DUDUKA DA FONSECA TRIO - Plays Toninho Horta (2011) Mp3

 Brazilian drummer Duduka Da Fonseca’s third ZOHO CD release “Plays Toninho Horta” is his superlative follow-up to his 2009 Latin Grammy-nominated “Brazilian Trio – Forests” project. (ZOHO ZM 200806). This new CD, recorded in 2009, presents his current Rio de Janeiro-based Trio with pianist David Feldman and bassist Guto Wirtti.
Repertoire focus on the album are some of the most famous songs by one of the leading living Brazilian singer-songwriters and guitarists, Toninho Horta, in instrumental jazz interpretations which are profoundly searching, lyrical and virtuosic.Since his arrival in New York in 1975, Da Fonseca has performed with, and has appeared as a sideman on over 200 CDs, with North American jazz greats, Tom Harrell, John Scofield, Gerry Mulligan, Herbie Mann, Lee Konitz, Phil Woods, Kenny Barron, Rufus Reid, Eddie Gomez, Joe Henderson, Joe Lovano and many others. Da Fonseca has toured internationally with Brazilian legends Antonio Carlos Jobim and singer Astrud Gilberto, and formed the outstanding Brazilian jazz group Trio Da Paz. In 2002 Duduka was nominated for a Grammy® with his first solo album "Samba Jazz Fantasia". He also appeared as a featured guest on Brazilian acoustic guitarist Carlos Barbosa-Lima two ZOHO releases “Carioca”(ZOHO ZM 200602) and “Merengue”(ZOHO ZM 200911).
Joachim “Jochen” Becker
Throughout the rich history of Brazilian music, we have had extremely talented composers and amongst them, one that touches my heart with his amazing music is Toninho Horta. I met Toninho more than forty years ago, and also had a chance to meet his beautiful family. In the early 70s I used to date his younger sister Lena, a very talented flutist, and on many occasions I stayed in his family house in Belo Horizonte, Minas Gerais, where he still lives. I was lucky to witness some of Toninho's evolution as a composer and as a human being. I can say that without exception, I love all his compositions. I believe that Toninho Horta deserves much broader recognition worldwide.
In 2000, I had the pleasure to meet David Feldman when he was studying at the New School for Jazz and Contemporary Music in New York. We started playing together right away, and the chemistry between us was there from the first hit. David played in my quintet at the time, and I played on his first trio album, with the fabulous Hans Glawischnig on bass. A few years later, David moved back to Rio, where he still lives with his family.
In a recent visit to Rio, I got a call from Paulo Levi, a wonderful sax player from northeast Brazil, to play on his album. When I got to the studio, David Feldman was the pianist, and the bass player was a young gentleman from the south of Brazil, Guto Wirtti.
We started the session and I said to myself, "Wow!! This rhythm session sounds so right!! It feels like a walk on Ipanema Beach." I came back to New York, and started to think that I really wanted to do a trio project with these two fabulous young musicians. At the time, I was playing quite a bit with Toninho, around Europe and in New York, with a project of mine called "Samba Jazz & the Music of Jobim". Then the idea clicked in my head: "I am going to do a Trio album playing the music of Toninho Horta". That same year I went back to Rio, and we recorded the album. The recording process was a fantastic experience, and I could not be happier with the results.I sincerely hope that you enjoy the music as much as we enjoyed making it. (Duduka Da Fonseca)

