderately) delighted. The audience seemed a bit intimidated by the admonitions of the Klavier Festival Ruhr's artistic director not to cough and by no means to take photographs. There were long, suspense packed passages, as Christoph Giese reports ( Kölnische Rundschau ).

Guido Fischer sees himself witnessing an act of creation when Jarrett "lives in one of his improvisation mantras and suffers, groans and moans, grunts and cheers, wails and stamps" ( Frankfurter Rundschau ). He praises Gary Peacock and Jack DeJohnette who both helped giving "poetic depth" to the standards played.

Wolfgang Sandner discerns a somewhat sterile atmosphere, "some kind of decency which gave the whole concert the strange flavor of 'well-meant', a fact probably not hidden to Keith Jarrett who reacted like a shy Arabian race horse" ( Frankfurter Allgemeine Zeitung ). As perfect and original as it all sounded - and Sandner does praise a lot -, the concert will not be counted among Jarrett's musical moments of glory.

R.I.P: Johnny Hope

The saxophonist Johnny Hope died in London at the age of 81. Hope was born in Barbados, moved to the USA after World War II and in New York took lessons with Andy Brown, a saxophonist who had played at the Cotton Club in the 1920s and worked with Cab Calloway's band for 15 years. When he heard Charlie Parker at Carnegie Hall, Hope remodeled his style after him. The immigration authorities forced him to return to Barbados in the 50s; he came to London in 1957. There he worked as a bus driver then performed with other Caribbean musicians on Mediterranean cruises and continued to work with the trio Cool Savana until 2006. Obituary: Guardian .

Jazz in Osteuropa / Jazz in Eastern Europe

A joint research project of scholars from the Freie Universität Berlin and colleagues from Poland, Hungary and Slovakia will explore the socio-political significance of jazz in Eastern Europe, as Ilka Seer reports ( Tagesspiegel ). The project looks at "opposition through cultural transfer" and is funded by the Volkswagen Foundation with a grant of 350.000 Euro. Jazz as "music of freedom and democracy" was seen as dangerous in the socialist countries of Eastern Europe, as project supervisor Prof. Dr. Gertrud Pickhan of the Freie Universität's Osteuropa-Institut explains. Partial studies will examine the role jazz played in Poland, Czechoslovakia, Hungary, East Germany as well as jazz as "Jewish music".

"Funchal Jazz Festival" - Jornal ALEF

Jornal ALEF - Julho/2007 - pag 8

Finalizando mais um giro pela Europa, Ithamara Koorax foi convidada para se apresentar na noite de encarremento do Funchal Jazz Festival, o mais importante evento do gênero em Portugal. Ovacionada por cerca de duas mil pessoas que lotaram a Quinta Magnólia, na Ilha da Madeira, Ithamara recebeu os maiores elogios da imprensa lusitana, com ampla cobertura nas revistas e principais jornais como Diário de Notícias, Jornal da Madeira e Correio da Manhã. O show da cantora brasileira, considerado o melhor de todo o Festival, também foi filmado pela RTP. Na foto, Ithamara é cumprimentada pelo Prefeito de Funchal, Miguel Albuquerque, sob a mira dos fotógrafos.

R.I.P.: Jon Marks

The British pianist Jon Marks died in Berlin on July 23rd at the age of 60. Marks began his career in 1964 in the band of the trumpeter Keith Smith, and he lived in Los Angeles and New Orleans in the late 60s, where he met Alton Purnell who influenced him tremendously. He worked with Kid Thomas, Louis Nelson, Sammy Rimington, and he lived in Berlin since the late 70s.

Monday, July 30, 2007

JSR albums reviewed in Portugal

JSR albums reviewed in Portugal
Três álbuns da JSR foram resenhados por um dos principais jornais de Portugal, o Diário de Notícias, dia 13 de Julho, na seção "Lançamentos - Música", do caderno cultural Extra.
Todos os CDs produzidos por Arnaldo DeSouteiro


Integra o trio de Ithamara Koorax, onde toca baixo. E apesar da sua juventude, Jorge Pescara revelou as suas potencialidades no concerto e, agora, no seu CD, onde figura "Funchal".


Um grupo de músicos liderados por Thiago de Mello e Dexter Payne toca temas que se situam entre a bossa e o jazz. Experimentem ouvir, por exemplo, "Rede de Caboclo" e a voz de Ithamara.


É reconhecida como uma das quatro melhores vozes do mundo, na área do jazz. E a prova está presente no CD lançado durante o Funchal Jazz, onde colaboram grandes músicos do jazz.

Slide Hampton interviewed

As a teacher he wants to help his students express their own individuality through music, trombonist Slide Hampton tells David Srebnik ( Washington Star ). To be individual may not be at the heart of today's society anymore, but in jazz it still is one of the most important elements. Besides teaching musical knowledge he also wants to pass on a few life lessons. He warns against drugs, alcohol and smoking, but also against listening to too much of the same music. He was the last child in a musicians' family which didn't have a trombone player. Thus, his parents called him "Slide" and decided that he had to take up the trombone.

Captive State live at The Borderline, July 31

CAPTIVE STATE + Tom McKean and the Emperors + Jack Cheshire
Live at The Borderline - Tuesday 31st July

The origins of Captive State can be traced to a nondescript house in Brixton, South London, where in 2003 Tom Bootle and Joseph Kennedy began the project. They began messing around with hip-hop, drum and bass and breakbeat, writing politicised lyrics and heavy beats.

The Captive State man can be shaped and moulded to represent the many sides of life described by Captive State's music. But he's always running.Support on the night comes from Tom McKean and the Emperors Quickly becoming a popular draw on the London live music scene and a big hit on myspace, Tom's deep growl and poetic lyrics are reminiscent of Johnny Cash, Tom Waits, Leonard Cohen and Nick Cave, while The Emperors provide soaring harmonies, beautiful musical arrangements and plenty of bad attitude.

Click here for more information

Pascoal Meirelles live in Rio, July 31

Ravi Coltrane interviewed

When growing up in California's San Fernando Valley nobody knew that he was John Coltrane's son, Ravi Coltrane tells Paul de Barros ( Seattle Times ). Every three or four years somebody came up to him and said something like ... Coltrane, wasn't that a famous blues singer? At the beginning of his career Ravi was mostly interested in classical and film music. He later he decided to play jazz. Ravi never knew his father who died when the son was just 2 years old. He says he probably never would have taken up the saxophone if people around him had always treated him as John Coltrane's son.

"Grooves in the Temple" - Cadence review

Review about Jorge Pescara's album "Grooves in the Temple" (produced by Arnaldo DeSouteiro) published in the August 2006 issue of "Cadence" magazine
Cadence vol 32, Nº8, August 2006

Comin' Home Baby / Laura Lee / Miles-Miller / Kashmir / Grooves in the Temple / The Great Emperor of the Bass / Power of Soul / Funchal / Sofisticada / Meteor - Etude for Mr. Pastorius / Black Widow. 70:49

Pescara, el b, stick, el bow, kybd, b, vcl; Ithamara Koorax, Sergio Vid, Guilherme Isnard, vcl; Claudio Zoli, g, vcl; Luiz Bonfa, Dino Rangel, Claudio Kote, Dudu Caribe, g; Andre Gomes, sitar; Eumir Deodato, el p, vcl; Glauton Campello, el p, kybd; Paula Faour, synth; Joao Paulo Mendonça, el p, kybd, flt; Mauricio Barros, org; Dom Um Romao, d, perc, vcl; Nick Remo, Joao Palma, Guto Goffi, Alfredo Dias Gomes, Manny Monteiro, Sergio Nacife, d; Claudio Infante, d, perc; Mila Schiavo, Ricardo Brasil, Laudir de Oliveira, Sidinho Moreira, perc; Akira Akurai, taiko; Jose Carlos ramos, ss as, ts, bari s; Widor Santiago, bari s; Roberto Marques, tbn; Vander Nascimento, flgh; Diogenes de Souza, Fr hn; Jefferson Nery, ob; Sergio Malafaia, bsn; DJ Dudu Dub, turntables. 2000-04, Rio de janeiro, Brazil.

