Postcard from Portugal

source

CUIDA DE L TOU BICHO is a animal health project based in Atenor, a village in the municipality of Miranda do Douro in Portugal. The group of veterinary assists all kinds of animals, with particular relevance to Mirandese autochthonous species.

The northeastern region, in particular the Mirandese Plateau is very rich culturally. It has strong traditions, from gastronomy to music and all of its folklore. It also preserves the best one that is perhaps its greatest treasure, the higher value of its identity: the Mirandese, or Lhengua Mirandesa. Considered the second official Portuguese language, it is to this day taught to all children and whoever wants to learn.

Get up, stone, out of bed, roll, roll...

  

Musiques & Musiciens Du Monde

Musique Traditionelle Du Portugal

1988

Tracks:

Beira Baixa Province

1 The Rendez-vous / Le Rendez-vous (Cançao De Embalar) 2:05
Choir [Women], Tambourine [Adufe] - Unknown Artist
2 Lullaby / Berceuse 2:39
Vocals [Woman] - Unknown Artist
3 Macelada (Picking Camomile) 1:57
Vocals [Two Women], Tambourine [Adufe] - Unknown Artist
4 Christmas Carol / Chant De Noël 4:09
Vocals [Women, Children] - Unknown Artist
5 Sao Joao (Saint John) 2:47
Vocals [Woman], Tambourine [Adufe] - Unknown Artist
6 Desejos (Wishes) 2:17
Vocals - Unknown Artist
7 For The Souls In Purgatory / Pour Les Âmes Du Purgatoire 1:57
Vocals - Unknown Artist

Alentejo Province

8 Aurora Teve Un Menino (Aurora Has Given Birth To A Son) 5:45
Vocals - Unknown Artist
Lisbon Fados / Fados De Lisbonne
9 Os Teus Olhos (Your Eyes) 1:23
Guitar - Raul Nery
Lyrics By [Poem] - Graça Ferreira do Amaral
Music By - Carlos da Maia

Viola - Joaquim do Vale
Viola [Baixo] - Joel Pina
Vocals - Maria Teresa de Noronha
10 A Nossa Rua (Our Street) 2:27
Guitar [Guitarra] - Raul Nery
Lyrics By [Poem] - Antonio Callem
Music By - José Antonio Sabrosa
Viola - Joaquim do Vale
Viola [Baixo] - Joel Pina
Vocals - Maria Teresa de Noronha
11 Fado Corrido 3:25
Guitar [Guitarra] - Avelino do Carmo
Viola - Guilherme Carvalhais
Vocals - Manuel Vicente
Words By - Traditional
12 Meia Noite (Midnight) 3:05
Guitar [Guitarra] - Avelino do Carmo
Viola - Guilherme Carvalhais
Vocals - Manuel Vicente
13 Little Fado / Fado Mineur 4:08
Guitar [Guitarra] - Avelino do Carmo
Lyrics By [Verses] - Traditional
Viola - Guilherme Carvalhais
Vocals - Manuel Vicente
Douro Littoral Province
14 Tirana (The Wild Woman) 3:27
Vocals [Woman], Choir, Percussion, Violin, Guitar [Different Types] - Unknown Artist
15 Um Viva Para Toda A Gente (A Vivat For Everyone) 2:31
Vocals - Unknown Artist
16 Misericordia, Meu Deus (Have Mercy, O Lord) 1:23
Vocals - Unknown Artist
17 Stone-cutter's Song / Chant Des Teilleurs De Pierres 2:06
Vocals - Unknown Artist

Liner Notes: Alain Daniélou

Recorded By:

Hubert de Fraysseix (tracks: 1 to 6, 8 to 14) ,
Virgilio Pereira (tracks: 7, 15 to 17)

  

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Now one of the comparatively less prosperous nations of Europe, Portugal was once a great maritime and imperial power, and that history has left linguistic and cultural traces in Africa, South America and the Far East; Madeira and the Azores are still Portuguese territory.  Continental Portugal's borders have been stable since the 13th Century, and although modernisation is making the country more uniform, and changing traditional lifestyles, there is still considerable cultural diversity among the different regions.  From 1926 to 1974, Portugal was governed by the longest enduring of all Fascist regimes; as the annotator and field recordist Salwa El-Shawan Castelo-Branco points out, the Estado Novo sought to promote an image of the country, to itself and the outside world alike, as "a predominantly rural community happily immersed in its traditions," and used folk music as one of its means to this end.  It is perhaps not surprising that for many years there was considerable hostility towards folclore among intellectuals and musicologists.