Duduka Da Fonseca. I was very happy to hear the news of this homage paid to me by this great musician and special friend, Duduka Da Fonseca, through his Trio recording of my compositions. I felt proud and privileged, since Duduka has a beautiful history with the bossa nova, and who today is one of the most exquisite Brazilian musicians, sharing the stage with great jazz musicians from New York, who are the best in the world.
Upon hearing the album, I was deeply moved by the performance of the Trio and by the unique way they transformed my songs into true instrumental pearls. The individual and collective creativity of Duduka, David and Guto are highlighted in each track, and the conceptual innovations of groove, melodic interpretation and form left me truly enchanted.
The audiophile public will also be privileged to experience the superb work of Duduka Da Fonseca through this album. I wish I had played with them on the album, however it might not have been such a fresh, sweet, creative and beautiful work, as was the final result.
All that remains for me is to thank them and wait for the CD to come out soon, so I can again enjoy these unforgettable tracks, made with such competence and heart. (Toninho Horta) zohomusic.com
Tracklist:
1    Aqui, Oh! 6:34   
2    Bicycle Ride 4:19
3    Moonstone 4:17   
4    Francisca 4:16       
5    Aquelas Coisas Todas 7:53   
6    De Ton Pra Tom 4:48   
7    Waiting for Angela 5:09   
8    Luisa 5:54   
9    Retrato Do Gato 4:19
Credits:
Duduka Da Fonseca - Drums
David Feldman - Piano
Guto Wirtti - Bass (Acoustic)

DUDUKA DA FONSECA TRIO - New Samba Jazz Directions (2013) Mp3

Samba and Bossa Nova (which originated from Samba) have been at the heart of my playing since the beginning. They are usually played on the drum set, with the traditional ostinato pattern (dotted eighth / sixteenth notes) played on the bass drum. The "Sergio Mendes & Brasil 66" album, with João Palma on drums, is a good basic example of this way of playing. But I believe that in Samba or Bossa Nova one can also choose to use the bass drum much more freely, without the obligation of playing the traditional ostinato pattern the whole time, using the bass drum to play syncopated accents as an accompanying voice. I sometimes like to alternate between the two approaches, even in the same song. I also love "feathering" the bass drum; a technique, as the word implies, in which you play very softly. In America, modern Jazz bass drum syncopations and accents were developed by Kenny Clarke (1914-1985), who found a way to match the new conversational language of Charlie Parker, Dizzy Gillespie, Bud Powell and Thelonious Monk. Growing out of the styles of Chick Webb, Papa Jo Jones and "Big" Sid Catlett, Kenny Clarke's innovations paved the way for Max Roach, Roy Haynes, Art Blakey, Philly Joe Jones, Elvin Jones and many others, and changed the approach of Jazz drummers all over the world.

The concepts that were created by these legendary Jazz drummers were eventually adapted to Samba Jazz and Bossa Nova drumming. In Brazil, the first to do so was Edison Machado (1934-1990) whose 1965 recording “Rio 65 Trio" with Dom Salvador (piano) and Sergio Barrozo (bass) heavily influenced myself, Robertinho Silva, Zé Eduardo Nazário, Tutty Moreno, and several others. In the early 70'S while living in Rio, I began to develop this way of playing Samba in a trio setting with Cesarius Alvim (piano) and Ricardo Santos (bass). In 1975 I moved to New York to pursue my dreams; I fell in love with the city and have lived here ever since. It has been a great learning journey, and has led me to understand that gratitude, perseverance, patience and kindness are some of the key qualities that can lead to a better knowledge of life. In the early 80’s I began playing and recording with the pianist of the Rio 65 Trio, Dom Salvador, who had also moved to New York. In 1997 we recorded a joint album, “Transition” with Rogerio Botter Maio on bass. Because of the chemistry between us we were able to explore ideas of a more freely played Samba. Years later I found a new trio setting in which to continue this musical conversation. Our first recording together was Duduka Da Fonseca Trio plays Toninho Horta" for ZOHO Music. David Feldman, Gutto Wirtti and I are able to think and feel musical time in uncannily similar ways, creating an ideal musical landscape for us to further explore new forms of Samba and Bossa Nova playing, using our roots for musical inspiration. The result is a time/beat with a much wider and elastic feel, but without losing the essence of Samba, which is in our blood.
Our new album was made in Rio de Janeiro (where the sounds of our music originally took root at "Beco das Garrafas", Rio's 52nd Street). Recording in the neighborhood of Ipanema where I was born and raised was a wonderful experience for me, and I hope that you enjoy listening to the album as much as we enjoyed making it. Here is our heartfelt effort to present New Samba Jazz Directions. Deep thanks to David Feldman and Guto Wirtti for their invaluable musical suggestions. This album is dedicated to my beloved wife Maucha Adnet. Best of luck and peace, Duduka Da Fonseca