For his debut recording as leader, electric bassist Jorge Pescara drives through a world of Latin Jazz, Soul Jazz, Fusion, Rock, and exotic Pop. The album's title track combines a tradicional Eastern melody and mesmerizing vamps with a Western techno-dance rhythm. Sitar meets trombone, as the leader's electric bass pushes hard. A tribute to the Fusion work of Miles Davis and Marcus Miller, homenage to Jaco Pastorius and Jimi Hendrix, as well as several traces of the leader's Brazilian heritage give the album variety with a contemporary flavor. "Kashmir" and "Power of Soul", the two longest selections of the album, are re-created at the end as bonus vocal tracks with Guilherme Isnard feature on one and Sergio Vid feature on the latter. Both the longer versions and the shorter, vocal arrangements come with a built-in charm that expresses the influences that electric bassists have had on contemporary popular music. Pescara blends his instrumental voice within each ensemble, driving the beat and adding thunderous walls of electric bass power. Two duets with percussionist Dom Um Romao and one with Claudio Infante reveal a lyrical bassist who favors consonant harmonies and a reflective landscape. His legato tones serve to color most selections with a seamless layer of soul. A guest apperance by Luiz Bonfa, on acoustic guitar, finds Pescara walking the bass in a lovely mainstream Jazz affair quite unlike the rest of the session. For the most part, the electric bassist offers soulful grooves that sparkle with fiery energy, a contemporary backbeat, and plenty of amplified sound.

"Grooves in the Temple" - Jazz Hot review

Jorge Pescara "Grooves in the Temple"

Né en 1966 au Brésil, Jorge Luis Pescara voue un culte particulier à deux bassistes électriques : Monk Montgomery, le frère de Wes, et Jaco Pastorius. Sa musique s'articule autour de trois axes : la basse électrique ; la rock music des années soixante et soixante-dix et bien sûr la musique brésilienne.

C'est une composition d'un bassiste, Ben Tucker, qui ouvre de façon très dilettante avec le son bien gras de Widor Santiago (bs), ce Grooves in the Temple. Puis nous abordons le Brésil avec les voix exquises d'Ithamara Koorax et Eumir Deodato, pour une pièce toute en langueur avec l'appui du Fender Rhodes de Deodato. Luis Bonfa est présent pour l'un de ses derniers enregistrements (« Sofisticada »).

Avec «Miles-Miller », le Brésilien nous replonge dans l'atmosphère du Miles Davis Group période Tutu ou Amandala, quand Marcus Miller constituait un rouage essentiel de cette formation. Le leader rend ensuite hommage à Jaco Pastorius en compagnie d'un batteur de qualité en la personne de Don Um Romão, ancien batteur de Julian Cannonball Adderley.

Le bassiste expose «The Great Emperor of the Bass » de façon plus délicate que foudroyante, tandis que «Meteor», l'étude pour Mr. Pastorius est exposée au stick (instrument à dix cordes). Enfin, ses reprises rock sont originales, notamment «Kashmir » de Led Zep où Pescara utilise une basse fretless de huit
cordes alors que José Carlos Ramos (ts) prend la place de Robert Plant.

Le groove latin de Pescara est à la fois frais et de bon aloi.

Michel Maestracci
Jazz Hot (France)

"Funchal Jazz Festival" - Jazz.pt

"Jazz.pt" - Julho/Agosto 2007, # 13, pag. 10 (Revista Bimestral de Jazz)
"Agenda de Concertos"
7 de Julho:
Ithamara Koorax & SF Jazz Collective [Funchal Jazz]; Funchal/Madeira
Dave Holland Quintet [Estoril Jazz]; Parque Palmela/Cascais
Pat Metheny-Brad Mehldau Quartet; Coliseu do Porto

"Funchal Jazz Festival" - DownBeat Ad

Advertisement of the "Funchal Jazz Festival" printed in the May 2007 issue of "DownBeat" magazine, page 97.

"Funchal Jazz Festival" - DownBeat Festival Guide

News about the "Funchal Jazz Festival" published in the May 2007 issue of "DownBeat" magazine, page 106 -
DownBeat International Summer Festival Guide
Internacional Funchal Jazz Festival
Funchal, Madeira Island, Portugal
JULY 5-7
Highlights: This is the eighth annual festival on the island of Madeira in the Atlantic Ocean. Music takes place at the Magnolia Garden.
Lineup: Carlos Carli, Ithamara Koorax, Nnenna Freelon, Rick Margitza, Roomful of Blues, SF Jazz Collective, more.
Outerfest: Madeira Island is called the "pearl" of the Atlantic. The island is famous for the wine and mild climate. Buildings from the 15th century and museums of sacred arts are also around town.

"Funchal Jazz Festival" - Atlantis

Story about the "Funchal Jazz Festival" published in the July/August 2007 issue of "Atlantis" magazine.
Artigo sobre o "Funchal Jazz Festival" publicado na edição de Julho/Agosto de 2007 da revista "Atlantis" - Ano XXVII, número 4, página 38
As noites de jazz do Funchal estão de regresso aos Jardins da Magnólia, onde se acolhe a 8ª edição do Funchal Jazz com alguns dos nomes cismeiros da cena do jazz nacional e internacional. A abertura do Festival conta com a actuação da banda Madfun Group e do seu convidado especial, o prestigiado saxofonista americano Rick Margitza e ainda a diva Nnenna Freelon em quarteto.
Para o dia seguinte, estão previstas as actuações do Carlos Carli Quintet e dos Roomful of Blues. Para a noite de encerramento, SF Jazz Collective com Joe Lovano e Dave Douglas, entre outros, e a brasileira Ithamara Koorax, considerada uma das melhores cantoras de jazz da actualidade mundial.
The Quinta da Magnólia at Funchal, Madeira will also be hosting a Jazz Festival on July 5, 6 and 7, with interesting national and international performers such as the American saxophone player Rick Margitza and the Brazilian Ithamara Koorax, regarded as one of the best jazz singers in the world today.

Friday, July 27, 2007

"Red Zone" au Bypass, Genève, July 28


Stéphane « Donovan » Pupillo, Dj résident des célèbres soirées Red Zone s’arrête au Bypass pour une nuit magique, accompagné de ses percussionnistes et saxo.
Carrefour de l’Etoile 1 ,
1227 Les Acacias
Genève *** 0022 300 6565

"Beginner's Guide To Brazil"

"Beginner's Guide to Brazil"
A 3-CD box set released by the UK-based label Nascente
Compilation by DJ Martin Morales
Includes two tracks produced by Arnaldo DeSouteiro: Dom Um Romão's "Afro Blue" and Palmyra & Levita/João Donato's "A Rã".

(CD autographed to Arnaldo DeSouteiro by João Donato, Palmyra and Paulo Levita)

Beñat Achiary interviewed

Francis Marmande interviews the singer Beñat Achiary who mixes jazz and the vocal improvisation of his Basque home country during the festival Errobiko Festibala ( Le Monde ). He also sings jazz themes, but he does not see himself as a jazz singer. In his art he wants to break up the borders between improvisation and interpretation - in the tradition of Basque culture, in which re-living, re-birth and the perpetual improvisation plays an important role.




Festival Productions has just announced that the JVC Jazz Festival-Newport, scheduled for the weekend of August 10, 11, and 12, has added the multi-talented blues singer and guitarist Susan Tedeschi (pictured above) to the Sunday, August 12 lineup at Fort Adams State Park. Susan fills in for Etta James (the sex symbol of Mr. J.D. Mentirelli), who recently canceled her entire East coast tour, due to illness.

In the years since she captured the public's musical imagination with her 1998 breakthrough album Just Won't Burn, Susan Tedeschi has established a formidable reputation as a deeply expressive singer, a prodigiously talented guitarist and distinctive songwriter. She's won a large and loyal audience for her ability to craft elements of classic blues, rock, R&B, folk and gospel into a distinctly individual style that honors rootsy musical traditions without being subservient to them.

Last year, Susan opened for Etta James at the JVC Jazz Festival in New York; her hot new CD, just released is entitled Hope and Desire. Susan was the cover story in the February 2007 issue of DownBeat.
For more information, call: 401-847-3700 or visit: http://www.festivalproductions.net/.

Other Susan's forthcoming appearances:
8/1/2007 8:00PM
Milwaukee, Wisconsin
Potawatomi Bingo Casino

IllinoisRavinia Festival
(847) 266-5100
before Buddy Guy

8/4/2007 - 8:30PM
Apple Valley, Minnesota
13000 Zoo Boulevard

8/24/2007 - 9:00PM
Hyannis, Massachusetts

8/25/2007 - 9:00PM
Ridgefield, Connecticut

8/31/2007 - 9:00PM
Hampton Beach, New Hampshire
169 Ocean Avenue

Rhode Island Rhythm & Roots Festival

ASPEN, Colorado
Jazz Aspen Snowmass
Derek Trucks & Susan Tedeschi Soul Stew Revival

11/16/2007 - 8:00PM
Uncasville, Connecticut


Anita O’Day: The Life of a Jazz Singer will be shown at the Jane Pickens Theatre [49 Touro Street, Newport, Rhode Island] on Thursday, August 9 at 7:00 pm in conjunction with jazz festival weekend. This is the first, definitive documentary on the life of the legendary jazz vocalist Anita O' Day.

