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Search Result for Artist Vasconcelos
viewing 1 To 9 of 9 items
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WHP 1477LP
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The magical encounter of three skillful players, right before their self-titled debut on ECM. On September 1, 1978, the musical trio Codona performed live in Willisau, Switzerland. This Swiss FM broadcast captured Codona in full flight, with Collin Walcott on sitar, Don Cherry on trumpet, and Nana Vasconcelos on percussion. Their performance weaved a magical web of sound. The opening track, "New Light," is a 16-minute journey of pure joy.
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CD
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FARO 138X-CD
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Recorded in Paris, in 1976, Visions of Dawn is the stunning "lost" Brazilian acid-folk masterpiece. First uncovered and released in 2009, the record transfixed Brazilian music lovers and fans of otherworldly psych-folk alike. Led by the sharp lyrics and gorgeous, voice of a young Joyce Moreno, the trio is completed by the late great Brazilian percussion legend Nana Vasconcelos, and master arranger, producer and bassist Mauricio Maestro. These beautiful recordings offer a unique opportunity to sit in on the original sessions of tracks that would later become Brazilian cult-classics, like swinging samba-jazz opener "Banana" and "Clareana", a lullaby named after Joyce's daughters Clara and Ana. The trippiest moments come from "Jardim Dos Deuces" (one of Frank Ocean's favorite tracks of all time) and the orgasmic album closer "Chegeda."
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LP
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FARO 226LP
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LP version. Residing in Rio de Janeiro, Vasconcelos Sentimento is a self-taught composer, producer and multi-instrumentalist. A mosaic of lo-fi breaks, cosmic ambient jazz and wonky chromatic funk, the eccentric Brazilian DIY wizard's debut album Furto beautifully pieces together a huge range of seemingly disparate sonic elements. Calling himself an "amateur euphoric sound researcher", he has no formal training in either music theory or production, and it's simply by following his ear that has led him to creating his debut album for Far Out Recordings. It was his fascination with his fellow countryman, the enigmatic, psychedelic '70s folk artist Jose Mauro, that led the young Vasconcelos Sentimento (real name Guilherme Esteves) to first make contact with Far Out. Coincidentally living in the same region as Mauro, Sentimento managed to track him down and put label boss Joe Davis in touch, after Davis had spent years of what felt like hopeless searching for the man many assumed dead. When Joe and the FarOut team heard Guilhermes' own music, there was a sense of shock. "It was unlike anything we'd heard before, but it also sounded curiously at home on Far Out. Like it had taken little pieces of different releases from the catalog, and all the music from the '60s onwards that influences everything we do, and recreated all that magic in such an exciting new way." Indeed, Sentimento is not afraid to admit what he himself sees as acts of theft. (Furto = Theft in Portuguese). But while the debate surrounding the ethics of sampling is a never ending one, Sentimento's music -- while it does contain the odd sample, including an interview with Joe Davis himself, "One For The Masta Digga" -- steals in an entirely different way. His creative process involves an intensive period, in which he'll listen to just one artist or song over and over, for days and weeks on end. Then he'll head to his rudimentary bedroom studio, which, as he puts it, is "built for speed", hit record and "blurt" whatever comes out. "I never spend more than a day working on any one song idea"... Picasso once said "lesser artists borrow; great artists steal." And it's through this process of Furto that Vasconcelos Sentimento has somewhat ironically cultivated a sound that is unmistakably his own.
