Over the past 16 years, guitarist Ricardo Silveira has earned a reputation as one of Rio’s most admired and respected international musicians. Born in Rio, Ricardo grew up listening to Bossa Nova, Samba and the insistent rhythms of Carnival. He’s a graduate of the prestigious Berklee College of Music in Boston, where he studied alongside jazz greats Pat Metheny and Bill Frisell.

Silveira has played guitar on hundreds of recordings over his 25-year career and has recorded with such notables as Milton Nascimento, Vanessa Williams, Gilberto Gil, Diana Ross, Moacir Santoss, Gal Costa, Ivan Lins, João Bosco, Greg Karukas, Chico Buarque and Don Grusin, just to name a handful of the incredible artists who appreciate Ricardo’s playing.

This week’s playlist includes songs from the jazzy side of the Brazilian music spectrum – all in keeping with our ‘Summer Sambas’ theme this month. Rio sax star Leo Gandelman puts a tropical turn on Sting’s ‘Fragile’ and Vanessa da Mata & Ben Harper bring a bilingual duet that’s perfect for a hot August night! Plus Vanessa Williams, and Rio-cool tunes from Toco (with Rosalia de Souza), Mike Catalano and Emilio Santiago. Plus a preview of this month’s FREE Featured CD at Connectbrazil.com. (keyword FREECD)

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Our Facebook fan page for The Sounds of Brazil is growing every day, and I’d love it if you’d become a friend, too! Type keyword Facebook at Connectbrazil.com or look for our fan page for The Sounds of Brazil next time you’re online- and make it official!

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Adding the ecard for Saturday’s tribute concert. Hope to see you there!

Hi all!

Guess what I came across last night? A copy of Chicago pianist Breno Sauer’s 1966 release ’4 No Sucesso’. I’ve added the song ‘Canto do Ossanha’ to all three of our webcast channels at Connectbrazil Radio and you can click here to listen to it right now. Breno has been a pioneer for Brazilian Jazz in Chicago for decades and there’s a special tribute concert for him this Saturday August 14th at Mayne Stage in Chicago. And here’s a Facebook link.  Hope to see you there.

If you’re not familiar with Breno and the role he’s played in shaping Brazilian jazz, you can read these liner notes from  4 No Sucesso’s CD release in 2002. What a story!

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I come from a musical family from Porto Alegre, in the very south of Brazil. My father and three brothers, all of them were musicians – drummers, guitarists and accordionists. I began playing all three instruments, but I ended up deciding to play the accordion myself.

I started out professionally by playing Musica Regional. If you don’t know exactly what Regional is, it’s a type of group made up of two guitars, cavaquinho, accordion, flute and pandeiro and they used to accompany the ‘calouros’, as the new crop of singers were called, on the radio.

After playing the accordion for some years I began to listen to an american group, the Art Van Damme Quintet. I was totally influenced by that sound and so I formed my first group with the exact same line up – electric guitar, vibraphone, bass, drums and accordion.

Like I said, my first professional instrument was the accordion, but because of a heart problem, I lamentably had to give it up. That was when I started to play the vibraphone, which I played for many years. I only gave the vibes up in 1967 when the quartet broke up and there was no pianist to give me the necessary base for my vibes playing, so I was obliged to start playing piano, which is the instrument I’ve played until today!

My first recordings were for the Columbia do Brasil label – ‘Breno Sauer Quinteto’, ‘Viva O Samba’ and ‘Viva O Ritmo’. Then I recorded for RGE – ‘Sambabessa’ and ‘Agostinho, Sempre Agostinho’ which we recorded accompanying the singer Agostinho dos Santos.

From there on we had a new formation, the Breno Sauer Quarteto, which dispensed with the accordion and was very much influenced by the Modern Jazz Quartet. This line up was the one we recorded in Rio for Musidisc – ’4 Na Bossa’ in 1965 followed by ’4 No Sucesso’ in 1966. Later, in Mexico, but with the same group, we recorded with Leny Andrade, Pery Ribeiro and the great flautist Altamiro Carrilho.

People talk about the musical movement in Porto Alegre in the early 60s, Manfredo Fest, Primo Jr, Elis Regina, but I don’t know about that… in reality everyone already had to go north to Rio and São Paulo.