...

It will be obvious that Portugal sustains a rich variety of traditional music, some of it still an integral part of a traditional way of life, some of it the result of conscious processes of preservation, and some of it partaking of both attributes.  It also seems evident that, whatever dubious attempts at political co-option were made in the past, traditional music, revivalist and otherwise, is an important marker of both national and regional identities.  I'm well aware, of course that, in fulfilling those roles, Portuguese traditional music must have political dimensions and implications, which are doubtless of considerable importance to the democratic regimes that have happily succeeded the long rule of the military; but it seems likely that the mechanisms by which ideology interacts with folklore are considerably healthier and more respectful now than in former times.  It's also clear that, both for their variety and their quality, Portugal's folk musics are among the most interesting and enjoyable to be heard in Europe.

 

~  Chris Smith

source (about another good cd)

  

thanks for the music Lemmy :)

 

 

♥

Saudade

   

Dona Rosa - Segredos
2003

Tracks:
       
1.      Green Corn (Milho Verde)       4:24        
2.      Gum Collector (Resineiro)       4:54        
3.      Lemon Balm (Erva-Cidreira)       3:57        
4.      Dream (Dona Rosa Talks About A Dream)       0:25        
5.      Laurindinha       4:01        
6.      Put Your Little Foot In Here (Ponha Aqui O Seu Pézinho)       3:14        
7.      Libon (Lisboa)       1:04        
8.      Mariquitas       3:16        
9.      Green Are The Fields (Verdes Sao Os Campos)       3:24        
10.      Kiss (Beijinho)       3:14        
11.      Trust (Dona Rosa Talks About Confidence)       0:48        
12.      The Girl Was In Tears / A Moça Chorava       6:09        
13.      Oh Branch, What A Beautiful Branch / O Rama O Que Linda Rama       3:59        
14.      I Was Baptized By Rose / De Rosa Fui Baptizada       1:26        
15.      Variations In Major's Dream / Variaçoes Em Sonho Maior       6:07
       
Accompanied by:

Enzo D'Aversa, accordion,
Raul Abreu, Portuguese guitar, bass, piano, and percussion

 

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Besides Fados DONA ROSA sings traditional Portuguese songs that have been significant for her life.

Even today fairy tales still happen - tales that read as if they were straight out of the Arabian Nights. This is the miraculous story of the blind Fado singer DONA ROSA of Lisbon:

In 1999 a Portuguese production company was asked to find a Fado singer for an Austrian Television Company production to be recorded in Marrakesh. The programme..s musical director, the well-known Viennese artist and impresario Andr.. Heller, had a particular blind street singer in mind, a woman he had heard many years ago, whose voice had moved him deeply and haunted his memory ever since. The search proved to require quite some detective work but finally she was found - DONA ROSA.

With her live presentation at the World Music Fair WOMEX in Berlin in the year 2000, a whole new experience of life began for DONA ROSA. This was the first audience that was interested in her, as a person, for her own sake. She was confronted with all kinds of things that affected her life, disconcerted her, raised doubts in her mind: Her life changed dramatically. DONA ROSA was no longer accepted as a street singer in Lisbon. The other street and survival artists told her she was a star, expecting her to have lots of money now. Her story appeared on the front page of the Portuguese newspaper Publica (12/2000), Germany's Channel 1 (ARD) produced a documentary on her for its television programme "Kulturreport", concerts in Germany, France, Italy, England, Belgium, Denmark, Sweden, Finland, the Czech Republic, Austria and Switzerland followed. Since then, DONA ROSA has given 200 concerts in Europe and become familiar with things that were a total mystery to her in her previous life, things like airplanes.

Our understanding of the world is influenced strongly by what we see. DONA ROSA had to learn to trust things, people and situations that are taken as a matter of course for those with the power of sight. This over 40-year-old singer had to learn things other people are entirely familiar with - for example the strains of a life on tour, far from one's habitual surroun- dings.

Following one of her concerts, in the dressing room of the concert hall, the conversation once again revolved around her blindness. DONA ROSA said: "What I like to do best is dream; in my dreams I can see and I never want to wake up."

 

  

Who is Dona Rosa?

She was born on February 1, 1957 in poverty. At the age of four she contracted a severe case of meningitis to which she lost her eyesight. Her family, whose only means of livelihood was begging, could not easily accept the child’s handicap but managed to provide a basic education for her. She learned to read and write and carry out simple manual tasks ... and she became acquainted with the traditional songs of Portugal.