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CD
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FARO 226CD
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Residing in Rio de Janeiro, Vasconcelos Sentimento is a self-taught composer, producer and multi-instrumentalist. A mosaic of lo-fi breaks, cosmic ambient jazz and wonky chromatic funk, the eccentric Brazilian DIY wizard's debut album Furto beautifully pieces together a huge range of seemingly disparate sonic elements. Calling himself an "amateur euphoric sound researcher", he has no formal training in either music theory or production, and it's simply by following his ear that has led him to creating his debut album for Far Out Recordings. It was his fascination with his fellow countryman, the enigmatic, psychedelic '70s folk artist Jose Mauro, that led the young Vasconcelos Sentimento (real name Guilherme Esteves) to first make contact with Far Out. Coincidentally living in the same region as Mauro, Sentimento managed to track him down and put label boss Joe Davis in touch, after Davis had spent years of what felt like hopeless searching for the man many assumed dead. When Joe and the FarOut team heard Guilhermes' own music, there was a sense of shock. "It was unlike anything we'd heard before, but it also sounded curiously at home on Far Out. Like it had taken little pieces of different releases from the catalog, and all the music from the '60s onwards that influences everything we do, and recreated all that magic in such an exciting new way." Indeed, Sentimento is not afraid to admit what he himself sees as acts of theft. (Furto = Theft in Portuguese). But while the debate surrounding the ethics of sampling is a never ending one, Sentimento's music -- while it does contain the odd sample, including an interview with Joe Davis himself, "One For The Masta Digga" -- steals in an entirely different way. His creative process involves an intensive period, in which he'll listen to just one artist or song over and over, for days and weeks on end. Then he'll head to his rudimentary bedroom studio, which, as he puts it, is "built for speed", hit record and "blurt" whatever comes out. "I never spend more than a day working on any one song idea"... Picasso once said "lesser artists borrow; great artists steal." And it's through this process of Furto that Vasconcelos Sentimento has somewhat ironically cultivated a sound that is unmistakably his own.
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2CD
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BF 023CD
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In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician. The five-person band -- Don and Moki Cherry, Christer Bothén, Gérard "Doudou" Gouirand, and Naná Vasconcelos -- performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki's carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta "Dha Dhin Na, Dha Tin Na," and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance -- including pieces that would later appear on Don's albums Organic Music Society and Home Boy (Sister Out) -- all punctuated by outbursts of possessed glossolalia from the puppeteers. "Relativity Suite, Part 1" notably spotlights Bothén on donso ngoni, a Malian hunter's guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos's masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona.
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LP
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FARO 138LP
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Far Out Recordings present Visions Of Dawn. Understated yet powerful this previously unreleased project by three Brazilian music legends has been rescued. Led by the sharp lyrics and gorgeous, expressive voice and guitar of Joyce, the trio is completed by the expert musicianship of her close friends Nana Vasconcelos (percussion) and Mauricio Maestro (electric bass, vocals, guitar and producer) who were both crucial in creating this masterpiece. These beautiful, hazy recordings, which took place among the charming artistic 1970s Paris scene, offer a unique chance to sit in on the original jamming sessions of tracks that later became Brazilian cult classics. Mauricio, Joyce and Nana became friends as part of Milton Nascimento's Clube De Esquina scene and his legendary Clube De Esquina albums. The three were also part of Sagrada Familia - the great Luiz Eça band - while Nana and Joyce played together in legendary folk-prog band A Tribo. Having arranged for Brazil's top artists from an early age Mauricio Maestro lent his masterful bass playing to Joyce's classic early albums. Later a founding member of Boca Livre - one of the most successful groups ever to emerge from Brazil - Mauricio produced Visions Of Dawn and his incredible electric bass and vocals are crucial to the sessions. Nana Vasconcelos has released more than thirty albums over an epic forty year career. Vasconcelos is a vocalist and berimbau player of immense quality and here displays his unsurpassed Latin jazz percussion skills, which adds playful samba momentum to this project. Joyce recorded her first album at the age of nineteen and alongside Tropicalia artists of the time she infused conservative Brazilian music with the spirit of '60s counter-culture, creating bossa nova with a feminist edge that gave Brazilian women their voice. Here Joyce's tender psychedelic vocals result in a dreamy set that's given a strong edge when scatting and letting her notes playfully jump around. Creativity flows out from behind Joyce's Paris boudoir drapes for 35 glorious minutes. Stand out tracks "Banana" and "Clareana" became big Brazilian hits for Joyce on her hugely successful solo albums, which followed on from this recording. Visions Of Dawn is a legendary lost treasure encapsulating the special freedom and beauty of Joyce, Nana and Mauricio's music that has finally been rescued and set free after 33 years. Features Andy Votel's stunning psychedelic designs on the cover. 180 gram vinyl.
