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| R E L E A S E D E T A I L S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
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| Antonio_Neves-A_Pegada_Agora_E_Essa_(The_Sway_Now)-(FARO221)-WEB-BR-2 |
| --------------------------------------------------------------------- |
| |
| Artist______________ Antonio Neves |
| Title_______________ A Pegada Agora E Essa (The Sway Now) |
| Label_______________ Far Out Recordings / FARO221 |
| Genre_______________ Jazz |
| Year________________ 2021 |
| Release Date________ 2021-02-18 |
| Street Date_________ 2021-02-19 |
| Source______________ WEB |
| Encoder_____________ MP3 / LAME |
| Quality_____________ CBR 320kbps 44.1kHz |
| Size________________ 82.6MiB |
| Playtime____________ 0:36:00 |
| URL_________________ https://amazon.co.jp/dp/B08LDTSQWN/ |
| |
| |
| 1. Simba (feat. Leda) 02:16 |
| 2. A Pegada Agora E Essa 04:19 |
| 3. Noite De Temporal (feat. Alice Caymmi) 04:50 |
| 4. Luz Negra (feat. Ana Frango Eletrico) 04:12 |
| 5. Forte Apache (feat. Hamilton De Holanda) 05:56 |
| 6. Lamento De Um Perplexo (feat. Leo Gandleman) 05:04 |
| 7. Summertime 04:13 |
| 8. Jongo No Feudo (feat. Edu Neves) 05:10 |
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| R E L E A S E N O T E S >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> |
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| From samba and bossa nova through to baile funk, with carioca |
| expressions of jazz, rock and hip-hop in between, the sound of Rio de |
| Janeiro, while continually evolving, has always held an unnameable |
| quality which reflects the magic and mystique of the city itself. |
| Multi-instrumentalist and arranger Antonio Neves is the city's newest |
| trailblazer: the enfant-terrible of Rio's music scene, leading a |
| vital and diverse constellation of both emerging and well-known |
| artists advancing the city's musical legacy. |
| |
| "It all started one sleepless night, after watching a Quincy Jones |
| documentary". Inspired by the legendary music magnate, Neves began |
| writing a list of artists residing in Rio de Janeiro "people that I |
| admire, that I consider geniuses of their instruments, who share with |
| me affinities, anxieties and projects." The list included some of |
| Brazil's most revered living musicians who Neves has worked with in |
| recent years such as Hamilton de Holanda and Leo Gandelman. Neves |
| also called on some of Brazil's most exciting emerging talents |
| including Alice Caymmi and Ana Frango Eletrico. |
| |
| A Pegada Agora E Essa (The Sway Now) is Neves' second album: a |
| vibrant portrait of the current Brazilian music scene. From the |
| regional to universal, popular to erudite, samba to rap, Latin |
| rhythms to jazz, MPB and pop to good old rock'n'roll, Neves walks |
| with fluency and mastery amongst all the musical genres that Brazil |
| has to offer. |
| |
| "My offer to the musicians was complete freedom to express themselves |
| through the songs I proposed - classics like "Summertime", "Luz |
| Negra" and "Noite de Temporal", and compositions of my own - creating |
| a space of authorship for the band and the guests. A space for |
| inventions, purges, delusions, laughter. The idea was to bring the |
| freedom of jazz crossed by Brazilian rhythms, such as the |
| traditionals Partido Alto (A Pegada Agora E Essa) and Jongo (Jongo no |
| Feudo and Luz Negra); rhythms of African-Brazilian religions like |
| Candomble (Noite de Temporal) and Umbanda (Forte Apache); and a |
| tribute to newest Rio de Janeiro's contribution to Brazilian music, |
| the Funk Carioca (Simba)". |
| |
| Coming from a musical family, Antonio's father, Eduardo Neves, was a |
| renowned conductor and a professor at Juilliard School of Music and |
| the California Jazz Conservatory. In the bohemian neighbourhood of |
| Lapa, aged 14, Antonio began his career as a drummer, before |
| experimenting with brass. He would soon become a skilled trombonist |
| and arranger achieving the recognition of his teachers and peers. It |
| wasn't long before he would be playing with some of the biggest names |
| in Brazilian music, such as Hamilton de Holanda, Leo Gandelman, |
| Moreno Veloso, Kassin and Elza Soares. |
| |
| His debut album as a trombonist was PA7 (2017, Rock It), released at |
| the same time he was travelling the world playing with artists like |
| Moreno Veloso, Kassin and Leo Gandelman, and recording the albums |
| Jobim, Orquestra e Convidados (2017, Biscoito Fino), with Mario Adnet |
| and Paulo Jobim; and Elza Soares Canta e Chora Lupi (2017, Coqueiro |
| Verde Records). More recently, Neves was the arranger for the |
| acclaimed Little Electric Chicken Heart album, by Ana Frango |
| Eletrico, which has been nominated for a Latin Grammy and voted |
| 2019's 'Brazilian Music Revelation' by The Art Critics Association of |
| Sao Paulo. |
| |
| |
| Alberto Continentino - Double bass 1, 4, 5, 6, 7 |
| Alice Caymmi - Voice 3 |
| Ana Frango Eletrico - Voice 4 |
| Andre Vasconcellos - Double bass 1, 2, 3, 8 |
| Antonio Neves - Drums 1, 2, 3, 4, 5, 6, 7, 8; Trombone 1, 2, 3, 4, 5, |
| 6, 7, 8; Voice 7; Guitar 1; |
| Eduardo Farias - Piano 1, 2, 3, 4, 5, 6, 7, 8 |
| Eduardo Neves - Flute 8 |
| Eduardo Santana - Trumpet 8 |
| Filipe Castro - Percussion 3 |
| Gus Levy - Electric Guitar 1, 2, 3, 4, 5, 6, 7, 8 |
| Hamilton de Holanda - Mandolin 5 |
| Joana Queiroz - Bass clarinet 1, 2, 3, 4, 5, 6, 7, 8 |
| Leda - Voice 1 |
| Leo Gandelman - Alto sax 6 |
| Lucas Videla - Percussion 1,7 |
| Luiz Otavio - Rhodes 1, 2, 3, 4, 5, 6, 7, 8 |
| Marcelo Costa - Percussion 6 |
| Marcos Alcides Filho - Percussion 2 |
| Marcos Alcides "Esguleba" - Voice 2, Percussion 2 |
| Roque Miguel - Percussion 5 |
| Thiago da Serrinha - Percussion 4, 8 |
| Jose Castro, Rudah Guedes, Eduardo Santana, Antonio de Moraes Neves, |
| Gus Levy e Gabriel Balleste - Backing vocals 1, 8 |
| |
| Creative director: Antonio de Moraes Neves |
| Phonographic producers: Antonio de Moraes Neves e Santiago |
| Perlingeiro |
| Music producer: Antonio de Moraes Neves |
| Executive producer: Santiago Perlingeiro |
| Mix, Master and sound engineering: Angelo Wolf |
| Editor, Recording assist. and Mix: Kayan "Kaweiras" Guter |
| |
| |
| YOU KNOW YOU HAVE TO BUY THIS SHIT IF YOU LIKE IT RIGHT?! |
| |
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| . . |
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