It wasn’t necessary to actually move to Rio to be successful, but at that time there was a whole thing going on; the Rio-São Paulo connection. Well, Rio could launch a new artist’s career but São Paulo was where you made money! Certainly, though, this to and fro between Rio-São Paulo helped musicians to be prepared for the big move north – to the USA and to Mexico. Rio and São Paulo were really the reference point for brazilian music outside of Brazil.

In 1967 the opportunity arose for my group to tour Mexico, along with Primo Jr. and we ended up staying there for five years, playing as the Breno Sauer Quarteto, but eventually both the pianist and bassist went home to Brazil. João Gilberto was already there recording in Mexico City, doing shows and stuff but not actually living there. Carlos Lyra was also there when we arrived and there had been talk of us doing his play ‘Pobre Menina Rica’, but Carlinhos went home to Brazil before that could happen. The Tamba Trio were also in Mexico for two periods, once with my great friend Luiz Eça and secondly with the maestro Laércio de Freitas at the piano. Incidentally, my daughter Andrea had a doll at the time with really long legs that she called Laércia after him, she thought he was great!

After travelling extensively throughout Mexico and the northwestern USA, our drummer Portinho decided to try his luck in the big city and moved to New York. All this time I was travelling with my family, (one daughter from my first marriage, my wife Neusa who still sings with me, and our daughter Andrea), and by 1974 we ended up in Chicago. We settled there because it really was time that the kids went to school and stuff… and here we are until today.

Once in Chicago, I started a new group and began to play a lot – this time with american musicians, and some very good ones, too. The first Chicago group was really international – Ron De War (ts, american); Akio Sasajima (g, japanese); Paulinho Garcia (b, brazilian); Phil Gratteau (ds, american), Neusa Sauer (vox, brazilian); Roberto Sanchez (cga, cuban) and myself on piano. However, this group didn’t really have the identity or the sound – I went through a lot of drummers. I even brought them from brazil. Here, in the States, I found it very difficult rhythmically, you know, the brazilian ‘suingue’. Finally, I got to point where I found the sound that I wanted and that was the band you will have heard.

In Chicago we recorded another four independent albums this time with a similar line up – trumpet, sax, piano, bass, drums, percussion and a vocalist with the initial name of Made in Brasil. This all came about when we decided to go into a studio here in Chicago to record a direct-cut session, a premixed live recording, just for us to hear how the group flowed together, you know, if there were any defects we needed to iron out and stuff. And this served as a demo for us. At the time we were playing under the name Made in Brasil. Anyway, the owner of the studio loved the sound of that band so much that he got in touch with PAUSA Records, sold them the demo and they released the record on the spot – just like that! And there we were, afraid to say anything that would make us look dumb, so we just went along with it, kept our mouths shut and let the record come out. At this point Victor Meshkovsky appeared on the scene and it turned out that he had a group with the same name, Made in Brasil – only this name had been registered by him! As a result of this we changed our name to Som Brasil – this time registering our name and keeping quiet about the Made in Brasil thing! That really was a painful time – muito painful…

With Som Brasil I also changed the format of the group once more. I had David Urban, then Art Davis (tp); Peter O’Neill or Jim Galereto (ts, ss, fl); Paulinho Garcia, then Kurt Bley (b); Luiz Ewerling (ds); Neusa (vox) and myself on piano. With this line up I wanted to approach the sound of the Jazz Messengers, but playing brazilian music. The band spent a number of years playing what I think was some really excellent music.

In terms of what I’m doing today, I was never really into Musica Gaùcha, (that is music from the south of Brazil near the argentine/uruguayan borders) but I certainly never felt any the less gaùcho for that! But two or three years ago, here in Chicago, we started getting a big demand for musicians to accompany dancers – tango etc and singers as well. Because I’m a gaùcho from Porto Alegre I know this music very well, especially if you’re talking about the more interesting side of it – Astor Piazzolla, Marianito Mores and those guys. However, our move towards this kind of music is a result of market forces…

I do have many fond and funny memories of recording these Musidisc albums ’4 Na Bossa’ and ’4 No Sucesso’. At that time a lot of the best studios in Brazil had started to record with more modern equipment and utilising new techniques for recording – overdubs and things like that, and with more channels to record through the desk. This was obviously a great help to artists who could go back over mistakes and use the infamous ‘punch in’ and ‘punch out’ facility to drop into the recording. Well, we had so much fun with that button, I can tell you! The thing was, none of us were really singers so we had these constant fights as to who was in or out of tune and who needed those ‘punch-ins’ but it was worth all the effort.

