Ravi Ravi`s(West-African Kora) `Afro-Indian Proje

EUCDt663 THE AFRO-INDIAN PROJECT
_ Travels with the African Kora in India - Ravi ...
Ravi's (West-African Kora) 'Afro-Indian Project' is a unique blend of African
and Indian cultural sounds. Featuring world renowned santoor player - Tarun
Bhattacharya, Ravi Shankar's tabla player - Bikram Ghosh, legendary doublebass player - Danny Thompson and master of Egyptian tabla, Hossam Rarnzy.
EUCDt502 RAVI - THE AFRICAN KORA
- Journeys of the Sunwalker
This recording presents Ravi playing the kora (a West African harp I
lute), solo or accompanied by djembe (African single-headed drum), ~
afon (West African xylophone) & bells. This music has a soothing &
spellbinding beauty, weaving ancient legends of Mother Africa.
EUCDt838 THE PULSE OF BRAZIL - Choro, Samba, Forro I
Nordestina, MPB, Contemporary, AJ.e, Bossa. Midprice
This album full of pulsating Brazilian rhythms presents the most POP"lar styles of music played by well-known exponents in Brazil today.
Featuring: Grupo R4fa, Rita Ribeiro, Paulo Moraes, Chico Cesar,
Bezerra da Silva, Genival Lacerda ...
EUCDt802 WHERE AFRICA MEETS THE ORIENT
- Noor Shimaal
••
Noor Shimaal perform modem acoustic music and songs with traditional
roots ranging from the Middle East aUthe way to Morocco. Playing traditional instruments oud (lute), ney, gasbah (Arabic flutes), tulum (bagpipe),
santur (dulcimer) ... they produce a very contemporary feel to the music.
EUCDt823 Exotic Strings - Africa, Azerbaijan, China, Egypt...
I
A double CD collection of bowed, plucked, hammered and strummed string
instruments from all over the world: Erhu (China), marin khuur (Mongolia),
comuz (Kyrgyzstan), kamancha (Azerbaijan), saz (Turkey), oud (Iraq),
qanun (Egypt), kora (West Africa), charango (Peru), cuatro (Venezuela)...
and many more. 24 pages of photos and extensive information.
BRAZIL (by Ravi)
Brazil conjures up many stereotypical
images such as extremes of wealth and
poverty, shanty towns and endless beach
es, Brazil's music has been one of my
main sources of inspirauon and after
many aborted attempts to VISIt,I finally
took a flight to Rio de Janetro In October
2002.
Staying in this liascinaung country for a
while, one eventually uncovers the COD
tradictions that arc the source of the
country's extnordinary amsuc enetgy.
The day I arrived my host and friend, the
drummer, &ImtD ~,
told me that
the head of the drug gangs had on:lered
(from his prison cell) that the ety be
closed down including the bridge
between Rio and Its sister city ltcroi,
where I was sta~
Roberto told me that
he wasn't sure if he could make it home
to his family in Rio that night. Being a
musician in this city could be a dangerous
occupation. It was not aIwayslike this: the 'CitltJJe MamlJilhosa' (marveIlous city) had an unrivalled reputation for
being at the cutting edge of music, such as the creation of one of the world's greatest art forms, Bossa ova.
Now Sio Paulo has eclipsed Rio, not only in football but also its once thriving music scene.
r had travelled to Brazilto make recordings with some of the many skilled and talented musicians whom I had met
on my earlier trip when I came to play concerts in and around Rio. This all came about when I met the backing
band for Brazilian singer Via Negrtnttollk at a Jazz Festivalin the Cape Verde Islands, where I was performing with
the guitarist EN &tht and the legendaty Cape Verde musician, Paolino Vunt. My wish to play concerts in Brazil
had been taken to heart by Roberto Marques, who on his return set up a series of concerts. Cape Verde with its
colonial architecture and Portuguese patois was a stepping stone to Brazil, the land of Samba and Bossa ova.
Rooms were found in a hundred-years-old Portuguese style villa in Santa Teresa, an area of grand old buildings
and a population of artists, bohemians and hip folks; it is the original city, built higher up and thankfully cooler, especially when the summer sets in around early December. The old tram (Street car) system, on which you
pay less than one Brazilian 'Real' for a ride, ISstill ruruun& People Said that the area wasn't afe, although It was
fine and I had learned basic street survival rules by then no carrymg of bags, cards or cash of any real valu
and only riding on bus to sa~ areas (If at all), otherwise use taXIs.
The Brazilian adventure brought a renaissance to my gwtar playtng and some Bossa ova compositions from
the past re surfaced and got onto the album. One of my main mspuanons were umeless recordings of Brazilian
greats such as am LtM,JIJQfJ GiJbma and TfJItIJobiM. Just before we were to record, Roberto chanced upon an
anuque set of drums, that had been used by musiean such as Do", _ &",iio when creating the Bossa sound
in Rio from the late fifties to the early sixties.
like any major mUSICety, Rio has a 1atgevariety of srudios, from budget to the luxurious, many WIthpicturesque
views and some with the beach only a block away.Engineers and mussciansof very high standards are availableand
the main recording software used is Pro-Tools, which makes it easier if you don't want to be fixed to one studio.
One of the plans was to meet and play WIth some of Brazil's more iegendaty musicians, so J met with Hmmlo
Pasatal, a musical geruus from A1agoas in the orth East. He lives in the orth Zone of Rio, which has an
unsavoury and dangerous reputation, so with some trepidation, Roberto and I made the journey to Herrneto's
home, where we shared instruments and played, and Hermero entertained us with stories of the times with Flora
Pttrinr, Airl6 MtWtim and Miles Davis. Herrnero didn't make it onto the album, but connections were made to
other exceptional musicians such as Paolo MOllra.
I was surprised to find that Marllli Miml/tia was not as well-known as J had assumed she might be in her native
country. As wen as working with Egbtrto Gismol/ti earlier in her career, her CD, "ToJoJ Os SoM' features Marlui's
extraordinaty voice along with guests such as Gilbtrro GiJ and percussion ensemble Uakti, interpreting Brazilian
Indian songs with mesmerising effect. She managed to create enough time for a session in the studio, where we
recorded various Improvisations together.
One musician I met in lpanema, three days before the flight home. I wandered past a cafe where a trio was playing
standards. J had been told of a girl who played harmonica and had tried to make contact without success, so on
introducing myself, the first question had to be, "Are you Guta?", to which came a surprised and affirmative reply.
We met up that evening to record, which resulted in Guta playing some lovely harmonica on 'Bird of Paradise'.
Travelling in Brazil reminded me of other enormous countries such as India or North America, through which
one can travel either by rrain or bus, surrendering to a slower pace, watching the world go by. One travelling
opportunity came when giving a concert and workshop (teaching overtone singing) in Brasilia. Brasilia, one of
the wealthiest cities in the country, is an early sixties', purpose· built capital city, futuristic in its appearance even
now and sometimes quite surreal and bizarre. Two hours drive away, close to a national park, is Alto Paraiso
('high paradise'). Many residents have built dream houses here, free from planning restrictions, and from what
I could see, the results were always inspiring For visitors of the town there are beautiful nature experiences in
store, with countless waterfalls and forest areas. I had the pleasure of playing in an extraordinary dome, called
the Kaliandra, a geometrically designed space perfect for acoustic music.
'"!"
Other Ira 1 lIlc1uded EsPIritu Santu, where 1 came upon a local rhythm caBed 'congo', kept a1ive III the <ill
"DIWIltyof Barra Do Jucu, a c:oaatal toWn close to V ltona, the main Clty of a state: which IS often overlooked
tounsts. Here I had an encounter with a parrot that had been taught to sing what sounded like a mixture of
iJ
and opera. They arc: truly extraordinary birds, intelligent and humorous.
Sio Paulo was everything I had been told, huge and overwhelming, but I was well looked-after and enjoyed the
chance to meet Utll:li, who were performing a show with street kids for rwo months.
Looking back this morning. as I am due to leave, I decided to come hack soon. Brazil felt like home and there's
III
,,[1
Ravi (June 2003)
no place like home,
"THIS
CD is the culmination
of many years of absorbing
music from Brazil. The kora is not of Brazilian ori-
with Brazilian musicians
in Brazil where more compositions
were written,
inspired
bass
s
Armando
M~al:
bongos,
caxixi (rattle) • Paulo
Marques:
Moura:
Recorded a few blocks from the cafe where 'Girl from Ipanema'
stringed harp-lute.
2. 'KoI/At;Ao BRASILEIRO'
(from 'Cora~iio Brasileiro'
drums, percussion
clariner
s
Sameera:
>
Alex Rocha:
double
voice
- 'Brazilian heart')
shaker
s
Alex Rocha:
double
3. DRIVING TO BUZIOS
Ravi: kora, guitar, electric piano, voice, kaval • Ezio
congas, percussion • Sameera: voice
Buzios is a world-renowned
FiIho:
programming,
beach resort north of Rio and a popular
electric bass • Armando
Mar.,al:
place to escape to from the city.
4.PAltANAGUA
Ravi: kora, electric kora • Robertinho
gos, percussion
Featuring
percussionists
Silva: clay POt, pandero,
percussion>
Armando
Mar.,al:
drums>
Alex Rocha:
double bass
>
Armando
M •••• al: congas,
by the electric
was written. The kora is a West African 21-
Ravi: kora, guitar, berimbao • Roberto Marques: drums, pandcra (tambourine),
bass > Armando
Mar~al: tamborim (drum) • Paulo Moura: clarinet
Dedicated to the greatest Brazilian guitarist, Baden Powell,
Marques:
tamborim • Guta Menezes: harmonica
A tropical storm ... a hammock ... a guitar ... a song.
,
Roberto
Ravi: kora, electric piano, berimbao, kava!, voice, guitar, whisd s • Roberto Marques: drums, pandero, shaker
• Alex Rocha: double bass • Armando
Mar<;al: congas, percussion= Paulo Moura: clarmet > Sameera: voice
Brazil has so many different styles of music and rhythms from its diverse cultural mix, some of which are
explored here. The btrinr/JaoIS a one-stringed rhythmic instrument (bow, stick, stone and shaker) used to accompany the Brazilian martial arts/dance,
Capotim.
Ravi: kora, guitar, voice • Roberto
atmosphere of Rio and bountiful nature experiences. A major part of the pleasure in making this CD was playing with musicians such as Paolo MOIlra, Armando Marral, Robmi"ho Sil••• and especially MarINi Miranda.
othing left to say but ... Samiotk do Brat//'
Rat; (June 2(03)
1. TwENTY-ONE STRING SAMBA
Ravi: kora, electric piano, kaval, voice, guitar>
S. BERIMBAO
6. BIRD OF PARADISE
gut, but usuaUy it is possible to adapt instruments to unfamiliar genres and my own style is not exclusive to any
one culture- Some of the music was written years ago when the first stinings of a love affair with Brazil started, listening to music by musicians such as Baden Powell, A chance meeting in the Cape Verde Islands led to
recording
rwo acoustic koras and my aluminium stereo-electric kora (which also creates the low bass notes). Dedicated to
the long slow tram [ourney that begins at Curitiba, goes through a high region with breathtaking scenery and
arrives at the sea town of Paranagua.
congas, bon-
Robminho Silva and Arma"do Marral who created a layer of samba, on which I played
Bird of PtmuJUt!
S1i,,~ 1Pt!JSand /aiJ dtrys;
Nalll"'~ forltl", smt Ihrollgh Iht ha,!,
I:.vtry dtry it s",;Ii"g o"IYfor YO".
J_nr.,. tirrtV1tSa"d winl.,. schtlnfS,
Jpri"g it caJ1ingtlIil1l1ll1f
faUing
Passio« it like rai" drops 0/1III) ceili"g.
ChorllJ:
A"d if .JOIi Set Iht lightni"g strike,
II~ rofllt /0 brighltn Ii/J Iht /lighl
A"d YOII wiU knOll' Ihat ,very dtry
Is sllch afragra"t blessing.
Soo/l tht" YOllll bear tbe Ihllnder's call;
Tbere is "0 nrysle,,· at aU,
Yoll wiU k,,01l' Iht rai" ro",es soon.
Rai~ 1I'iJ}sand Imsy dtrys.
Nalll"'~ calling in Ihe ha,!
Can YOII hear ber sOllg?
Jhe~tryillg 10 ro""lhrollgh.
Ca".)01I fetllll) fragile earth?
Ca".)01I Set III) beart disappeari"g?
What.JOli go""" lea••, behindfor Iht child",,,, "011'...
ChonlS:
A"d if .)011see tbe lightni"g strike,
II's (0",' 10 brighlen liP yo"r "ighl
A"d YO" wiU kn01l' tbat ,vtry dtry
Is SIIchafragra,,1 blessing.
SOO/lIht" YOllll bear tbe Ihll"der's call,
Tber« is "0 III)slery 01 a/I,
Yoll wiU knQII' tbe rain comes SOOIl.
Yrs "'iJ)be a ",iracl, wiU call,
YOllll see Ihe beallty of it aU
.And every dtry wiU ht a ttlebratio".
This it lhe caUi"g in the nighl,
Yoll al1Pt!Jsd",_,d lhollhis lWllld be,
}.N hold a bird of paradi.".
•
The song "Kabar M,,,,/ti" (Amazon Journey part one) is part of a ntual named ''M,/4nn, where two clans GlIDlr
and Gamep) share the work preparation. One of the clans stays in the forest, preparing the adornments and
flutes and the other 10 the viDage, preparing the food.
?MolNO
Ravi: guitar, kora • Eric Roche: guitar
In memory of a beautiful nature area, where this piece was written.
8. AMAzo
JOURNEY, PARTS I, 2, 3, 4 (tracks 8,9, 10, 11) (fiahlring MarlJli MirwuIa)
Ravi: kora, overtone/throat
singing, kaval, Tibetan singing bowl· Marlui Miranda: voice, flutes, rattles
Roche: guitar (on part one)
THE KORA is a 21 string d harp/lute
s
Eric
I introduced sounds unfamiliar to Brazil such as
kora, singing bowl, kava! and overtone/throat
singing
to this
series
of
improvised
duets.
Marlui brought a range of sounds such as
Indian flutes (including a pan-flute), rattles and
her wonderful voice. Eric Roche added guitar to
pan one in UK.
THE BRAZlUAN
INDIANS
Today in Brazil there are 217 peoples
speaking
more than 180 different languages and adding
up to approximately
350,000 individuals. The
majority of this population lives in thousands
of villages located within 595 Terras lndigrnaJ demarcated
lands
national territory.
- spread
throughout
the
The SUnii tribe was first contacted in 1969 by
FUNAI, the federal government 'bureau for
indigenous affairs'. Until that time 1500 Surui
lived in long houses in the forest: hunting, fishing, and harvesting small gardens. After years of
fighting smallpox, influenza, and small farmers
who invaded their land, the Surui finally got their
land demarcated by the Brazilian government.
Today, 765 Surui
Ravi playing berimbao
people
are struggling
with
extinction. More recently, they have become
involved in community -based ecotourism, building their traditional long houses for tourists to
visit,
from West Africa. Its body IS made from a calabash gourd cut 10 half
and partially covered with cow hide- Traditionally, there are twenty-one playing strings plucked WIth thumb and
forefinger of each hand. The remaining fingers grip the two vertical hand posts. For strings, players use fishing
line which provides a brilliant tone and is easily obtained at the local markets. Twenty-one anchor strings attach
the playing strings to an iron ring bored through the base of the kora's hardwood neck. The player tunes the
kora by moving leather rings on the neck to provide the appropriate tension on each string.