In Anita's own words, we hear the tale of a musical genius who broke race barriers and lived her life boldly, unconventionally, without looking back. In candid interviews with the filmmakers, Anita gives a poignant and often funny account of her jazz odyssey, that is now well into its seventh decade. With her classic wry wit, Anita speaks with television icons such as Dick Cavett, Bryant Gumble, David Frost and Harry Reasoner to reveal why at 87 she is the last living singer from the Golden Age.

The film showcases rare and never before seen vintage performances and includes interviews from vocalists Annie Ross and Margaret Whiting, jazz impresario George Wein, award winning arrangers Bill Holman, Johnny Mandel, Russell Garcia & Buddy Bregman, writer/actor producer John Cameron Mitchell, Joe Franklin and friends from different times in Anita's life. This fast paced trip with Anita has pictorial elements of jazz album design and the graphic qualities of the ‘40s, ‘50s and ‘60s, including original ads, reviews, and numerous never-before-seen images.

Tickets are $15.00 at the box office at 49 Touro Street, Newport, RI. For more information, call: 401-846-5252.


Unique photos of jazz greats taken by Ryszard Horowitz at the 1962 Newport Jazz Festival will be exhibited for the first time in America at this year's JVC Jazz Festival in Newport RI. The exhibition will be centrally located at Fort Adams between the main JVC Jazz Stage and the Pavillion Stage. The exhibition will include 30 images, all of which will be available for sale, and specially selected from Horowitz's newly published book "All That Jazz". Ryszard Horowitz is internationally renowned and recognized as a pioneer of special effects photography predating digital imaging.

Nice grooves, nice covers, nice moods

Erotic Lounge 5-Secret Affairs [2-CD set]

Erotic Lounge [2-CD set]

Lounge Couture Vol. 2 [2-CD set]

Thursday, July 26, 2007

Ann Hampton Callaway at the Blue Note, NY, Tonight!

Thursday July 26th through Sunday July 29th
With Ted Rosenthal on the piano, Jay Leonhart on bass and Victor Lewis on drums

Sets 8:00 P.M. and 10:30 P.M.
131 W. 3rd St
New York, NY 10012
Reservations: 212-475-8592

ps: Ted Rosenthal played with Gerry Mulligan and recorded an excellent album for CTI, "Calling You", recently reissued in Europe. Recorded at Van Gelder's Studio, it featured Donald Harrison, Dave Weckl, Bobby Hutcherson, and my friend Lew Sollof, among others;
Jay Leonhart has some delightful solo CDs ("Salamander Pie", for the DMP label, is my personal favorite) and I had to pleasure to attend many of his performances in the Brunch time at New York's "Blue Note" - he's also an accomplished singer, besides a great composer in the style of Dave Frishberg;
Victor Lewis is one of the Top 10 drummers in the current jazz scene and has a new DVD out in Japan with the Manhattan Jazz Quintet.
Ann's recording "Signature" (After 9) features the signature songs of the great jazz legends of the 20th century, backed by Kenny Barron, Frank Wess, Lewis Nash, and guest artist Wynton Marsalis.
In the aftermath of September 11th, Ann composed the stirring anthem, "I Believe in America", which she performed on Larry King Live and released as a CD single, arranged and produced by Eumir Deodato.
So, don't miss these gigs!

ps2: CHICAGO FANS! Be sure to watch Ann’s TV pilot Singer’s Spotlight with Ann Hampton Callaway, featuring the legendary Liza Minnelli on July 26th at 8pm. Click here for more info.

Wednesday, July 25, 2007

JazzHop Revolution: "Tha Sound of Truth"

JazzHopRevolution: Tha Sound of Truth
John Lindberg and Rahman Jamaal with Tani Tabbal

Pictured above
JazzHop Revolutionaries: Tani Tabbal, John Lindberg, Rahman Jamaal

Planet Arts/LindyEditions
UPC: 820428300175
CATALOG #: 300175
RELEASE DATE: July 30, 2007

JazzHopRevolution is an edge cutting ensemble that brings together jazz bassist/composer John Lindberg with hip-hop lyricist/vocalist Rahman Jamaal and percussionist Tani Tabbal in the groundbreaking recording Tha Sound of Truth. The cross-genre, inter-generational collaboration is a musical journey influenced by Louis Jordan, Babs Gonsalves, Charles Mingus, Miles Davis, KRS-One, Tupac Shakur, Sun Ra and Nine Inch Nails. The two disc package features a CD with ten original pieces composed by Lindberg and Jamaal and a DVD with two selections directed by John Bongiorno: The Myth Music Video and a short documentary on the making of Tha Sound of Truth.

John Lindberg has been an important contributor to jazz and creative music
for over thirty years, appearing on over sixty seminal recordings, including
thirty seven as a leader/co-leader.

Rhaman Jamaal established himself as both a hip-hop emcee and an actor in
Brandon Sonnier's award winning film The Beat. He is an integral voice on the
west coast hip-hop scene, a member of Hip Hop Congress and a teacher at The
Academy of Hip Hop.

Tani Tabbal is a unique drummer that masterfully laces odd and mixed meters
and a total diversity of rhythmic feeling and colors into his playing. He has
appeared on dozens of key jazz and world music recordings, and recently released his first solo album.

Vanguard Jazz Orchestra celebrates the Thad Jones/Mel Lewis legacy

Produced by the Vanguard Jazz Orchestra and Planet Arts in association with The Village Vanguard and Sixteen As One Music Inc.

Coming in January, 2008
A week long celebration of the Thad Jones/Mel Lewis legacy featuring the Vanguard Jazz Orchestra, special guests, new compositions and music from the archives.

The week will also include workshops in area schools, open rehearsals and seminars focusing on the life, times and music of Thad and Mel. In keeping with the Thad Jones/Mel Lewis philosophy of presenting new music, each night will feature premier performances of a new work during the second set.

A special feature of the week will include a live recording - THE VANGUARD JAZZ ORCHESTRA – MONDAY NIGHT LIVE AT THE VILLAGE VANGUARD. This Planet Arts Recording is scheduled to be released as a 2 CD set with bonus tracks of re-mastered archival material.

Norah Jones interview

Norah Jones answers the short questions by Rosanna Greenstreet with just as short answers ( Guardian ). Her first memory (on a playground, biting off her bottom lip); what she doesn't like about her self (her desire to please others); the most expensive thing she ever bought (a 1912 piano); her favorite city (Barcelona); her favorite word (no); whom she would invite to a dinner party (all her friends plus Keith Richards); the worst gig (as a waitress); and much more; ending it all with an ambiguous joke.

Winterkis & Elle Milano live at The Borderline


Live at The Borderline - Wednesday 25th July

doors 7.00pm - £6.50 advance

WINTERKIDS http://www.myspace.com/winterkids

With their gobby, powerful and inherently catchy art pop songs, Winterkids’ stage perfomances have created a massive stir, and they return to the Borderline to play a joint headline show with ELLE MILANO.

“(One of the) 10 most promising Brit names hovering on the horizon...Reminiscent of the Buzzcocks at their most bustling" NEW YORK DAILY NEWS

"For bright melodies, adolescent heartache, and none of the usual stultifying self-seriousness, "Tape It" isn't to be missed." PITCHFORK MEDIA

"An infectious and breezy romp through pastures of uncomplicated new-wave pop… brilliant." NME

"Brilliant… brings to mind clever-era Pulp" INDEPENDENT

“Elle Milano could possibly be the most exciting band to burst out of the suburbs since… well, you know where we’re coming from” Drowned In Sound

After the critical acclaim that followed their 2006 EP “Swearing’s for Art Students” Elle Milano release their album “Acres of Dead Space Cadets” in October and bring their frantic, engaging and messy live show to the Borderline in July. Don’t miss it.

