Artist: Paulo Moura
Genre(s):
Jazz
Discography:
Pixinguinha
Year: 2002
Tracks: 16
One of Brazil's best proponents and keepers of the gafieira tradition (popular ballrooms historically coupled to the Carioca folklore tradition of highly artistic and swing dancing and playing) and one of the topper choro players, Paulo Moura is an internationally awarded musician whose high standards make it easy for him to cross boundaries between classical and popular music, both acting and arranging in small ensembles or large symphonic orchestras. As a music director, orchestrator, and adapter for celebrated Brazilian singers, he includes in his resumé works for Elis Regina, Fagner, Taiguara, Milton Nascimento, and Marisa Monte.
Moura was born in a musical family. His male parent, Pedro Moura, was an amateur bandleader and clarinetist himself, but was a carpenter by profession. Paulo's brothers, José and Alberico, are trumpet players and Valdemar, a trombonist. At nina from Carolina, Paulo started to study the pianissimo and at 13, was already playing in his father's band at parties and balls. Moving to Rio with his household, at 18 he began his studies at the National College of Music. Completing the seven-year course in only deuce geezerhood, he continued his studies of theory, concordance, and counterpoint with the famed master Paulo Silva. He too studied harmony, counterpoint, and fugue with fundamental Brazilian Guerra Peixe. On the popular side, he took placement lessons with internationally acclaimed Brazilian Moacir Santos and with Maestro Cipó. In 1951, Moura joined Osvaldo Borba's orchestra. Later, he too linked Zacarias e Sua Orquestra. His first recording gig, the birdcall "Palhaço" (Lord Nelson Cavaquinho), was as sideman for the highly pop vocalizer Dalva de Oliveira. At 19, he debuted as a soloist, performing Weber's "Concertino for Clarinet and Orchestra," accompanied by the Orquestra Sinfônica Nacional. Hired by the Orquestra Ary Barroso, he toured Mexico in 1953. Soon after, he linked the group of smashing trombonist Maciel. Hired by Rádio Tupi, he played thither with the Orquestra Cipó. In 1954, he joined the Conjunto Guio de Morais, which was a even playact at the noted Régine's cabaret. His number 1 record album as soloist (a 78 revolutions per minute for Columbia) was recorded in 1956: Paganini's Moto Perpetuo. In 1957, he organized his first-class honours degree gafieira orchestra, performing with it at the gafieira Brasil Danças. In that same twelvemonth, he recorded Paulo Moura e Sua Orquestra Para Bailes (Sinter). In 1958, Moura was leased by Rádio Nacional as an orchestrator and organiser, working there for deuce long time. Also in 1958, he recorded the LP Paulo Moura Interpreta Radamés Gnatalli (Continental), accompanied by the Radamés Gnatalli Quartet, and became the musical theater director for Brazilian all-stars Dolores Durán, Nora Ney, Jorge Goulart, Maria Helena Raposo, and the Conjunto Farroupilha. Touring through and through Soviet Union and other countries, he conducted the Symphonic Orchestra of Moscow. In 1959, he was leased as first-class honours degree clarinetist for the Orquestra do Teatro Nacional, working for 17 age in that position. In 1960, he linked popular conductor Severino Araújo's orchestra, touring Argentina, and recorded for Chantecler the LP Tangos e Boleros. In 1962, he recorded with Brazilian violão master Baden Powell, performed at the historic jazz/bossa nova nightclubs of Rio's Beco hyrax Garrafas and, as an altoist, he united Sérgio Mendes' Conjunto Bossa-Rio, performing at the historical Carnegie Hall Bossa Nova Festival. In 1964, Moura attended as saxist the great drummer Edson Machado's LP for CBS, Edson Machado é Samba Novo. In 1968, he recorded for Equipe the LP Paulo Moura Hepteto; the side by side twelvemonth, Paulo Moura Quarteto; and in 1971, Fibra, besides for Equipe. In that year, Moura toured Greece with his quartette. In 1975, he recorded in the U.S. with Brazilian guitar player Tiago de Melo. In the side by side twelvemonth, he recorded his definitive masterpiece Confusão Urbana, Suburbana e Rural, which granted him an extremely popular two-month circuit passim Japan with full fight coverage. In the '80s, he recorded his classic album Mistura e Manda (Kuarup) and with the Brazilian violão master Raphael Rabello, he recorded the record album Dois Irmãos, which was hang toward the choro side spell besides including Raphael's flamenco-influenced guitar style and bossa nova themes. He besides recorded respective new erudite albums with Brazilian classical piano player Clara Sverner. In 1981 came some other classic LP, ConSertão, an oecumenical production with internationally awarded classical pianist Artur Moreira Lima, Brazilian jazz guitar player Heraldo do Monte, and folksinger/composer Elomar. Following this, he formed a trio with internationally renowned classical violonista (acoustic guitar player) TurÃbio Santos and Artur Moreira Lima. As a soloist, he performed at New York's Lincoln Center, appeared at the Music Festival of Guadalupe in Mexico, and created the number 1 saxophone orchestra. He besides soloed concerts with the Orquestra Sinfônica Brasileira and Orquestra Sinfônica do Estado de São Paulo. In 1985, his choro trinity performed at the Brazil Festival, at Juan-les-Pins (Antibes, France), and his gafieira orchestra opened the France-Brazil Cultural Interchange at the Zenith Theatre, in Paris, France. In 1988, Moura conducted the Orquestra Sinfônica de BrasÃlia, performing his have piece for percussion and orchestra commemorative the centennial of the abolition of slavery in Brazil. Since then, he has been invitee conductor at a series of concerts in Porto Alegre, Salvador, and Espirito Santo. In 1992, he wrote the piece "SuÃte Carioca" for jazz rhythm department, symphonious orchestra, and children's choir. Also in that year, he was awarded as Best Soloist at Moscow's Mozart Festival. In 1996, he arranged all of the music and performed the clarinet and saxes at the Os Batutas' show up Pixinguinha at Teatro Carlos Gomes (Rio). An all-star choro chemical group, Os Batutas takes his name from Pixinguinha's seminal radical and is formed by Jorge Simas (violão), Márcio (cavaquinho), Jorginho (pandeiro), Jovi (pleximetry), Marçal (pleximetry), Zé da Velha (trombone), and Joel do Nascimento (bandolim). The prove was recorded live and released the following year on the Velas CD Pixinguinha. It won Brazil's Prêmio Sharp for Best Instrumental CD and Best Instrumental Group in 1997. The CD presents 16 tracks of greco-Roman choro music by one of Brazil's almost authoritative composers of all time, Alfredo da Rocha Viana Júnior, Pixinguinha. In 1996, he was also awarded with the Prêmio Sharp as Best Popular Instrumentalist. Other awards received by him include Prêmio José Sarney, Villa-Lobos, Brahma Extra Prizes, and Honorary Citizenship in Rio de Janeiro. Four years later, he was awarded a Grammy for Best Brazilian Roots/Regional Album for Pixinguinha at the starting time Latin Grammy Awards and the sizzling album Tempos Felizes was released in other 2001.