We had so much success with the first album that Musidisc invited us to do an LP of popular tunes, more international stuff, which was a real surprise to us. We had no time to really rehearse the tunes but because we had been playing non-stop as a quartet the band was just so tight that it really came together on the day of recording. In the end we went to Mexico and so we never really knew whether ’4 No Sucesso’ was a success or not!

I think for me the future of (good) brazilian music is… well, I’d like to have something good to say about it but it’s probably best to wait some more and keep our fingers crossed!

- Breno Sauer, Chicago, 4th September, 2001

Afternoon! Here’s more information on the Som Brasil Tribute concert this Saturday, August 14th at Mayne Stage. If you’re a Brazilian Jazz fan, I hope that you can make it!

In the late 70’s early 80’s and beyond, “Made in Brasil” which later became “Som Brasil” delighted Chicago music lovers with energetic and fascinating Brazilian Jazz.

Made in Brazil (Som Brasil Band) is Neusa Sauer’s happy, beautiful vocals and husband Breno Sauer’s sophisticated and brilliant keyboards. In the beginning Paulinho Garcia, now Chicago’s first call guitarist singer of Brazilian Music, played bass, Geraldo de Oliveria percussion and Dede Sampaio drums. The rhythm section changed but Neusa and Breno Sauer were and are Made in Brasil.

Saturday Aug 14th we honor pianist Breno Sauer with an evening of Brazil Chicago all stars. Paulinho Garcia says: “A rare chance to see and hear the group that started everything.”

Set 1: Opening the show will be Luciano Antonio’s Copacabana Trio with Neusa Sauer vocals and Geraldo de Oliveria percussion

Singer guitarist composer Luciano Antonio is delighting fans of Brazilian Music with his fresh, creative and innovative sound. The music of Jobim, Toquinho and other giants of Brazilian music blended with originals that grow from that rich musical soil. Neusa Sauer’s vocals and Geraldo de Oliveria’s percussion blend with Luciano to make the warm sounds of The Copacabana Trio. Luciano Antonio’s Quintet features the great Rob Block on guitar, Eddie Gerber bass, Felipe Fraga drums, Geraldo de Oliveira percussion.

Set 2:

Paulinho Garcia is Chicago’s most in demand Brazilian musician. His warm easy voice and beautiful guitar have made Paulinho Garcia a Chicago and world favorite. Paulinho begins set 2 solo and than is joined by Sax and Flute master Greg Fishman for the music of their group, Two For Brazil. Paulinho will continue set 2 and be joined by 3 Brazilian percussion masters,Dede Sampaio, Heitor Garcia and Geraldo de Oliveria. Expect a Brazilian percussion explosion!

Set 3: Made in Brasil

Reunited for the first time in years, Neusa Sauer vocals, Breno Sauer at the Mayne Stage 9 foot Steinway, Paulinho Garcia bass, Dede Sampaio drums and Gerald de Oliveria percussion. Please join us for a night of joy through music, Brazilian style.

By Scott Adams

New month, new theme: August brings the ‘Dog Days’ – hardly an America thing, going all the way back to the Roman Empire – but a typically Brazilian perspective gives us a much more pleasant spin: ‘Summer Sambas’ makes its return to the airwaves and our webcast channels at Connecbrazil.com. Nice line-up, too, beginning with Diva Gal Costa this weekend, followed by guitarist Ricardo Silveira, Basia and New Bossa siren Rosalia de Souza. Don’t miss a single song – type keyword RADIO at Connectbrazil.com or click here for the 24/7 webcast.

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August is ‘vacation time’ for most of us, but there’s been no time off here, as we work hard to meet our early September launch of Brazil Club for Chicago fans.  You’ve probably heard of it already.

We’re working with a top Chicago web design team to create a brand new online home and the focus is on music and community. Many of Chicago’s best Brazilian musicians are already promoting Brazil Club, so be sure to sign up today, if you haven’t already. It’s free and like we say… ‘Sun, Style, Samba’! Click here.

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Apart from Sergio Mendes’ Bom Tempo’ and a few other choice releases, it’s been a quiet summer for Brazilian music. Things could change soon through. Rio’s keyboard master Marcos Ariel sent me several new songs from an upcoming album recently. He’s looking for a new US label, and the music is solidly in the same vein as his other recent recordings, including My Only Passion, Magic Eyes and Four Friends. Hopefully it won’t be long before I can play them for you!

