HAMILTON DE HOLANDA

Blog


Dia do Choro é celebrado em data alusiva aos 118 anos de Pixinguinha

Há 118 anos, nasceu um dos maiores compositores brasileiros, Alfredo da Rocha Vianna Filho, o Pixinguinha. Em homenagem a essa data, comemora-se todo 23 de abril, desde 2000, o Dia Nacional do Choro.

O gênero musical surgiu no século XIX, como uma mistura entre ritmos africanos e europeus. No século seguinte, grandes nomes do choro, como Pixinguinha, Chiquinha Gonzaga, Ernesto Nazaré deixaram enorme contribuição para o gênero, que serviu de base para outros e contribui, até hoje, para a formação da cultura brasileira.

“Choro e samba são gêneros irmãos”, diz Hamilton de Holanda

Para um dos principais expoentes do chorinho atual, Hamilton de Holanda, o choro “é um formador da personalidade cultural do brasileiro”. Segundo ele, “o choro é o primeiro gênero musical brasileiro, só de ser assim, já tem importância grande, além de ter uma ligação forte com gênero irmão, que é o samba”, explica. “O que mais me encanta no choro é a mistura de informalidade com a música elaborada”, completa.

Nascido em família de músicos, o encantamento do artista com o choro remonta à infância. Aos cinco anos ganhou do avô, como presente de natal, um bandolim. Desde então, ao longo da carreira, acumulou prêmios e se apresentou em diversos países do mundo. E o que percebe, em suas andanças, é um interesse crescente pelo gênero.

“Há 15 anos viajo pelo mundo. No começo, eu reparava que as pessoas se identificavam muito com o ritmo e o choro em si não era tão conhecido mas, de uns tempos pra cá, sinto interesse maior do público. O estrangeiro em geral gosta muito da música brasileira”, avalia.

Hamilton revela ainda que, quando morava em Brasília, chegou a ligar para o assessor do então senador Artur da Távola para sugerir a criação do Dia do Choro. A sugestão foi aceita e a data escolhida foi 23 de abril, dia do nascimento de Pixinguinha. “Isso foi em abril ou maio. Em setembro, a lei foi sancionada pelo presidente”, relembra o músico.

“Pixinguinha cristalizou o choro como gênero musical do país e também o samba, junto com Donga e sua turma. Ele é um dos pilares da formação cultural brasileira”, explica o bandolinista Hamilton de Holanda.
Parceiro de uma das bonitas homenagens ao mestre, o samba ‘Som de Prata’, ao lado do craque Paulo Cesar Pinheiro, que foi parceiro de Pixinguinha, Moacyr Luz diz que o criador do choro deveria ser santificado.

“Quando compusemos ‘Som De Prata’, a conversa girava em torno do encantamento da sua morte. O gênio da música brasileira fora à igreja da Nossa Senhora da Paz abençoar mais um afilhado. Sentado num dos longos bancos do salão, tombou e morreu antes de subir ao batistério. Perdemos o artista. Nascia um santo”, disse.

O historiador Luiz Antônio Simas faz coro com as palavras de Moacyr Luz e Hamilton de Holanda e põe Pixinguinha no topo. “Ele tem uma importância talvez maior que a de Villa-Lobos. Um músico de primeiríssima, que não se restringia ao choro, mas ao fox, polca, à valsa, ao maxixe, à marchinha. Era fantástico em tudo o que fazia”, diz Simas.

Hamilton de Holanda lança cinco álbuns na Alemanha

Com show em Berlim, o bandolinista Hamilton de Holanda lança cinco álbuns pela gravadora alemã MPS.