   

When she came of age she realised that she must leave her family for good: The day she arrived home in North Portugal she turned around and took the next train back to Lisbon.

There, with the help of other blind homeless persons, she quickly learned to master the art of survival on the street. What she didn’t earn by selling magazines and lottery tickets she earned by begging, until the day somebody suggested she use her beautiful voice as a means of livelihood.

And so there emerged on the streets of Lisbon a singer who sensitively translated her bitter fate into music. Gradually, Dona Rosa became an inseparable element of the cityscape.

Today, accompanied by a triangle once given her by a friend, she sings her own special brand of Fado. More so than traditional Fado, her song gives expression to all of the misery suffered by the poorest of the poor, and to their profound longing for the good life they will never call their own.

 

her space

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...my best wishes go to Jerez de la Frontera...

 

for you I will keep posting

 

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Voices

   

Voix De Femmes Du Portugal
Women's Voices of Portugal
1995

Tracks:

1. O Senhora Do Alivio (Gary Cramolini)
2. Virgem da Concilação (Catarina Chitas)
3. Senhora Do Desterro (Rancho Folclorico De Vinhó)
4. São João (Catarina Chitas)
5. Misericordia (Gary Cramolini)
6. Alvissaras (Catarina Chitas)
7. Nossa Senhora Do Leite (Catarina Chitas)
8. Menina Do Bahlo (Gary Cramolini)
9. Vai Te Lavar Morena (Gary Cramolini)
10. Moreninha de Me Um Beijo (Grupo Chorale Feminino Flores Do Alentejo)
11. Galandrum (Albino Da Igreja; Isabel Da Igreja; Jose Ventura; Maria Da Igreja; Victor Alves)
12. Eu E de Mire Acentare (Grupo Chorale Feminino Flores Do Alentejo)
13. A A Pastorinha (Catarina Chitas)
14. Somos de Vila de Cuba (Grupo Chorale Feminino Do Alentejo)
15. So Portugues Immigrante (Grupo Chorale Feminino Do Alentejo)
16. A A Barragem (Grupo Chorale Feminino Do Alentejo)
17. Ligas Verdes (Albino Da Igreja; Isabel Da Igreja; Jose Ventura; Maria Da Igreja)
18. Homem Raro (Fado) (Fontes Rocha; Judite Pinto; Luis Gonçalves)
19. Cinta Vermelha (Fado) (Judite Pinto; Luis Gonçalves)
20. Calso Entorando (Desgarrada) (De Jesus, Sebastião; Judite Pinto; Luis Gonçalves)
21. Berceuse de Madère (Graca Serrao)

  

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A collection of vocal works from the full spectrum of females in Portugal. There is much more here than simple fado to be heard, though fado is certainly represented. The quality of the album ranges from mildly grating to outstanding, touching most bases in between. There is a pair of choruses singing on the album, Cramol and the Flowers of Alentejo. Both provide some harmonic work that's appreciated in an otherwise barren-of-accompaniment album for the most part, but at the same time, the melodic work leaves something to be desired in general. More listenable perhaps are the solo singers. Catarina Chitas, an 80-year-old ex-shepherdess, performs a few numbers accompanied only by herself on a frame drum. The power left in her old voice is rather stunning as she wails through her songs. Even older is Judite Pinto, the primary fado singer on this album. Here is where the beauty of the album is truly shown. Pinto's vocals are still powerful and expressive, helped along by the outstanding guitar work of the Goncalves brothers. Unfortunately, the shining moments of fado are hardly enough to balance out the sometimes-rougher works. For a nice overview of some of the more overlooked folk forms of Portugal, this isn't a bad way to go...
says: Adam Greenberg

*****

 

Adufe

The adufe is one of the rare square double headed frame drums. A wooden structure is covered with rawhide from a sheep or goat and some rattling objects are thrown inside. The adufe is traditionally played by women in the interior provinces of Portugal, Beira Baixa and Trás-os-montes. In some regions it is simply called pandeiro (frame drum). Its sound invites meditation or even trance. To play it the adufe is held by the two hands with one corner pointing to the skies. The hands beat one of the skins and shake and hold the instrument.

