NEY MATOGROSSO URUBU MALANDRO FREE

He also performed in Israel and the U.S., but always refused invitations to develop an international career. Along with his representative and prolific solo discography, for which he received three platinum and three gold records, Matogrosso recorded in Itália with Astor Piazzola, performed in Argentina, Uruguay, participated in two Montreux Jazz Festivals (Switzerland), and toured Portugal several times. As time passed, he substituted self-contained and deeply sensitive interpretations of classics for the popular and classical Brazilian music. The end of the group marked the beginning of a fertile and successful solo career in which he began exploring his sensuous and charismatic persona through satiric and ironic repertories. Remind of a jam session typically in jazz performance - and choro.An uncommon artist with an uncommon sopranino voice, Ney Matogrosso fell in the Brazilian popular music scene like a bomb in the '70s aboard the Secos e Molhados. The improvisational skills of the participating musicians in this finale The finale of the concert had an extended version of Pixinguinha's 'Urubu malandro' - a composition first madeįamous by Pixinguinha's Oito Batutas. Maria Rita and Ney Matogrosso singing the lyrics accompanied by Hamilton de Holanda and the band.

Performance of Pixinguinha's 'Mundo Melhor' sung by vocalist Maria Rita accompanied by Hamilton de Holanda andĪ live concert celebrating Pixinguinha most often includes a performance of 'Carinhoso', here it was performed by Icons of jazz and choro.A couple of videos from the event have been uploaded at YouTube, here is first a The concert had participation of renown choro musicians paying homage to the two In 2010 there was arranged a concert in São Paulo to celebrate the encounter of Louis Armstrong and Pixinguinha, President of the Nation, Juscelino Kubitschek, Pixinguinha and Dorival Caymmi. Another official photo from this tour of Brazil shows Armstrong in company with the Showing Armstrong and Pixinguinha as good friends is shot at one of the arranged meetings with important BrazilianĬomposers and musicians. Armstrong was elected 'Ambassador Satch' and was sent on tour around the world with his All Stars to play concerts for people everywhere, this way helping to spread knowledge about an original American artform.ĭuring his trip to South America in 1957 Armstrong also visited Brazil in November that year, and the photo above As a result of this, Louis 'Satchmo' Armstrong - the icon of jazz then - was chosen officially to represent American jazz worldwide. After WW2 ended and during the 1950s and 1960s, the US government launched an ambitious cultural program disseminating knowledge of American culture worldwide to underpin mutual understanding among nations.A selection of this program also involved and supported jazz and its most popular practitioners in the U.S.A.

NEY MATOGROSSO URUBU MALANDRO FREE

and was exported to the rest of the world through records, broadcasts, films and touring musiciansīringing with them various perceptions of the music reflecting the ever changing fashions of the time: from ragtime to dixieland to swing, be bop and free improvisational expression. Jazz originated in New Orleans around 1900 and soon spread all Like choro, jazz was originally a regional music. Prejudice, choro musicians in Brazil have had to fight back prejudices of the character of their music and the way Like in the U.S.A., where jazz from time to time has been met with racial Tough job for Pixinguinha to stay in business and perhaps was one of his main reasons to dissolve his Saxophone) and importing a jazz influence on choro after their stay in Paris, which for several years made it a Pixinguinhaand his Oito Batutas were accused of using American jazz insturments (- mainly the Music, albeit this aspect often caused controverse with defenders of choro as a pure Brazilian artform. However, although choro musiciansĪlways remained faithful to the virtues of choro, influence from outside Brazil gradually helped to evolve the

eradicating the character of Brazilian music culture.

Promoted and supported in official Brazilian cultural programs to emphasize the nation's unity.This policy may have contributed to save choro from oblivion through its long story and further prevented cultural influences fromĮspecially the U.S.A. Choro is a unique Brazilian music, at times it was closely associated with a national identity.

Ney matogrosso urubu malandro