Júlio Pereira
Cavaquinho
1981
Tracks:
01. Vira Minhoto - Popular/Júlio Pereira
02. Laurindinha - Popular/Júlio Pereira
03. Cantar Galego - José Afonso/Júlio Pereira
04. S.Gonçalo de Amarante - Popular/Júlio Pereira
05. Modo do Entrudo - Popular/Júlio Pereira
06. Saias do Freixo - Popular/Janita/Júlio Pereira
07. Viva o poder Popular - José Afonso/Júlio Pereira
08. Não vás ó mar, Tóino - Popular/Júlio Pereira
09. Venho de colher macela - Popular/Júlio Pereira
10. Chula de Barqueiros - Popular/Júlio Pereira
11. Terra do Bravo - Popular/Júlio Pereira
12. Cavaqueio - Orlando Costa/Júlio Pereira
1981
Tracks:
01. Vira Minhoto - Popular/Júlio Pereira
02. Laurindinha - Popular/Júlio Pereira
03. Cantar Galego - José Afonso/Júlio Pereira
04. S.Gonçalo de Amarante - Popular/Júlio Pereira
05. Modo do Entrudo - Popular/Júlio Pereira
06. Saias do Freixo - Popular/Janita/Júlio Pereira
07. Viva o poder Popular - José Afonso/Júlio Pereira
08. Não vás ó mar, Tóino - Popular/Júlio Pereira
09. Venho de colher macela - Popular/Júlio Pereira
10. Chula de Barqueiros - Popular/Júlio Pereira
11. Terra do Bravo - Popular/Júlio Pereira
12. Cavaqueio - Orlando Costa/Júlio Pereira
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In 30 years of a career as multi-instrumentalist, composer and producer, Júlio Pereira has guided his artistic concern by parameters that have the universality of cultural events as reference.
This, in no way contradicts the importance of his work in the scope of the traditional Portuguese music and the ethnic consideration of sounds and their roots. His work has always aimed to the incorporation of Portuguese tradition in aesthetic currents that mark the successive "contemporarities".
Thus, his ouevre, comprising 17 LPs, after reflecting the importance of the 70s musical innovation, starts to focus in recovering and renovating the sounds of "almost lost" traditional instruments – of that, the most paradigmatic examples are Cavaquinho (1981), Braguesa (1982), and O meu bandolim (1992) – as well, especially since the 90s, the combination of these sounds with (always) new acoustic solutions – as Rituais (2000) documents significantly. All this places him, beyond his key role in the
Portuguese music scenario of the 20th century last decades, also as a musician of the new century.
Although Júlio Pereira’s work, since the album Cavaquinho (1981), didn’t extend to the composition of music for lyrics, his poetic selectivity led him to produce an album – Faz de conta - which intersects with core Portuguese speaking authors, such as Eugénio de Andrade and Vinicius de Moraes.
In Graffiti, his new album, to be heard from the beginning of the new year, the words’ sound is back associating the most significant voices of World Music to his work after Geografias (2007), which definitely marked the composer’s universality and the stage return of the instrumentalist.
Julio Pereira’s experience and musical testimony are attested by almost an hundred discs where he performed as an instrumentalist, orchestrator or producer. Mention must be made to the importance of his close ties to the career of José Afonso, since the late 70s, as well as his participation in joint works with Pete Seeger and The Chieftains and also Kepa Junkera, Chico Buarque, Dulce Pontes, Sara Tavares, Carlos do Carmo, etc.
Portuguese music scenario of the 20th century last decades, also as a musician of the new century.
Although Júlio Pereira’s work, since the album Cavaquinho (1981), didn’t extend to the composition of music for lyrics, his poetic selectivity led him to produce an album – Faz de conta - which intersects with core Portuguese speaking authors, such as Eugénio de Andrade and Vinicius de Moraes.
In Graffiti, his new album, to be heard from the beginning of the new year, the words’ sound is back associating the most significant voices of World Music to his work after Geografias (2007), which definitely marked the composer’s universality and the stage return of the instrumentalist.
Julio Pereira’s experience and musical testimony are attested by almost an hundred discs where he performed as an instrumentalist, orchestrator or producer. Mention must be made to the importance of his close ties to the career of José Afonso, since the late 70s, as well as his participation in joint works with Pete Seeger and The Chieftains and also Kepa Junkera, Chico Buarque, Dulce Pontes, Sara Tavares, Carlos do Carmo, etc.
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