HAMILTON DE HOLANDA

BLOG / Arquivo do mĂȘs: abril 2015


Casa do Choro, no Rio, nasce com proposta de difundir o gĂȘnero musical no mundo

Por Paulo VirgĂ­lio – RepĂłrter da AgĂȘncia Brasil / Edição: StĂȘnio Ribeiro

A Casa do Choro, primeiro centro de referĂȘncia ao gĂȘnero no Rio Ă© inaugurado junto ao VI Festival Nacional do Choro, um encontro que contarĂĄ com 20 grupos do Brasil e de outros paĂ­ses (Tomaz Silva/AgĂȘncia Brasil)

Mais de um sĂ©culo e meio apĂłs o seu surgimento, o choro, um dos gĂȘneros de mĂșsica popular mais antigos do mundo, conta, a partir de hoje (25), com um espaço cultural e centro de referĂȘncia integralmente dedicado a ele, na cidade que o viu nascer. A Casa do Choro – instalada em um prĂ©dio de 1902, na Rua da Carioca, centro histĂłrico do Rio de Janeiro – foi inaugurada no final da manhĂŁ deste sĂĄbado (25), em clima de festa, embalada com a sonoridade do gĂȘnero e com a presença de grandes nomes da mĂșsica instrumental brasileira.

Administrado pelo Instituto Casa do Choro, criado em 1999 e presidido pela compositora e cavaquinista Luciana Rabello, o espaço nasce com uma proposta ambiciosa. AlĂ©m de dar continuidade ao trabalho de educação musical, formação de plateias e novos mĂșsicos, e de preservação de acervos – executada desde 2000 pela Escola PortĂĄtil de MĂșsica, mantida pelo instituto –, a Casa do Choro pretende, segundo Luciana, contribuir de forma decisiva para a internacionalização do gĂȘnero.

Presidente do Instituto Casa do Choro, Luciana Rabello, pretende internacionalizar o gĂȘnero musical Tomaz Silva/AgĂȘncia Brasil

“HĂĄ grupos de choro hoje espalhados pelo mundo, e nĂłs queremos a participação deles aqui na casa e em nosso festival”, disse Luciana, referindo-se ao evento que ocorre neste fim de semana, na sequĂȘncia da inauguração da casa. Em sua sexta edição, o Festival Nacional do Choro oferece, hoje (25) e amanhĂŁ (26), em palco armado na vizinha Praça Tiradentes, um total de 20 shows de chorĂ”es cariocas e de outros estados brasileiros.

Um dos integrantes do Conselho de Honra da Casa do Choro, o mĂșsico Dori Caymmi aposta no sucesso internacional do gĂȘnero. “VocĂȘ vai a paĂ­ses da Europa e aos Estados Unidos e vĂȘ vĂĄrios grupos de choro, e o choro se espalhar lĂĄ fora Ă© mais uma vitĂłria do Brasil”, destacou. Dori disse que ficou emocionado com o convite para fazer parte do conselho, jĂĄ que nĂŁo se considera um chorĂŁo. “Eu atĂ© compus alguns, mas nĂŁo tenho essa capacidade. Sou um mĂșsico brasileiro, que acredita no Brasil, e gosto muito mais do Brasil do que as pessoas estĂŁo gostando hoje em dia, apesar de estar morando lĂĄ fora [em Los Angeles, nos EUA]”.

Dori Caymmi tambĂ©m acentuou a importĂąncia da iniciativa na valorização da cultura musical genuinamente brasileira. “Temos muitos gĂȘneros, muita riqueza, e sou radical em relação a isso, sou filho de um dos maiores compositores que essa terra deu”, frisou, referindo-se ao pai, Dorival Caymmi (1914-2008). “Foi uma vitĂłria a Luciana e o MaurĂ­cio Carrilho [vice-presidente do Instituto Casa do Choro] conseguirem esse espaço na atual conjuntura, em que as pessoas chamam o funk de manifestação cultural carioca”, ressaltou.

O Conselho de Honra Ă© presidido pelo poeta e produtor musical HermĂ­nio Bello de Carvalho, parceiro de Pixinguinha e letrista de um clĂĄssico do choro, Doce de Coco, de Jacob do Bandolim. HermĂ­nio, que no mĂȘs passado festejou seus 80 anos, deu valiosa contribuição ao acervo da Casa do Choro, que a partir de agora ficarĂĄ exposto Ă  visitação pĂșblica e Ă  consulta dos pesquisadores.

Instrumentos musicais, partituras, manuscritos, capas de discos, quadros de chorĂ”es do passado, retratados por pintores e chargistas, e fitas de rolo que pertenciam a Jacob do Bandolim constituem uma pequena amostra do acervo em exibição em uma sala do 1Âș andar da casa. Por meio do site da Casa do Choro, o pĂșblico poderĂĄ ter acesso a muito mais. SĂŁo cerca de 15 mil partituras digitalizadas e 2 mil discos de 78 rotaçÔes e long plays, alĂ©m de vasto material bibliogrĂĄfico e iconogrĂĄfico.

