PAULO MOURA — Discografía 1958-2012 | 40 Albums | Mp3 | FLAC | APE

One of Brazil's best proponents and keepers of the gafieira tradition (popular ballrooms historically linked to the Carioca folklore tradition of highly artistic and swinging dancing and playing) and one of the best choro players, Paulo Moura is an internationally awarded musician whose high standards make it easy for him to cross boundaries between classical and popular music, both performing and arranging in small ensembles or large symphonic orchestras. As a conductor, orchestrator, and arranger for famous Brazilian singers, he includes in his resumé works for Elis Regina, Fagner, Taiguara, Milton Nascimento, and Marisa Monte.
Mistura E MandaMoura was born in a musical family. His father, Pedro Moura, was an amateur bandleader and clarinetist himself, but was a carpenter by profession. Paulo's brothers, José and Alberico, are trumpet players and Valdemar, a trombonist. At nine, Paulo started to study the piano and at 13, was already playing in his father's band at parties and balls. Moving to Rio with his family, at 18 he began his studies at the National College of Music. Completing the seven-year course in only two years, he continued his studies of theory, harmony, and counterpoint with the famous master Paulo Silva. He also studied harmony, counterpoint, and fugue with fundamental Brazilian composer/orchestrator/conductor Guerra Peixe. On the popular side, he took arrangement lessons with internationally acclaimed Brazilian saxophonist/composer/arranger Moacir Santos and with saxophonist/composer/arranger Maestro Cipó. In 1951, Moura joined Osvaldo Borba's orchestra. Later, he also joined Zacarias e Sua Orquestra. His first recording gig, the song "Palhaço" (Nelson Cavaquinho), was as sideman for the extremely popular singer Dalva de Oliveira. At 19, he debuted as a soloist, playing Weber's "Concertino for Clarinet and Orchestra," accompanied by the Orquestra Sinfônica Nacional. Hired by the Orquestra Ary Barroso, he toured Mexico in 1953. Soon after, he joined the group of great trombonist Maciel. Hired by Rádio Tupi, he played there with the Orquestra Cipó. In 1954, he joined the Conjunto Guio de Morais, which was a regular act at the famous Régine's nightclub. His first album as soloist (a 78 rpm for Columbia) was recorded in 1956: Paganini's Moto Perpetuo. In 1957, he organized his first gafieira orchestra, performing with it at the gafieira Brasil Danças. In that same year, he recorded Paulo Moura e Sua Orquestra Para Bailes (Sinter). In 1958, Moura was hired by Rádio Nacional as an orchestrator and arranger, working there for two years. Also in 1958, he recorded the LP Paulo Moura Interpreta Radamés Gnatalli (Continental), accompanied by the Radamés Gnatalli Quartet, and became the musical director for Brazilian all-stars Dolores Durán, Nora Ney, Jorge Goulart, Maria Helena Raposo, and the Conjunto Farroupilha. Touring through Soviet Union and other countries, he conducted the Symphonic Orchestra of Moscow. In 1959, he was hired as first clarinetist for the Orquestra do Teatro Nacional, working for 17 years in that position. In 1960, he joined popular conductor Severino Araújo's orchestra, touring Argentina, and recorded for Chantecler the LP Tangos e Boleros. In 1962, he recorded with Brazilian violão master Baden Powell, performed at the historic jazz/bossa nova nightclubs of Rio's Beco das Garrafas and, as an altoist, he joined Sérgio Mendes' Conjunto Bossa-Rio, performing at the historic Carnegie Hall Bossa Nova Festival. In 1964, Moura accompanied as saxophonist the great drummer Edson Machado's LP for CBS, Edson Machado é Samba Novo. In 1968, he recorded for Equipe the LP Paulo Moura Hepteto; the next year, Paulo Moura Quarteto; and in 1971, Fibra, also for Equipe. In that year, Moura toured Greece with his quartet. In 1975, he recorded in the U.S. with Brazilian guitarist Tiago de Melo. In the next year, he recorded his classic masterpiece Confusão Urbana, Suburbana e Rural, which granted him an extremely popular two-month tour throughout Japan with full press coverage. In the '80s, he recorded his classic album Mistura e Manda (Kuarup) and with the Brazilian violão master Raphael Rabello, he recorded the album Dois Irmãos, which was bent toward the choro side while also including Raphael's flamenco-influenced guitar style and bossa nova themes. He also recorded several modern erudite albums with Brazilian classical pianist Clara Sverner. In 1981 came another classic LP, ConSertão, an ecumenic production with internationally awarded classical pianist Artur Moreira Lima, Brazilian jazz guitarist Heraldo do Monte, and folksinger/composer Elomar. Following this, he formed a trio with internationally renowned classical violonista (acoustic guitar player) Turíbio Santos and Artur Moreira Lima. As a soloist, he performed at New York's Lincoln Center, appeared at the Music Festival of Guadalupe in Mexico, and created the first saxophone orchestra. He also soloed concerts with the Orquestra Sinfônica Brasileira and Orquestra Sinfônica do Estado de São Paulo. In 1985, his choro trio performed at the Brazil Festival, at Juan-les-Pins (Antibes, France), and his gafieira orchestra opened the France-Brazil Cultural Interchange at the Zenith Theatre, in Paris, France. In 1988, Moura conducted the Orquestra Sinfônica de Brasília, performing his own piece for percussion and orchestra commemorating the centennial of the abolition of slavery in Brazil. Since then, he has been guest conductor at a series of concerts in Porto Alegre, Salvador, and Espirito Santo. In 1992, he wrote the piece "Suíte Carioca" for jazz rhythm section, symphonic orchestra, and children's choir. Also in that year, he was awarded as Best Soloist at Moscow's Mozart Festival. In 1996, he arranged all of the music and performed the clarinet and saxes at the Os Batutas' show Pixinguinha at Teatro Carlos Gomes (Rio). An all-star choro group, Os Batutas takes his name from Pixinguinha's seminal group and is formed by Jorge Simas (violão), Márcio (cavaquinho), Jorginho (pandeiro), Jovi (percussion), Marçal (percussion), Zé da Velha (trombone), and Joel do Nascimento (bandolim). The show was recorded live and released the next year on the Velas CD Pixinguinha. It won Brazil's Prêmio Sharp for Best Instrumental CD and Best Instrumental Group in 1997. The CD presents 16 tracks of classic choro music by one of Brazil's most important composers of all time, Alfredo da Rocha Viana Júnior, Pixinguinha. In 1996, he was also awarded with the Prêmio Sharp as Best Popular Instrumentalist. Other awards received by him include Prêmio José Sarney, Villa-Lobos, Brahma Extra Prizes, and Honorary Citizenship in Rio de Janeiro. Four years later, he was awarded a Grammy for Best Brazilian Roots/Regional Album for Pixinguinha at the first Latin Grammy Awards and the sizzling album Tempos Felizes was released in early 2001. by Alvaro Neder
Albums:
1958 - Sweet Sax
1959 - Interpreta Radamés Gnattali [1995]
1964 - Os Cobras - O LP [2005] FLAC
1968 - Mensagem [2007] FLAC
1968 - Quarteto [2002] FLAC
1969 - Os Pilantrocratas [2008]
1971 - Fibra [APE]
1977 - Choro na Praça
1977 - Interpretam Vivaldi, Purcell, Weber, Villa-Lobos
1977 - O Fino da Música
1982 - Consertão
1983 - Clara Sverner & Paulo Moura
1983 - Mistura e Manda
1986 - Gafieira etc & Tal
1986 - Vou Vivendo [c Clara Sverner]
1988 - Interpretam Pixinguinha [c Clara Sverner]
1988 - Noites Cariocas (Os Maiores do choro ao vivo no municipal)
1988 - Quarteto Negro
1989 - Confusao Urbana, Suburbana e Rural [APE]
1990 - Quarteto-Hepteto [FLAC]
1992 - Dois Irmãos [c Raphael Rabello] FLAC
1992 - Rio Nocturnes
1996 - Brasil Musical [c Wagner Tiso]
1997 - Alma Brasileira
1998 - Pixinguinha
1998 - Visita Gershwin & Jobim [FLAC]
1999 - Pixinguinha Meets Duke Ellington
2000 - Carimbó do Moura
2001 - Tempos Felizes
2002 - K Ximblues
2003 - Estacão Leopoldina
2004 - El Negro del Blanco [c Yamandú Costa]
2006 - Dois Panos Para a Manga [c João Donato]
2006 - Samba de Latada
2007 - Gafieira Jazz
2007 - O Som de Dorival Caymmi
2009 - Afrobossanova [c Armandinho]
2011 - Alento
2011 - Samba de Latada (ao vivo)
2012 - Fruto Maduro