Ravi plays a speaally-built 24-stringed kora with guitar machine heads.
Ravi's ELECTRIC
KORA is a solid body, aluminium, stereo instrument, built with two high quality custom
humbucker pickups, Designed by Ravi and Tim Martyn, it has a completely unique and very ambient sound.
You can hear a solo performance
of it on Ravi's album 'Kora so Far' on a piece called 'On the Way'.
OVERTONE
the tightened
SINGING:
This singing technique is also called 'throat singing'. The singer forces air through
vocal chords, in order to produce notes. By changing the oral cavity, overtones of these notes are
made to resonate
and are amplified
so that a melody can be formed.
The KAVA!. is a wooden, nm-blown flute played in south-eastern
Europe and Turkey. It is generally made of
boxwood, with even finger-holes and one thumb-hole. Originally the kava! was made in one piece, but today's
instruments usually consist of three separable tubes with a total length of about 60-90
rings often reinforce the joints to prevent the wood from cracking.
cm (23-35
in.) Bone
RAVI
lnslnlnmlls: kora (by Les Sherwood),
electric kora (by TIm Martyn), guitar, keyboards,
sion, singing bowls, flute, voice and overtone/throat
bass, betimbao,
percus-
singing
Ravi has been involved in world/fusion
music for over twenty years and recorded and performed with musicians from many diverse fields of music, such as TaMil S;IIgh,Nigel Ktnnttfy,jantt Pmy, Phil Mantatlerll,joll Lord,
Danf!Y Thompson, Datvid A/kn, Arthur Brown, Suns of A"lUII, Loop GUnI, Sitar Flink, Sasha, Ronu Mt1}lI1IIdar,fuslin
!ali, Do« Prtmal, Craig PrNus,jaekit McSlm, Frankit Armstrong ...
Some of Ravi's previous CD releases are: TheAfro-Indian Projtd (ARC Music, EUCD1663)
featuring musicians
from UK and India such as Tarun Bhattacharya (santoor). The African Kora,joll11/'Ysof tht Sun....thr(ARC
Music,
EUCD1502),
The 0tItrt01U Choir (featuring overtone/throat
singing and gongs, solo kora, flutes), Kora sofar,
Konu, Kora Colours (with double bass, percussion and drums). llljinit/ (with Ravi's sister, Suvama: ambient/chiD
out and Indian fusion).
Ravi holds workshops
in overtone
singing and lectures on world music.
s_ ,.";,.,,
",.
CD ,.ktuu:
• The Afro Indian Project: ";., fJlltstaNlitrgpkryi"!i an amlsiilk a"" tnln1tJi#mg w/rll,."talfiuion
ntrmIillg." fRoots
• '!4 IIIIIiJiaIIhtrrJ tklighl. "The Planet
• "/lalli has p"lk; off a /ttWlIl!! lfHNIlIIOI'IJ ","sic aibN",. " The Insight
• "/11 &wi~ha"'" tbt Mf'tJ, as ",,0 as btinggtntk an; o/pnotic, CtJ1/
P"""1t po""" rhorrlswiJh IhI besl of tbt",. Tbe tjJm is
1Xrihtrg. " Glasgow Mayfest
• "This IIIIIIJlltnutlllilk trtaktl a boalltiftl molaiCof 101l"ds.Don~ paslll/> a chonlt to IN _ hNr RiuII"s lIIOlIIinfol",lIIic."
Kashmir club
GUTA MENEZES
Guta studied 'Harmony' with Isidoro Kutno,
'Arrangement' with Ian Guest and 'Improvisation'
WIth dson Faria and Idriss Boudrioua. She studied harmonica with Jose Staneck and Mauricio
Einhorn and trumpet at the Brazilian Music
Conservatory with Paulo Mendonca and currentIy with ahor.
She performed in TV film music for "Porto dos
Milagres" (TV Soap), "Malha~io", "La~os de
Famllia" and "Anos Rebeldes" in the Rede Globo.
She also taught in music schools, such as Antonio
Adolfo, Rio MUsica ete. She played in a special
documentary (SB1), about Bossa ova and performed with Yllri Popoff, LOI H".",anol amongst
others. Guta contributed to recordings of Viftor
Salflqs, Marli"ho Ja Vila, Yllri Popoff, Dllrval Ferreira,
ROllalJo Diama"tr and the Rio jatt Orqlltllra and
played with PtJlllo MOllra~ Orchtllra and with the
composers join Dona/() and Vltlor Biglione. She
played at the Buzios Jazz Festival with the
OrqlltJlra Ja A""n, accompanying the American
singer /J4rlJa,.,.HtnJrix. Currently Guta plays with
the Rio jatt Orrbellra and in the band AlIas Horas
of the TV show host/presenter Strginho Grois",all.
BERTINHO SILVA
Bobertinho is one of the most significant Brazilian arusts of the last decades. His name 15 part of Brazilian
Jnusic history. Robertinho is a charismatic popular performer and his art of drumming and percussion WIth
enormous dexterity, accomplished technique are a treat to behold.
Ever since the beginning of his career in the late 1960's he has played in recordings and shows with the biggest
names of the national and tnternational music scene, such as MiIIoII ascilllento, with whom he played for 25
years,joao Dona14 Alltoll" CIlTiosjobilll, W.g/lt' Shol'/rr, PaIIl Hont, GeorgeDNh, Eghtdo Gis",onti, Aim Mortlf'tJ, Flora
PIIrim, RtJNItk SaIlZa, Dori C.g_"
CIJi 7jIIIIn; .lOftIh VtJIIl,hall, Gilhtrto Gi4 Tollinho Horta and more recently l.-na
a..o and Glliihtrmt Vngwtiro.
In his solo career, Robertinho Silva has recorded five CDs. He performs with his band and holds seminars and
workshops around Brazil and m other countries.
Robertinho formed the "Os iIva" ensemble with his four percussionist sons Ronalda, Vanderlei, Pablo and
Thiago and his wife A1euda Silva. He also founded "As Levadas", a band of women percussionists, a product
of his work as master of the teaching art.
ARMANDO MARc;A1
Armando Ma~a1 is one of the most talented percussionists in Brazil today. A native of Rio, he has been surrounded bv Brazilian music his whole life. His father, known in Brazil as "Mestre (Master) M~",
was the
most noted percussionist of Brazil, and during his life played a significant role in the percussion segment of
Brazil's "CarnavaI". As well as being a member of the Pal Mtthtrry Groll/>for some of their most classic albums,
both Armando M~
and Gil Goldstein were an important part of Pal Mtlhtrry~ "Stml Story" recording project.
Guta Menezes
PAULO MOURA
Son of a band leader and brother to other musicians, Paulo Moura started playing piano and clarinet in his native
town, Sao Jose do Rio Preto (Sp). Later on, Moura moved to Rio de Janeiro, where he played at baIls, parties
and casinos, as a member of Zacbarias e sea Orqlltrlra (Zacharias and his Orchestra). In Rio de Janeiro, Moura
attended lessons at the ational School of Music, where he studied music theory, harmony, conducting,
arrangement and orchestration. At 17, Moura played first clarinet of the ational Theatre Orchestra of Rio de
Janeiro. During the same period, Moura accompanied Ary Barroso on a trip to Mexico and Russia, where he
conducted the Mosro.' ~"",honic Orchtslra. Moura has always been extremely interested in jazz, and was the
founder of one of the first jazz bands in Brazil, playing sax and clarinet. In 1957, he recorded the album "Pallio
MOllra e Ilia Orqlltslra para hailes". Alternating between classical and popular music, Moura used to hang out with
bossa nova musicians at the nightclub Beco das Garrafas, and wrote arrangements for Elis Rlgina, Fagner and
Millon Nasdmento. In 1976, Paulo Moura made the album "Collfiuiio UrlNuta, SIIbstrltmtae RsmJ/" and toured Japan.
In the SO's,he released one of his most famous albums, "Mislllf'll e MaIlJa". His repertoire is comprised of classical music pieces as well as choroand lflfoirrz. In 1992, in collaboration with the guitarist R4phat1 &bolio, Moura
recorded the album "Dds lrlll<iDs", WUlningthe Sharp MIIIK AsNrJ for best popular mUSICperformer.
Apart from that Sameera also leads the band
A ••••.•, with an album produced by WiD M.1IItlI
(Soulll Soul Z Danicla Mercury). She has toured
Europe and Asia with other projects from classical to popular music and has recorded several
albums in Brazil. Sameera has a degree in Music,
major: sinwnR, from the Univmity of Rio dejalltiro
and a Post Graduate degree at the CNi!dhaU School
of MIIIit and Drama, in the UK.
MAllLVI
MIRANDA,
SInger, composer,
researcher, has studied the musical aadibons
of the Brazilian
Amazon Indians for two deeades, and i. widely recognizcd as the consummate performer of Amazon indige
nous music. She has ineerpreted and adapted aaditional chants and songs from many Brazilian Indian nations.
Marlw has recorded, performed and toured with leading Brazilian musicians including Millon
asrinrtlfto, Cilbtrto
CiJ, Eg/ItrlQ Gistmmli and Na/fa Vas",_los, and composcd music for movies, documentaries, television series and
plays. She worked as music supervisor and soloist in Hector Babenco's AI p~ ;" Iht Fields of Iht Lord and Luis
Alberto Pereira' "HillIS SkuIm" feature films.
She toured in Europe in 1998 with her group performing her work "Ih", ToJos os SotI/' in Germany, Belgium and
Austria.
Marlui is engaged in various ongoing research projects, e.g. Documentation
on Panar.I Tribe's Culture,
ALEX ROCHA (bass)
Alex is a bassist, composer and arranger, He was
born in Rio de Janeiro and studied double bass at
the Uflivmity EsltkW de sa. He accompanied vari-
Documentation
on Tuyuka Ceremonies and "Bridge Among Peoples _ Remembrance":
recordings and documentarion of five Amazonian rribes: Tiryo, Kaxuyana, Wayana, Apalai and PaIikur.
For her research work she has received many grants from the Gugenheim
Memorial Foundation,
the
Rockefeller Foundation,
State Secretary of Cultural Endowment
for the Arts (Sio Paulo), Ministry of
ous artists of Brazilian music, such as [;",ili.
StmtkttfJ, Ttilfia Aiws, Cds« BINes&y, l'ldor Bi/l,li.nt,
Communications
(Brasilia), Government
of Amapoi State Endowment
and many others.
She has lectured at the University of Chicago, University of Madison Wisconsin, Uruversity of Sio Paulo,
University of Rio de Janeiro, Dartmouth
College, St. Thomas University Minneapolis, and others.
Rio Jazz Orqlftstra, Osmar Mililo and others.
He is a member of the group of the TV show
"Cmk IlflKtlfu" of Rede Globo Tv.
During her career she has released a number of CDs and coDaborated on numerous album releases of
renowned artists. For her musical work she has been awarded many prizes, e.g. the Sharp MIIsk Awarri for instrumental music with the Grupo Pau Brasil. Best FM"'" Film MIIIit for "Hans Staden", &sf .ftHmJtrt«k
umentary "Amerfndia", Bes. World MIIIit CD for "Ib», Todosas Sons" (Ihu, AU of the Sounds).
ROBERTO
"ALEMAO"
MARQUES
A oative of Rio de Janeiro, Roberto
•••
for the doc-
BRASIUEN
(von Ravi)
Man verbindet
Brasilien
(drums)
Marques has been playing professionaUy
for twenty years. During
Bildern
that time
to his performing
career, Roberto
At pIesent he teaches drums at the EshiJio Am and Rio Musica and works with a variety of instrumental
projects aU over the country.
DEVA
SAMEERA
(aka Gabriela
Sameera IS a singer and composer
music
Geluda)
and co-leads
the band DrnrtKllJ/ko
FarOut R«ords, UK. She appears as a guest on the latest A'()_lh
wllh great lWDes of Bra2:ilian music, both released by FarOut.
der wichtigsten
is also a teacher at Rio's "Estudio
Arte" and "Rio Musica". For two years he lived in New York, where he toured the jazz circuit. He made his
mark in the Brazilian instrumental music along such names as Vid.r Bigli.II', ArlIIr Maia, P""linho c"ilarra, Andri
Ntilltl, AlIIoflio PtJro (Mutantes) and Olodstnr (Bahia).
(with Mauro Berman),
album and co-writes
with releases on
on the project MtIIIfOfId
oft
z. B. extrernem
mit
srereorypen
Reichtum
und
Armut,
Slums und endlosen
Sandstriinden.
Brasiliens Musik war fUr mich schon immer eine
he has worked with a wide variety of musical groups and acts, along with doing recording sessions in major Riobased studios. He has also been touring aU over the world with Brazilian artists. His stylistic skills range from
Brazilian music to Latin Jazz. In addition
wie
Alex Rocha
vielen
InspirationsqueUen,
Anliiufen flog ich endlich
2002 nach Rio de Janeiro.
und
oach
im Oktober
Wenn man eine Zeidang in diesem faszinierenden
Land lebt, enrdeckr man schliefllich die Gegensiitze, aus
denen die auBerordentliche
kunsderische Energie dieses Landes entspringt. Am Tag meiner AnktInft erzihlte
mir mein Gastgeber und Freund, der Schlagzeuger Robtrto MarqlltS, da/l der Chef der Drogenbanden
yon seiner GefangniszeDe aus angeordnet harte, die Stadt abzuriegeln, einschlic6lich der Brucke zwischen Rio und der
Schwesterstadt
iteroi, wo ich wohote. Roberto wuBte nicht, ob er an diesem Abend WIeder zu seiner Familie
zuriickkehren konnte. Als Musiker in dieser Stadt zu leben, kann ziemlich geflibrlich sein.
Aber das war nicht immer so. Die ,Cidadt MaraviIhosa' (,wunderschone
Stadt') bane den unumsrrittenen
Ruf, in
Mvalk iauncr tonangebend zu sein, z. B. mit der Schopfung einer der groBten Kunstformen, des Bossa
SIo Paulo bat inzwisehen Rio nicht nur im FuBbaII, sondem auch in Bezug auf seine einst blahende
Muaikuene Ul den Hintcrgrund gedringr.
Ich zasre nach Brui1ien, um mit einigen talentiertcn Musikem, die ich auf meincr friiheren Reise zu Konzerten
Ul unci um Rio getroffen hatte, Aufnahmen zu machen. Dies planten wir, als ich beim Jazzfestival auf den Cap
erde-Ioseln die Beg1eitband der brasilianischen Singerin V", Ntgr/Jlllonh kennenlernte, Ich trot don mit dem
Giw"Iistm Erit &dM und dem legcndiren Musiker aus Cap Verde, PtMJlinoVItr •••auf. Roberto Marques hat sich
IIICInaI Wwtsch, in BrUilien Konzerte zu gebcn, zu Herzen genommen und amangierte einige Auftritre fur
micb. Cap Verde mit seiner Atchitektur im Kolonialstil und portugiesischen Mundart w:ar mein Sprungbrett
nach Brasilien, dem Land des Samba und Bossa 0VlI.