  

wiki

 

another wiki

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Cavaquinho

  

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
  

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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 20^th 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.

source

  

more info

 

  

cavaquinho

more

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Flute

  

Rão Kyao con Ketama
Delírios Ibéricos
1991

Tracks:

01.Vozes No Deserto 7:40
02.Água De Fogo 5:43
03.Amor Cantado 5:05
04.Lamento Andaluzo 3:38
05.Delirios Ibéricos 7:30
06.Soledades y Saudades 7:18
07.De Copas Con La Dama 5:39
08.Canto Das 1001 Notas 3:30
09.Amor Sentido 3:30
10.No Planalto 5:42
11.Normalmente 6:04

  

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Since his early days João Ramos Jorge loved music. When a child, he was in various choir groups. Then, he started to study bambu flute and saxofone.

In the seventies he made part of two bands, called Status and The Bridge. Then he goes to France, where, during two years, he plays with great names of jazz and ethnical music.

He iniciates his studies in Indian music, which, along the Arabic music, are on the basis of Portuguese traditional music. Those influences would be a strong mark in all his career, creating a unique style in the Portuguese music panorama.

Malpertuis, his first album, was well aclaimed by public which hepled to consider him an important instrumentist and composer. Bambu , released in 1977, confirmed that: critics considered it the best Portuguese music album of that year.

He's invited to play in Yatra International Jazz Music Festival, in India. After that he starts to live in Bombay, to get a better knowledge of bansuri (a flute) playing style. Goa is the result of that learning experience. In 1980 he records a live jazz album, Live at Cascais, at the International Jazz Festival (Cascais Jazz, in Lisbon).

1983 marks a turning point, not only in his career, but in Portuguese music as well. Fado, the traditional urban style of music, a strong influence, leaded him to record Fado Bailado, which turned to be the first Portuguese music album to achieve the Platinum mark.

In 84 he goes to Macau where he's invited to write a work that reflects the presence of Portugal in that territory. The result was Macau, o Amanhecer. In that same year is released Estrada da Luz, which reached, once again, the Platinum mark.

1986 is the time of Oásis, which was Gold. In the end of this year he goes on tour in Brazil, country where he will record Danças de Rua. This album, released in Europe, USA and Japan, reflects a Brazilian percussion style (from "Nordeste" region). It reached Gold.

The Portuguese folk is well represented in his following album, Viagens na Minha Terra (translated: "Voyages in my land"), released in November.

In 1992, along with Ketama, he records a very rich album, "Delírios Ibéricos", in which the bridge of Flamenco and Portuguese music is straight. A record with those characteristics hadn't been made before, ever.

1999 was the last year of Portuguese adminstration over Macau, now part China. Macau - Junção is a record to mark the fact, a dialogue between Kyao flutes and the Macau Chinese Orchestra (conducted by Wong Kyn Wai).

The musician keeps on his approchings to Arabic, Indian, African and Portuguese music. During his large career he was invited to play with many artists, and his name figures in various records of Portuguese musicians...

 

source

wiki

his space

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Minho & Douro

  

Danças tradicionais do Portugal

Minho e Douro
1983

Tracks:

1. Santa Marta de Portuzelo: Rosinha
2. Santa Marta de Portuzelo: Chula Picada
3. Santa Marta de Portuzelo: Rusga
4. Vila Nova de Famalicão: Chula Velha
5. Vila Nova de Famalicão: O Regadinho
6. Vila Nova de Famalicão: Malhão das Palmas
7. Vila Nova de Famalicão: Chulita
8. Meadela: Vira das Palmas
9. Meadela: Gota de Meadela
10. Moreira da Maia: Verdegar
11. Moreira da Maia: Malhão de Noite
12. Moreira da Maia: Vira das Lavradeiras
13. Gulpilhares: Regadinho
14. Gulpilhares: Tirana
15. Moldes: Cana Verde de Oito
16. Moldes: Vira Valseado
17. Barqueiros Do Douro: Chula
18. Barcelinhos: Vareira
19. Barcelinhos: Lima de Góio
20. Barcelinhos: Sapatinho
21. Areosa: Vira das Palmas
22. Malhão
23. Ponte da Barca: Gota Dos Novios
24. Ponte da Barca: Caninha Verde
25. Ponte da Barca: Vira Do Salto
26. Ponte da Barca: Chula Trocada
27. Ponte da Barca: Serrinha

  

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In "Danças tradicionais do Minho e Douro," we can find songs from the musical heritage of the Minho and Douro regions in northern Portugal. Still performed today.