Ditto for singer Patrica Talem and her sophomore recording, just completed in Los Angles with Yellowjackets members Russell Ferrante and Jimmy Haslip. Word is that it’s a ‘live in studio’ project. Fans will recall that her 2009 debut garnered her critical acclaim and two BIP nominations.

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Don’t forget to check out our new FREE Featured Album of The Month for August. Times are tight, but that doesn’t mean you should have to go without great Brazilian music. Keyword FREECD or click here.

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Musical birthdays this week include guitarist Baden Powell, Caetano Veloso, Fafa de Belem, Axé legend Clara Nunes, Beto Guedes and percussionist Marcos Susuano. Samba celebrates a milestone on Thursday the 12^th – the founding of the very first Escola de Samba (Samba School), Deixa Falar, in 1928. See what happened this month in Brazilian history here.

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Stop the, er, presses: Former Brazilian supermodel Gisele Bundchen has back peddled on her public campaign for a new International law requiring all of the world’s children to be breast-fed.

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We’re #1! Our webcast channel ‘Brazilian Blend’ is now the #1 most popular for Brazilian music online, according to Live365.com listeners. And its in the top 4% of all of Live365’s 5,000+ stations. If you haven’t tuned in, you can right here.

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Chicago: Brazil Club’s Interactive Calendar shows that Saturday August 14^th is a date that you should circle if you’re a Brazilian jazz fan: a special tribute concert for Bruno and Neuza Sauer and Mayne Stage in Rogers Park, 8 pm.

Together, they pioneered Brazilian jazz here in Chicago as the group ‘Som Brasil’ and later ‘Made In Brazil’ – giving us decades of great music and providing a helping hand to other newly-arrived Brazilian musicians to Chicagoland.

Back in 1991, as I was laying the groundwork for my radio show, I caught up with Nueza one day at the Brazilian Consulate to tell her of my idea. The problem was, I didn’t what to call it. “That’s easy,” she said. “Call it Som Brasil – “The Sound of Brazil!” And that’s how it happened.

So Saturday night, it’s an opportunity for all of us – fans and musicians – to give a little back to these Chicago stalwarts. I hope to see you there!

A World Cup loss on the world stage> Brazil lost to the Netherlands this morning, capping a tourney of uneven play, poor coaching and high expectations. Brazil, the only five-time World Cup champion, suffered from a series of miscues and played most of the second half with a star player red-carded. Here’s the story, as disappointing as it is:

Brazil\’s loss in the 2010 World Cup

Many of the world’s greatest cities have nicknames: Paris is the ‘City of Lights,’ Rome ‘The Eternal City’. Closer to home we have ‘The City By The Bay’, ‘Beantown’, the ‘Big Apple’ and of course, our own ‘Windy City’.

Rio de Janeiro has its international moniker: ‘Cidade Maravelhosa’ (Marvelous City). It’s also been called ‘Paris the Sea’, but in my opinion, neither do justice to the city’s musical birthright.

July’s radio theme for The Sounds of Brazil just might take care of that. We’ll spend all five weekends exploring the sonic vistas and melodic landmarks of ‘BossaNovaville’!

Join me this late Saturday at midnight (following Mindi) for holiday weekend fun with ‘The Girls from Ipanema’ – a baker’s dozen of the best female stars!

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Our Facebook fan page for The Sounds of Brazil is growing every day, and I’d love it if you’d become a friend, too! Look for our Facebook link on our home page at Connectbrazil.com!

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Get FREE updates on Brazilian events, concerts, clubs and hot spots when you sign up for Brazil Club! Keyword BRAZILCLUB at Connectbrazil.com. Check out the daily events calendar, too.

Back when I was writing the Brazilian music column for Jazziz magazine, I once observed that Bossa Nova legend Joao Gilberto “has a voice that can whisper through walls.” Another legend, trumpeter Miles Davis put it another way: “He could read a newspaper and sound good.”

But as a young musician in Rio, he was rather less impressive. In fact, he wore out him welcome after years of missed rehearsals and club dates, broken promises and indiscretions. A self-imposed exile into the Brazilian backlands lasted eight months and it was during that time that Joao discovered – and perfected – a new rhythm on his guitar. When he returned to Rio his laid back singing style and that new rhythm turned the city upside down.

Joao Gilberto’s voice is weightless, its depth infinite; it is haunting, haunted, insular. He hears things we do not. Not only things outside our awareness (the construction equipment on the next street, the air conditioner in the studio)–but the possibility of sounds we cannot imagine. And he teaches us the sound of stillness.