Ich fand eme Unterkunft in doer hundert Jahre alten Villa im portugiesischcn Stil in Santa Teresa, einem Gebiet
mit vida> aIten Gebiuden, dessen Bev6lkerung aus Kiinst1em, Bohemiens und Leuten der ,,In-Szcne'' besteht. Es
ist die urspriiog1icheStadt, die habet liegt und daher kiihL:rist, besonden wenn An&ng Dezembet der Sommer
richtig eioseat. Das alte SttaBcnbahnnetz, wo cine Fohn wmiger als eincn ,Rat' kostet, ist immer noch in Betrieb.
Die I..euIIeugtm, daB die Gcgend nicht sieber ist, abet es passicrte nichts, unciicb 1emte die grundlcgcnden Obu1ebensftgeIn: kr:ineTiiten tragen, keine Kreditkarten oder Geldscheine oder irgendetwas Wertvolles bei sich baben
und our in "unge&hrlichcn" Gegendcn den Bus bcnutzcn (wenn iibethaupt),1II8ODSteDTuis nchmen.
Das bnsiIiIoiec:he Abcn~
Iie8mein Gitarrenspiel wiederaufleben, uncieinige Bossa Nova-Kompositionen _
der Vetgtngcnheit taUchten wieder auf und wurdcn in die CD aufgenommen. Meine wichtigsten InspitatiOllal
w:arendie zeidoeal Aufnahmat brasi1ianischerGroIlen wie Nam Lt4o,JoiiD Gi.iImII WId T_ JobiIIt. Kurz bevoe WJr
mit den A"fnpbmcn beganncn, fand Robert eincn Satz "antike" TrommeJn, die VOII Musikem wie V- "III RMIiD
gapidt wurden, &Issic in den spiten 1950em und Anfang der 1960erJahre in Rio den Bossa-Sounclkreierta1.
Wie in jeder MUlikstadt gibt es auch in Rio viele Studios, von prdsgiinstig bis IuxwiOs, manche mit maleriscber
Aussicht, manche ganz nahe am Strand. Don gibt es quali8zierte Toningenieure und Musi/rcr. Pro-Tools ist die
meisMnUeOdete Aufnahme-Softw2re, _ gut ist, wenn man nicht auf em Studio fixiert aein will
Einer meiner Pline war, mit einigen der legendiren Musiker Braailiens zu spielen. Ich tmf also Hmm/IJ PasattJl,
ein Musikgenie aus AIagoas im ordosten, Br 1ebtin der nordlichen Zone Rios, die den Ruf hat, unsicher und
gefthrIich zu sein. Robeno und ich maehten uns also mit einem leicht unsieheren Gdiihl zu Hermetos Haus
au£ Don tauachten wir Instrumcnte aus und spieltcn, und Hermeto erzahlte uns Geschiehten aus den Zeitcn
mit FItwrl Atrittt, AirlrI MIWrinI und Miles DtIIIiJ. Hermeto spielte auf dem Album letztendlieh doch nicht mit, aber
wir kniipften Verbindungen zu anderen au&tgewOhnliehen Musikem wie Pat#oM_
Zu manc:r Ubemuchungw:ar MIIriNi MinwIa in ihrem Heimat1and Diehtso bekannt, wie ieh angcnommcn hatre.
Sic arbei_ zu Beginn ihrer K2trien: mit Egbtrts GimIottIi. Auf ihrer CD "Todos Os Sons" singt MarIui mit ihrer
auBagew6hnIidte
timme zusammcn mit Gisren wie Gilbtm Gilund dem Pen:ussion-Ensemble U.brasiIianisc:bc1Ddianerlieder.Es geIang Marlui, sieh fUrcine Session im Studio freizumachcn, wo wir zusammcn vcrschiedene Improrisationen aufnahmen.
Drei Tage vor meinem Heimflug traf ich in /panellla eine Musikerin. Ich ging an einem Cafe vorubet wo em
Trio spielte. Ich harte von einem jungen Miidchen gehort, das Harmonika spielte, und ich hatte vergeblleh ver
sucht, mit ihr Kontakt aufzunehmen. Also stellte ich mich vor, und meine erste Frage war: "Bist du Guta?",
worauf ich eine iiberraschtc bejahende Antwort erhielt. Wir trafen uns an diesem Abend, um Aufnahmen zu
machen, und Guta spielte in dem Stiick "Bird of Paradise" sehr schon Harmonika.
Meine Reisen durch Brasilienerinnerten mieh an andere weite Lander wie Indien oder ordamerika, die man bng_
sam mit dem Zug oder Bus durchquercn und dabei die voriiberziehende Landsehaft betrachten kann. Eine solche
Reisegelegenheitergab sich, at. ieh in Brasiliaein Konzert und einen Workshop (irn Oberton-Singen) gab. Brasilia
ist cine der reiehsten Stiidte dieses Landes. Sie wurde in den friihen 1960er Jahren spezieUals Regierungsstadt
geplant und gebaut und maeht noch heute eincn futuristischen Eindruck - manchmal recht surrealistiseh und
bizarr. Zwei Autosrundcn davon entfemt, in der me cines ationalparks, liegt Alto Paraiso (,Hohes Paradies').
Viele Bewohncr haben hier, frei yon Planungsbeschriinkungen ihr Traumhaus gebaut, und wie ich sehen konnte,
waren die Ergebnisse immer cine Inspiration. Fiir Besucher dieser Stadt gibt es wunderschOne aturerlebnisse wie
zahlreiche Wassemne und Waldgebiete.Zu meiner Freude konnte ieh in einer au1krgewOhnlichenKuppel spielen,
genannt Kaliandra, einer geometrlsch gestaltetcn Halle, perfekt fur akustische Musik.
leh reiste unter anderem naeh Espiriru Sanru, wo ieh den don iiblichen Rbythmus ,Congo' kcnncn1ernte, der in
der Gemeinde von Barra Do Jucu viel gespielt wird. Dies ist esne Kiistenstadt in der iihe yon Vitoria, der
Hauptstadt cines Staates, der oft yon Touristen iibersehcn wird. Hier sah ieh einen Papagei. dem beigebracht
worden war zu singen, was wie cine Mischung aus Jazz und Oper klang. Das sind wirklich auBergew6hnliche,
intelligcnte und humorvoUc VOgcII
Sio Paulo erfilllte all meine Erw:artungen - es w:arriesig und iiberwiltigend, abet es wurde gut rur mich gcsorgt.
und ich genoB die Ge1egenheit, die Gruppe
zu treffcn, die zwei Monate lang in einer Show mit
StraBenkindern auftrat.
Heute friih, am Tag meiner Abreise, entschied ieh, bald wiederzukommen. In Brasilien batte ich mieh zu Hause
gefiihlt, und nirgendwo ist es so schOn wie zu Hause.
RIIIIi Guni 2(03)
U.
''DIESE CD kam durch meine Begeisterung rur brasilianisehe Musik zustande. Die Kora stammt nicht aus
Brasilien, aber man kann Instrumente normalerweise an ein fremdes Genre anpassen, und mein eigenee Stil ist
an keine bestimmte Kulrur gebunden. Einige Stiicke harte ich vor Jahren geschrieben, als ich begann, mich flit
Brasilien zu begeistern und Musiker wie Baden Powell hone. Ein zu£alligesTreffen auf den Cap Verde-Inseln
fiihrte zu Aufnahmen mit brasilianischen Musikern in Brasilien, wo, inspiriert von der elektrisierenden
Aanosphiire Rio. und der arur des Landes, weitere Kompositionen geschriebcn wurden. Es war mit ein
besonderes Vergniigcn bei der Produktion dieser CD mit Musikern wie PaoloMum, AnwantJg Mt6f4I, &btrIinho
Sibta und vor aIlem Man.; MinutJa zu spielen.
Es gibt nichts weiter dazu zu sagen als... SatuItJI tIo BrtI!{jJ (StInm«hlIllKh IJnuiIinIr
/Wi Guni 2003)
t. B1NtJNI)ZWANZIo-SArrEN-SAMBA
.
Ravi: Kana, E Plano, Kava!, Gesang. Gitarre • Roberto
Marques:
Schlagzeug, Perkussion • Alex Rocha:
KantralnB • Armando
M~:
Bongos, Rassel • Paulo Moura: Klarinette • Sameera: Gesang
Aufgenommen
in der
aile des Cafes, in dern ••The Girl from Ipanema" geschrieben wurde. Die Kora ist cine
Harfe/Laute
mit 21 Saiten.
2. 'KoIlAc;-'o BIlASILEIRO' (von ,Cona~o Brasiliero' - ,Brasilianisches
westafrikaniache
Ravi: Kors, Gitarre,
KontralnB
• Armando
Berimbao
M~
• Roberto
Marques:
Tamborim
(frommel)
Schlagzeug,
Herz')
Pandera (famburin),
• Paulo Moura: KIarinette
Baden Powell, dem
Gitarristen gewidmet.
Shaker
>
6. BIRD OF PARADISE (paradienogel)
Ravi: Kora, Gitarre, Gesang.
Roberto Marques:
Alex Rocha:
Congas, Tamborim
groRten
Ein tropischer
brasilianischen
3. DRIVING TO Buzros (Fahrt nach Buzios)
Ravi: Kora, Gitam;
E-Pi2no, Gesang, Kaval •
Ezio Filho: Programmierung.
elektrischer BaR •
Armando
Mar~al:
Congas,
Perkussion
•
SchIagzeug
• Alex Rocha:
Sturm ... erne Hingematte
wo dieses StUck geachrieben
8. AMAzONAS-REISE, TEn. 1. 2, 3. 4 (Track 8, 9, to, II) (IIIi/ MarINi Miralltia)
Ravi: Kora, Oberton- jKehlkopfgesang.
Kaval, tibetanische singende Schiissel
der Stadt entfliehen
und ihre wundervolle
Kora • Robertinho
SilYa:
Tontopftrommel,
Pandero,
Perkussion
Armando
M~al:
Congas, Bongos, Perkussion
Hier kreieren &btrtitIho SiItJa und AT71Iantio Mm(al
einen Samba, zu dem ich zwei akustische Karas
und meine elektrische
A1uminium-Stereo-Kora
spielte, die auch die tiefen BaRnoten spielt, Dieses
Stuck ist der langen, langsamen Zugreise gewidmet, die in Curitiba begano, durch ein hochgelegenes Gebiet mit atemberaubender
I.andschaft
fuhrre und in Paranagua, einer Stadt am Meer,
endete,
5. BERIMBAO
Ravi: Kora, E-Pianc,
Berimbao,
Girarre, Pfeifen • Roberto
Kaval, Gesang,
Marques:
Schlagzeug,
• Armando
Ma~al:
... eine Girarre ... ein Lied.
7. MOINO
Ravi: Gitarre, Kora • Eric Roche: Gitarre
Zur Erinnerung an ein wunderschones
aturgebiet,
gesang - Klange, die fUr Bnasilien fremd sind. Marlui trug Indianerfloten
mochte,
KontrabaR
• Guta: Mundharmonika
Sameera: Gesang
Buzios ist ein weltbekannter
Urlaubsort nordheh
von Rio und ein beliebter Orr, wenn man einmal
4.PARANAGUA
Ravi: Kora, elektrische
Ravi playing electric kora
Pandera, Shaker s Alex Rocha: KontralnB • Armando
~:
Congas, Perkussion • Paulo Moura: Klannette
• Sameera: Gesang
In Brasilien gibt es dureh die verschiedenartigen
KuIturen viele unterschiedliche
Musiksnle und Rhythmen, von
denen einige hier erforscht werden. Die Btri",btm ist ein einsaitiges Rhythmusinstrument
(Bogen, Stock, Stein
und Shaker), das zur Begleitung des brasilianischen Kampfsportes/-tanzes
Capo.ira gespielt wird.
Aoten, Rassein • Eric Roche: Gitarre (In Teil 1)
Ich brachte zu dieser Serle improvisierter Duette die Kora, singende
wurde.
• Marlui
Miranda:
Gesang,
Schussel, Kaval und Oberton-/Kehlkopf(einschlieRlich
einer Panflore),
Rasseln
Stimme dazu bei. Eric Roche spielte im Teil I Gitarre dazu.
DIE BRASIUANISCHE
INDIANER
Heute leben in Brasilien 217 Volker, erwa 350.000 Menschen, die mehr als 180 verschiedene Sprachen sprechen.
Der GroBteil dieser BevO.Ikerung lebt in Tausenden von Dorfern in 595 Terras IndigenaJ (RestrVtlkn), die uber das
ganze Staatsgebiet versrreur sind.
Das "Buro flir Eingeborenenangelegenheiten"
der Bundesregierung
(FU AI) nahm im Jahre 1969 das erste
Mal Kontakt mit dem ~Stamm
auf. Bis dahin lebten 1500 Surui in Langhausern im Waldo Sie lebten vom
Jagen, Fischen und dem Bebauen kleiner Garten.
ach jahrelangem Kampf gegen Pocken, Grippe und Farmer,
die in ihr Land eindrangen. bekamen die Surui schlieRlich von dcr brasilianischen Regierung ihr Reservat zugewiesen. Heute gibt es noch 765 Surui, Seit einiger Zeit bieten sie eine Art Okotourismus
in ihren Dorfern
so daR Touristen ihre tradtitioneUen Langhiiuser besichtigen konnen,
Das Lied "Kahar MtreIIIi" (Amazonas-Reise,
Teill) ist Teil eines Rituals, der ,,Mt/are" genannt
sich zwei Stamme (die Gamir und Gamep) die Arbeitsvorbereitungen
und fertigt die Verzierungen und Floren an, und der andere im Dorf
an,
wird, und in dem
teilen. Einer dieser Stiimme ist im Wald
bereitet die Mahlzeiten vor.
DIE KORA ist eine Harfe/Laute
aus Westllfrika mit 21 Saiten. Der KOrper der Kora besteht aus einer halbierten Kalcbassenfrucht
und iSI teilweise mit Rinderhaut bespannt.
ie ist norma1erwcise mit einundzwanzig
Saiten bespannt, die mit Daurnen und Zeigefinger beider Hande gespaelt wetden. Ole restlichen Finger halten
fest. Fl1r die Saiten wird AngeIlane verwendet, die cinen klaren, h llen Ton erzeugt und
Mirktea.1cicht
zu belwmmen 1St. Die Saiten sind mit einundzwanzig Anker-Saiten an einem
tIgt, der dutch das untere Brule des Hartholzhalses
gebohrt ist. Der Spieler stimmt die Kora,
* alid\dhen
inckm er Lederringe am Ha1s verschiebt, um die entsprechende Spannung zu erreichen. Ravi spielt eine speziell haute 24-saiage Kora mit Glurren-Stimmechaniken.
ELEJ[1'IlISCHE KORA 1St ein Stereo-Instrument
aus Aluminium mit zwei hochempfindlichen
spezic:Ilc:a Humbudoer-Tonabnehmern.
Sie warde von Ravi und Tim Martyn entworfen und hat einen ganz eigenen
uod sehr voIIen ~
Auf Ravis Album ,Kora so Far' ist ,On the Way' zu horen, ein Solosriiek auf der E-Kora.
OBERTO
••• III Ram Hii"rlnI bringt tiU Kora, ""'.Ii '<lulItY/mOlis&hwltidJ, ~
Glasgow
AMmIt
IHr-. DN ••••.••••• fsfJ"'_J."