Entre Douro e Minho is a historical province of Portugal which encompassed the country's northern Atlantic seaboard between the Douro and Minho  rivers. Contemporaries often referred to the province as simply "Minho". It was one of six provinces Portugal was commonly divided into since the early modern period until 1936, although these provinces were not recognized as official units of government.

Douro

Os instrumentos 

Instrumentos

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Minho

  

Association folklorique

Flor Do Minho de Gerzat

VIANA È AMOR

Tracks:

01. Cana Verde De Roda
02. Vira Legeiro
03. Chula Veilha
04. Carvoeiro
06. Vira De Viana
07. Senhor Da Serra
08. Sim Carolina
09. Chula Dos Namorados
11. Vila De Gerzat
14. Virai Moças
16. Cana Verda Nova
17. O Vira Novo

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L'association folklorique Flor Do Minho a été fondé en 1978 à Beaumont (Puy de Dôme 63), représente les coutumes et fait usage de nombreux costumes traditionnels, fait connaître les chants et les danses typiques du nord du Portugal ( o minho ), et plus précisément de la ville de " VIANA DO CASTELO "; qui signifie pour nous la capital du folklore dont tous nos Costumes viennent et representent celle-ci.

 

source: music

source: pictures

 

Miño

  

Baldo Martínez - Proyecto Miño
2007

Tracks:

01. Ribeira
02. Marcha
03. Aire De Tuba
04. Canta Rula
05. De Onte Pra Mañan
06. Suite Del Miño
07. De Norte A Sur
08. Fogar De Breogan

MUSICIANS:

MAITE DONO - Voice
GERMAN DÍAZ - Hurdy-Gurdy
CHIAKI MAWATARI - Tuba & Serpenton
DAVID HERRINGTON - Trumpet y Flugel-horn
ALEJANDRO PEREZ - Tenor and soprano saxes, clarinet
ANTONIO BRAVO - Electric guitar
LUCIA MARTÍNEZ - Vibraphone and  percussion
PEDRO LOPEZ - Drums and electronic percussion
BALDO MARTÍNEZ - Double-bass, composition and musical arrangement

Featuring:

VALENTÍN CLASTRIER - Hurdy-Gurdy

  

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 The Miño project came about through a comission for the Portuguese  Guimaraes International Jazz Festival for Baldo Martinez, Galician double bassist noted for his work in the area of modern tendencies of European jazz.Some of the compositions, all originals, are based on traditional lyrics and music from his homeland. They are interpreted by nine excellent  musicians, each one well known in the jazz and folk circuits, who achieve a rich and varied timbre, combining traditional instruments like hurdy-gurdy together with electric guitar, tuba, vibes, double bass.......developed within a contemporary jazz idiom, this music is inspired by the traditional music from the river Miño area, on the border between Galicia in the north-west of Spain and the north of Portugal. It offers a personal approach within the latest European jazz fields with very strong autoctonas roots.
  

  
The Galician double-bass player Baldo Martínez is one of the most representative musicians within Spanish contemporary jazz and one of those with greater recognition outside of Spain, proof of which is the recent tour of Germany(Trienal Festival of Cologne, European Jazz made in.....in Munich) where he presented the Projecto Miño, one of the most daring and innovative directed by Baldo Martínez.. In 1994 he formed his own group, after previously founding bands like Zyklus or Clunia, and having worked with respected national and international musicians: Paolo Fresu(2003), Louis Sclavis(2006), Joachim Kühn(from 2005), Jorge Pardo, Wade Mattews, Carlo Actis Dato(from 2001), Maria Joao (from 1985), Mike Rabinowitz, Chano Dominguez, Angel Rubio and a long etc... Baldo Martinez's first record, "No Pais dos Enanos" was received with very positive reviews and was considered by the magazine Cuadernos de Jazz as the 2nd best record in 1996. Two years later he presented his 2nd work as leader, "Juego de Niños" in the Matosinhos-Porto International European Jazz Festival (Portugal) where it received great acclaim from the public and very favourable reviews.This record was also considered to be one of the 5 best in 1998. He also presented it in France,where it was very well recieved "standing apart within Spanish Jazz,Baldo Martinez impregnates with elegance and creativity the paths of European Jazz". Featured also in the special cultural supplement Babelia, to celebrate the 25th aniversary of the newspaper El País,he was considered to be one of the most prominent Spanish jazz musicians within the European jazz scene. The past may this group have participate in the EUROJAZZ in Mexico, this festival show the last ways of European Jazz. "The Baldo Martinez quintet has managed to .........the idea of flamenco-jazz and has enriched it with the influence of popular music creating a personal language...a music laced with ethnic tonalities with contemporary touches"(El Heraldo De MEXICO (April 2002) In 1999 he was asked to lead "Miño Project" in the International Jazz Festival in Guimaraes, Portugal, considered to be one of the most important within the new European jazz scene. This project develops a reperetory based on the traditional music of Galicia and the north of Portugal, with a 9 piece band (Maria Joao, Gregg Moore, Carlos Beceiro, etc..).Worthy of mention also is his recent collaboration with the Italian musician Carlo Actis Dato o Paolo Fresu the last Summer It is one of the most stable and solid groups currently existing in Spain, formed with internationally recognized musicians.