Hamilton de Holanda e Wynton Marsalis

We landed in Rio last Friday feeling the excitement in anticipation of participation. Everyone knows about its rich and fertile culture, but Rio also has a mythical significance in the Jazz world so we knew our time there would be meaningful and well spent.  Our presenters, Chris Street and Monica Moreira of Dueto Produções greeted us at the airport. They have already been wonderful partners and Clarice Philigret, who has been our point person for this leg of our Brazilian tour, has put in countless hours to make it happen. They are on top of every detail and instantly establish a climate of warmth and familiarity. This in itself is a highly specialized skill of great value. We arrive at the hotel and some members of the band head immediately out to enjoy the beach.Tonight we are being treated to a reception hosted by two of JALC’s Chairman Circle members, Laura and Lywal Salles, in the home of Lywal’s sister Angela and her husband Antonio Alberto Gouvea. As the Salles are longtime friends and colleagues of JALC Board Member Hugh Fierce, we know a good time is sure to be had. Upon arrival, we see that their home is spectacularly tasteful and comfortably elegant, but that the hospitality is strictly down home. The scene was captivating; all was aglow with a relaxed Brazilian spirit, aided by caipirinhas, casual dress and familial conversations.The room is packed with friends, citizens of cultural interest and importance, as well as musicians of the highest character and quality.  Guitarist Mario Adnet, mandolinist Hamilton de Holanda, trombonist/arranger Vittor Santos, trumpeter Jesse’ Sadoc, soulful soprano saxophonists Zé Nogueira and Bossa Nova legend Marcos Valle – we found ourselves in the best possible company imaginable.We have admired, played alongside and recorded with these accomplished musicians many times over the years.  For example:  Mario came and played with our Orchestra about 4 years ago and he just performed in Dizzy’s last month with his band.  I recorded a great Pixinguinha choro “Um a Zero” with Hamilton, whose playing transcends description. The Orchestra performed a couple of Vittor’s insightful arrangements 15 years ago on a show entitled “Carnival on Broadway” and I loved Jesse’s playing on the album “Ouro Negro”.  Coincidentally, he said I had given him a lesson when he was a kid, and that I was nice to him. It truly was extended family of the most functional sort.The evening’s conversations ranged from Hugh Fierce’s generosity, to his trademark assiduity and diligence when he was Lywal’s boss at Chase, to overnight trading in stocks, to the history of the Bossa Nova, to what base liquor is best to use in a Caipirinha, to a great young trumpeter named Aquiles Moraes. We were riffin’. It was an unforced and comfortable gathering, with all participants in pursuing a good time through fellowship regardless of prior familiarity. Everyone talked to everyone, making it easy to meet new friends and to hatch plans with old ones in fulfillment of mutual objectives. Many of the musicians accepted our invitation to play with us on the next night’s concert.  And the world is small in many surprising ways. First, I was speaking with Mr. Marcelo Roberto Ferro, a prominent Brazilian lawyer, who was generously complementing my father’s playing and that of my family. He then went on to tell me about a friend of his, Donald Donavan, who had attended our opening season concert that featured Cucho Valdes and Pedrito Martinez at Rose Hall back in September. Mr. Donavan told Roberto that after the concert he had seen me on the subway and approached me saying, “Don’t worry, I’m not stalking you. I just heard you play last night.” I remembered that encounter so clearly and the ensuing conversation, which I recounted to Roberto to our mutual bemusement. Then, I had an interesting conversation with Vanda and Paulo Klabin who said they follow the blogs on Facebook. I said “y'all will definitely be in this one.” Here you are…and thank you for countering everyone who says they are too long.The meal was delicious and everything was so gracefully handled that the quality of the good time enjoyed by us all became a primary topic of conversation. After dinner, I jumped on the piano and disrespected piano playing all over the world with my amateurish fumbling. Taking pity on me, Ali then jumped on the piano and accompanied Vincent who sang a blues.  