Mayfeot
••• Diem ,;,,'{jgomg, EIUlIIIWe krtimr till _lIIknthiillts
M'lSik '(!Iltbttt II"" '(!I hirmr' Kahmir Oub
KIA"!;-MoslIiIe. V""""",,"
Sit h_ ~
&..is ~
GUTA MENEZES
Guta studierte Harmoruelehre
bei lsidoro Kumo, Arrangement
bei Ian Guest und IrnproVlsaaon bei eIson
Faria und Idriss Boudrioua. Sie lernte Mundharmoruka
bei Jose! Staned. und Mauricio Einhorn und Trompete
am brasiJianlschen Musikkonservatorium
unter Paulo Mendo~
und
ahor.
GESANG:
Diese Gesangstechnik
wird auch ,Kehlkopfgesang'
genanot. Ocr Singer prefit Luft
dutch die gespannteO Sammbinder,
um Tone hervorzubringen.
Dutch Veranderung des Mundraumes werden
Guta sptelte 10 dem Fernsehfihn "Porto dos Mi1agrcs" (Fernseh-Soap),
"Malh~o",
~
,,Anas Rebeldes" im Rede Globo (Fernsehstation).
Sic unterrichtete
ouch in Musikschulen.
ObertOne
speziellen Dokumentation
(SB1) iiber Bossa
ova und trot u. a. mit Yllri PDpofJund LAS HmtltlI/os auf. Guta
spielte in Aufnahmen mit VIIIDr.!MttDs, Mmt;IIho Ja VtIa, Yllri PDpofJ,I>ttnaI Ftrrrira, R01t4lJo Dimtralllt und dem
zum Schwingen
gebracht
und verstarkt,
so daB man eine Melodie formen
kann.
Die U :AI.
I t eine hOlzeroe, iiber den Rand geblasene
Flore aus Stidosteuropa und der Tiirkd. Sie ist gewi>hn1ich aus Buchsbaumbolz,
mit sieben FingerlOchern und einem Daumenloch.
Urspriinglich wurde die Kaval aus
emem StUck bergeste11t, die heutigen Instrumente
bestehen jedoch meistens aus drei zusammensteckbaren
Rohten
mit einer Gesamtlinge
zu verhindero,
von etwa 60-90
em. Oft werden die Enden
mit Knochenringen
verstarkt,
um
daB die StUcke brecben.
Kora (gebaut von Les Sherwood), elektrische Kora (gebaut von Tun Martyn),
Girarre, Keyboards, BaB, Berimbao, Perkussion, singende Schiisseln, Flore, Gesang und Oberton-Gesang.
IIISfrIIMtIIk:
sich seit iiber zwanzigJahren
mit World-/Fusionmusik
und machte Aufnahmen
und Auftritte
mit Musikem aus vielen verschiedenen
Bereichen, wie z. B. mit TaMil Sillgh, Nigel Mlllt!!, ja",1 Pmy, Phil
MIIII:(!IIIera,JOIILtmI, DtlI/1/.Y7bompSOll,DaeIIiJ AIIm, ArthllT Bro_, S''''S of Arqllll, LtxJp GIIrII, Sitar rimk, Sasha, Ronll
.MJ9--.]/lSlill
VaIi, Dtva Pn",~
Einige von Ravis bisherigen
tannien und Indien (farun
Craig Prttw.]adeie McShtt, Frallleie Arm.rIrollg ...
CDs: 11JtAfro-Illdiall Pro/ttl (ARC Music, EUCDl663)
mit Musikern aus GroObriBhattacharya,
Santoor; 11Jt Ajri((ln Kora, jOIlTfltyS of the SIIIIIIItZIhr [ARC Music,
EUCDl502j;
11JtOvert.", Choir mit Oberron- /Kehlkopfgesang
und Gongs, Solo- Kora, Flaten; Kora Sofor, Korus,
Kora CoIotm mit KontrobaO, Perkussion und Trommeln; 'lIftllit; mit Ravis Schwester Suvarna: Ambiente/Chillout und indiselle Fusion).
Ravi hilt Workshops in Obertongesang
und gibt Vortrige uber Worldmusik.
DN Pns# /lIIw __ CDs:
• The
fro..lndian
fRoots
Project: ••.•. htmJrragttuIu
c.-
.,.EitI ~
pThe Planet
.,.a.; 1Jtd•• 1IIirIeJidJ gttIu W~·A1_
Spiel; tillt
~
'"'billn 1I"""11ttrhaltkUllt ituJnlJwttlak
gtbradJl. "The Insight
Fllnoll-Atijitah",,"
Orrhukrund
basi1ianischen
joao Dtnra/o und Vidor Bit./iollt.
lJtirlkmz Httulrix. Zur Zeit tritt sie mit dem
TaIkm2sters Sery}IIiJoGroimtatl.
mit den Komponisten
Beim BUzios Jazz-Festiva1 beg1citete sic die amerikanische Singerin
Rill jll:(.t Orthtmr auf und in der Band AlIas HtmlS des FernsehshowROBERTINHO
SILVA
Robc:rtinho ist einer der bedeutmdsten
RAVI
RaVl beschiftigt
Rill jll:(.t Orrhukr sowie mit dem PtDtIDM_
de Familia" und
Sie spielte 10 ciner
Kiinstler der 1etztm Jahrzehnte.
Sein
orne ist ein fester
Bestandtcil der brasilianischen MusiJlgeschichte. Robertinho ist ein charismatischer, beliebter Kiinsder; sein enonnes
Geschiek mitTrommeln und Perkussion und seine vo11endete Technik zu beobachten, ist ein besonderes Vergnugen.
Seit dem Beginn seiner Kaniere in den spaten 1960er Jahren spielte er in Aufnahmen und Shows mit den graBten Kiinsdem der nationalen und internationalen
Musikszene, wie z. B. Milton Nas&imtllhJ (mit dem er 25 Jahre
1ang spielte), joao DtnraIo, A1IIPtIW CarIM JOM,
W'!1'" Shomr, PIIII/ Hom, Gtorge DIIh, EgbtrhJw-Ii,
Aim
Mmim, Flora
RmJ tlt.fottta, Dori Cttylllllli, Ca/ 1jMer, Sarah V/UlghaII, GilbtrhJGi~ TtmiIIhoHorta und kUrz-
p",;""
lich mit Lisa 0..0 und GtIiIhmm Vttglltin>.
Robertinho
Workshops
Robertinho
i1va hat als Solist fiinf CDs aufgenommen.
in BrasiJien und anderen Undern.
griindete das "Os Silva" Ensemble
Vanderlei, Pablo und Thiago,
Perkussionband
,,As Levadas".
die Perkussion
Er tritt mit seiner Band auf und hilt Seminare
und
mit seiner Frau Aleuda Silva und seinen vier SOhnen Renaldo,
spielen.
Aus seinen
Srudenten
griindete
er die wcibliche
ARMANDO
MARc;AL
Armando ~
ist einer der talentiertesten
Perkussionisten
Brasiliens. In seiner Heimatstadt Rio war er sein
Leben 1ang von brasilianischer
Musik umgeben. Sein Vater war als "MeISter ~"
de< bekannteSte
Perkussionist In Brasilien und spielte eine bedeutende Rolle in BrasiJiens KarnevaL Armando spielte als Mitglied
der Pat MtthnrJ Grttppt auf den meisten ihrer klassischen
zu Pat Mt~
"s.mt SIory" teil.
Alben und nahm mit GiJ Goldstein
an den Aufnahmen
~:~~
~
~die.SIIiam WirdAngelIeine verwendet, die anen !daren. beIlen Ton erzeugt und
Jeicht _ beIrommen lit. Die Saiten sind mat einundzwmzig Anker Saiten an einem
:eImdlda ~
Bnde des Hartholzhalaes gebobrt lit. Der Spider stmunt die Kora,
Id*~Ie-HaIs wacbiebt, um die uusp=hende Spannung zu CJ1'Cicben.Ravi spielt cine spezi~Kom_~
em Smeo-Insttument aus A1uminium mat_ bocbempfindIich
speziTonebnrhmem. Sie wmde YOn Ravi und Tun Martyn entworfen DUd hat anen ganz eigenen
WIIalKlan& Auf Ravis AIbum,Kora so Far' ist .On the Way' zu bOren, an SoIostiidt auf der E-Kora.
tV~.=~j::~:::mRA.lSt
H
••
~
die~tm
ZUlU
Diae Gcsangsteclmik wird auch ,KdtIkopfgesang' pannt.
Der Singer preSt Luft
Stiuimbiader, um TOne hervorzubringen. Dun:h Vaindmmg des Mwldraumes werden
Scbwmgen gebncbt and verstirkt, so daB man eme Melodie formen bnn.
temc hOIxrue, iibcrc\en Rand geblasene FIOteaus Siidosteuropaund derT"wUi. Sic istgewOhnIiCh _ BuduJNpunholz, IDIt sieben FingedOchern und emem Daumenloc:h. Unpringlich wurde die Kava! aus
anem StOck bcrpatdt, die beutigen Insttumente bestehen jedoch __
drei. zusammensteckbarcn
ltotueu lIIIt emet Gaamdingc YOn mra 60-90 an. Oft werden die Enden nut KnochenDngen verstirkt, urn
zu ~
daB dR: dlcke lmchc:n.
I~
Kon (gebaut wn Les Shcrwood). eIekuische Kora (gcbaut YOn Tun ~
•
Gi ••••• Keyboards. BaB, Berimbao, Perkusaion, singcnc:IeSchiisseln, Flote, Gesang and Oberton-Gesang.
Ravi ~
sid! seit iiber zwanzigJahren aut Workl-/Fusionmusik und machte AufuaIunen und Auftritte
iDit MPsikern aus vie1en venc:hiedencn Beteichen, wie z. B. mit T." Si"t/J. N;,p
Prrry. Phil
~jM
lArtJ, ~
'l1Jutpstm, v-;aAJ/m.ArtIntr
B_.
SlIm of AtrJ"'" Loop Gotni. Sil4rFII1IIe;.l4tba, BonN
~}tuIitf
WrIi, V- PrrttIaI, c,..;g PrMtss,Jadi4 M&Shtt. FrtmJ:i, AflJUIrDng...
EliJ.9:won RaVJIbisbaigen CDs: 11HAfrP-lfllii(Jf/ Pro}td (ARC Music, EUCDl663) aut Musikcrn aus GroBbri~
and Indien (rarun Bhattacharya, Santoor; 11M Afri- &ra, jONrl/!ys of the ~
[ARC Music,
l!WCDtS02j.11M <AmMI CMiraut Oberton-;Kehlkopfgcsang und Gongs, Solo-Kora, FIO!m:RiIIw mfor. KOI7IS,
KMi- CA/IItn aut KonttabaB. ~sion
unci Trommeln; llljini!J mil Ravis Schwester Suvama: Ambiente/ChillCIGt and indisdte Fution)
~
bitt \1b:kshopIln Obatongeseg DUd gIbt ortrige iiber Woddmusik.
x...,g.J-'
,;fJII~_"''''''CDrt
~-Proja:u
.MM1.....,~_••••••-'~
FruUJ..AItJiwI- ••
.. .. ..
.~~m~~~j~~~~).Ili1~~tement
associ& au Bresil, comme des 6i:_ sodaux ~
awe des
JIItles dans Ia ~
nolre, des bidonvilles ee des pIagcs ~
fin. La DlU&que
JIrind~
sources dWpuatlOD ee ~
de IIODlhrI!wtp1O)ctBde VlSItequi
r_ pour Rio de]aneiltl en ~
2002
00 finit par petce¥OIf 1es Coiltndictions i forigloede ~
Vltade moo arnvee.mon aau ct b&e, Ie batteut &bm8 ~
n\'tIpptit que Ie chef
.l.· •• ~~.~
I'ordte tie sa cellule en prison) de.fermer Ia vi1le, ~.le
poot enll.: Rio
I:IldIt pomt d'attache. Roberto me COnDa son inquietude cu iI n'~
pas sUr de pouvotr
~ .au Ja. La profession de musiClen peut s'a-.a-u cIaogereuse dai cette ville.
J1 r/t:t1 a
~
~ ••• : 1a uCiJMIe M.amviIhostI' (rille merveiIIeusC} '&.it iIllpoMe en ~
par sa
c1oaf<IA C1'I!ation d'une des plus belles formes d'art &IIl'.IIOIIde,la bOssa nova. UJOuN'bui,
Pal:lkJa ~liO;nonseulementpoot
ee qui est du footba11mais ~
parfessor musicslqu'elJe connut.
J
lII1~
pour ean:gmrer avec Certa1flS des nombreux I1I\IlIIae.tIB dcrbilent et c:hevronna que favais
~1IIk!IIt
~
1cm d'DOe t.ournee de concerts a Rio et dans 1es .tenDttL 'lOut comm~
1cmque je
Iii 1a ~
dll g;coupe accomptgnant 1a chanteuse bresilienne V'" N/IfIWIIMIII au festival du Jazz de Cap
en; ll~
duqud F jouaI en association avec Ie guitariste EN RDtIH ct le legendaire AItJIituJ Vtmt, muskien
~
JWbcrto Marques aymt a cc:eur de r6aliset moo souhait de me produire au Bresil, orgamsa des son
~
au paya IlOU.te une sC!:iede concerts. Le Cap Vert avec ses bAtiments de style colonial et son patois derive
.~
~
lIB IlII1IIplin pour ma carriere musicale au BrCsiJ, berceau des samba et bossa nova.
~
des c:haQlbres dans une villa vieille d un si«le er de style portugais a Santa Teresa, dont 1a
1.·_·,;,IIIooM •• ..., ~
de 8OIllptIICIl1 bAaments anCIenS ct pcuplie d'artisteS, de bobemiens et de "branches". n
111I··,';"'·!!I!ll~& 1a 1:i1Ie ~
u:coGftrWte routefojs sur 1es haateun aU I air est plus frais, ce qui est d'autant plus
~
Ia c:Imleur d'~COIJIlXIe1l(:e a pese!:vem debut d6i:embre. Les vteUX ttamw'ays Ysont roujqurs
Ie pti d'1Ift ddI:cl t infI!acw: a un nttIbRsilieiL On m'aw1t dit que Ia ~
n'Clait pas 8~, mais
~~
a1cm les pt6i:auuons essenlielles ApraxIre lonqu'oo sort : ne pas emporter
111
~
Dllmportante somme d'agent, ct lie preod.te lea mnspona en com~~.f,III:Il {.''''~
IIiaon dq>Iaccr en ta:IU
••••• 'iIIi!'a l",,"oii&dc R!I!ouveIer moo JCll Ala ~
et cemunes vieilles bossa nova onr
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Je suis interesse par Ie type de musique suivant :
Ich bin an folgender Musik interessiert:
Estoy interesado en la rmisica siguiente:
I. Any kind of Folk & World Music
Jede Art Folklore & Weltmusik
0 16. Scottish Pipes and Drums
Schottischer Dudelsack
0
2. Africa
0 17. Norway, Sweden, Finland, Iceland
0
3. Belly Dance / Bauchtanz
0 18. France / Frankreich - Musette
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4. Middle East (Turkey, Iran)
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5. Asia (India) / Asien (Indien)
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7. South Seas/ Siidsee (Tahiti)
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8. Australia (Aborigines)
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9. South America! Siidamerika
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0 10. Latin America general
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0 II. Tango Argentino
0 12. Tropical Dance
(Salsa, Merengue)
0 13. North American Indian
Nordamerikanische Indianer
0 14. Bluegrass - Square Dance
0 15. Celtic Folk (Ireland, Scotland)
o
o
o
o
o
o
o
19. Spain / Spanien - Flamenco
20. Portugal (Fado)
21. Greece, Italy /
Griechenland, Italien
22. Gypsy Music / Zigeunermusik
23. East Europe / Osteuropa
24. The Balkans / Balkan
25. Russia / RuBland
26. Yiddish, Israel
27. New Age, Relaxation
Entspannungsmusik
28. Sophisticated Rock Music
Anspruchsvolle Rockmusik
0 29. World Music Fusion
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30. Guitar / Gitarre
31. Classical Music /
Klassische Musik
,amt surface, qui ont notamment ere incluses dans I'album. Au nombte de mes plus grandes sources d'inspiralIOn figurent des disques au charme intempord
de grands artistes bresiliens comme Narrz LUo,foitJ GiJbtmJ et
T_ 10M. Alon que nous allions commencer lcs sCances d'enregisttement, Roberto tomba par hasard sur un
JCU de tambours anciens, semblablcs a ceux qua avaient ere utilises pour creer Ia tonalire de Ja bossa nova Ii.Rio,
de Ia fin des snnees cinquante au debut des annees soiunte, par des musiciens comme DoIII 11111RmtttiD.