    Baldo Martinez have take his music for Spain, Germany, Portugal, Maruecos, Mexico, Luxemburgo, France, etc... The recording by the title "Nai" (2001), mixes a large part of his recent musical experiences, and we can find music inspired in folk, especially Galician, played with vanguard style within current European jazz. The group is formed by leading musicians from the national scene; the guitarrist, also Galician, Antonio Bravo, revelation in recent years; the British trumpet-player David Herrington, very creative with his warm sound, on drums and electronic percussion, Pedro Lopez, one of the most imaginative musicians who also formed part of the group Zyclus with Baldo Martinez, and the most recent member, Eduardo Ortega, a young violinist, virtuoso and great improviser, who lends the group a personality and sonority that fits perfectly within the eschetic planning of Baldo Martinez's music. Recently, 5 years after it's creation, he presented the Projecto Miño in Spainlast January in the Circulo de bellas Artes in Madrid within the Festival Internacional Escena Contemporánea, achieving great recognition from the public and media, who described it as "one of the most emotive, ambitious, exuberant and intelligent projects that has appeared in Spanish jazz in a long time" Pablo Sanz –EL MUNDO- During this year, 2005, he has edited two cd's, one with his quintet, called TUSITALA and another in duo with the Italian saxophone and bass-clarinet player Carlo Actis Dato, titled FOLKLORE IMAGINARIO from the British label, Leo Records. In 2006 he formed TRIEZ with Agustí Fernandez and Ramón López., they presented this grouping “JAZZYCOLRS FESTIVAL” in Paris, November 2006 Also at the present he is member of “Joachim Kühn Iberia Trio”.

homepage 

River 

Piano 8

  

Mário Laginha
Canções e Fugas
 
Tracks:
 
01 Do lado de cá do mar
02 Fuga em lá maior (4 vozes)
03 Lugar bem situado
04 Fuga em ré maior (3 vozes)
05 Berenice
06 Fuga em mi bemol menor (4 vozes)
07 Do lado de lá do mar
08 Fuga em fá maior (4 vozes)
09 Fado
10 Fuga em dó menor (5 vozes)
11 Coral
12 Fuga em si maior (4 vozes)

  

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Mário Laginha
Biography

Mário Laginha is regarded as one of the most talented and innovative Portuguese musicians. Pianist and composer, he has been awarded several prizes and has been invited to many national and international festivals. He has played and recorded with Wayne Shorter, Ralph Turner, Manu Katché, Trilok Gurtu, Toninho Horta, Gilberto Gil, Julian Argüelles, Django Bates, and the Hannover Philharmonic Orchestra, among many others.

With his quintet, Mário Laginha recorded “Hoje”, an album that strongly reflects his unique style. He has also been involved in several projects, being invited to compose both for small and large ensembles, such as the NDR Big Band, the Lisbon Metropolitan Orchestra, the Oporto Symphonic Orchestra, the Drumming Percussion Group, and Remix Ensemble.

His work in the duo formation has had a fundamental importance in his career: He shares eight albums with singer Maria João, has recorded “Duetos” with pianist Pedro Burmester, and recently has recorded “Mário Laginha/Bernardo Sassetti” (2003) and “Grandolas” (2004) with pianist Bernardo Sassetti.

Mário Laginha has recorded his first solo album “Songs and Fugues”, released in March 2006.
  

  

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Fado 2

  

Carlos Zel - É Fado

(Remasterização)
2002

Tracks:

01. Aquela tarde em Santarém
02. Gaivotas do meu Tejo
03. Oração
04. De Rastos Subi  A Escada
05. Restos Duma Saudade
06. Na Tarde Que O Sol Abraca
07. Neste Rio Vou Morrer
08. Riso De Crianca
09. A Nossa Estranha Canção
10. Poesia Louca
11. Corpo Vazio
12. Que Os Meus Amigos Me Cantem

  

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Fados 

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 Born in Parede on September 29, 1950, Carlos Zel began his professional career in 1967.