By Scott Adams, Publisher. Last Updated: June 26, 2010

Well, it happened again: After all of the excitement and anticipation, hope and expectation, João Gilberto – at the 11^th hour – has cancelled his three-city US Tour. No dates for rescheduling have been provided for New York, Boston or Chicago.

As a matter of fact, the 79-year old ‘Father of Bossa Nova’ never left Brazil. Reports of ‘travel restrictions’ surfaced late last week – lack of a proper visa was suggested, but given his prominence and the promoters involved, it’s difficult to believe that a quick call to the US Embassy in São Paulo wouldn’t have straightened it out.

So what happened? Illness? We hope not.

More than likely João simply changed his mind, as he has done before. Anyone who knows even a little about João Gilberto knows of at least of one story or joke that involves his seemingly calculated indifference to the world around him.

The one about Elba Ramalho and the deck of cards springs to mind.

I’ve heard quite a few over the years, from friends, journalistas and even his family. Fact bends into fiction to become another layer of legend; a quirky nod to the genius of João Gilberto.

Another old chestnut goes that João was due to play at one of São Paulo’s top concert halls. He got on the shuttle from Rio, found a taxi at Sampa’s downtown airport, made his way across the city to arrive at the venue and was ready to step out of the cab when he changed his mind. And then went back home without saying a word.

Did you have a concert ticket? Do you play the Lotto?

Ruy Castro’s excellent book Bossa Nova reminds that it was Gilberto’s mercurial nature that led to an 8-month. self-imposed ‘musical exile’ in the Brazilian interior back in the ‘50s. It was there that he improvised a practice tune called ‘Bim Bom’ to perfect his newfound guitar rhythm.

That rhythm was the catalyst for Jobim’s melodies and the wordcraft of his many songwriting partners. The phrase ‘Bossa Nova’ came along much later.

This column was written to help you feel a little better over the disappointing news of his cancellation. And it takes nothing away from his magic – a creative force that we absolutely cherish as Brazilian music fans.

Let’s all hope that we have the chance to be disappointed again, soon.

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Back in the mid ’90’s a concert promoter invited me to Miami Beach to hear João Gilberto perform with his daughter Bebel at the Jackie Gleason Theater. Dinner conversation before the show yielded a gem of wisdom. He said, “I brought Bebel onto the billing to make sure that João showed up. I told her “Hold onto his coat sleeve and don’t let go until he’s sitting on stage in Miami.”

Maybe 2010’s promoter should have done the same.

As our world grows ever smaller, the prominence of cultural icons such as Elis Regina begins to shrink as well, slowly replaced by the quickening pace of the latest trend, the 24 hour news cycle, and the next subject for his or her “15-minutes of fame.”

This is the time of year where, as Spring arrives and clocks likewise spring forward, we stop to look back at the woman who many consider to be Brazil’s greatest singer. So, for taking the time and effort to learn about Elis Regina, I thank you.

Times have changed and Brazil’s music scene has, too: For all of her dynamic presence, Ivete Sangalo (who is Brazil’s reigning Queen of Song) has precious little in common with Regina. Indeed, barely a decade had passed when the author of Regina’s biography publicly proclaimed that Elis Regina had been all but forgotten in her country.

Elis was dynamic in her music and polarizing in her personal life. And while author Regina Echeverria’s biography is controversial; its critics have never gained much traction – in Brazil or beyond. The same can be said of Ruy Castro’s excellent history of ‘Bossa Nova’. Considering the magnitude of both topics, it is confounding that more published works have not been researched and written.

Regardless, Elis Regina never fails to elicit passionate response from its readers and this year, I’m pleased to present the on-line edition of her life story, in English. The full-length book titled ‘Furacão Elis’ (Hurricane Elis) has a new home. We’ve augmented the presentation with a comments page, online store and more, and I hope that you’ll enjoy the read.

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So what is Gilberto Gil up to these days, now that he’s stepped away from his role as Brazil’s Minister of Culture? Well, he’s back to music, but never far away from an opinion or two. In a recent phone interview, he was asked about the US music scene:

“I don’t miss the politics,” Gil, 67, said in a phone interview. “The political side of it was something very difficult, so I don’t miss it, but the cultural [side] I miss.”  

Are you familiar with Animal Collective?