Comme routes les grandes viBes oilla musique est fortement presente, Rio offre une grande variere de studios,
pour tous budgets, dont nombre
avec vue sur un paysage pittoresque
de la plage. On y trouve des ingenieun
Tools est Ie logiciel de montage
du son et des musiciens
et de mixage Ie plus couramment
et certains Ii.quelques centaines
expern
dans leurs domaines
de metres
respectifs,
Pro-
utilise, ce qui facilite les choses si vous ne vou-
lez pas vous limiter a un seul studio.
J'avais notamment pour projet de rencontrer et de jouer avec certains des musiciens legendaires du Bresil, aussi
ai-je rendu visite H..PtuataJ,
instrumcnuste5
de genie originaire de Abgoas dans le nord-est du pays. Il vit
dans les quartiers nord de Rio, reputes Iouches et dangetew<. C'est done avec que1que apprehension que Robert
a
et moi nous sommes
II nous a egalement
Miks DOIis. Hermeto
rendus chez Hermeto,
raconte des anecdotes
DC
figure pas
oil nous avons echange momentanement
datant de ses associations
ur cet album, mais d'autres
nos instruments
et joue.
musicales avec Flora Pllrim, Airto Mornra et
coUaborations
furent organisees
avec d'autres
instrumentistes
d'exception comme RIolo MOIIra.
Je decouvris avec surprise que Marbti Minmt/a n'etait pas aussi celebre dans son pays natal que jc Ie pensais. Cette
artiste, qui au debut de sa carnett fut associee avec Egbtrto Gismonli, deploie dans son CD ''Todos as Sons" un
talent extraordinaire en chantant aux c:lItCs d'lOvires comme GiIbtrto Gil et l'ensemble de percussion lJakIi, donnant aux chansons indiennes du BmiI un caractett des plus fascinanL rille s'arrangea pour inclure dans son emploi
du temps une seance en studio, au coon de laqueI1e nous avons ~stre
diverses improvisations ensemble.
Trois jours avant mon retour, je rencontrai une autre artiste II fptmntta. Alon que je me promenais, je vis sur la
terrasse d'un cafe un trio qui interpretalt des classiques. On m'avait dit qu'une jeune fiIle qui jouait de l'harrnonica avair essaye de me contacter
sans succes, Aussi en me presentant
a la musicienne
du trio ma premiere
ques-
bon fur en route I<>wque "Etes-vous Guta ?", ce i quoi surprise eUe repondir par I'affirmative. Nous nous
sommes donne rendez-vous dans la soiree pour une seance d'enregistrement,
er on peut entendre les dclices
melodiques
de Guta
a I'harmonica
dans le morceau
"Bird of Paradise".
.
ord.ou I'on voyage en tram
ou en car, OJ ant accepte avec resignabon ees modes de transport au I'on passe de longues heures a regarder defiler le pa~sage. J'ai eu notamment Poccssion de voyager pour me rendre a Brasilia, ou je devais donner un con~ert
~ animer un atelier (de formation au chant harmoruque). Brasilia. une des plus riches vilIes du pays, a vu Ie JOur
au debut des annees soixante. Certe capltale nee d'un pro",t urbain strattgique a encore aujourd'hw un aspect
futuriste, voire bizarre et surrealiste, A deux heures de hi.par la route, a proximite d'un pan: national, se trOuv.e
Alto Paraiso ("Paradis sur les hauteurs''). De nombreuses maisons de reve ont ete construites dans cet endrolt
Le Bresil m'a rappde certains autres VllStes pays commc l'Inde ou l'Arnerique du
soumis
a aucune
regie d'urbanisme
er, d'aptes ce que J'ai pu voir, les tesultats sont tous fascinants. Les visiteurs
seront seduits pat la nature et ses superbes paysages, la ville recelant d'innombrables
cascades er d' espaces boises, J'ai eu le plaisir de jouer sous un d6me cxrraordinaire, le Kaliandra, qui pat sa forme giometrique
constirue
une salle de concert ideale pour musique acoustique.
Mes deplacemenrs dans le pays m'ont notamment conduit
rythme local appele "congo" encore communement
joue
a Espiriru
a
Sanru, OU j'eus I'occasion de decouvrir
Barra Do Jucu, un village du littoral proche
Vitoria, ville principal d'un Hut souvent omis dans les circuits touristiques. La, j'ai vu un perroquet
avait appris a chanter ce qui ressemble i un melange de jazz et d'opera. Ces oiscaux sont vraiment
mires, intelligents et drOles.
un
de
a qui
I'on
extraordi-
3. SUR LA ROUTE DE BuZiOS
1lavi : kora, guitare, piano electrique,
chant, kaval • Ezio
ar<;a1 : congas, percussion> Sameera:
chantBuzios, au nord de Rio, est une station balneaire
rement
Filho
: programmation,
basse electrique
• Armando
reputee dans Ie monde entier et un lieu d'escapade
paniculie-
apprecie des citadins,
4.PARANAGUA
Ilavi : kora, kora electrique>
bongos, percussion.
Les percussionnistes
Robertinho
Silva: pot d'argile, pandero,
percussion>
Armando
Mar<;a1: congas,
&bminho Silva et Armando Marral ont produit pour toile de fond une samba, sur laqueDe
Sao Paulo est exactement commc on me I'avait decrite, immense et imposante. Heureusement,
j'etais bien encadre et ai eu la chance de rencontrer l'ensemble Ualeli qui donnait un spectacle avec des enfants des rues, pro-
,'Ill joue de deux kora acoustiques ainsi que de ma kora electrique stereo en aluminium (qui fournit egaleme~t
Ies notes graves). Cette composition est dediee au long et lent voyage en train, qui de Curitiba traverse en alti-
gramme pour deux mois.
L'Cvocation de tous ces souvenirs
tude une region aux paysages epoustouflants
me sens chez moi et, comme
ce malin,
a l'heure
de mon depart, m'a decide
I'on dit, on n'est nulle part si bien que chez
a revenir
bient6t- Au Bresil je
SOL
&vi Ouin 2(03)
"CE CD est le fruit de nombreuses annees d'impregnation
musicale par des melodies bresiliennes, La kora n'est
pas originaire du Bresil, mais il est generalernent possible d'adapter des instruments
_genres
musicaux aux-
a
quels ils n'appartiennent
des melodies presentees
pas, er mon style n'esr en aucun cas limite iI une culture, queUe qu'eUe soit. Certaines
sur cet album ont ere composees il y a des annees, a l'epoque aU ma passion pour Ie
a
• Armando
Mar~a1 : congas,
joyaux naturels que ce pays recele, Une des plus grandes joies que m'a apportees la realisation de ce CD a Cte
de jouer avec des artistes comme PrJqIoMoltra, A""anJo Mt11f4I, &bntiaho Si/tJrt er en particulier MIlfiMi MiraNJa.
vaste quantite
eaux
et de
si ce n'est SattJaJe do Brat//' ("j'aspire
t. SAMBA A 21 CORDES
Ravi : kora, piano elcctrique.
eontrebasse • Armando
~
a
a revoir
Ie Bresil").
kava!, chant, guitare • Roberto Marques
: tambours, percussion • Alex Rocha :
: bongos, eaxixi (hochet-crCceDe) • Paulo Moura : clarinette • Stuneera : chant-
Ce mon:eau fut enregisrre
proxinure du care OU "The Girl from lpanetna"
harpe-Iuth d' Afrique de l'Ouest a 21 cordes.
2. 'KoMc;:Ao BRASILElRO'
&vi Ouin 2(03)
fut eomposee,
La kora est une
(alteration de 'Cora<;ao Brasileiro' - Coeur bresilien)
Ravi : kora, piano elcctrique, berimbao • Roberto Marques
: tambours, pandero (tambourin), hocher-crecelle
• Alex Rocha : contrebas
• Armando
M~
: tamborim (tambour) • Paulo Moura : clarinette
Cette muJlque est decliee au plus grand gwtariste brCsilien, Baden PowdL
ville du littoral.
6Utes • Roberto
Marques
:
,tambours, pandero, hochet-cre.ceDe • Alex Rocha: contrebaspercussion>
a ajourer,
a Paranagua,
- : kora, piano electrique,
berimbao, kaval, chant, guitare,
Bresil commencair
s'eveiller, et OU j'ecoutais des musiciens comme Baden PoweD. Suite i une rencontre fortuite au Cap Vert, j'eus l'opporrunite
de me rendre au Bresil pour enregistrer avec des musiciens de ce pays. A
cette occasion d'autres compositions
virent Ie jour, inspirees pat I'ambiance electrique qui regne a Rio et 1es
Je n'ai rien
avant d'arriver
5. BERIMBAO
Paulo Moura:
cla-
nnette • Sameera : chant.
Le Bresil multiculturel offre une
de genres
rythmes,
rnusidont
quelques-uns
explores
dans
cette melodic. Le berimbao est un
Instrument
rythmique
II une
rde (associant arc musical +
ton + pierre + caxixi) utilise
~
accompagner
la Capoeira,
danse-Iutte bresilienne.
Robertinho
Silva and
Ravi
f. OISEAU
DU PARADIS
- : kora, guitare, chant • Roberto
~'
• Armando
Marques
: tambours
tamborim • Guta : harmonica.
n orage tropical ... un hamac. .. une gwtare ... une chanson.
• Alex Rocha:
contrebasse
Mar<;aI .
7, MOINO
Ravi: guitare, kora s Eric Roche: guitare,
Cette melodie evoque one region aux superbes paysages naturels, ou eDe fut composee,
8. VOYAGEEN AMAze> IE, PAJmES 1,2, 3, 4 (moreeaux nO8, 9, to, II) (~arlMi
Miranda)
Ravi : kora, chant harmonique, kavaI, bol chantant tibetain • Marlui Miranda : chant. flutes, hochees-crecelles
• Erie Roche : guitare (Iere partie).
J'ai inregre a eette serie de duos improvises certaines sonorites c!trangCresau Brc!sil,avec notamment les kora,
bol chantant, kava! et chant harmonique. Marlui a fourni une autre gamme sonore avec des flutes indiennes
(dont '" flute de Pan), des hochets-crecelles et sa voix extraordinaire. Eric Roche a ajoute sa contribution a la
guitar< dans la premiere partie, qu'iJ a enregistrc!eau Royaume-Uni.
LES INDIE S DU BRESIL
Au Bresil '" population indienne se chiffre aetueUement aux environs de 350 000 personnes, reparties en 217
groupes ethniques parlant plus de 180 langues differenres, Ces Indiens pour '" plupart vivent dans des rniIliers
de viIbtgesau sein des 595 TtrrrJI Indigtus (reserves indigenes) dispersees a tmvers Ie Bresil.
La tribu SNnti fut cont2CtCepour '" premiere fois en 1969 par la FUNAI, le "service des affaires indigenes" du
gouvernement federal bresilien, jusque-Ii les Surui, se denombrant a envuon 1500 personnes, habitaient dans
'" foret, s'abritant dans de longues huttes, VlVlIDt
de '" peche, de la chasse et des produits de petits jardins-potagers, Apres des annees de lutte contre la variole et la grippe apportees par 1escolons et I'occupation de leurs
terres par de pents cuhivateurs, les Surui parvinrent enfin a faire offioeUement reconnaitre et delimiter leur territoire par Ie gouvernement bresilien, Aujourd'bui, Ie peuple Surui, qui ne compte plus que 765 individus, est
menace d'cxtinction. Plus recemment.Jes Surul ont commence a participer i des proJe15locaux d'ecorourisme,
construisant des modeles de leurs longues huttes traditionneUes que les touristes peuvent visiter.
La chanson "Koh~r Mmllli" (Voyageen Amazonie, Iere partie) fait partie d'un ritue/, Ie "M.tan", au cours duquel
deux clans (Gamir er Gamep) se partagent les taches liees aux preparatifs, L'UDreste dans la foree pour fabriquer les decorations et les flutes, aJors que I'autre se charge de preparer Ie tepas au village.
LA KORA est une harpe-luth d'Afrique de l'Ouest a 21 cordes. Le corps de la Irora est compose d'une demicaleoo,sse partleUement recouverte d'une peau de bovin. Selon la tradition elle est dotee de 21 cordes que le
musicren pmce ntre le pouee ee I'index de cbaque main, alors qu'il tient les deux montants verticaux de I'ins~t
a I'aide de ses autres doigts. Les koristes utilisent generalement du fiI a pi:che pour les cordes, qui donne
a I'instrumenr une superbe tonalite et est de plus facile i se procurer sur 1es marches locaux Le cordier est
consume d'UDanneau en fer fixe a la base du manche en bois dur de I'mstrument. On accorde '" kora grice i
ses ~ea~
de ewr mobiles au ruveau du mancbe permetWlt de rc!gIet'" tenston de chaque corde.
RaVljoue d one kora de facture toute particu1iere mwue de 24 cordes et de cheviUesde guitar<
La KORA ELECTRIQUE qu'utilise Ravi est un instrument stereo au corps en aluminium, muni de deux
bwnbuckers de haute qualire specialernent adaptes, Concu par Ravi et Tim Martyn, cer instrument a la tonalite
Jbsolument exceptionneUe permet de creer une ambiance
,.msicale remarquable. Ravi sur son album "Kora so Far"
Interprete un solo sur sa kora electrique avec la melodic
'On the Way'.
.LE CHANT MARMO
IQUE: cette technique de
chant est egalement appelee "chant de gorge". Le chanIalt propulse l'air a travers les cordes vocaIes serrees, produisant ainsi des notes. En modifiant Ie volume de la caviIi de la gorge, on obtient des harmoniques de ces notes
que Ie chanteur fait resonner et amplifie de fa~on a former
une melodie,
Le KAVAL est une flute oblique en bois originaire du sudest de l'Europe et de Turquie. Genera1ement raiDedans du
bois de buis, Ie kava!est dote de huit trous, dont un pour le
pouce. A I'origine tailledans one seule piece de bois, cet insttument est aujourd'bui generalement constitue de trois
tubes assembles et mesure environ 60 a 90 em. II est sou'\IIentdote d'anneaux en os aux points d'assemblage afin de
Roforeer le bois er d'eviter qu'il ne se fende,
JlAVi
[mlnlments: kora (fabriquee par Les Sherwood), kora electrique (fabriquee par Tim Martyn), guitare, synthetiseur,
basse, berimbao, percussion, bols chantants, flute, chant
melodique, chant harmonique.