“ ‘Believe Your Own Hype Always’ says it all for the band, start believing because this band are the musical equivalent of giving an eloquent middle finger to everything you hate. Simply brilliant.” GIGWISE

"Grooves in the Temple" - Modern Drummer review

"Modern Drummer" (Brazil) Review about Jorge Pescara's album "Grooves in the Temple", produced by Arnaldo DeSouteiro for JSR

O álbum-solo do contrabaixista Jorge Pescara é um desfile de grandes bateristas. Logo na abertura "Comin' Home Baby" o grande Dom Um Romão mostra sua jazz bossa inconfundível. Em "Miles-Miller" aparece o groove criativo, inventivo e musical de Alfredo Dias Gomes, interagindo muito bem com as programações de João Paulo Mendonça. A versão de Pescara para "Kashmir", do Led Zeppelin, foge de todos os clichês do rock 'n' roll e pede o groove dançante de Guto Goffi, que surpreende no final, com uma levada tão solta quanto o solo de sax de José Carlos Ramos. Em "Power of Soul", Manny Monteiro solta sofisticação e suingue cheios de energia. Para fechar o álbum, Claudio Infante coloca bom gosto, habilidade e belas frases em "Black Widow". Uma aula de bateria a cada faixa. (André Carvalho)

"Grooves in the Temple" - All About Jazz

Jazz Bulletin Board - Jazzis Web Shop News 7/2005 - [ Traduzir esta página ]PESCARA, JORGE ~ GROOVES IN THE TEMPLE Pescara is a young Brazilian bass player.With the technique worthy of Jaco Pastorious and the sublime feel for the ...forums.allaboutjazz.com/showthread. php?goto=lastpost&t=10088 - 36k - 13 jul. 2005 -

Pescara is a young Brazilian bass player. With the technique worthy of Jaco Pastorious and the sublime feel for the groove, he is a sensation in every respect. On this, his debut album, he is supported by virtually every great Brazilian jazz master, including Dom Um Romao, Luiz Bonfa, the legendary Eumir Deodato and many many more. The album took 4 years of careful recording and the result is exceptional. The music, mostly written by Pescara, includes also tunes by Led Zeppelin and Jimi Hendrix, showing his rock roots as well. Definitely groovy!Have Fun!

Adam Baruch

"Grooves in the Temple" Review - Swing2Bop.com


Review by renowned jazz historian Bruce Crowther on his website "Swing 2 Bop".

Jorge Pescara "Grooves In The Temple" (JSR VPB 114 CD)

This first CD as leader by bassist Jorge Pescara demonstrates why he has built a strong following not only with audiences but also among his fellow musicians. Vibrant and exhilarating music making from a highly talented musician. There are many other fine musicians on this CD including drummer Dom Um Romão, singer Ithamara Koorax and saxophonist José Carlos Ramos. Jorge has drawn his repertoire for this set from an interesting mixture of sources, including music by Jimi Hendrix, Eumir Deodato (who also guests on the CD), Bob Dorough and Ben Tucker, as well as contributing some of his original compsositions. (Buy this now ...)

"Grooves in the Temple" - JB / Tárik de Souza

JB Online - Contrabaixo na linha de frente
... talo - ficam por conta da bela valsa-jazz Sofisticada, do violonista Luiz Bonfá,
e da faixa título Grooves in the temple, onde dialogam ... Pescara está na área ...
jbonline.terra.com.br/jb/papel/ cadernob/2005/02/04/jorcab20050204004.html - 43k - 4 fev. 2005 -

"Grooves in the Temple" - Review by Tárik de Souza published on the daily newspaper "Jornal do Brasil" - February 4, 2005
Resenha sobre "Grooves in the Temple" publicada por Tárik de Souza no Jornal do Brasil em 4 de Fevereiro de 2005

Contrabaixo na linha de frente
: Jorge Pescara lança um rico disco solo, com participações especiais

Legenda da foto:
Jorge Pescara, o tecladista João Paulo Mendonça e o baterista Dom Um Romão: triângulo criativo

Nem sempre o contrabaixo (elétrico ou acústico) confinou-se ao fundo do palco, na função de alicerce da cozinha rítmica. Do notório beatle Paul McCartney aos jazzistas Ray Brown, Charles Mingus, Marcus Miller, Stanley Clarke e Jaco Pastorius e o bluesman Willie Dixon, alguns baixistas lideraram grupos e comandaram tendências. No Brasil, entre vários, o instrumento projetou dos bossanovistas Tião Netto e Bebeto (do Tamba Trio) a Arthur Maia e o recém-falecido Luizão. De Nico e Zeca Assumpção a Dadi (A Cor do Som), biografado por Caetano Veloso em Leãozinho. Um baixista ainda pouco conhecido pede passagem num disco de peso. Paulista de Santo André, nascido em 1966, Jorge Pescara, que tocou com Laura Finochiaro, formou banda própria (Linha Amarela), integra o grupo de rock Zero, de Guilherme Isnard, atuou ainda com Dom Um Romão e Ithamara Koorax, lança seu solo Grooves in the temple (JSR), produção de Arnaldo DeSouteiro.

Dirigido ao mercado externo com capa do americano Pete Turner, criador da estética do selo CTI, de Creed Taylor, o CD, que sai dia 26 lá e aqui, evita o virtuosismo vazio no instrumento. ''Quis fazer um bonito disco que por acaso é de um músico e compositor especializado como baixista'', separa Pescara, fã de colegas de pegada firme como Tony Levin e Anthony Jackson. A sonoridade é setentista sem tecladismos digitais.

- Foram priorizados teclados analógicos, sintetizadores vintage como o MiniMoog, além do órgão Hammond, piano elétrico Fender Rhodes, Hohner Clavinet (espécie de cravo elétrico lançado por Herbie Hancock no disco Headhunters) e o dinossáurico Mellotron, primeiro sintetizador a produzir cordas, antes mesmo do Arp Strings - decupa o produtor. Para que a parte sonora também entrasse na sintonia ''retrô não plastificada'' do disco foi convocado o veterano João Moreira, engenheiro de som de discos como Tábua de esmeraldas (Jorge Ben), Jóia (Caetano), João (João Gilberto) e Refazenda (Gil). Pescara, por sua vez, utilizou sete tipos de contrabaixos. Fretless de 6 e 8 cordas, baixo elétrico de 4 e 6 cordas, piccolo-bass, upright bass, vertical e stick bass, neste vigoroso giro fusion (jazz/rock/funk) de 11 faixas, entre composições alheias e próprias. Há ainda duas faixas bônus nas vozes de estrelas do rock 80, como o supracitado Isnard, na versão vocal de Kashmir, do Led Zeppelin (do disco Physical graffiti, de 1975) e Sergio Vid (do grupo Sangue Azul), liberando o vozeirão em Power of soul (gravado como Power to love, em Band of Gypsys, de 1970) de Jimi Hendrix.

Ambas tem versões instrumentais de grande impacto como Kashmir com as participações dos Barões (Vermelhos) Maurício Barros (órgão) e Guto Goffi (bateria), efeitos especiais do DJ Dudu Dub e viagens convergentes de saxes tenor e soprano de José Carlos Bigorna, desembocando numa referência ao clássico do jazz Caravan, popularizado por Duke Ellington. No tema de Hendrix pontifica o guitarrista Dudu Caribe, que recorre ao pedal de distorção wah-fuz enquanto Ithamara cita o solo original de Hendrix no vocalise. Pescara homenageia ainda outros ídolos no instrumento em Miles-Miller (João Paulo Mendonça), ode ao baixista Marcus Miller revelado por Miles Davis, com direito a solo de guitarra em uníssono com o vocal de Claudio Zoli. Em The great emperor of the bass e Meteor, Pescara incensa o Jimi Hendrix do instrumento, Jaco Pastorious, em duos com a percussão e improviso vocal de Dom Um.

O clima muda por completo em Funchal, de outro baixista, Arthur Maia. Pescara sola no piccolo-fretless (sem trastes) enquanto Claudio Infante vai de tabla e pandeirola árabe. Outros destaques deste disco - rico de timbres inesperados e desempenhos no talo - ficam por conta da bela valsa-jazz Sofisticada, do violonista Luiz Bonfá, e da faixa título Grooves in the temple, onde dialogam o trombone exímio de Roberto Marques, a cítara de André Gomes e o taiko (instrumento de percussão japonês) de Akira Akurai, que opera como surdo de marcação. Pescara está na área.

"Grooves in the Temple" - JB / Anna Ramalho

Jornal do Brasil [21/ABR/2005]
Coluna "Ui!" de Anna Ramalho

Vizinho afinado

Baixista brasileiro de maior prestígio no exterior atualmente, por rodar o mundo nas bandas de Ithamara Koorax e Dom Um Romão, Jorge Pescara está lançando no Brasil seu novo CD, Grooves in the temple. Produzido por Arnaldo DeSouteiro para a gravadora JSR, tem a capa assinada pelo premiado (e carésimo) fotógrafo americano Pete Turner, que emprestou seu talento para discos de Ray Charles, Quincy Jones e Chet Baker. Paulista de Santo André, Pescara mudou-se agora, com toda a família para o Recreio.