O poeta e produtor musical, HermĂ­nio Bello de Carvalho, participa da inauguração da Casa do Choro, primeiro centro de referĂȘncia ao gĂȘnero no Rio de Janeiro (Tomaz Silva/AgĂȘncia Brasil)
O poeta e produtor musical, HermĂ­nio Bello de Carvalho, preside o Conselho de Honra da Casa do Choro Tomaz Silva/AgĂȘncia Brasil

De acordo com MaurĂ­cio Carrilho, o teatro de 120 lugares, no tĂ©rreo, vai ter programação contĂ­nua, mas o instituto – que recebeu recursos do Banco Nacional do Desenvolvimento EconĂŽmico e Social (BNDES) e da Petrobras para a restauração do prĂ©dio, que estava em ruĂ­nas, e para a implantação do espaço – ainda busca apoiadores para a manutenção da casa. “No inĂ­cio, a gente vai ter que levar na marra, com os recursos que conseguir de ingressos e do pagamento das aulas” revelou.

Sobrinho de lendĂĄrio nome da mĂșsica instrumental brasileira, o flautista Altamiro Carrilho (1924-2012), o compositor, arranjador e violonista MaurĂ­cio fala com orgulho da nova geração de chorĂ”es. “HĂĄ 20 anos, a situação do choro era dramĂĄtica, nĂŁo tinha nenhum jovem tocando e nenhum espaço dedicado a ele. Hoje, vocĂȘ vĂȘ em bares e reuniĂ”es alunos e ex-alunos da Escola PortĂĄtil de MĂșsica tocando.”

Orgulho tambĂ©m compartilhado por Herminio Bello de Carvalho ao se referir Ă  criação da Casa do Choro. “Quando eu vejo a vitĂłria dessa garotada, fico muito feliz, porque Ă© um momento de valorização da melhor mĂșsica brasileira. Muitos dos que eu conheci hĂĄ 40 anos hoje sĂŁo professores dessa escola e estĂŁo formando novos professores”, elogiou.

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

HĂĄ 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 gĂȘnero musical surgiu no sĂ©culo XIX, como uma mistura entre ritmos africanos e europeus. No sĂ©culo seguinte, grandes nomes do choro, como Pixinguinha, Chiquinha Gonzaga, Ernesto NazarĂ© deixaram enorme contribuição para o gĂȘnero, que serviu de base para outros e contribui, atĂ© hoje, para a formação da cultura brasileira.

“Choro e samba sĂŁo gĂȘneros irmĂŁos”, diz Hamilton de Holanda

Para um dos principais expoentes do chorinho atual, Hamilton de Holanda, o choro “Ă© um formador da personalidade cultural do brasileiro”. Segundo ele, “o choro Ă© o primeiro gĂȘnero musical brasileiro, sĂł de ser assim, jĂĄ tem importĂąncia grande, alĂ©m de ter uma ligação forte com gĂȘnero irmĂŁo, que Ă© o samba”, explica. “O que mais me encanta no choro Ă© a mistura de informalidade com a mĂșsica elaborada”, completa.

Nascido em famĂ­lia de mĂșsicos, o encantamento do artista com o choro remonta Ă  infĂąncia. Aos cinco anos ganhou do avĂŽ, como presente de natal, um bandolim. Desde entĂŁo, ao longo da carreira, acumulou prĂȘmios e se apresentou em diversos paĂ­ses do mundo. E o que percebe, em suas andanças, Ă© um interesse crescente pelo gĂȘnero.

“HĂĄ 15 anos viajo pelo mundo. No começo, eu reparava que as pessoas se identificavam muito com o ritmo e o choro em si nĂŁo era tĂŁo conhecido mas, de uns tempos pra cĂĄ, sinto interesse maior do pĂșblico. O estrangeiro em geral gosta muito da mĂșsica brasileira”, avalia.

Hamilton revela ainda que, quando morava em BrasĂ­lia, chegou a ligar para o assessor do entĂŁo senador Artur da TĂĄvola para sugerir a criação do Dia do Choro. A sugestĂŁo 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 mĂșsico.

“Pixinguinha cristalizou o choro como gĂȘnero musical do paĂ­s e tambĂ©m o samba, junto com Donga e sua turma. Ele Ă© 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 gĂȘnio da mĂșsica brasileira fora Ă  igreja da Nossa Senhora da Paz abençoar mais um afilhado. Sentado num dos longos bancos do salĂŁo, tombou e morreu antes de subir ao batistĂ©rio. Perdemos o artista. Nascia um santo”, disse.

O historiador Luiz AntĂŽnio Simas faz coro com as palavras de Moacyr Luz e Hamilton de Holanda e pĂ”e Pixinguinha no topo. “Ele tem uma importĂąncia talvez maior que a de Villa-Lobos. Um mĂșsico de primeirĂ­ssima, que nĂŁo se restringia ao choro, mas ao fox, polca, Ă  valsa, ao maxixe, Ă  marchinha. Era fantĂĄstico em tudo o que fazia”, diz Simas.

Hamilton de Holanda lança cinco ålbuns na Alemanha

Com show em Berlim, o bandolinista Hamilton de Holanda lança cinco ålbuns 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 ProduçÔes 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 ZĂ© 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, ZĂ© 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 SĂŁo 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 ProduçÔes 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 ZĂ© 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, ZĂ© 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 SĂŁo 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