Finally, and thankfully, Marcus Valle rescued all of us at the keyboard and played his classic “Summer Samba”. Gizzy, Marcus and I all used my trumpet and tried to handle those changes and the very flat keyboard which Angela apologized for (there was absolutely no need) and Marcus Valle kept the groove and changes where they needed to be in spite of whatever I did to them. Soon the night was over and people left as gracefully as they had come, with full stomachs and hearts, and light in spirit.Our concert the next night was part of the Brasil Jazz Fest in the new Cidade das Artes Hall.  Getting to the gig was an experience.  Whew Rio traffic!!!! When we arrive, Zé tells me he has been involved with the programming of this festival for some 25 years. We play through a set including compositions by Chris Crenshaw, Victor and me, New and Old Testament Count Basie, arrangements by Carlos, Sherman, Ted, Marcus, Chris and me of the music of Horace Silver, Dizzy, Monk, and Brazilian masters Moacir Santos and Hermeto Pascoal. On Moacir’s “Coisa No 2.” Vittor Santos comes out to join us on the trombone. On Hermeto’s “Bebe” all the cats came out to play, Hamilton, Jesse’, Mario and Aquiles, a young trumpeter everyone had been speaking about - with good reason.Hamilton started it off right with one absolutely musical and thoroughly heard chorus.  This is not the easiest song to play on with a three-part form of different harmonic shapes. He is a great musician who is as humble and gracious as his magical talent is deep. The rest of us went on into the music from that high point and Aquiles added a coda to what we played. He is humble and possesses a poet’s lyricism. We ended the gig with a movement from Victor Goines’ “Crescent City” and everyone played except Mario who said, “I will listen intently.” The New Orleans rhythm is always inviting and interesting to hear from the perspective of different cultures. I think our audience loved seeing us play all together in an impromptu type jam session especially because we were trying to find each other……and did. The encore was Ted’s tricky and colorful arrangement in 6/4 of Moacir’s “Coisas no. 8” and we eased down into it. Moacir was a genius.After the gig we greeted everyone and all of us musicians set plans for some big collaborations in the future. Hamilton’s manager Marcos Portinari is a natural diplomat who glitters with optimism and industriousness. He brings an abundance of cultural gifts (in the form of music and spirits) and also brings the blessing of belief in creating positive change. With his involvement, a powerful collaboration will surely come to fruition. I have the pleasure of speaking with the President of Fundação Cidade das Artes,  Emilio Kalil. We exchange comments and he says, “I want y'all back here.” These are words we all love to hear especially from Emilio. He is a rare person who understand the functional role of the arts in elevating a community, AND knows how to turn the rusty wheels of large institutions to make positive things happen. As I leave the hall, Marcos becomes the defacto translator because he’s the only one here that speaks both languages. A local musician and I speak. We end with a salutation that included the word ‘love’. Marcos moved on, but the musician kept speaking. I laughed and said, “We lost our translator.” Marcos replied, “After love there is nowhere else to go but down.”Later that night, after every picture had been taken and booklet signed, Chris Street and I prepared to drive the 7 or so hours to São Paulo. It was about 1 am, but before heading out, we joined Victor, Paul and a friend named Thierry, who were across the street, right off the beach, drinking and talking in a small shop. We hung with them for a good hour with Vic and I regaling (or boring) them with stories about our teenaged years in New Orleans. And then, we finished our beverages and started our journey down a long stretch of Brazilian highway.