Yeah, yeah. The rappers?

They’re more of a pop band. They’re influenced by Tropicália, and by extension what you do.

I’m glad that they recognize that kind of element and it’s being absorbed by them from the Brazilian culture. I appreciate that. We have…common ground. Both American and Brazilian music are grounded on Afro elements, and this is one of the reasons that American groups are referring to Brazilian sources, that’s a natural thing.

David Byrne also seems very influenced by you.

Yeah, besides being a good friend. We became very good friends after he decided to present Brazilian music through collections that he did, and he himself has recorded Brazilian songs….I think this is great. He’s a great friend.

Besides David Byrne, is there another American act you can think of that really represents the spirit of what you do?

Oh…it doesn’t come to me immediately like that, a name of a band….[Jazz] people like Herbie Hancock and Pat Metheny, people that refer to lots of different periods of Brazilian music like the Bossa Nova and the Tropicália. Lots of bands; hip-hop bands, jazz bands, rock bands.

What are you listening to these days?

I listen erratically to different things….My kids come up with different stuff from Europe, African stuff, American stuff, South American stuff. I don’t have a preference.

Gilberto Gil performs at the Lisner Auditorium in Washington DC on Saturday as part of a larger US tour in support of his 2009 disc “Bandadois”.

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Riding high on their Latin Grammy nomination, the Orquestra Contemporanea de Olinda (from Brazil’s northeastern state of Pernambuco) are launching  their first U.S. tour this spring – scheduled in at the cutting-edge  SXSW festival in Austin Texas, the Lincoln Center and at the Heineken Transatlantic Festival in Miami Beach this April. Comprised of young musicians who are carrying the torch of the late, great mangue beat master Chico Science, OCO’s musical mayhem is a groove-fueled fusion of frevo and forro with drum-n-bass, rock and world rhythms. We’ll report more on this group as reviews come in.

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 Speaking of SXSW (South By Southwest), the 9 day fest gathers more than 200 of the top international breakout music acts. Invited from Brazil this year: Canja Rave (Porto Alegre), Julia Says (Sao Paulo), L.A.B. (Novo Hamburgo), Vander Lee (Belo Horizonte), Natalia Mallo (Sao Paulo), MegaRex (Sao Paulo),  Moxine (Sao Paulo),  The River Raid (Recife) and  M. Takara 3 (Guarulho).

Will any of these go on to become the next major Brazilian star? Considering Brazil’s history with developing new talent through festival competition, there’s a chance. We’ll have to wait and see!

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Perez Hilton writes that “Mariah Carey must love Brazil. If she doesn’t, she should! Mariah Carey’s new music hasn’t been fairing too well state-side, but in Brazil , she is an EPIC star. Her Foreigner cover, I Want To Know What Love Is, a song that barely got ANY airplay here in the US, has been on the Brazilian charts for 20 consecutive weeks – at the #1 spot!

While it says nothing of Hilton or even Carey, it speaks volumes about Brazil’s radio scene these days.

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Looking for a new workout routine to go along with getting trim for Spring? Why not try Capoeira?

Even for an athlete, capoeira offers players a new type of physical challenge. Burleigh said he cycles and runs on a regular basis, but his first day of capoeira was different from any other type of sport. Wikipedia remarks that it’s an Afro-Brazilian art form that combines elements of martial arts, music, and dance. It was created in Brazil by slaves brought from Angola and developed in the region of Quilombo dos Palmares, in the Brazilian state of Alagoas (Pernambuco). Participants form a roda, or circle, and take turns either playing musical instruments (such as the Berimbau), singing, or ritually sparring in pairs in the center of the circle. The sparring is marked by fluid acrobatic play, feints, takedowns, and extensive use of leg sweeps, kicks, and headbutts. Less frequently used techniques include elbow strikes, slaps, punches, and body throws.

One capoeira newcomer said “It’s awesome. It’s like a full-body workout for two hours, because you’re pretty much moving the whole time in a room with 20 people.” Capoeira is based around a swaying movement called ginga. From there, the movements become more complicated as they evolve into balancing handstands and kicks.

“Music and singing are just as important as the actual game, so when we’re at class everyone is singing and learning the songs,” he said. “We also take turns playing the instruments as well. It’s not just a sport, it’s more of a culture that you get into.”

The rhythm-setting instrument in capoeira is called a berimbau – a single-stringed wooden gourd instrument with a bow. Other instruments used in capoeira are bongos and tambourines.