"Grooves in the Temple" - Diário do Nordeste

Diario do Nordeste... A estréia do baixista e arranjador paulista Jorge Pescara, produzida porArnaldo DeSouteiro, renova a tradição jazzística brasileira. ...
diariodonordeste.globo.com/materia.asp?codigo=248909 - 26k -

Fortaleza, Ceará19 de Mai de 2005
Henrique Nunes


A estréia do baixista e arranjador paulista Jorge Pescara, produzida por Arnaldo DeSouteiro, renova a tradição jazzística brasileira. E o faz com o aval de feras como Luiz Bonfá, Dom Um Romão, Eumir Deodato, Cláudio Zolli, meio Barão Vermelho e da cantora Ithamara Koorax. No repertório, Jimi Hendrix e sua “Power of soul” e os Led John Bonham, Jimmy Page e Robert Plant de “Kashmir”, entre temas próprios, como “The Great Emperor of the bass”, para Jaco Pastorius (HN)

"Grooves in the Temple" - Ebass crazy

お薦めCD Jorge Pescara / Grooves In The Temple 20050514 E-Bass Crazy... JORGE PESCARA / Grooves In The Temple. VPB114CD. 1.Comin' Home Baby 2.Laura Lee3.Miles-Miller 4.Kashmir 5.Grooves in the Temple ...www.geocities.jp/ebasscrazy/ osusume050514JorgePescara.htm - 11k - Em cache - Páginas Semelhantes

更新履歴 E-Bass Crazy... 20050514, お勧めの一枚に Jorge Pescara / Grooves In The Temple 追加。 20050508,お勧めの一枚に WAVE / Usual Life 追加。 20050501, Mo Fosterページ 追加。 ...www.geocities.jp/ebasscrazy/rireki1.htm - 11k - Em cache - Páginas Semelhantes[ Mais resultados de www.geocities.jp ]


Jorge Pescara: Grooves In The Temple
ブラジルのプログレ寄りのFusion Bassistのファースト・ソロCDです。
 まず1曲目でFunk Fingers(トニー・レビンが使っている指につけるドラム・スティックみたいなもの)で6弦ベースを弾いています。3曲目"Miles - Miller"ではJazz Bass、6弦Fretless、Piccolo Fretlessを駆使して、タイトルどおりMarcus Millerの雰囲気。4曲目では8弦Fretless、7曲目ではAcousitic Bass Guitar、9曲目ではElectric Upright Bass、10曲目ではChapman StickのStick Contra Bassを、11曲目ではノーマルのChapman Stickを使用しているとクレジットされています。このように実に多くのBassを弾いています。
 選曲はRockからはLed ZeppelinやJimi Hendrixの曲、ブラジルからはLuiz Bonfa、Eumir Deodato、ベーシストのArthur Maia の曲をカバー。Miles Davis、Marcus Miller、Jaco Pastorius、Tony Levinに捧げるとクレジットされた曲などもあります。

"Grooves in the Temple" review by Rubens Lisboa

Jorge Pescara está lançando “Grooves in the Temple”, produzido impecavelmente por Arnaldo DeSouteiro...O álbum conta com um time de estrelas de dar água na boca....Pescara é um músico talentoso e inspirado e soube reunir, com intuição e técnica, temas de Jimi Hendrix e Bobby Charles com outros de autores brasileiros, a exemplo de Arthur Maia e Luiz Bonfá. São onze canções cuidadosamente selecionadas e trabalhadas que fazem o ouvinte viajar numa atmosfera de magia e beleza e se extasiar com o entrosamento dos instrumentos, sempre guiados pelo baixo preciso do artista. É um trabalho que resulta deslumbrante. A participação especial da cantora Ithamara Koorax na música “Power Of Soul” é coisa de gênio e arrepia até o mais insensível dos mortais! Na mesma faixa, há ainda o vocal poderoso e visceral de Sérgio Vid, o que torna a canção o maior destaque desse magnífico CD. Corra e ouça! (Rubens Lisboa - Musicalidade - www.infonet.com.br. 13 de Junho de 2005)

"Grooves in the Temple" - Dusty Groove

Jorge Pescara -- Grooves In The Temple . . . CD . . . $13.99 (Item: 388002)
JSR (Brazil), 2005 Condition: New Copy View Cart
A modern groover, but one with a feel that takes us back to the classic days of CTI and Kudu in the 70s! Bassist Jorge Pescara's got a lean, clean sound that's somewhere in the best early style used by Jaco Pastorious -- captured here in a set of larger arrangements that still stay tight enough to keep things soulful and funky, and which great use of the fullness of the sound without making things too slick at all. A few tracks definitely have a more modern approach and more electric production, but overall the sound's really going for a classic feel on most tracks. Guests on the session include Luiz Bonfa, Dom Um Romao, Deodato, and Paula Faour -- and titles include "Sofisticada", "Funchal", "Kashmir", "Grooves In The Temple", "The Great Emperor Of The Bass", "Power Of Soul", and "Laura Lee". (From the Brazil CD (M-Z and Various) page.)

"Grooves in the Temple" - 92.5 KRFP FM

Here are THIS week's charts 'n' adds:
> 92.5 KRFP FM
> Music Report for the week of
> 6.21.05
> RADIO 200
> 1 STEPHEN MALKMUS Face The Truth
> 2 ROBOT ATE ME Carousel Waltz
> 3 TALKDEMONIC Mutiny Sunshine
> 4 SAXON SHORE Luck Will Not Save Us From A Jackpot Of Nothing
> 6 SPOON Gimme Fiction
> 7 MAE SHI Heartbeeps
> 8 NOBODY And Everything Else...
> 9 IRON AND WINE Woman King [EP]
> 10 TAB SMITH Crazy Walk
> 11 ODD NOSDAM Burner
> 12 DECEMBERISTS Picaresque
> 13 NANETTE NATAL It's Only A Tune
> 14 RICKIE LEE JONES The Evening Of My Best Day
> 15 STEREOLAB Oscillons From The Anti-Sun [Box Set]
> 16 MALCOM KIPE Breakspiracy Theories
> 17 MED Push Comes To Shove
> 18 QUASIMOTO The Further Adventures Of Lord Quas
> 19 ZZZ Sound Of zZz
> 20 RUSSIAN FUTURISTS Our Thickness
> 21 BENZOS Morning Stanzas
> 22 MARC VAN VUGT The Vandoesburg Suite
> 23 SCRABBEL 1909
> 24 PLAT Compulsion
> 25 MONADE A Few Steps More
> 26 M.I.A. Arular
> 27 PERCEPTIONISTS Black Dialogue
> 28 TIM BURGESS I Believe
> 29 ARCADE FIRE Funeral
> 1 MUTANT RADIO Cash N' Burn
> 2 SOMETHING PHONIC Winds Of Change
> 5 SOUTHERN BACKTONES Southern Backtones
> 1 TAB SMITH Crazy Walk
> 2 NANETTE NATAL It's Only A Tune
> 3 MARC VAN VUGT The Vandoesburg Suite
> 6 VIJAY IYER Reimagining
> 7 KEREN ANN Nolita
> 8 SAKESHO We Want You To Say...
> 1 JAVON JACKSON Have You Heard
> 2 JORGE PESCARA Grooves In The Temple
> 4 ANTONIO HART All We Need

> 1 BIG BUSINESS Head For The Shallow
> 2 RED DEATH Aftertaste Of The Emaciated
> 3 BURIED INSIDE Suspect Symmetry
> 4 OATH Transatlantic Thrash Terror 7"
> 5 A DAY IN BLACK AND WHITE My Heroes Have Always Killed Cowboys
> 6 NILE Annihilation Of The Wicked
> 7 ISIS Oceanic: Remixes Reinterpretations
> 8 LOCUST Plague Soundscapes
> 9 AGAINST ME Reinventing Axl Rose
> 10 NAPALM DEATH Leaders Not Followers: Part 2
> 1 A DAY IN BLACK AND WHITE My Heroes Have Always Killed Cowboys
> 2 NILE Annihilation Of The Wicked
> 3 BIG BUSINESS Head For The Shallow
> 4 ISIS Oceanic: Remixes Reinterpretations
> 1 BUSDRIVER Fear Of A Black Tangent
> 2 AFU-RA State Of The Arts
> 3 PRESENCE Common Man's Anthems

"Grooves in the Temple" - Liner Notes


Liner Notes by Douglas Payne

There is a vast legacy of jazz bassists whose distinct presence commands the voice of a song or the entirety of a disc. Electric bassists are unquestionably fewer by far. Even those upright bassists who’ve strapped on an electric bass have not dominated with voltage the way they’ve asserted their acoustic individuality.

While the electric bass has been used extensively in jazz since Wes Montgomery’s brother, Monk, first juiced up the Mastersounds in the 1950s, only Jaco Pastorius has propelled the electric bass into a worthy jazz voice.

Other great electric bassists such as Stanley Clarke, Marcus Miller, Bill Laswell, Steve Swallow, Jamaaladeen Tacuma, Chuck Rainey, Gary King or Tony Levin have probably become better known for other things – composition, production or an apt ability to perfectly complement or drive another leader’s voice. None have really compelled the electric bass to the head of a date.

It’s a legacy that’s due for a change.