We landed in Rio last Friday feeling the excitement in anticipation of participation. Everyone knows about its rich and fertile culture, but Rio also has a mythical significance in the Jazz world so we knew our time there would be meaningful and well spent.  Our presenters, Chris Street and Monica Moreira of Dueto Produções greeted us at the airport. They have already been wonderful partners and Clarice Philigret, who has been our point person for this leg of our Brazilian tour, has put in countless hours to make it happen. They are on top of every detail and instantly establish a climate of warmth and familiarity. This in itself is a highly specialized skill of great value. We arrive at the hotel and some members of the band head immediately out to enjoy the beach.

image

Tonight we are being treated to a reception hosted by two of JALC’s Chairman Circle members, Laura and Lywal Salles, in the home of Lywal’s sister Angela and her husband Antonio Alberto Gouvea. As the Salles are longtime friends and colleagues of JALC Board Member Hugh Fierce, we know a good time is sure to be had. Upon arrival, we see that their home is spectacularly tasteful and comfortably elegant, but that the hospitality is strictly down home. The scene was captivating; all was aglow with a relaxed Brazilian spirit, aided by caipirinhas, casual dress and familial conversations.

image

The room is packed with friends, citizens of cultural interest and importance, as well as musicians of the highest character and quality.  Guitarist Mario Adnet, mandolinist Hamilton de Holanda, trombonist/arranger Vittor Santos, trumpeter Jesse’ Sadoc, soulful soprano saxophonists Zé Nogueira and Bossa Nova legend Marcos Valle – we found ourselves in the best possible company imaginable.

image

We have admired, played alongside and recorded with these accomplished musicians many times over the years.  For example:  Mario came and played with our Orchestra about 4 years ago and he just performed in Dizzy’s last month with his band.  I recorded a great Pixinguinha choro “Um a Zero” with Hamilton, whose playing transcends description. The Orchestra performed a couple of Vittor’s insightful arrangements 15 years ago on a show entitled “Carnival on Broadway” and I loved Jesse’s playing on the album “Ouro Negro”.  Coincidentally, he said I had given him a lesson when he was a kid, and that I was nice to him. It truly was extended family of the most functional sort.

The evening’s conversations ranged from Hugh Fierce’s generosity, to his trademark assiduity and diligence when he was Lywal’s boss at Chase, to overnight trading in stocks, to the history of the Bossa Nova, to what base liquor is best to use in a Caipirinha, to a great young trumpeter named Aquiles Moraes. We were riffin’. It was an unforced and comfortable gathering, with all participants in pursuing a good time through fellowship regardless of prior familiarity. Everyone talked to everyone, making it easy to meet new friends and to hatch plans with old ones in fulfillment of mutual objectives. Many of the musicians accepted our invitation to play with us on the next night’s concert.

And the world is small in many surprising ways. First, I was speaking with Mr. Marcelo Roberto Ferro, a prominent Brazilian lawyer, who was generously complementing my father’s playing and that of my family. He then went on to tell me about a friend of his, Donald Donavan, who had attended our opening season concert that featured Cucho Valdes and Pedrito Martinez at Rose Hall back in September. Mr. Donavan told Roberto that after the concert he had seen me on the subway and approached me saying, “Don’t worry, I’m not stalking you. I just heard you play last night.” I remembered that encounter so clearly and the ensuing conversation, which I recounted to Roberto to our mutual bemusement. Then, I had an interesting conversation with Vanda and Paulo Klabin who said they follow the blogs on Facebook. I said “y’all will definitely be in this one.” Here you are…and thank you for countering everyone who says they are too long.

image

The meal was delicious and everything was so gracefully handled that the quality of the good time enjoyed by us all became a primary topic of conversation. After dinner, I jumped on the piano and disrespected piano playing all over the world with my amateurish fumbling. Taking pity on me, Ali then jumped on the piano and accompanied Vincent who sang a blues.  Finally, and thankfully, Marcus Valle rescued all of us at the keyboard and played his classic “Summer Samba”. Gizzy, Marcus and I all used my trumpet and tried to handle those changes and the very flat keyboard which Angela apologized for (there was absolutely no need) and Marcus Valle kept the groove and changes where they needed to be in spite of whatever I did to them. Soon the night was over and people left as gracefully as they had come, with full stomachs and hearts, and light in spirit.

image

Our concert the next night was part of the Brasil Jazz Fest in the new Cidade das Artes Hall.  Getting to the gig was an experience.  Whew Rio traffic!!!! When we arrive, Zé tells me he has been involved with the programming of this festival for some 25 years. We play through a set including compositions by Chris Crenshaw, Victor and me, New and Old Testament Count Basie, arrangements by Carlos, Sherman, Ted, Marcus, Chris and me of the music of Horace Silver, Dizzy, Monk, and Brazilian masters Moacir Santos and Hermeto Pascoal. On Moacir’s “Coisa No 2.” Vittor Santos comes out to join us on the trombone. On Hermeto’s “Bebe” all the cats came out to play, Hamilton, Jesse’, Mario and Aquiles, a young trumpeter everyone had been speaking about – with good reason.

image

Hamilton started it off right with one absolutely musical and thoroughly heard chorus.  This is not the easiest song to play on with a three-part form of different harmonic shapes. He is a great musician who is as humble and gracious as his magical talent is deep. The rest of us went on into the music from that high point and Aquiles added a coda to what we played. He is humble and possesses a poet’s lyricism.