Music and a good workout? That’s Brazilian!

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Sergio Mendes is getting ready to release a new album. ‘Bom Tempo’ his 38th album as a leader, and he revisits some of his favorites songs from Brazilian composers including Jobim, Gilberto Gil and Milton Nascimento – and a song from Stevie Wonder, too!  Read all about it and pre-order your copy now at Connectbrazil.com and have it delivered to your door when it is releases in early May.

According to reporter Jeff Tamarkin, Mendes serves as producer, composer, arranger, pianist and bandleader on the new album, which showcases songs from Brazilian songwriters (including Antonio Carlos Jobim, Gilberto Gil, Joao Donato, Carlinhos Brown, Jorge Benjor, Milton Nascimento and Moacir Santos) and one from Stevie Wonder, written especially for Mendes in 1977, ‘The Real Thing.’ Among the musicians present on the album are drummers Mike Shapiro and Vinnie Colaiuta, bassists Nathan Watts and Alphonso Johnson, guitarists Paul Jackson Jr. and Kleber Jorge, percussionist Gibi, vocalist Gracinha Leporace-the bandleader’s wife-and songwriter-arranger-vocalist Carlinhos Brown.

My Page for Saturday, February 20th, 2010

So, isn’t it great that Brazil throws the world’s biggest party every year around this time to help us celebrate?

By all accounts Carnaval 2010 was one for the record books. Rio de Janeiro welcomed an estimated 730,000 visitors – a 5 percent increase over last year. They arrived to a record-breaking heat wave, in time to witness 7 year-old Julia Lira become the youngest drum Corps Queen as far as anyone can recall. Madonna showed up to show off her Brazilian boyfriend while Beyoncé and Alicia Keys shot a music video.

The parade competition for the Samba Schools made history, too, with the top prize going to the underdog Unidos da Tijuca (“Tijuca United”), which hadn’t won since 1936 – 74 long years! Times have changed: When Unidos was last crowned champion, the community-based marching groups called escolas – were tiny by comparison to today’s ritual presentations, which have grown to include up to 5,000 paraders, with costumes and floats easily approaching budgets of

Chris McGowen writes that with Paulo Barros as its carnavalesco (art director), Tijuca put on an innovative and colorful show illustrating the theme “É Segredo!” (“It’s a Secret”); the school explored mysteries around the world and featured rapid-fire costume changes that stunned the Sambódromo audience. There were pop-culture references and floats featured skiing Batmen and climbing Spidermen, as well as a Michael Jackson impersonator. The four-month pregnant TV host Adriane Galisteu was Tijuca’s drum queen. The samba schools Grande Rio, Beija-For, Vila Isabel, Salgueiro, and Mangueira took the next five positions, respectively.

It was also the first Carnival since Rio was named as host for the Olympics’ Summer Games in 2016 and by and large, city officials have done a pretty good job with initial steps to make the city shine during Carnaval week.

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Betcha didn’t know this: Brazilian music fans in Chicago will have a change to hear Bossa Nova legend João Gilberto as part of Eric Clapton’s third Crossroads Guitar Festival on Saturday, June 26 at Toyota Park. Ticket are on sale now .

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This week on The Sounds of Brazil!

While Carnaval may have wrapped up in Brazil, this is the weekend for most major US cities to have their turn with the Carnaval Balls – check your local entertainment guides for details, we’ll supply the music to get you there and back again:

Carnival, Carnaval, Carnivale, Mardi Gras. Call it what you will, it’s an annual rite of celebration worldwide – from the Big Easy, south through the Caribbean and on to South America and across Europe – and the rhythmic excitement arrives just in time for our salute to Samba in its many forms and Carnaval in Brazil! This weekend Brazil’s three largest cities, São Paulo, Rio de Janeiro and Salvador, Bahia will showcase their unique Carnaval traditions just as our own radio show will do for the Samba beat.

Here you’ll find Sambas from Jairzinho Oliveira, Nelson Rangell, Jussara Silveira, Oswaldinho do Accordeon and Pat Metheny. And Leila Pinheiro, Beat Girls and Emilio Santiago help lead the parade. Plus Larry Coryell live from Bahia, Peter White’s Samba grooves and great songs from Cris Delano with Bossacucanova, Germany’s Slowdown – by request – and Toco’s impressive Samba CD from Italy. Even an historic tribute to Carmen Miranda on her 101st birthday! Oba!