For decades, Rio de Janeiro-born drummer Duduka Da Fonseca has been hailed as one of the leading drummer/band leaders in Brazilian Samba Jazz, the exciting hybrid of native Brazilian rhythms and American Jazz. "Growing up in Ipanema in the 50s was fantastic,” Duduka recalls. “Its beaches were beautiful and pure. Ipanema was a neighborhood of mostly family homes with very few buildings and cars. We played soccer in the streets and climbed trees. It was peaceful."
"I was very fortunate that my parents loved good music. I was brought up listening to Antonio Carlos Jobim, João Gilberto, Dorival Caymmi, Luis Bonfá, Louis Armstrong, Nat King Cole, Frank Sinatra, Ray Charles and many others.” Duduka began playing the drums at thirteen: "I am self-taught. My way to learn was playing along with the vinyl records of the Brazilian musicians and American Jazz masters."
Following several years of performing in Brazil both as a leader and a sideman, Duduka moved to New York in 1975. There, he followed his dream of playing with American Jazz musicians, blending the musical cultures of Brazil and the US. “When I arrived in New York City, it was a much different musical scene from today. Samba Jazz was not on the map at that time. I am very proud to be one of a few musicians who helped revive the Brazilian Jazz scene in New York City in the late 70s.”
Duduka has appeared on over 200 albums and performed with artists such as Antonio Carlos Jobim, Astrud Gilberto, Gerry Mulligan, Claudio Roditi, John Scofield, Wayne Shorter, Tom Harrell, Eddie Gomez, Rufus Reid, Lee Konitz, Herbie Mann, Jorge Dalto, Joe Henderson, Kenny Barron, Emily Remler, Nancy Wilson, Slide Hampton, Toshiko Akiyoshi, Gil Goldstein, Joanne Brackeen, Marc Johnson, George Mraz, John Patitucci, Renee Rosnes, Bill Charlap, Maucha Adnet , Carlos Barbosa-Lima, Phil Woods amongst many others.
Among these recordings are three prior releases as a leader for the ZOHO label, including: Duduka Da Fonseca Quintet: Samba Jazz in Black and White (ZM 200603) in 2006; Brazilian Trio: Forests (ZM 200806) in 2008; and Duduka Da Fonseca Trio Plays Toninho Horta (ZM 201115) in 2011. In 2009, his Brazilian Trio album "Forests" was nominated for a Latin Grammy in the "Best Latin Jazz Album" category. zohomusic.com
Tracklist:
1    Duduka's Mood 6:15
David Feldman
2    Sonho De Maria 6:18
Marcos Valle / Paulo Sérgio Valle
3    Solito 5:25
Guto Wirtti
4    Alana 5:13
Duduka Da Fonseca
5    Isabella 5:42   
Duduka Da Fonseca
6    Zelão 6:02
Sergio Ricardo
7    Tetê 6:26   
David Feldman
8    Céu E Mar 5:26
Johnny Alf
9    Bad Relation 6:27
David Feldman
10    Samblues 5:06
David Feldman
Credits:
Duduka Da Fonseca - Drums
David Feldman - Piano
Guto Wirtti - Bass