We ended the gig with a movement from Victor Goines’ “Crescent City” and everyone played except Mario who said, “I will listen intently.” The New Orleans rhythm is always inviting and interesting to hear from the perspective of different cultures. I think our audience loved seeing us play all together in an impromptu type jam session especially because we were trying to find each other……and did. The encore was Ted’s tricky and colorful arrangement in 6/4 of Moacir’s “Coisas no. 8” and we eased down into it. Moacir was a genius.

image

After the gig we greeted everyone and all of us musicians set plans for some big collaborations in the future. Hamilton’s manager Marcos Portinari is a natural diplomat who glitters with optimism and industriousness. He brings an abundance of cultural gifts (in the form of music and spirits) and also brings the blessing of belief in creating positive change. With his involvement, a powerful collaboration will surely come to fruition.

I have the pleasure of speaking with the President of Fundação Cidade das Artes,  Emilio Kalil. We exchange comments and he says, “I want y’all back here.” These are words we all love to hear especially from Emilio. He is a rare person who understand the functional role of the arts in elevating a community, AND knows how to turn the rusty wheels of large institutions to make positive things happen. As I leave the hall, Marcos becomes the defacto translator because he’s the only one here that speaks both languages. A local musician and I speak. We end with a salutation that included the word ‘love’. Marcos moved on, but the musician kept speaking. I laughed and said, “We lost our translator.” Marcos replied, “After love there is nowhere else to go but down.”

Later that night, after every picture had been taken and booklet signed, Chris Street and I prepared to drive the 7 or so hours to São Paulo. It was about 1 am, but before heading out, we joined Victor, Paul and a friend named Thierry, who were across the street, right off the beach, drinking and talking in a small shop. We hung with them for a good hour with Vic and I regaling (or boring) them with stories about our teenaged years in New Orleans. And then, we finished our beverages and started our journey down a long stretch of Brazilian highway.

Assista:

WYNTON MARSALIS JLC & HAMILTON DE HOLANDA & JESSE SADOCK & AQUILES MORAES & MARIO ADNET & VITTOR SANTOS no RIO DE JANEIRO from marcos Portinari on Vimeo.

http://jazzatlincolncenter.tumblr.com/post/115419718709/we-landed-in-rio-last-friday-feeling-the

A viagem interior de Hamilton de Holanda

Por Felipe Moraes – Veja Brasília

Antes de Hamilton de Holanda pisar no palco do Teatro Oi Brasília, local escolhido para estrear a turnê Pelo Brasil, vídeos tomaram conta do cenário, em mini-telas redondas espalhadas pela parede. Entre imagens de shows e bastidores, vê-se, em breves minutos, uma crônica de viagens e apresentações – no Brasil e fora dele. Dali a pouco, enquanto sons de bandolim eram emitidos por uma versão digital do músico, projetada na parede, o próprio lá surgiu, em carne e osso e sozinho, iniciando este espetáculo cênico e audiovisual com A Escola e a Bola.

Este e outros treze temas formam o repertório da nova temporada do carioca. Aqui e em mais onze datas ele dá o pontapé de um trabalho que soa mais como ensaio aberto ao público do que uma série de shows prontos. As projeções ajudam tanto a ambientar as faixas em climas regionais – de norte a sul – quanto repassar uma carreira que começou cedo, aos cinco anos, quando ele ganhou do avô o “instrumentinho” – como ele carinhosamente chama o bandolim. Um presente de Natal que encontrou as mãos certas.

Pelo Brasil não é um show instrumental como outro qualquer. Hamilton conversa constantemente com a plateia, conta histórias de sua vida pessoal, do cotidiano das longas turnês, e se aproxima do público ao, entre uma música e outra, demonstrar as possibilidades sonoras do bandolim. A comunicação, claro, também se revela na sensibilidade com que ele desbrava tradições rítmicas de Norte e Nordeste, como na trincaFrevinhoA Volta da MacaxeiraCarimbobó.