António Carlos Pereira Frazão was born in Parede, on September, 1950, and soon he is fond of music and show business, adopting the artistic name of Carlos Zel.

He started singing in Cascais and Estoril as amateur, but at the age of 17 he became professional singer. Then he follows on radio at Emissora Nacional, and performed on revues and television.

Carlos Zel’s style was an orthodox presence of tradition, although he had made some changes to modern times. Even his work was ruled by tradition; he also made attempts to give other melodies to Fado, as morna, typical cape-verdian song, working in collaboration with Celina Pereira. This behaviour establishes his own style, putting him distant from renowned singers, as Manuel de Almeida.

Carlos Zel was on the cast of several Fado houses, and he became well-known with performances in several casinos all over the country. In 2000, Carlos Zel gives a push to the organization “Quartas-Feiras de Fado” at Casino do Estoril, and even before, in 1993, was one of the founders of the Academia do Fado e da Guitarra.

During his career he has recorded 14 records; the last record was named "Com Tradição", dated in 2000, when he made his performance in a concert at the CCB auditorium.

The skilled Fado’s singer performed in several international stages as Spain, United Kingdom, France, Austria, Senegal, Brazil, Chile, United States of America, among others.

In 1993, Carlos Zel is distinguished with the Prémio Prestígio granted by Casa da Imprensa and in 1997 wins also the Prémio Neves de Sousa. He was also distinguished with the Medalha de Mérito da Cruz Vermelha and the Medalha de Mérito Artístico of Cascais’ Town Council. His name is a reference in the national musical universe.

He died on February, 2002.

Every year a show is organized and presented at Casino Estoril to pay homage to the singer, where all great names of fado today usually take part of. 

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Fado

 

Carlos Zel

Com Tradição
2000

Tracks:

01. Guitarrada
Pedro Falcão / Raul Indipwo
02. Fado tropical
Ruy Guerra / Chico Buarque de Holanda
03. Quando o peito tem saudade
Maria Manuel Cid / Alberto Simões Costa ( Fado Bragança )
04. Mais anos de fado
Clemente Pereira / Alberto Simões Costa ( Fado Dois Tons )
05. Nova Lisbo
Nuno Frazão / Guy Valle-Flor
06. Fado da Internet
Daniel Gouveia
07. A beira-mar
Raul Indipwo
08. Nossa Senhora do Fado
Hortense Viegas César / Francisco Viana ( Vianinha ) ( Fado Vianinha )
09. Poema do nosso amor
Hotense Viegas César / Acácio Gomes dos Santos ( Fado Acácio )
10. Coração atormentado
Maria Manuel Cid / Popular ( Fado Menor )
11. Retrato de um alfacinha sub-urbano
José Niza / Popular ( Fado Corrido )
12. Ponto final
David Mourão-Ferreira / Joaquim Campos da Silva ( Fado Tango )

Acompanhamento musical:

Guitarra Portuguesa: José Luís Nobre Costa
Guitarra Clássica: Francisco Gonçalves
Viola-baixo: Joel Pina
Flauta: Siegfried Sugg ( Track 02 )
  

Bonus track: Por Te Querer Tanto

    