DUDUKA DA FONSECA TRIO - Jive Samba (2015) FLAC (tracks), lossless

Master drummer Duduka Da Fonseca and his Rio-based Trio, interpreting Brazilian Samba Jazz compositions by North American jazz icons Keith Jarrett, Wayne Shorter, Chick Corea, Herbie Hancock and others.
Duduka Da Fonseca has been hailed as one of the leading drummer/band leaders in Brazilian Samba Jazz, re-uniting here with his Brazil-based Trio for their third ZOHO CD release, in ten exquisite arrangements, including "Jive Samba", "Sco's Bossa" and "Speak Like a Child".
Since his arrival in New York in 1975, Da Fonseca has performed with, and has appeared as a sideman on over 200 CDs, with North American jazz greats Joe Henderson, Tom Harrell, John Scofield, Gerry Mulligan, Claudio Roditi, Phil Woods, Kenny Barron, Joe Lovano and many more.
Da Fonseca has toured internationally with Brazilian legends Antonio Carlos Jobim and singer Astrud Gilberto, and formed the outstanding Brazilian jazz group Trio da Paz with guitarist Romero Lubambo and bassist Nilson Matta.
AN EVERLASTING LOVE AFFAIR
The wealthy Rio de Janeiro soccer impresario Arnaldo Guinle sponsored the first European tour in 1922 of the legendary innovator of modern Brazilian Choro, Alfredo da Rocha Viana, Jr., aka Pixinguinha, and his very important and entertaining band known as Os Oito Batutas (The Magnificent Eight). The songwriter, composer, arranger, and saxophonist/flutist Pixinguinha and the Os Oito Batutas served as trail-blazing ambassadors for Brazilian music and culture as they performed for a historic six-month residency in the Scheherazade Cabaret in Paris in 1922.
It was during that monumental nightclub engagement over 90 years ago that one of the most inspired and productive relationships in the last century of modern music making started to catch fire: an eternally passionate and mutual love affair between Brazilian music and American jazz. There is a wonderful legend about another great Giant of American Music, Louis Armstrong, meeting Pixinguinha during that magical time in Paris. What is most important to know is that these two creative forefathers both played a centrally vital role in developing and nurturing our music with the enormity of their hearts and souls.
Since forming his first samba jazz trios and all star bands in the mid 1960s, including being a co-founder of the landmark ensemble Trio Da Paz, master drummer Duduka Da Fonseca has done far more than most in combining American jazz and the heart of Brazilian music, shining the bright light of his soulful swing on what is most uplifting and heartwarming in both cultures. This music is all about abiding love and friendship. The fundamental idea for this special project was germinated after a conversation between Duduka and his friend David Benechis, a Brazilian lawyer and writer, several years ago while Duduka was visiting his hometown, Rio de Janeiro: magical interpretations of Brazilian-inspired compositions by major American jazz composers such as Keith Jarrett, Joe Henderson, Clare Fischer, and John Scofield .zohomusic.com
Tracklist:
1    Jive Samba 4:29
Nat Adderley
2    Lucky Southern 5:12
Keith Jarrett
3    Sco's Bossa 6:39
John Scofield
4    Recorda Me 5:06   
Joe Henderson
5    Peresina 6:45
McCoy Tyner
6    Clouds 6:37
Kenny Barron
7    Pensativa 6:03
Clare Fischer
8    Speak Like a Child 4:26
Herbie Hancock
9    El Gaucho 4:13
Wayne Shorter
10    Samba Yantra 4:37
Chick Corea
Credits:
Duduka Da Fonseca - Drums
David Feldman - Piano
Guto Wirtti - Bass
Paulo Levi - Tenor Saxophone (# 4)