Após emendar as pastoris O Jumento e a CapivaraSambaíba, o instrumentista pausa para ajustar as cordas. “Tá afinadinho aí, pai?”, diz. Segundos depois, pede a opinião de Frango Kaos, seu engenheiro de som (e roqueiro hardcore da banda brasiliense Galinha Preta): “tá bom aí?”. Depois, sentado num banquinho, dedilha as românticas e intimistas O Amor e a CançãoCalliandra Flor.

Ao contrário do típico espetáculo instrumental em que um gênio toca e os comuns aplaudem, este show-ensaio de Hamilton defende quase que uma inversão de papéis. A audiência não só aplaude. Ela conversa e cantarola. E o músico, fruto dessa rara mistura de talento e labuta, age como o maestro de uma orquestra popular. Lá pelas tantas, relêBrasileirinho com levada de reggae – a pedido do público – e riffs de rock. “De tanto me pedirem, fiquei uns dez anos sem tocá-la. Fui inventando. E, quando vi, já estava em outra música”, brinca.

Setenta minutos depois de aparecer no palco, Hamilton deixa-o com um sorriso de satisfação – e cansaço. Nunca viajou o país inteiro num voo tão veloz.

Novo projeto de Hamilton de Holanda tem estreia nacional .

Por Irlam Rocha Lima – Correio Brasiliense

No premiado álbum Mundo de Pixinguinha, que lançou no ano passado, Hamilton de Holanda contou com a participação de vários convidados, entre eles o trompetista norte-americano Wynton Marsalis e o pianista cubano Chucho Valdés. Já Pelo Brasil, espetáculo multimídia e interativo que une música, textos, projeções e iluminação, é um projeto solo do bandolinista. Como desdobramento, haverá a gravação de um CD e um DVD.

O concerto, dirigido por Marcos Portinari, tem estreia nacional na cidade. A partir desta quarta-feira (29/10) será apresentado no Teatro Oi Brasília; e sábado, no Teatro Newton Rossi do Sesc, em Ceilândia. “O Pelo Brasil, em síntese, é uma viagem musical que exalta os ritmos brasileiros mais representativos, como choro, samba, baião, maracatu, bumba meu boi, chamamé e moda de viola”, anuncia o bandolinista.

Hamilton de Holanda gravou 14 temas inéditos no bandolim de 10 cordas (Roberto Filho/Divulgação)

Hamilton conta que, na concepção do projeto, viajou pelo país e, em diferentes regiões,buscou inspiração para os 14 temas que formam o repertório — todos inéditos —, compostos no bandolim de 10 cordas. “A partir dessa travessia musical, criei, entre outros, A escola e bola, Carimbobó, Chama lá, Frevinho, O amor e a canção, O jumento e a capivara e Sambaíba.”

Segundo o bandolinista, o objetivo do Pelo Brasil é levar sua música de forma acessível a todos os recantos. “Estou muito feliz por este novo desafio, que me alimenta e abre novos horizontes. Poder mostrar músicas inéditas e me familiarizar com ferramentas, como projeção, cenografia, iluminação e o uso de textos, é um luxo. Da mesma forma, me anima contribuir para popularizar a ideia de ir a um show solo de instrumento fora do padrão, como já acontece com o violão e o piano”, comenta o instrumentista.

De acordo com Hamilton, isso ocorre regularmente na Europa e nos Estados Unidos: “Acredito que, com o bandolim de 10 cordas, posso despertar o interesse das pessoas, mesmo num recital, em que eu esteja sozinho no palco”. A polifonia obtida com o instrumento, do qual é precursor e criador da técnica, é destacada por ele. “O bandolim faz ao mesmo tempo as funções de harmonia, melodia e ritmo.”

Pelo Brasil
Concerto do bandolinista Hamilton de Holanda hoje e amanhã, às 21h, no Teatro Oi Brasília (Hotel Royal Tulip Brasília Alvorada). Ingressos: R$ 30 e R$ 15 (meia). Classificação indicativa livre. Informações: 3424-7121. Sábado, às 21h, o músico se apresenta no Teatro Newton Rossi do Sesc, em Ceilândia. Ingressos: R$ 20 e R$ 10 (meia). Informações: 3379-9586.