Meet Pescara. Born Jorge Luiz Pescara, January 14, 1966, in Santo André, Brazil, Pescara is a craftsman of the highest order. What he does with an electric bass is magical. What he does with the many other instruments in his arsenal, some of his own invention, is magisterial. What he does with a melody, even the most familiar of melodies, is nothing short of enchanting.

GROOVES IN THE TEMPLE is Pescara’s first recording as a leader. It’s an electric and seemingly eclectic showcase for his uncanny mix of technical excellence and emotional sensibility.

One listen may prove surprising. Most rhythm players who lead sessions like this drown you in their sound. Pescara does not. He realizes his contribution is to the heart of each tune, pumping the blood and beating the rhythm. He never makes you aware that he’s driving the body. Just like a heart, his is a life force – not a forced feeding.

You may already know Pescara from Dom Um Romão’s LAKE OF PERSEVERANCE (Irma/JSR - 2001) and NU JAZZ MEETS BRAZIL (Irma/JSR - 2002), Ithamara Koorax’s LOVE DANCE – THE BALLAD ALBUM (Milestone/JSR – 2003), The Brazil All-Stars’s RIO STRUT (Milestone/JSR – 2001), Zero’s ELECTRO ACUSTICO (Sony – 2001), Carlos Pingarilho's STORIES AND DREAMS (JSR - 2003) or STREET ANGELS, an all-star session with Koorax, Luiz Bonfa, Lord K and Pingarilho (Mr. Bongo - 2000) or Leilah’s CORRENDO PERIGO. Or you may have heard him perform in his native Brazil with as part of legendary percussionist Dom Um Romão’s band or bring down the house in his duo performance of "Bye Bye Blackbird," with the dazzling chanteuse Ithamara Koorax, with whom he toured Europe in 2003.

This all serves to whet one’s anticipation for GROOVES IN THE TEMPLE, as auspicious a debut, perhaps, as Jaco Pastorius’s 1975 solo debut. Pescara starts with his rendition of “Comin’ Home Baby,” Herbie Mann’s 1961 hit from HERBIE MANN AT THE VILLAGE GATE (Atlantic), which featured co-composer Ben Tucker on bass. It was the first song Pescara selected and recorded for the album. Here, he lays down a slinky funk groove with one bass and alternates the song’s melody with the baritone saxophone of reed player Widor Santiago (Flora Purim, Milton Nascimento, Fourth World) using another. During Santiago’s solo, listen to Pescara spice up the groove using his “funk fingers” technique - a la Tony Levin – where he uses two little drumsticks in two fingers of his right hand to “stick” (slam/touch) the strings. It is also worth mentioning that drummer Dom Um Romão recorded this song for the first time on Sergio Mendes's album MY FAVORITE THINGS (Atlantic) in 1967.

Next, Pescara sneaks into the spooky old school funk of “Laura Lee,” a sound check of Eumir Deodato’s signature seventies grooves. “In this one,” Pescara tells, “I had the opportunity to showcase my ‘grooves collection’ from the seventies, something I adore. I grew up listening to the grooves of Anthony Jackson, Gary King, Will Lee, even Ron Carter during his electric days. I love this CTI aesthetic.” Maestro Deodato brought the song to the session, gave it its funky foundation and contributed the slinky, intoxicating electric piano solo, propelled bodily by Pescara’s rhythmic basswork. “To record with Deodato,” Pescara adds “was just a dream come true!” Check out how Deodato scores the melody for his and Pescara’s electric instruments, their voices and the ethereal vocals of the otherworldly Ithamara Koorax.

João Paulo Mendonça’s “Miles Miller,” name checks the great collaboration between Miles Davis and Marcus Miller, heard on such landmark albums as TUTU, AMANDLA and SIESTA. Here, Pescara pays tribute to the great bass master (and, it seems necessary to state, tremendously inventive composer) by suggesting not only the Miles/Miller collaborations but also the exploratory jams Miles did in the 1970s when bass master Michael Henderson was laying in the cut. The result is a reflection of Pescara’s diverse influences, taking in everything from Miller to Bach, Levin to Torn, Genesis to Earth, Wind & Fire and King Crimson to Return To Forever. Pure fusion. Note here Brazilian guitarist Cláudio Zoli’s George Benson-influenced solo (a reference, no doubt, to the many recordings Benson made that featured Miller throughout the 1980s), the way Pescara’s clever arrangement includes bass clarinet (another axe Miller grinds with amazing abandon) and Pescara’s entrancing bass solo using the MuTron II “envelope.”

Following "Miles Miller," the bassist plunges headlong into the seminal rock anthem “Kashmir,” a favorite Led Zeppelin concert number first heard on the 1975 album PHYSICAL GRAFFITI. Pescara, playing an 8-string fretless bass (the same model used by Mark Egan), imbues the stone classic with an acid-jazz groove not unlike Javon Jackson’s equally surprising take on Frank Zappa’s “Zoot Allures.” “I also love rock,” Pescara proclaims. “This song is so good that I wanted to do two versions, one instrumental and another with vocals.” In the instrumental version, José Carlos “Bigorna” Ramos alternates between the soprano and tenor sax to give the song the exotic colors the title commands. Bigorna, Maurício Barros (organ) and Gutto Goffi (drums) all come from the famous Brazilian rock band, Barao Vermelho – so they’re on familiar ground here. “We used mostly analog synthesizers and vintage keyboards,” Pescara says, “to achieve a 70s sound that makes the most sense to my musical background. So, Mauricio Barros used the Hammond organ with that famous Leslie sound. For the main riff, I used the fretless bass tuned in fifths. During the tag, Bigorna kept improvising, so we decided to keep the two tracks simultaneously.” In one of them, notes Pescara, there's a surprisingly appropriate quote of “Caravan.” For the vocal version, Guilherme Isnard, leader of Brazil's top rock band, Zero, of which Pescara is currently a member, channels his David Bowie influence into another provocative fusion.

By now you’ve probably noticed how skillfully Pescara combines multiple musical influences into a single world view. If not, it becomes readily apparent when you reach Pescara’s beguiling East-meets-West composition, “Grooves In The Temple (Ordem dos Templários).” “There's no ‘common bassline’ in this one,” says Pescara.” Actually, there are two independent grooves played by using the tapping technique and they complete each other. Each line can be heard in a different channel, thanks to the stereo mix.” Roberto Marques’s trombone bounces delicately off the twisted rhythm of something suggesting Michael Jackson’s “Don’t Stop Til You Get Enough,” in homage to the great Urbie Green, whose 1976 performance of Stevie Wonder’s “Another Star” (featuring Anthony Jackson on electric bass) launched Pescara’s admiration and idolization of the bone great. “The trombone reflects the West,” Pescara philosophizes, “while the zither reflects the East. The guitar suggests antithesis and the bass projects synthesis. The drums and the heavy percussion are like the Earth. The trombone is like the Air. The guitar – which benefits by a Brazilian rhythm suggested by Dom Um Romão – ‘wets’ the sound with water, and the solos put fire in our souls.” Amen.

Next, Pescara pays tribute to his main inspiration, Mr. Pastorius, who the young bassist calls "the greatest genius of the electric bass." in Bill Milkowsky's book, THE EXTRAORDINARY AND TRAGIC LIFE OF JACO PASTORIUS (Miller Freeman Books), Jeff Berlin refers to Pescara's hero as "our great emperor of the bass." thus the title of the song, "The Great Emperor Of The Bass." Accompanied only by Dom Um Romão's varied percussion and vocal effects, Pescara employs multiple basses and bass effects to weave a tapestry of Jaco's melodic magic. Here, the bassist and the percussionist do a short quote of Arthur Maia's "Song For Nana." It's a transcendent whole that may also call to mind Dom Um Romão's work with Stanley Clarke on the 1972 Muse album DOM UM ROMAO.

Pescara moves back to jazz-rock fusion with “Power of Soul,” the Jimi Hendrix tune originally heard as “Power to Love” on the 1970 album BAND OF GYPSIES. Pescara gently begins what he calls his “apocalyptic arrangement” of the song with a nod to Sting, another of the bassist’s idols, and the ex-Police man’s 1987 performance of Hendrix’s “Little Wing,” arranged by Hendrix specialist Gil Evans on the singer’s NOTHING LIKE THE SUN album. Working in tandem with keyboardist Joao Paulo Mendonça, Pescara builds to the song’s main theme, dramatically voiced by Ithamara Koorax (in whose band Pescara currently performs) and Sergio Vid (who sings the bonus vocal version of the song included here). Producer Arnaldo DeSouteiro, a specialist of Creed Taylor’s CTI/Kudu label – and producer of many of the CTI/Kudu CD reissues – suggested incorporating Bob James’s 1974 arrangement of the song heard on Idris Muhammad’s legendary CTI/Kudu album, POWER OF SOUL. The vocalists reproduce the horn parts and Dom Um Romão's congas follow the same rhythmic concept percussionist Ralph McDonald played on Idris Muhammad’s famed version. Note the incandescent solos of vocalist Ithamara Koorax (whose amazing voice evokes here the sound of a guitar), keyboardist Paula Faour (whose debut solo album, COOL BOSSA STRUTTIN' was released with critical acclaim by JSR/King Records in December 2002) doing a ferocious mini-Moog solo, and guitarist Dudú Caribé (who spars with Pescara in homage to Hendrix and whose fuzz guitar early on also suggests Joe Beck’s performance on Idris Muhammad’s version).