Ravi est un adeptc de la world music et de la "fusion"
depuis plus de vingt ans, er ses nombreuses coUaborations
Ravi playing kaval
usicaJes sur scene et en studio l'onr amene A jouer avec
artistes de genres musicaux multiples et varies dont TaI.in .lln/l,h,Nit,.' Kennt&,jantt Perry, Phil MllnZllnerll,jon
Dan,!"! Thompson, DIlI"iti AUtn, Arthur B,..."., Suns of A"lUIl, IMP GllrtI, Sitllr Funle, Sasha, Ronu M'!Iu",tIar,
VaIi, DtlJt1Prt",aI, Craig Prutss,jarlde MrShet, Frankit Amtstrong.
discographie de Ravi comprend notamment les CD : 71It Afrrrindian Pro.frd (label ARC Music, EUCDI663)
t des musiciens britanniques er indiens dont Tarun Bhattacharya (au santur), 71It ~
iVwrl, JOImIt.JI of
IIJeSIItnIIrIIhr (labelARC Music,BUCDI502), The Owrton, Choir (chant harmonique. gongs. solo a la kora, flutes),
ans,jOtio Donalo, Antonio Carlol jobim, W'!Yn, Shorter, PaNI Horn, Glorg. DHh, hgberto Gilmonli, Airto Mo,..ira, Flora
KDra sofor, lVmts, KDra C%m:r (contrebasse,percussioner wnbours),lffjini!J (avecSuvarna,sceurde Ravi: musique
PHrim, RoNI de SOlita, Don C'!Yntnti, Cal7}ader, Sarah Vaughan, Gilberto GiI, Toninho Horta et, plus recemment, Lila
d'lIIIbiancerelaxanteet fusion i base de musique indienne),
Oro et Gllilherm. VergNtiro.
Ravi anune des ateliers de formation au chant harmonique et donne des
feta.ces sur les musiques du
Pa!lIlleIement,Robertinho Silva a enregisrre cinq CD solo. II se produit regulierement avec son ensemble et
monde.
anime des seminaireset ateliersau Bresil er ailleurs.
pr.. (~-*dIu"
_ ~
CD) :
Robertinho a fonde l'ensemble "Os Silva" avec ses quatre fils percussionnistes Ronaldo, Vanderlei, Pablo et
• Album The &o-Indian Project: "... II1U inl6pritaJilJll "",arrjllaWe, NIl aiInuw defiuitJtI itutrtmmrtale pollr fInIlPllb/k
Thiago et sa femme Aleuda Silva. II est egaJettgriab/I a '-tW' fRoots.
ment Ie fondateur du groupe ferninin de per• "Us JiIi« lllllltiatlbtrrr The Planet
cussion ''As Levadas",qui rernoignede la quali• "&n1i IIOIUoJfrt 18 IIn exnJlmJ at""'" de IIIOfIJ IJINJU." The Insight.
re de I'enseignementde ce maitre.
• "S-S In ",aiIu de !l8,,; fa hJra prodttiJ II1U IDIIDrifj stlal>t.1'?YP,,01i4"', Jt1 ttrtiIInms tulia ittmI anrpIifiiel lledrifll._nl par
ARMANDO MARc;AL
,-L. ristJtaJ tli ntptriJe" Glasgow Mayfest
Armando Morsalest un des plus grands percus• "Cd_We
IIttiq'" a &rii 1I",,,,trFtiJInm IIIt1SI#IfII4l1111mak.
N. fIIalUfl«'{JNrlaNI pas ,_
tfl_.1
de """ &n1i JNr
sionnistes sur la scene bresilienne actuelle. La
-.
ta -1ISiq", .11 ntptriJe. " Kashmir club
musique bresilienne a toujours ete omnipresenGUTA MENEZES
te dans la vie de cet artiste narif de Rio. Son
Guta a Ctudiel'harmonie avec Isidoro Kutno, les arrangements avec Ian Guest er I'an de I'improvisation avec
pere, connu sous Ie nom de "Mestre (Maitre)
elson Fariaer Idriss Boudrioua. Elle eut pour professeurs d'harmonica Jose SWleCkeeMauricioEinhorn et a
~",
etait Ie percussionniste Ie plus celebre
etudie la trompette au conservataire de musique bresiliennesous la houlette de Paulo Mendon~ puis de ahar,
au Bresilet jouaun role important dans I'emploi
dont cIleswt actuellement les COUlS.
de la percussion au sein du "Carnaval" bresilien.
EUe a coUabore a des musiques de films pour le petit ecran, a savoir "Porto dos Mi1agres"(feuilletan),
Armando et Gil Goldstein qui se sont joints a
'~o",
"Lacos de Familia"et ''ADosRebeldes" diffuses par la chaine bresilienne Rede Globo. Elle a ega_
Pat M.fhn!y Group pour certains des albums les
lement enseigne dans des ecoles de musique, dont les etabhssernenrsAntonio Adolfo et Rio Musica,er a joue
plus classiquesdu groupe, ant egalement largeoux cotes de. entre autres, YII"; Popoff et Los HernrallOl dans un documentaire r&!alise
par Ie groupe de television
ment contribue au projet musical "Semi SIOry" tit
bresilien SBT et consacre a la bossa nova. Guta a [oue sur des disques de v,1ir>r Santol. Martinho tIa Vih, Yliri
Pat M.lhe'!1.
Pupoff, /AtrpaI Femira, RonalJo Diattrank et du Rio ja~ OrqllUira. Ses collaborations musicales I'ont egalement
PAULO MOURA
amenee i travaiUeravecl'orchestre de Paulo MOIIra et lescompositeursjoao DIJIIa/o et Vld<lr Biglio" e. Elle s'esr proEnroure d'un pere leader d'ensemble musicalet
dWIeau I;estivalde jazz de Buzios aux cotes de "OrqN'lira da Avon". accompagnant a cette occasion la chanteude freres instrumentistes, Paulo Moura debute
Beamencaine Barbara Htfldrix. Guta joue actuellement avec Ie Rio ja~ Orthestra ainsi qu'avec I'ensemble ':Altas
Ie piano et la clarinette dans sa ville natale, Silo
Horas", dirige-par Ie presentateur de la televisionbresilienneS,'?Jnho Grois",an.
Jose do Rio Preto (SP). II part plus tard vivre a
ROBERTINHO Sn.VA
Rio de Janeiro. OUil joue dans les bals, sOlre~s
Robertinho compte pamu les plus grands amsles que Ie Bresilait connu ees ~
deeeanies, Son nom reste
dansantes et casinos au sein du groupe Z"'~
dans I'hitto1tede Ia mUSlquebresilienne.Cet artiste chllDsmatiqueet populaire dornine I'an de la •••••.•.
ussion, faj
e III" arqll.lira (Zacbarias et son Orchestre).
r--.
d."tude la theorie. l'harmorue. \a
IIlnt preuve d'une dexterite er d'une teehnique de JCU parfaite absoIument exttlIOrdinairesi VOIr.
Moura suit les cours de l'ecole de musique nationale, avec au programme
.
d I' rch tre du
Depuis
tout d&uta \a fin des ann4!es 1960,it a;oue en atudio et en public awe lea plus grands noms de \a III ,,...t~-:on orchestrale les arrangements er I·orchestration.A 17 ans, it est premiere clarinette e 0 es
GlUII'I"'t••- \a Kate bcailienae et _aonate
dont MiJIlItI _.
avecqw iIest reste associCpendant 25
tre naaonal de' Rio de Janeiro. Durant cette meme periode, it accompagne Ary Barroso eo voyage ..,
a-,.
If:
Mexique et en Russie, 00 il dirige l'orrhe.rIre!Jf1IPhoniqm tit MOSroN.Moura a toujours nourri un vif interet pour Ie jazz
et a forme l'un des tout premiers jazz bands au Bresil, au sein duquel il jouait du saxo et de la clarinette. En 1957, il
stgne l'album "R:"lo MOIIfrle sxa Orrpttstrapara bailes".A1temant musique classique er melodies populaires, Moura frequentait les musiciens de la bossa nova au night-club Beco das Garrafas, et a ecrit des arrangements pour f:./is R.tgina
Fizgntret Milton Nasa-lito. En 1976, Paulo Moura sort I'~_
'
bum "CMrfosiio Urlkma, SNbtn-bana t RMm/' et part en tournee au Japon. Dans les annees 1980, iI connair un de ses
plus grands succes discographiques avec I'album "Misblra e
Mantia". Son repertoire va de la musique classique aux choro
et lf1./itim En 1992, en association avec Ie guitariste Ropbatl
RabeIJo, Moura realise l'a1bum "Doa Irmiios", qui fut coutonne aux Sharp MNSKA1wznis avec le titre de meilleur interprete de musique popu1aire.
MARLUI
MIRANDA,
chercheuse academique,
des Indiens d'Amazonie
chanteuse,
compositrice
et
a emdi" les traditions musicales
au Bresil pendant vingt ans, et
est estimee par un grand nombre
experre
in~
de la musique
indigene
comme
une interprere
amazonienne.
et adapte des cbants et chansons
Elle a
traditionnels
de nombreux
et differenrs peuples indiens du Bresil.
Marlui a travaille en association avec des vederres de la
musique bresilienne en studio, sur scene er en tournee,
dont Milloll Nasa-nto,
Gifbmq GiJ, Egbtrlo GiSlllOlfnet
Na1f4 Vasronctlos. Elle a egalemenr
compose
musique pour des films, des documentaires,
~ons televises et des pieces. Elle a supervise
de la
des feuillela musique,
JOuant egaIement Ii cette occasion comme solisre, des
longs metrages AI Play in lhe F~1ds of tht Lord de Hector
Babenco et "Hans Statltn" de LuIs Alberto Pereira.
EIIe est venue en tournee en Europe en 1998 accompagnee de son ensemble, pour presenter son ceuvre "lhN,
tIS Stm/' en AIlcmagne,
BeIgique et Autriche.
T_
Madw travaille actuelletnent Ii plusieurs projetS de recherche, dont I'etude de la ~
de Ia tnbu I>.tnanl, dea
dmnonies
Tuyuka er Ie programme "Un Pont entre les Peoples Souvaun" comprenant I'etude avec enreptremeDts IOI1Ora de anq mbus d' Amazonie : les TIryo, Kaxuyana, Wayana. ApaIai et Palik...,
Pour ses travaux de recherche Marlui a re~u de nombreuses bourses de divers organismes, dont notamment les
fundations Gugenheim er Rockefeller, Ie ministere de la Culture (Silo Paulo) dans Ie cadre de subventions aux
arts, le minisrere des Communications
(Brasilia) et Ie gouvemement
d' Amapa (Etat bresilien),
£De a donne des conferences en universites, notamment celles de Chicago, Madison dans le Wisconsin, de Silo
J'aulo, de Rio de Janeiro, Sf. Thomas Ii Minneapolis et au college Dartmouth.
cours de sa carriere, cette artiste a signe un certain nombre de CD et a participe Ii la rCalisation de nombreux
!JIbums d'artistes celebres. Son ceuvre musicale lui a valu de nombreuses recompenses, notamment un Sharp
. AIwrr1 pour sa musique instrumentale avec I'ensemble Grupo Pau Brasil,les titres de MtilltNrt "'NsiqNt tit
pour "Hans Staden", MtilltNrt 11ffISiqNtpour Ie documentaire
"Amerindia", MtilltNr albN'" tit WfJrld Music pour
CD "lhM, ToJos as Sons" ("lhN,
lollS
Ies S01//).
BERTO "ALEMAO" MARQUES (percussion)
. de Rio de Janeiro, Roberto Marques compte vingt ans de carriere dans 12 musique. Au fil de ces annees, il
mulriplie les associations et activites musicales, jouant notamment avec une grande varim de groupes et d'arparticipant de plus il des seances d'enregistrement
dans certains des plus grands studios de Rio. II s'esr egat produit en toumee dans Ie monde entier avec d'autres artistes bresiliens, Ce musicien interprete avec talent
repertoire alIant de la musique bresilienne au jazz latino, Parallelement Ii sa carriere musicale, Roberto enseigne
les etab1issements ''Estudio Arte" et "Rio Musica" Ii Rio. II a vecu deux ans
ew York, durant lesquels iI
est produit dans le circuit du jazz.
a laisse ses marques dans la musique instrumentale bresilienne au meme
que Vidor BitJi-, AttJ<r Maia, P""linho Guitarra, Amiti Ntilkl, AnItnrUJ Ptdm (Mutantes) et OIodN", (Bahia).
enseigne actuellement la percussion dans les eccles EslliJio Am et Rio Musica et collabore • routes sortes de
.
Ii travers Ie Bresil consacres Ii la musique instrumentale.
a
n
:ASAMEERA (alias Gabriela Geluda)
chanteuse-compositrice
et co-leader du groupe Dtl1fOalJliro (avec Mauro Berman), a plusieurs disques
son actif publies sous le label britannique FarOut Records. ElIe a participe en rant qu'artiste invitee au recent
de ArY",ulh et co-compose pour le groupe Mamond qui reunit des vedettes de la musique bresilienne, tous
publies par la maison de disques FarOut Records. De plus, Sameera dirige Ie groupe AN/Ve, avec qui elle a
[ti un album produit par Will Mo_
(Soul II Soul / Daniela Mercury). Elle s'est prodwte en. tournees en
pe et en Asie I'occasion d'autres projets alIant de la musique classique
la musique p?pulalte, et a ~nreplusieurs albums au Bresil. Sameera est diplomee de flllli •• rsiti dt Rio titJaneiro avec une licence en mus.~ue,
. ·see dans le chant, ainsi que de l'ecole superieure GuiMhall School of Mune and Drama au Royaume-Um.
a
a
ROCHA (contrebasse)
..
.
cumule les talents de bassiste, compositeur et arrangeur.
e. Rio de. Janeiro, .H a etudie Ia co~trebas~e a
'Ii EsttimJ de.!ti. a accompagne route une variete d'artistes de 10 mussque bresilienne dont EfIfiIio SonIi4go,
AII>u, c.Jso B1MJBt!1, Vidor Bit/iOlf', Rio ja« Orqllts/ra et Osmar Milit1J.II fait partie de I'orchestre de I'emis"enu. llUJmllt" diffusCe par Ia chaine de teI-'vision brcsilienne Rede Globo.
n
...
BRASIL
(por Ravi)
o Brasil
evoca vanas imagens estereotlpicas como a de riqueza e de pobreza extremes, cidades de barraca e
praJas sem fun. A musics brasiJeira tem sido urna das minhas principais fontes de inspira~o e depois de muilllS
tentativas £rostradas de visita, em outubro de 2002 finalmente fui de vOo P
0 Rio de Janeiro.
este pals &scinante, urna pessoa acaba por descobrir as contradi~Oes que de facto silo a fonte da extraordinl.
ria en.
artIslica do pals.
me que 0 ~
cia, incluindo
0
dia em que cheguei,
0
meu hospedeiro
e amigo,
0
baterista
Robtrto Marqllts disse-
dos gangues de traficantes de droga ordenou (da sua cela na prisiio) que a cidade fosse fecha
a ponte entre 0 Rio e a cidade gemea
iteroi, onde eu estava hospedado. Roberto disse-me que
nio Iinba a certeza se de conseguiria voltar
eidade poderia ser uma aclividade perigosa.
a casa,
para a sua familia, no Rio nessa noire. Ser urn musico nessa
no futebol, mas tambCm na cena musical na qual antes prosperava.