DUDUKA DA FONSECA TRIO - Plays Dom Salvador (2018) FLAC (tracks), lossless

The merging of Brazilian music and American jazz changed the trajectory of modern music. The inceptions of bossa nova, samba jazz, and other fusions enable Brazil to make its mark on jazz and beyond, via some incredible musicians and composers, including the legendary Dom Salvador. The remarkable pianist and his classic trios, which blended samba and jazz, made an impression on many during the mid-1960s, including a young Duduka Da Fonseca.
Fonseca’s initial exposure to Salvador’s music came as a teenager in Rio de Janeiro. The budding drummer could hear Salvador’s original trio rehearsing, featuring bassist Sergio Barrozo and drummer Edison Machado, while walking to school. When the group released their seminal recording, Rio 65 Trio, Fonseca was completely spellbound by the music and practiced along to the record religiously, forever engraining Salvador’s music into his psyche.
Though he had met Salvador briefly in Rio, Fonseca didn’t have a chance to play regularly with his idol until 1980. Having been in New York City for five years, Fonseca had played with a who’s who of modern jazz legends, so when Salvador’s drummer wasn’t available, the pianist called Fonseca to fill in. Fonseca surprised Salvador by knowing Salvador’s repertoire backwards and forwards, thus cementing a bond that led to years of playing and touring together.
Salvador and Fonseca played regularly during the 1980s in a quartet that also featured saxophonist Dick Oatts and bassist Dennis Irwin. Their collaborations have continued to this day. In 2015, Fonseca’s relationship with Salvador came full circle when he was asked to play Machado’s parts on the 50th anniversary celebration of the Rio 65 Trio recording at Carnegie Hall.
Duduka Da Fonseca Trio Plays Dom Salvador was born from the leader’s love of Salvador and his music and Fonseca’s effort to make a proper tribute to his friend and mentor. The featured trio was born of a 2000 meeting with pianist David Feldman, who was studying then at the New School in New York, and with whom Fonseca recorded with later in 2009 in Brazil, where he also met the trio’s bassist, Guto Wirtti.
In the efforts to make the best recording and present Salvador’s music in the best light, Fonseca reached out to Salvador for lead sheets for his compositions. Feldman also took time to consult Salvador and learn the repertoire from its source, removing any doubts about structural and interpretive nuances. Many of Salvador’s songs seem simple but have difficult elements, most notably in the rhythmic combinations.
Fonseca traveled to Brazil three times: the first to rehearse the music, the second to record over two days, and the third to mix and master. The trio aimed to make the recording as natural as possible, eventually using many first or second takes.
The recording begins with a tune from that inspiring Rio 65 Trio album, “Farjuto,” a breezy composition whose title comes from dated Rio musician slang. ironically meaning “not so good.” The modal of groove of “Transition” is augmented by a variety of rhythms emanating from the Northeastern provinces of Brazil. The haunting “María” is a minimalistic ballad named for Salvador’s wife of 50 years, which the trio molded in the spirit of Keith Jarrett’s memorable take of “It’s Easy To Remember.” The ensemble performs “Antes Da Chuva” in a looser fashion than the Salvador original, while the straight samba of “Samba Do Malandrinho” is bouncy and smart, apropos to its rascally namesake. The sly “Temátrio” is a grooving composition that emerged from Salvador’s second trio around 1966.
The title of “Gafieira” refers to an old Rio tradition of a ballroom dance incorporating some acrobatic elements, the difficult composition prancing along in a brilliant display of melodic and rhythmic complexity. Salvador’s beautiful ballad “Para Elis” is a dedication to the pianist’s former employer, the iconic singer Elis Regina, and finds the trio augmented by the great cellist Jaques Morelenbaum. Performed and recorded as a samba, “Valsa De Esquina” was originally composed as a Brazilian waltz by Salvador, so the trio transformed it into a Bill Evans-esque jazz waltz. The upbeat “Clauditi” is a tribute to a great friend and collaborator, trumpeter Claudio Roditi, and features rhythmic elements of samba and the pre-samba maxixe. Perhaps Salvador’s most famous composition, “Meu Fraco é Café Forte” (or “My Weakness Is Strong Coffee”) utilizes an intriguing arrangement by Wirtti that introduces the melody in half time before speeding it up.
Duduka Da Fonseca and his wonderful trio of David Feldman and Guto Wirtti pay tribute to Brazilian jazz legend Dom Salvador on the enchanting Duduka Da Fonseca Trio Plays Dom Salvador by highlighting the composer’s brilliant music but also giving it new life with new contemporary arrangements.  dudukadafonseca.bandcamp
Tracklist:
1    Farjuto    4:18
2    Transition    4:21
3    Maria    4:29
4    Antes Da Chuva    5:48
5    Samba, Do Malandrinho    3:11
6    Tematrio    5:35
7    Gafieira    4:31
8    Para Elis    4:19
9    Valsa De Esquina    4:57
10    Clauditi    4:13
11    Meu Fraco E Cafe Forte    3:25
Credits:
Duduka Da Fonseca - Drums
David Feldman - Piano
Guto Wirtti - Bass
Special Guest :
Jaques Morelenbaum - Cello (track 8)