Arthur Maia’s beautifully exotic “Funchal,” a theme made popular by Maia’s group Cama de Gato, gets an East-oriented arrangement that pupil and fellow electric bassist Pescara says is inspired by the sounds of India. “My mystic side is reflected here. I wanted to explore all the melodic possibilities of the Piccolo Fretless bass, a very difficult instrument that requires a very special technique. Because there are no frets, it has a short scale (25") and sounds an octave higher than the normal electric bass. You could call it a sort of ‘baritone guitar’! I have used an exotic tuning, D A D F# (from low to treble), a lot of ‘slide’ and a piece of equipment called the E-Bow that allows me to obtain an infinite sustain and reach the sonorities of typical Indian instruments with a hypnotic effect.” The result may remind you of the ethereal journeys Weather Report took when guided by bassist Alphonso Johnson and drummer Dom Um Romão or the more dazzling moments of David Byrne and Brian Eno’s score to THE CATHERINE WHEEL. “All sounds here,” Pescara adds, “were made by the Piccolo Bass or by the percussion instruments (tabla etc). Claudio Infante is the baddest!”

Pescara is next heard with the late, great Luiz Bonfá (1922-2001) in one of the composer and guitarist’s last recording sessions. They perform Bonfá’s delightful jazz waltz, “Sofisticada,” a song first heard on the composer’s 1970 album for RCA, THE NEW FACE OF BONFÁ (which also features Dom Um Romão and was recently reissued by JSR/BMG). “It is an eternal honor to have Master Bonfá playing on my album,” says Pescara. The two first met through Arnaldo DeSouteiro when the producer was making the all-star STREET ANGELS benefit album in 1999. There they recorded ‘Strange Messages’ together. Here, Pescara adds some electric bass muscle to Bonfá’s dreamy, enchanting melody and slyly quotes (in a walking bass pattern) the Bonfá standard "Manhã de carnaval," from the BLACK ORPHEUS soundtrack. “This song is such a charmer,” Pescara adds. “It really speaks for itself.”

“Meteor” is another one of Pescara’s tributes to Jaco Pastorius. It starts out as a sort of etude in the classical tradition – an exercise that allows the musician to depart upon multiple explorations of a single theme or idea – with Pescara manning the Stick Contrabass, an axe the bassist describes as a “percussion instrument that plays notes.” Once again, the title of the song was inspired by a phrase from Bill Milkowsky's book, in which reedman Ira Sullivan refers to Jaco 'like a meteor streaking across the Florida night sky." “Dom Um Romão was in the studio at the time,” Pescara notes, “and right out of the blue began to play along, using only mallets. It sounded so good and so spontaneous that producer Arnaldo DeSouteiro – who has a great ear and always knows just when it’s right – asked the engineer to keep the tapes rolling. We just jelled perfectly here.” Pescara cautions that “although the piece may sound simple, the stick requires very good technical dexterity, especially in the tapping technique. There’s a part where the hands have to exchange position in the low and high parts, like the way Stanley Jordan plays. It’s tricky, but it sounds good.”

Eumir Deodato’s “Black Widow,” a song first heard on the composer’s 1976 album VERY TOGETHER, is a showcase for Pescara’s amazing arranging skills. Here, he lets a thoroughly unique horn section comprised of oboe, bassoon, French horn and flugelhorn carry the melody. It’s an uncanny mix that’s driven not by guitar (as in Deodato’s original) but rather by the bassist’s melodic Stick figures (an homage to Pescara’s Stick idol, Tony Levin, the bassist on Deodato’s original). Pescara balances the harmony by using his right hand to play the high notes and his left hand to play the bass line. “It’s a huge responsibility to arrange a theme by Eumir Deodato, one of music’s all-time greatest arrangers,” says Pescara. “However, since I accepted such a difficult task, I let my feeling flow and tried to achieve a kind of sensual groove approach. The result, I’m proud to say, was approved by Deodato himself, who called to say ‘congratulations, Mr. Arranger!’ after producer Arnaldo DeSouteiro played a rough mix of the song for him.” You'll no doubt notice the insistent groove propelled by ambidextrous percussionist Laudir de Oliveira, Pescara’s aid-de-camp and one of Brazil's first percussionists to add his rhythmic talents to American pop (Chicago, the Jacksons, Joe Cocker and many others).

Perhaps Pescara’s greatest accomplishment is how succesfully he has – in only his very first album – taken so many divergent styles, musical combinations and varied instruments and delivered a cohesive whole. It sounds very much like the result of one distinctive voice. It is. It’s Pescara. And such is the journey of GROOVES IN THE TEMPLE, Pescara’s love letter to the sounds, rhythms and musical influences that have made him the musical magician you’ve just heard.

Douglas Payne
June 30, 2004

(Mr. Douglas Payne is regarded as one of the most important historians in the contemporary jazz scene. He has written liner notes for albums by such artists as Lalo Schifrin, Clare Fischer, Hank Crawford, Lonnie Smith, Cal Tjader and Phil Upchurch. He also created a fabulous website about CTI Records at www.doupayne.com/cti.htm).

"Grooves in the Temple" - Pete Turner photo

Pete Turner's magnificent photo for the front cover of Jorge Pescara's "Grooves in the Temple", produced by Arnaldo DeSouteiro.

"Grooves in the Temple" - Interview with Pescara for "TKT" magazine

Interview for TKT Magazine, by Carlos Eduardo Cardoso
ENTREVISTA COM JORGE PESCARA (TKT 20+) por Carlos Eduardo Cardoso

1) Gravar um CD é o sonho de quase todo o músico. Você encara este trabalho como o ponto maior de sua carreira?
Você está correto, este é o foco de qualquer artista.

2) Você teve a preocupação de participar ativamente da produção do CD. Isto facilitou o trabalho do Jorge Pescara músico?
Não que tenha facilitado meu trabalho, mas por participar tão intimamente da confecção deste produto estou familiarizado com as etapas. Desde o princípio já sabia aonde queria chegar, tenho minha sonoridade na cabeça. A sonoridade geral das canções possui um “algo” de prog-rock, pois o progressivo faz parte da minha preferência musical, principalmente o grupo Gênesis, do qual eu tenho todos os discos de catálogo, além de piratas, vídeos, livros, artigos etc. Por isso eu optei por utilizar somente teclados análogos neste trabalho. Mini-Moog, Wurlitzer, Hammond, Oberheim, Mellotron e outros.

3) Fale um pouco da escolha do repertório? Foi opção unicamente sua ou teve a participação de outras pessoas?
O repertório foi composto através de muitas consultas com meu produtor (Arnaldo DeSouteiro) que, afinal de contas um dos papéis do produtor é exatamente este! Isto justifica a música do Jimi Hendrix com aquele caracter modernoso do JP Mendonça, o Led Zeppelin, a música do Luís Bonfá com o próprio ao violão, o tema do Arthur Maia que fiz o arranjo hindu e todas as outras.

4) Dom Um Romão, Ithamara Koorax, Alfredo Dias Gomes, o pessoal do Barão Vermelho... Além de abrilhantar um CD acrescentam sempre algo ao trabalho. Que aspectos você destacaria como os mais importantes das participações dos convidados?

Cada convidado participou com sua melhor faceta. Por exemplo: eu não convidaria um músico de Jazz para tocar numa faixa Heavy Metal simplesmente por ele não estar acostumado ou familiarizado com os detalhes daquele estilo. Não estou rotulando os músicos, pois também sou um deles, apenas apontando um fator muito claro. Thiago de Mello participou em sua própria música que tem um caracter folclórico, a ambiência fui eu quem dirigi. Guilherme Snard cantou uma faixa explorando ao máximo sua sonoridade grave e potente, Cláudio Infante foi perfeito tanto na faixa com tablas e pandeirão árabe quanto na bateria afro. E por aí vai.