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Fados 

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Carlos Zel

Nasceu em Cascais na Parede a 29/09/1950

Fadista, António Carlos Pereira Frazão 1950, foi um dos poucos fadistas da sua geração a conseguirem relativo sucesso e um importante divulgador de talentos. É irmão do grande guitarrista Alcindo Frazão.
Começou a cantar cedo, apesar de sustentar que só se pode ser verdadeiramente fadista depois dos trinta anos. Ainda adolescente, cantava nas tascas e retiros da região de Cascais. Profissionalizou-se aos 17 anos. E, no ano seguinte, já cantava na Emissora Nacional. Actuou várias vezes na rádio, mas também no teatro de revista e na televisão. Passou por alguns retiros, como o Bar Galito e chegou a desempenhar a profissão de torneiro mecânico.
Pertencendo a uma geração intermédia, entalada entre os grandes nomes do fado (Amália, Maria Teresa de Noronha, Alfredo Marceneiro) e as mediáticas vozes do novo fado (Mísia, Marisa, Katia Guerreiro), ultrapassou o clima de desconfiança criado à volta do fado no pós-25 de Abril e conseguiu fazer uma carreira notável, com 14 álbuns gravados e alguma projecção internacional. Deu concertos em países como Espanha, França, Holanda, Escócia, Dinamarca, Noruega, Brasil, Argentina, Chile, Venezuela, Canadá, EUA e Senegal. O seu talento foi várias vezes reconhecido, recebendo prémios como o Prémio Prestígio e o Prémio Neves de Sousa, ambos da Casa da Imprensa.
Influenciado por Manuel de Almeida e João Ferreira-Rosa, mas com uma forma de cantar inconfundível, Carlos Zel deu voz a muitos fados. Entre outros, "Meu amor morre no mar", "Sonho Louco", "Palavra à Solta", "Fado das Mãos Sujas", "Disseste que me deixavas", "Prece", "Fado Pechincha", "Tenho Saudades da Baixa", "Amar outra Vez", "Quero tanto aos Teus Olhos" ou "Travessa do poço dos negros". Estes temas estão presentes em discos como Neste Rio Vou Morrer (1978, J. C. Donas), Lusitano Vagabundo (1978, Imavox), Fados (BMG, 1993), Minha Primeira Cantiga (Emi, 1996) ou Fado (Movieplay, 1997).
Apesar de preferir fados tradicionais, ousou fazer algumas experiências, cantando ao lado de Luís Represas, Maria João & Mário Laginha, Carlos Zíngaro, Cesária Évora e Celina Pereira. No seu derradeiro disco, Com Tradição (Movieplay, 1999), inclui fados bem-humorados como o "Fado da Internet" (letra de Daniel Gouveia) e até uma adaptação do "Fado Tropical", de Chico Buarque.
Em 1993 foi um dos fundadores da Academia do Fado e da Guitarra. Nos últimos anos da sua vida, foi o impulsionador e organizador das Quartas de Fado, no Casino do Estoril, por onde passaram muitíssimas vozes de várias gerações. Nesses concertos também desempenhou o importante papel de divulgador de novos talentos. Deu, de resto, uma importante ajuda nos primeiros passos de fadistas como Camané e Katia Guerreiro.
Em 2000, encheu o Grande Auditório do Centro Cultural de Belém num concerto que marcou definitivamente a sua consagração. Dois anos depois viria a falecer a 14 de Fevereiro de 2002, na sua casa, em Cascais.

  

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Kepa & Julio

 

Julio Pereira & Kepa Junkera
Lau eskutara
 
Tracks:

1. Madagaskar (2'37)  K.Junkera
2. Eguzkiaren dizdira (3'30)  K.Junkera / J.Pereira
3. Pedrinhas (3'40)  K.Junkera
4. Dantza con noivos (2'24)  K.Junkera
5. Señora-Moca (2'44)  K.Junkera
6. Kalatxoriak (2'45)  K.Junkera / J.Pereira
7. Sodade (4'12)  Luis Morais / Amandio Cabral
8. Jainkoaren poza (3'29)  K.Junkera
9. Pátio das camélias (2'51)  J.Pereira / K.Junkera
10. Pousada das neves (3'21)  J.Pereira / K.Junkera
11. Después de la misa (1'24)  K.Junkera
12. Disfarces (2'40)  J.Pereira / K.Junkera / Tradicional
13. Lau eskutara (2'22)  J.Pereira / K.Junkera

Iraupena: 38' 59"

Julio Pereira, bandolima, Bragako gitarra, gitarra cavaquinhoa, txalaparta
Kepa Junkera, trikitixa, trikitixa kaxa, txalaparta

Grabazioa:  Elkar estudioa (Donostia)
Soinu teknikaria: Jean Phocas
Moldaketak: Julio Pereira

  

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With four hands 

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A brilliant teaming of of the Basque accordion legend and the mandolin/guitarist from Portugal in acoustic duets of music from both places. Junkera's trikitixa finds a remarkable sympatico with Pereira's mandolin, cavaquinho and guitarra braguesa on a series of unusual and original compositions.

...
 
"...subtle and virtuosic.. most impressive... Together, they explore their own compositions with a pleasing conceptual looseness wedded at times to extremely tight and inspired playing. Pereira's roots in Portuguese Fado come out here and there, as do Junkera's roots in the trikitixa tradition, but most of this is new acoustic music with swing and style." - Dirty Linen

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"The result is lively and intricate, drawing on Kepa's Basque pace and energy and the ringing fluidity of Pereira's fado-inflected playing." - Andrew Cronshaw, fROOTS