Eo percorri 0 Brasil para gravar com alguns dos mesieos talentosos que conheci na minha viagem anterior quan
do vim tocar em concertos no Rio e arredores. Tudo isto come~ou quando eu conheci a banda que acompanha a cantara brasileira VIQ '!."J1II'IIfk nurn feslival de jazz em Cabo Verde, onde eu estava a actuar com 0 guitamsta Eric Roche e 0 lendano musico caboverdeano,
Paoli"o Vttm. 0 meu desejo de tocar em concertos no
Brasil fo.1evado a serio por Roberto Marques, que no seu retorno organizou uma serie de concertos. Com a sua
uquitectura
colonial e 0 seu dia1ecro portugues, Cabo Verde era urn degrau de pedra em di~o
ao Brasil, iI
ao
terra
samba e da bossa nova.
EncoDtr.Unos quartos em Santa Teresa, uma vila com cern anos de estilo portuguCs,
urna zona de esplendidoe
ediflClOS antigos e com urna pop~o
de artistas, boemios e genre moderna; e a parte anliga, sirua-se mils 110
alto e grato 6quei por ser mils fresca, especialmente no vedo que se instala no inkio de dezembro. 0 velho sis-
s-
tema de eIetricos, no qual se paga menos de urn real por bilhete, ainda funciona. As pessoas diziam que a
niio era segura, mas eu jotIinba aprendido as regras basicas de sobrevivenciar niIo levar carteiras, canoes ou din
heiro e de s6 andar de autocarro nas area seguras (se que exisrem); ou entia, apanhar urn taxi.
Com esra aventura brasileira, a minha guitarra renasceu e algumas composicoes de bossa nova vieram outra vez
ao de c:una, e foram incluidas no album. Uma das maiores inspira~
foram as grava~Oes intemporais dos
grandes do Brasil como por ex. NtmI Lea., foOD GiIIMmJ e
]ou. Mesmo antes de comecsrmos a gravar,
Roberto descobriu uma bateria, jAanliga, que £oj usada por mlisicos como Dam Um Romilo na cri~ao do S08I
do Rio _
0& 6nais dos anos anquenta
ali ao inlcio dos anas sessenta.
Como com ~
grande eidade da DlUSIca, 0 Rio teal uma grande variedade de estUdios, do econ6mico-.;l
rauo.o;
mwtoll ddes com VlBIlISpdOfaQIS e IIguns com • pwa a \lID quarteiriIo de dislincia. HA mUSMXlt'e
~
de alaOduds bas_
eIewdos, onde 0 pnnapal software udilizado e 0 Pro-Tools, que fadIiIa
e
T.",
se nio Ie qmser ficar preso • \lID
dos tempoS com FItmz Pitrittt, AirtD Monira e Miles
DtIIIiJ.
Hermero
niio gravou no album, mas houve contac-
foram estabelecidos com outtos mUsicos excepcionais, como PatJJoMIJIIm.
· surpreendido par saber que MIlfIIti MiraIIIia niio era tio conhecida no Brasil como supunba. Madui rraba1hou
que
Epto
GiS1tIt1IIIi
J'I9O de convidados
no inIcio da sua carreira. '70d0s Os Sons" conta com a sua voz extraordirWia, com a partidentte os quais 0 grupo de pen:ussiio UJ./i, que interpreta ~
indias BrasiIeiras fascinanres.
Nadui conseguiu organizar tempo su6ciente para uma sessiio no estUdio, onde gravo1mos juntos virias improvisa9ies.
iio 0 foi sempre: a Cidade Maravilhosa ja reve urna reputa~ilo invejavel por estar na frente da cria~ilo musical,
como pot ex. de uma das maiores fonnas de ane, a Bossa
ova. Hoje em dia, sao Paulo ofusca 0 Rio, niio sO
-
dos pianos era 0 de conhecer e tocar com uIguns dos musicos mais lendanos do Brasil, por essa raziio
trei-me com HtnIHkJ Ptut1l41, urn po
musical de Alsgoas, no
ordeste, Hoje em dia vive na Zona
one
Rio, zona de mA repu~
como sendo perigosa. Por essa razilo, a nossa viagem a casa do Hermeto foi feita
aIguma ansiedade. Uma vez aI, partilhamos os nossos instrumentos
e Hermeto nos entreteve com hist6-
tUdio.
dias antes de apanhar 0 v60 para casa conheci urn mUsico em lpanema. fa a passar por urn cafe onde um
tocava 0 seu repen6ria. Ja me Iinharn falado de uma rapariga que tocava harm6nica, com quem tentei entrar
contacto mas sem sueesso. Entiio, ao apresentar-me,
a primeira
qual respondeu surpreendida e afirmalivamenre.
Encontrimo-nos
•nica linda na faixa 'Bird of Paradise'.
viagem pelo Brasil fez-me 1embrar outros paIses enormes
pergunta sO poderia ser, "VO¢ e a Guta?"
nessa noite para gravar e Guta rocou uma
como a india e a America do
•orte, sonde pode-se
de comboio ou de autocarro, deixando-se 1evar por um passo mais ~'
a ver 0 mundo a passaro Uma
rtunidade destas apareceu quando dei \lID concerto e lIJtIfIuhop (a ensinar canto harrnonico) na Brasilia.
· e urna das cidades mais ricas do pals, construida intencionalmente como capital no inlcio dos anos sese ainda hoje tern a aparencia futurista e por vezes surrea1ista e bizarra. A duas horas de viagem, perro de
parque nadonal,
encontra-se
Alto Paralso. Aqui muitos do seus residentes
construiram
casas de sonho, livres
restricoes de projectos, e pelo que eu pude ver, os resultados foram sempre inspiradores. Para os visitantes
cidade, hll experiencias maravilhosas i espera, com incontiiveis cascaras e Areas florestais. Tive 0 prazer de ter
o numa abOboda extraordiniria,
chamada Kaliandra, urn espa~ geometrico ideal para a musica aciJslica.
tras viagens incluiram Esplrito Santo, onde conheci urn ritmo chamado "congo," manrido vivo na. comunida Barra do Jucu, urna cidade costeira perto de Vit6ria, a cidade principal de urn Estado que e mwtas vezes
orado pelos ruristas, Aqui live urn encontro com um papagaio que sabia canter 0 que parecia ser uma rnisde jazz e opera, Silo passaros verdadeiramente
extraordinirios
e c6micos.
.
.
Paulo era tudo aquilo que ja me linham conrado, enorme e esmagador, mas fui hem recebido e gozei a oporde de conhecer 0 grupo Uahi, que estavam a fazer urn espetaculo de dois meses com rapazes da fua.
manhil que estou de salda, ao olhar para tria, decidi voltar para breve. 0 Brasil fez-me sentir como Be esnem casa e niio hi lugar melhor do que a nona
casa.
RMi (Junho de 2003)
"ESTE CD e 0 cu1minar de vanos anos de influencia da musica brasileira, 0 Ieoro nao tem origem brasileira,
mas normalmente
e posslvel a adapta~io de instrumentos
a outros generas e 0 meu esrilo nao e exclusivo a quaI- '
quer cu1tura. Pane da mUsica foi escrira ha alguns anos amls quando fiquei apaixonado pelo Brasil, a ouvir muss
ca tocada por mUsicos como Baden Powell, Um encontro ao acaso em Cabo erde tornou posslvel vir a grawr
com mUsicos brasileiros
no Brasil, onde outras composicoes
foram escritas, inspiradas
pela atmosfera
4. PAIlANAGUA
': kora, kora eletrica " Robertinho
elemca
do Rio e por vinas experiencias que rive na natureza brasileira. Uma grande parte do prazer na elaboracao desee
CD £Oi a de toear com mUsicos tais como plZIJ/()MOJdll, Armamio Marra/, Robtrti"ho SiJIIa e especialmente Man.;
Miranda. ada mais resta a dizer do que ... SaItIIaJt do Bra'(jl'
Ron (Junho de 2003)
Silva: pote de barro, pandeiro,
percussao
" Armando
M~al:
congas,
os, percussio
vado com 0 percussionistas
Robertinho .1;4" e Af71tando Marra/, que criaram uma linha de samba na qual
uei duas IeorasacUsticas e na minha Ieorade aluminio eletrica-esrereo, que tambem d:l as notas mais graves de
.
a longa
. Dedicada
gem deslumbrante
e vagarosa viagem de comboio
e chega
a vila
que com~a
em Curitiba, atravessa uma zona de paisa-
costeira de Paranagua.
5. BERIMBAO
1. SAMBADE VINTE E UMA CORDAS
Ravi: kora, piano eletnco, berimbau,
Ravi: kora, piano eletrico, kaval, voz, guirarra " Roberto
Marque.:
bateria, per-
bo " Alex Rocha: contrabaixo " Armando M~
congas, percussao " Paulo Moura: clarincte " Sameera: voz
Brasil tern varios estilos de rnusica e ritmos vindos da sua rnistura cultural, alguns dos quais sao aqui cxplo-
cussio • Alex Rocha: contrabaixo
•
Armando
Mar\;al:
bongos,
caxixi "
Paulo Moura: clarinete " Sarneera: voz
Gravado
a poucos
onde 'Garora
quarreiroes
do Ipanema'
do cafe
foi escrita. A
Ieorae uma harpa-alaude de vinre e uma
cordas oriundo da Africa Ocidental.
2. KORAc;:AOBRASD.EIRO
Ravi: kora, guitarra, berimbau • RDbeno
Marques: bareria, pandeiro, choca1ho • Alex
Rocha:
contrabaixo
" Armando
~
tamborirn " Paulo Moura: clarinete
Dedicado
ao maior guitarrista
brasileiro,
Baden Powell.
3. DRIVING TO BUZIOS
Ravi: kora, guitarra, piano elerrico, VOZ,
kaval • Ezio PUbo: programacso,
baixo
eletrico " Armando
Mar\;al:
congas,
pereussio " Sameera: voz
Buzios nio sO e uma estllncia conhecida pdo
mundo intdro a norte do Rio como tatnb!m
urn lugae muito procundo para quem <p:!ra refugiar se da cidade e descansar.
kava1, voz, guitarra, apitos " Roberto
Marques:
bateria, pandeiro,
chocal-
o
os, 0 bni11liJaMe um instrumento ritmico de uma corda (arco, vara, pedra e chocalho)
ento das artes/dan~s
marciais do BrasiI- Capoeira.
BIRD OF PARADISE
': kora, guitarra, voz " Roberto
borim " Guta: harmonica
ma rempestade
.MOI 0
': guitarra,
memoria
Marques:
bateria "Alex
Rocha:
contrabaixo
usado no acompanha-
" Armando
Mar\;al:
congas,
tropical ... uma rede ... uma guitarra ... uma cancao,
kora
s
Eric Roche:
deste sitio maravilhoso
guitarra
da natureza,
onde esta ~a
foi escrita.
AMAzON JOURNEY, 1',2',3",4" PARTES (faixas 8,9,10,11)
(rom Marl"i Miranda)
ri: kora, canto da garganta/harmonico,
kaval, bacia cantante ribetana • Marlui Miranda:
voz, flautas, cho-
hos " Eric Roche: guitarra (na primcira parte)
Aqui introduzi a esta serie de dueros improvisados sons que nao sao de origem brasileira; como da kora, da bacia
tantanle, do kaval e do canto harmoniro. Marlui rrouxe um leque variado de sons entre os quais as flautas indianas
(incluindo uma flauta pasroril), os chocalhos e a sua voz maravilhosa. Na primcira parte Eric Roche incluiu a
Sua guitarra,
no Reino Unido.
OS iNDIos
BRASILEIROS
oje em dia h:i no Brasil mais de 180 llnguas diferentes que san faladas por 217 povos; ou seja, 350.000 pessoas
ximadamente.
A maioria desta populacao vive em milhares de aldeias loealizadas denrro de 595 Terras
as (terras demareadas)
tribo Jilnli foi pela primeira
Suruls viviarn em longas
varios anos de luta contra
que SOlO espalhadas pelo rerrirori o nacional,
vez contactada em 1969 pel. H '\ t1. Funda~ao
acional do indio.
te entso,
casas na floresta a cacar, • pescar e a cu1rivar pequ nos pedaeos de terra. Depois
a \ ariola, gripe e contra a invasao de pequeno
agricultores, os Surul finaImente
c~
~
ter a sua terra demarcada peIo govemo brasileiro. Hoje em dia, 765 Surofs lutam contra a.eatlDRccentemente, inwIveram-sc
no ecoturismo a nlvellocal, construindo as Iongas casas para 0 turismo.
cansio "Kithar MInai» (Vtagem i AmazOnia, primeira parte) parte de um ritual chamado "M.IIIn", oode.
dia (Gamir e Gamep) partiIham a preparasio do ritual. Um deles fica na flo ta a preparar os enfcites e ftau
tIS e 0 OUUO D& aIdeia • preparar a comida.
e
A EO
e uma hatpa-alaUde vindo da Africa Ocidental. 0 seu corpo e feito da ~
da ab6bora cortada a
lDCIO e parcialmente
coberta por WIIll peIe de vaca. Tradicionalmente,
hi vinte e uma cordas que sao dedilhacbs
COllI b poIegar e 0 dedo indicador de cada mio. Os dcdos restantes agarram as duas estacas verucais. Os mUll
ma IlIiIizam Iinha de pesca como cordas, dando 0 tom brilhante, e esta e facilmente obtida nas feiras Iocais.
__
uma mrdas de suporte Iigam as cordas a um am de fcrro suponado peIa base do b~
de madeira da
liOn. O.-co afioa a kora 1DOVl:Ddoos an& de peIe no b~
para dar a ~
apropriada em cada corda.
Ia9i 1DCa_Irota
especiaImente fcitll com vinte e quatro cordas e ~
de guil2rrL
e
ELirnuCA
de Ravi
um instrumento
sOlido de a1umlnio, esI&eo, com dais ~
pidutps de
lib! cplddade fcitos por encomenda. Concebido por Ravi e Tun Martyn, estll mra tem um som bastante Wuco
e~
Podcrl ouvir um solo no tema 'On the Way' do album 'Kora so Far,' de Ravi.
HAltM6 ICO: Esta tecnica de canto tambem e conhecida como 'canto da garganta'. 0 cantor
'-9l I) ar auRves das corda vocais, i' eslieadas, a tim de produzir notas. Com a a1~
da cavidade oaJ,
~
dessas notas ria ressoadas e ampIiticadas, para que a melodia seja fata.
o
~*
lIIoje
euma
e
flautll de madein, soptada peIo am, tocada no Sudeste eutopeu e !Ill Twquia. Geralmente
fcitll.
bum, com scte oriJkios para os dedos e um para 0 poIegar. 0riginakM0te 0 kava! era fcito de uma pep,
os instrumentos ria gaaImente fcitos de tres tubas destadveis IICndo IIIJlcomprimento total de CCIQ.
6().90 au. Muitas VQeS sio usados aros reitos de O&SO para ~
as juntas e BUn ~
com que a madeira mche.
:vi
~e;c
~
r•• SUV),
JW.-
If
A'fllll,
NigtJ KnIw!J, jtlIId ~
Phil MtJIIt._
JOII LonJ, .D.tmty IhotwpsOll, DMViJ AIkfI, AniNIr
IMp Gmw, SiIilF FIIII4, .l;rsha. &11II M'l/1l1f11ltJr,
JIUIiII Vai, IJ.w. l'rrttI.t, Cnt{g PrliUI, JIItItiI
1:'::~~I't".I+t.Mi~
...