5) Uma faixa em especial me impressionou pela sonoridade. Black Widow, e o que agradou-me mais foi um naipe de metais. A idéia foi sua? Fale um pouco mais deste arranjo? De quem foi a concepção, quem são os convidados?
Ah! Esta faixa é uma composição do Eumir Deodato, quem admiro muito, e eu fui um louco em desconstruir sua música. No original ela tem uma sonoridade latina à la Santana, com Tony Levin no baixo e meu arranjo já é mais descarado, no bom sentido (risos). Combinei um groove de Cabo Verde que tem o bumbo reto e o Cláudio Infante arrasou. Gravamos primeiro bateria e StickBass (10 cordas) onde fiz o groove de baixo e a harmonia ao mesmo tempo. Depois incluimos o Glauton Campello no Oberheim, o percussionista Laudir de Oliveira do grupo Chicago e o pessoal do sopro. Escrevi as linhas de trompa e meu amigo Diógenes de Souza me auxiliou na construção das vozes de Flugel horn, Oboé e Fagote. As intervenções de Flugel foram idéias do Arnaldo deSouteiro. Esta combinação, que eu já tinha em mente, de metais com madeiras também fez com que a faixa fique diferenciada. Eumir Deodato aprovou o arranjo... ele até brincou “eu toquei também”? (risos) Esta faixa está no Cd Friends From Brazil 2001, uma compilação da JSR para a Europa e Japão e tive o privilégio de tê-la remixada por um famoso DJ Europeu.

6) Sei que foram usados neste CD alguns instrumentos... "exóticos". A escolha deles foi visando a projeção internacional deste disco? Caracteriza-lo como "world music"?
Definitivamente não com este objetivo, mas por manter minha integridade musical. Não sou do tipo “chamar um quarteto de baixo, guitarra, bateria e sax e gravar um disco com a mesma sonoridade com todo mundo solando”. Isto me irrita. Quero música, não uma demonstração de técnicas. Coloquei em meu disco o multifacetado que sou. O músico não é o aquilo que ouve? Então ouça meu disco e me conhecerá. No disco há cítara, tablas, pedal steel, oboé, fagote, mellotron, frame drum, guira, derbak, baixo fretless de cordas duplas, ebow, um instrumento de percussão chamado “boca do mato” do Thiago de Mello e muito mais. Tudo isto por que queria uma determinada sonoridade. Como “Oil on Canvas”, as texturas, o foco, as sombras, tudo é importante. Não sou um virtuose, nem quero ser, então faço música para quem quer ouvir música, e não para músicos.

7) Como é a participação do baixo neste disco. Que tipo de instrumentos você utilizou e que "efeito" você esperava alcançar em cada faixa?
Usei todos os meus Bebês (risos). O Fender Marcus Miller Jazz Bass para slaps e fraseados, o Ibanez SR506 fretless de 6 cordas para melodias, o StickBass de 10 cordas para as coisas étnicas, o Vertical DiCarmo para as sonoridades mais próximas ao baixo acústico, o piccolo fretless do Cheruti para solos e contramelodias e finalmente para texturas o baixo fretless de cordas dobradas (8 ao total) em pares afinados em oitavas, quintas ou quartas justas conforme a composição. Usei o sistema de duas potências StudioR com caixas Selenium (duas caixas 1x15”, uma caixa 4x10”+horn e uma caixa subgrave 1x18”) microfonadas além de uma outra linha através de um preamp valvulado. Nos efeitos usei muita coisa, MuTron III, Cry Baby Dunlop, Octave Boss, Fuzz Big Muff, pedal de volume e outros “brinquedinhos” tais como o Ebow e o Hi-Ebow para o sustain infinito, um bottleneck, palhetas, uma dedeira tudo da Dunlop além do Funk Fingers, que apesar de estranho tem uma sonoridade maravilhosa. Consiste em duas baquetas atachadas aos dedos da mão direita para atacar as cordas, coisa do meu ídolo Tony Levin.

8) Qual a estratégia de divulgação deste CD no mercado internacional?
Esta pergunta eu transfiro ao meu produtor Arnaldo de Souteiro...

Arnaldo: "Não penso em artista como sinônimo de um único disco. Isto funciona na area pop, na qual se pode e se deve fazer trabalhos descartaveis. Num momento a bola da vez chama-se Backstreet Boys, no outro Spice Girls. Se acabarem, não farão falta prá ninguém e todo mundo (gravadora, empresários, produtores) já terá ganho muito dinheiro. Entao, todos ficam felizes – menos os artistas descartados, claro – e logo começam a inventar um novo produto.
Mas, em jazz, por exemplo, este tipo de comportamento não funciona. A não ser que seja para lançar um saxofonista que imite o David Sanborn, outro que imite o Michael Brecker, coisa que aliás já aconteceu várias vezes...inclusive com músicos brasileiros! Coitados! Acharam que virariam superstars e hoje estão sem gravadora, e nem conseguiram prestígio da crítica, nunca foram sequer citados numa Down Beat, numa Swing Journal, não conseguiram ser levados a sério...Tão ridículo quanto cantoras brasileiras que quiseram se consagrar nos EUA imitando os scats da Ella Fitzgerald, o fraseado da Sarah Vaughan, e até o peso da Carmen McRae...
No caso do Pescara, portanto, embora aparentemente estejamos preparando apenas um disco, na verdade estamos preparando o próprio artista para virar um produto. No melhor dos sentidos. E sem hipocrisia de falarmos em arte pela arte, porque isso nunca existiu. Caso contrário, Van Gogh não teria amputado a própria orelha, num ato de desespero porque não conseguia viver da sua arte, porque ninguém comprava suas obras. Isto é conserva dos ACMs da música, quem vem com esse papo é justamente quem mais fere códigos de ética e mais recebe jabá. É preciso que o artista, por melhor e mais espontaneo que seja, aceite virar um produto, porque ele tem que se vender, além de vender disco. Então, por isso não temos pressa no lançamento do CD do Pesca. Porque, enquanto o disco vai sendo concluido com o maior esmero possível, o artista vai sendo promovido através de outros trabalhos. Fazendo a turnê nacional do CD “Serenade In Blue”, da Ithamara, ele vem sendo visto, ao vivo, por um público enorme que pode se tornar também uma parte do futuro público dele. Tocando no CD “Lake of Perseverance”, do Dom Um, que está estourando em termos de crítica e de vendagem no mundo inteiro, milhares de pessoas já estão ouvindo o Pesca, ou pelo menos lendo seu nome nas principais revistas de música do mundo, e também em dezenas de sites importantes na Internet, como o All Music Guide.
Daqui a pouco vão começar a sair os remixes das faixas do “Lake” e, numa delas, o “Afro-Blue”, do Coltrane, eu pedi para que o DJ mantivesse a introdução original de baixo vertical-solo feita pelo Pesca.
O passo seguinte vai ser o lançamento do “Friends From Brazil 2001”, coletânea que inclui uma mixagem da musica “Black Widow” diferente da utilizada no disco dele Ou seja: o lançamento do CD do Pesca, que só deverá acontecer em meados de 2002, será a última etapa de um longo e cuidadoso processo.

9) Projetado para ser lançado no mercado internacional, o CD foge dos padrões aceitáveis da grande mídia. Parece que ninguém vê o instrumento como o principal canal da voz de um músico. Qual a estratégia para garantir uma boa divulgação aqui no Brasil?
A boa aceitação no mercado internacional e meu trabalho com um todo. Afinal eu não sou um cara que apareceu ontem e gravou um disco solo se auto-intitulando “grande músico e produtor” mas fica enclausurado em quatro paredes dando aulas o dia inteiro. Já toquei com Celso Fonseca abrindo shows para o Stanley Clarke no Palace lotado e no antigo Metropolitan do RJ. Já toquei e gravei com meu irmão Arthur Maia incluindo o show lotado do Canecão em 96 que passou na TVE do RJ. Acompanho a cantora Ithamara Koorax à (há) alguns anos viajando por muitos lugares, também o trabalho com o Dom Um Romão, o grupo de BRock Zero... tudo isto conta.

10) Aproveitando o gancho da pergunta anterior, você acredita que a melhor saída para o músico brasileiro é o aeroporto?
Para fazer uma tour no exterior é o meio mais rápido, não é? (risos)

11) Gravadoras e músicos muitas vezes vivem em conflito. Qual o caminho das pedras para realizar um trabalho adequado com as suas aspirações de músico e atrair o interesse de uma gravadora?
O melhor produtor que você possa contratar adequado ao seu próprio estilo musical.

12) O processo criativo incentiva cada vez mais a criatividade. Logo, depois de um CD normalmente muitos já pensam no próximo trabalho. Você já tem algo definido a este respeito ou existe algum outro projeto em mente?
Sou muito inquieto e já tenho projetado em meu computador ao menos uns dois discos, três livros prontos de técnica de contrabaixo e uns dois vídeo-aulas. Afora outros projetos.