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CD
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FARO 162CD
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2011 release. Brazilian greats, Mauricio Maestro and Nana Vasconcelos, finally reconnect on the second part of their five decade psychedelic folk trilogy with Upside Down. Following Visions Of Dawn (FARO 138LP) - the 1976 acid-folk lost classic - Upside Down is a special new recording that stirs up a time when people dared to make liberated records. Nana and guest vocalist Kay Lyra - completing the modern folk trio - combine floating harmonies and delicate psychedelia. Maestro's moving compositions melt together hypnotizing strings with his darting guitar and wonderfully languid vocals. The master of percussion, Nana Vasconcelos brings an endless concoction of exotic instrumentation to stirring life as mind-bending vocals move in and out of focus. Together at the center of the underground '60s tropicalia and darker Afro-samba jazz movements (rising against a repressive Brazilian military regime) to the free '70s Brazilian acid-folk (that flourished in North American and European exile) Maestro and Vasconcelos have created eleven tracks that stir up this time, but in the backdrop of a liberated, prosperous Brazil. Recorded in 2010, the pair combined Maestro's classic and new compositions with modern folk ideas to outshine many current impressionists. Inspired by the success of Visions Of Dawn, Far Out Recordings label head Joe Davis encouraged Maestro and Nana to return to the studio to complete the long-time coming follow up. Mauricio Maestro began his career in vocal quartet Momentoquatro in the late '60s before he and Nana became friends in the great Luiz Eça's thirteen member band Sagrada Familia. The pair were also part of Milton Nascimento's Clube De Esquina scene along with Joyce and Marcos Valle.
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LP
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FARO 162LP
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LP version. 180 gram vinyl. 2011 release. Brazilian greats, Mauricio Maestro and Nana Vasconcelos, finally reconnect on the second part of their five decade psychedelic folk trilogy with Upside Down. Following Visions Of Dawn (FARO 138LP) - the 1976 acid-folk lost classic - Upside Down is a special new recording that stirs up a time when people dared to make liberated records. Nana and guest vocalist Kay Lyra - completing the modern folk trio - combine floating harmonies and delicate psychedelia. Maestro's moving compositions melt together hypnotizing strings with his darting guitar and wonderfully languid vocals. The master of percussion, Nana Vasconcelos brings an endless concoction of exotic instrumentation to stirring life as mind-bending vocals move in and out of focus. Together at the center of the underground '60s tropicalia and darker Afro-samba jazz movements (rising against a repressive Brazilian military regime) to the free '70s Brazilian acid-folk (that flourished in North American and European exile) Maestro and Vasconcelos have created eleven tracks that stir up this time, but in the backdrop of a liberated, prosperous Brazil. Recorded in 2010, the pair combined Maestro's classic and new compositions with modern folk ideas to outshine many current impressionists. Inspired by the success of Visions Of Dawn, Far Out Recordings label head Joe Davis encouraged Maestro and Nana to return to the studio to complete the long-time coming follow up. Mauricio Maestro began his career in vocal quartet Momentoquatro in the late '60s before he and Nana became friends in the great Luiz Eça's thirteen member band Sagrada Familia. The pair were also part of Milton Nascimento's Clube De Esquina scene along with Joyce and Marcos Valle.
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CD
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FARO 177CD
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2013 release. 4 Elementos, or "Four Elements", is a gem that comes as a follow up to Naná Vasconcelos's incredible Sinfonia & Batuques, winner of a Latin Grammy in 2011. This new offering breaks many boundaries and reveals Brazil's most revered percussionist in his best form yet. Naná Vasconcelos creates and shapes sounds and ideas in his original compositions, with inventive and provocative results. On 4 Elementos the listener is invited to join Vasconcelos on a deep and emotional musical journey. The album is released and sponsored by the Government of Pernambuco, through Funcultura, with the executive production of Isa Melo from Coco Produções in partnership with Morenana Produções Artísticas and Far Out Recordings. Inspired by the four elements of nature, the percussion legend Naná Vasconcelos has created a beautiful and hypnotic record. Flowing from the stunning lyricism of "Légua Tirana", a classic by the Brazilian legend Luiz Gonzaga, to "Coco Lunar", where Vasconcelos visualizes a party in the cosmos, showcasing Brazilian rhythm in all its color and vibrancy. In "Berimbando", Naná goes back to his beloved berimbau and pays a beautiful homage to the percussionist Airto Moreira. Nana Vasconcelos has previously played with artist such as Pat Metheny, Milton Nascimento, Joyce, Ron Carter, Don Cherry, Melvin Gibbs, Jack DeJohnette and many more.
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