.~jpiQi;'
.• 1Q:r.1fe1laVlCluc que foram ~
E'**icciI.do
nido
da todia, eque
l
.r.,.c--.
~~i=~e~~t~UCDt502).
~
iJlduem: Tbt~l""""
PrIfird(ARC Music. EUCDI663)_
des, Tarun Bhattaebarya (santoOr). TbtAfri- Kmw,J~
o..n..
CD's.
tiefoslio illSlrlillltllllll ans" •• 1e intmsSlZllk. " fRoots
'Es/e (f)njllnto Milko (f)lIngttiM1111Ibollito mosai(f) tie SOlll.Niio ptrra a oporltl"iJade de ter e ollvir a ",usic;; ",aravilbosa tie
Rim. " Kashmir club
:A. MENEZES
Bstudou
Harmonia
com Isidore
Kutno,
Arranjo
com Ian Guest
e Improvisacso
com
elson Faria e Idriss
ioua, TambCm estudou Harm6nica
com Jose Staneck e Mauricio Einhorn.
Estudou Trompete
no
rvat6rio Brasileiro de Musica com Paulo Mendonca e actualmente com
ahor.
u nas bandas sonoras das seguintes producoes televisivas: Porto dos Milagn:s, Malha~ao, Lacos de Famllia
Anos Rebeldes
na Rede Globo.
Lecionou
nas escolas de mUsica AlIl6l1io Ado/fo, Rio MUsica e no CIGAM.
icipou na grava~o do Documento
Especial (SB1). sobre Bossa
ova. Guta nao 56 tocou com }M'; Popoff.
H.,.",allos entre outros como tambem gravou com Vlllor Santos, Martinbo do I71a, Y. Popoff. fJrm,aJ iirrtira,
Dimnall/e e Rio Jat.t. Orqlltslra. Outras participa~Oes incluiram a Orquesrra do Maestro POllio MOllra e os
positores Joiio Donato e VldDr BilI;OI,.. Tocou no Festival de Jazz em Buzios e na Orqlltslra do At ••lI, onde
panhou a cantora americana, &irlJara Hendrix. Actualmente toea na Rio Jat.t. Orqlltslra e na Banda AlIas
, do apresentador
Strgillbo GraiS","".
BERTINHO
SILVA
dos artistas
brasileiros
mais significativos
da Silva
e simpatico
das Ultimas decadas
e carismatico
transformando
e nome
gravado
na historia
••
da Musics
a sua arte na bateria e percussao
num
iquecimento da alma, corpo e mente, com destreza, tecnica e seguranca.
o inicio de sua carreira no final dos anos 60 ate hoje, tern participado em grava~(;es e em concertos com
maiores nomes da musica nacional brasileira e internacional, como por exernplo: Milton Nascimento, com
F.'gucm tocou ao longo de 25 anos;Joiio Donato; Alltonio Carlos jobim; Waynr Shorttr; Pau! Horn; George DllIu, Egbtrto
;;!I'!-_ti;., Airto MDrtira; Flora PNrim; &III tie SOlita; Dori
C.al Tjader; Sarah I oN/{han; Gilberto Gi}, To"illbo
C.ry",,,,i;
e mais recenternente Lisa Ono e Gllilherme V"l{IIeiro.
sua carreira a solo, gt'!lvou cinco CD's, tem actuado com a sua banda e tem dado seminaries
Tbt
ChtJir com canto harm6nico e gonga, kora a 8010 e fIauIiII ,
com c:ontnbaiso, percuasio e batena).l".fori!y (com a Irmi de Ravt, SuvarDll: fudo
m6aica Indiaaoi
canto harm6nico e pakstras soble
-'4_
NOS
hlra, lIaS llliios tie &vi, Ii pam tie str hip1l6tita • Sllallt, (f)IIStglltprotisl& 0 _Ibor dos acordts poderosos. 0 rtS1i1tadoi
. so. " Glasgow Mayfest
ileira; Rohertinho
~II>S:
kora (construida por Les Sherwood). kora elerriea (construida pot Tim Martyn). guitarra, tecIas,
bel:ro, bedmbau, percussia,
bacias cantantea. flauta, voz
canto harm6nico. Ravi tern estado envolvido em
Ql~
de fusio e III6rfd _k por mars de Vlnte anos e grav<>u com mUsicos de v2rios generos musicais; como
nitiau
l!IU01fIrrIralgtmfIU
e Afro- Indian Project: " ... tlest11tJ>mbo
txctp<iOIla/;lI111agra.
UIttIl IttIlravilha fIIIIIIinIlhmJ. "The Planet
'&wi &t»IstgNiM
1111I
IImiatkirrJ albNIIItie '1II6rfd_sir'." The Insight
e workshops
Brasil e por diversos palses.
ente Robertinho
tem desenvolvido uma serie de acrividades como a formacao de "Os Silva" ond se
nta com seus quotro mhos percussionistas
- Ronaldo, Vanderl i, Pablo e lbiago - tendo a participa~ilo
de sua mulher A1euda Silva. Rohertinho iniciou recentemente
um grupo composto por mulheres per
.stas de nome ':4s I AItIdas" fruto do seu trabalho como mestre na arte de ensmar.
ntarios sobre CinCO rribos Amaz6nicas:
ARMANDO
MARc;AL
Armando Mar9aI e 11mdoe _
mIetnosos
percuss10nistas
do Brasil de boje.
atural do Rio, foi rodeado
pcIa
muS1Ca brasiIei!a toda-. IlIA .utL 0 leU pal, conhecido no Brasil como Mestre Ma~,
foi 0 percus 10ni 12
mais ceIebre do BnsiI e _
ckmuue a ua vida um papel importante
na percussilo das escolas de samba.
parte se IICl' um membro do PIlI MtIIJe'!1 Gmtp, tendo partiapado
em alguns dos seus albums
cos, teve um grande papeI JWlto com Gil Goltisl,;" no projecto 51ml SIMy de Pal Mtt!Jnry.
PAULO
unica¢es
palestras
mais cJasSl
de outros
rmisicos,
Paulo Moura cornecou
a tocar piano e clarinete
na
sua cidade natal de Sio Jose do Rio Preto (SP)- Mais tarde, Moura mudou-se para 0 Rio de Janeiro, aonde
tocava em bUIes, festas e casJnOS como membro do Zacharias e ilia Orq"UlrfL
0 Rio de Janeiro, Moura fre
qucmou a EacoJa
ac:ion8l de MUsica, aonde estudou teoria da mlisJca, harmonia, condu<;iio de orquestras,
t 7, Moura
lImInJO e o~
jlUlCltO-
0
conduziu
a
das pnmcua
M.",." • ilia
mesmo
pcriodo,
Moura
o.y-m. SittfoIlW
foi 0 pnmciro
acompanhou
clarinetista
da Orqucstra
Ary Barroso
numa tournee
'" M01((}f1f). mpre foi um grande entusiasta
bandas de jazz do Brasil, em que tocava saxophone
do Teatro
BERTO
ao MeXICO e it Russia, onde
anos 80, Ian~u
um dos seus albwns
mais conhecidos,
de uma
o seu
Em t 957, gravou 0 album Palo
MtslMra , MaIfda. 0 seu repertorio
Wadui
7i
~te
~
pela Europa
em 1998, interpretando
0 seu album
enYOlvida em varios prolectos de pesqwsa; como por
obrt lIS C".,.,6nku tiss T'!1- e Ptmu tIIlrr 01
Ih., Toda1 01 S- Da
x, Dont",taltiri. som Q CttllNra
e em grava~s
e
p""", Ltmbrtzlrf"
University
das
e muiros ourros.
of Madison
Wisconsin,
Universidade
de Silo Paulo,
(bateria)
hi vinte anos que Roberto
Marques
toea pro6ssionalmente.
Durante
este
estiIo vai desde a musica brasileira
A SAMEERA
(tambern
ate ao jazz latino. Alem da sua carreira
artistica,
Roberto
tam-
Arte do Rio e na Rio Mueica. Viveu por dois anos em
ova Iorque onde esteve
a sua marca na musics instrumental
brasileira ao Iado de nomes como Victor
Guitarra,
conhecida
Andre
eiva, Antonio
Pedro (Mutantes)
e Rio MU1ica e esci envolvido
como Gabriela
e Olodum
numa serie de projectos
(Bahia).
musicais por
Geluda)
tora I compositora,
co-Iider do projeto Dt",tXIISIKo, com dois singles lancados pela editora inglesa FarOut
rds, tendo participacoes
especiais no Ultimo album de Azymuth e cornpositora
no projeto Mamond,
MARLUI MIRANDA
Qlntora, eomposuora
e pesqwsadora,
&teve em tour com 0 seu grupo
,AIcaaanba. B6aica e Austria-
MARQUES
do Rio de Janeiro,
Imcnte ensina bateria no E111iJioArn
o pais.
de mUSlCa cJasSica como de cboro e ga6eira. Em t 992, em colabora<;iio com 0 guitarrista Raphael
RabcIlo, MOUIll gravou 0 album Doit 1",,401, pelo qual recebeu 0 Shtzrp Mtuk AworrJ por meIhor inrerprete de
nmslca popular-
V-....J.s;
do Esrado do Amara
de Chicago.
'one, Arrur Maia, Paulinho
IlIIlto ~
em tournic com mUsicos de destaqu
brasileiros entre os quais, Miihl"
IISttltltII/(), Gi/btrk> Gil, El.""*
~
e •••
compOs mUslca para 6Imes, documentarios,
senes de televisiio
pe<;as de teatto.
TnbaIbou
como supcrvuora
music:al e soIista nas Ionga-metragcn
AI PII{! ;" IIN FUItis of IIN LorrI de Hector
&benco e HIIfU Stu. de LuIs AIbcrto Pereira.
na Universidade
e professor na Estudio
circuito de jazz. Deixou
inclui
Marlui Miranda estudou as tradi¢es
musicais dos indios Brasileiro da
Amaz6nia e ~ Iargamente rcconhecida como a interpreee perfeita da musica indfgcna da AmazOnia. Ela interpretou e adaptou cantos e cansOes tradiaonais
de varias
•.••Oes lndiss Brasileiras. Marlui gravou, actuou e
e Palikur.
po tern tocado numa grande vanedade de grupos e shows musicais, ao mesmo tempo que tern gravado
meJhores estudios do Rio. Roberto tambem tem feiro rournees por todo 0 mundo com artistas brasilei-
OrqlUStrwpara Bailes. Alternando
entre a musics popular e a cblssica, Moura rodeava-se de mlisJCOB de boas. nova no clube Deco das Garrafas e acabou por escrever arranjos para Elis Regina, Fagner e MUm.
__
Em 1976, Paulo Moura fez 0 album C.njit1iiIJ Urbawa, SwlHtrbatta , RMrai e esreve em rournee no
Japin-
(Brasilia), Governo
"ALEMAO"
nativo
aclonal do Rio de
do jazz e foi 0 fundador
e clarinete.
Wayana, Apabi
idade do Rio de Janeiro, Dartmouth College, SL Thomas University Minneapolis e outros.
te a sua carreira, lancou vanos CD's e colaborou em varies projectos de artistas de renome, Foi prea com uma serie de premios pelo seu trabalho musical, como por ex. 0 Sharp AlIIarrJ Para M.lhor Muska
",tnlal com 0 grupo Pau Brasil, M,lhor Mtisica para Longa-M.lrage", por "Hans Staden", M.lhor Mlisiea para
'lflano pela lendaria "Amerindia", MtIhor CD tit WOrldMlUie por "Ihu, Todos os Sons."
MOURA
Filho de wn Mestre de Banda e Irmlo
Tiryo, Kaxuyana,
seu trabalho de pesquisa recebeu vanos apolos, da Gugenheim
Memorial Foundation,
F~ao
feller, SecreWia de Esrado da Cultura para 0 desenvolvimento
das Anes
ao Paulo), Ministeno
!
OOs pela FarOut Records; tambem faz parte do grupo AN"" com album gravado pelo produtor Will Mowat
(Soul II Soul, Daniela Mercury). Ja se apresenrou em diversos concertos na Europa e na Asia tanto no campo
musica erudita quanto da musics popular; ja participou em diversos albums no Brasil. Deva e formada em
to pela l !ni.'trridatlt do Rio d, jan.i,. e pOs-graduada em canto pela GNilJhall School of Mllsie and Drama Lo.
ROCHA
(baixo)
i: urn baixisra, compositor
e arranjador.
asceu no Rio de Janeiro onde estudou contrabaixo
na
de Sa. Acompanhou
varios artistas da musica brasileira, como por ex. Emilio Santiago,
AiI .•1, Cetso BllltJ B01, I 'utor Bif,lion., Rio ja'V{ OrqNtJlra, Osmar Mililo e outros.
e urn membro do grupo de apoio ao programa de televisiio Gtnl. Inoetnl. da Rede Globo.
ersidade
Estacio
Ravi - leora, .ledri( piano, k4va~ voia, J!IIi/ar, btrimbao, lllhislies
Roberto Marques - m11lS, pmtnsion, pantlem (Iambollrin.)
Alex Rocha - dollble bars
Armando M~IIl- bongos, COllgaJ, «JXixi (rattle),lamborim (mm)
Robertinho Sima - dnlms, pertt<ssion
Paulo Moura - daTinel
Sameera - voia
Ezio Filho - programming, elertric bars
Guta Menezes - hamronka (track 6)
Eric Roche - J!IIitar (track 8)
Marlui Miranda - voia, folts, rattles
ProdNad i!! RAVI (www.ravi-art.co.uk)
AD _sic i!! RAVI (copyright © JP Freeman),
exaJll AmatrJlIJOllrfll!J (paris 1,2, ),4) JP Freeman/Marlui Miranda
Rtcorrkd ill amJ tmJllnd Rio deJaneiro between D« 2002 and M~ 2(0) in s/JIdios:
EG (Bara Fogo), Zaga (Ipanema), 45 (Copacabana)
Enginem: Ezio Filho, Rodrigo Lopes, Florencia Saravia, Daniela Pastore, Rodrigo Campello
Mixed ill GB i!! Ravi and Martyn Phillips
Additional editing Fabian Smith
Mastered i!! Martyn Phillips
Filial p11Jmasler:Diz Heller
Photographs: supplied by Ravi
Cover design:Jesse Reuben Wilson
Uner 1I0ltS:Ravi / Diz Heller
l)pesetting / IoyOIlI: Ute Entwistle
TIuJ,,1es a"d appmci4tio" 10:
i" BratiJ: all the great musicians who played on this album plus special thanks for help, hospitality and more
to Roberto Marques, Jayani and Shaan, Sandra Peres and Paolo Tatit, Abhoda and Samashti, Anubhava,
Amita, Skakyamuni, Nartan, Yashoda and Arun, Samparti, Samvara and Vasu.
i" UK: my folks, Chuck Tebbitts, Martyn Phillips, Fabian Smith, ARC Music.
To Rachel... beloved ... love and thanks.
Visit Ravi's site (www.ravi-art.co.uk) for further information and photos about The Afro-Brazilian Project'
Contact: fax: +44 (207) 224-6153 • [email protected] • "I would be happy to hear from you."
/
.