CANHOTO DA PARAÍBA - Pisando em Brasa (1993) Mp3

RAPHAEL RABELLO - Todos Os Tons [1992] BMG / FLAC

Important solo album by the late Brazilian virtuoso, dedicated to Tom Jobim's compositions, Todos Os Tons opens with a very uncommon rendition of the broadly familiar Jobim tune "Samba Do Avião" ("Plane Samba"). Abandoning the bossa nova beat, Rabelo embraces the flamenco tradition, very dear to him, and, joined by his guest Paco de Lucia, echoes the gitano expression in a Brazilian setting, in which Bahian berimbau interventions interact with overall samba backing by the percussion. "Samba de Uma Nota Só" ("One Note Samba") also gives up the bossa tradition and attacks with a heavily syncopated samba rhythm for Rabello's virtuosic soloing. Enigmatic "Passarim receives an elaborated transcription for violão trio. "Retrato Em Preto E Branco" ("Portrait in Black and White") is sensitively interpreted by Rabello in a dialogue with guest soloists Jacques Morelenbaum (cello) and Luiz Avelar (piano). "Modinha" is performed solo in ad-lib tempo. "Garota de Ipanema" ("Girl From Ipanema") has a more powerful samba rhythm approach in which the bass contributes for a contemporary feel, and the introduction/interlude brings a new way of listening to this classic. The sensitive "Anos Dourados" is romantically exposed by Rabello with the help of Luiz Avelar emulating a string orchestra always carefully avoiding the clichés. "Garoto," an energetic tribute in moderate tempo to the great violonista has Tom Jobim himself at the piano. "Pois É" surprises in a flamenco-based introduction renewed by guest alto Paulo Moura improvising over a bossa nova beat, soon replaced by a doleful violão. "Luíza" receives a romantic and longing solo violão treatment that includes a tremolo ending directly reminiscent of classic tradition. The album is an opportunity for catching classic bossa nova themes reread through the unconventional yet creative and always competent lenses of an exceptional Brazilian virtuoso, unfortunately so young deceased. by Alvaro Neder 

Track Listing
1 Samba Do Avião 5:20
(Antônio Carlos Jobim)
Raphael Rabello feat: Paulinho Braga / Dininho / Paco de Lucía / Marçalzinho
2 Samba De Uma Nota Só 2:00
(Antônio Carlos Jobim / Newton Mendonça)
Raphael Rabello feat: Dininho
3 Passarim 4:41
(Antônio Carlos Jobim)
Raphael Rabello feat: Dininho
 4 Retrato Em Branco E Preto 3:55
(Chico Buarque / Antônio Carlos Jobim)
Raphael Rabello feat: Luiz Avellar / Paulo Jobim / Jaques Morelenbaum
 5 Mondinha 3:29
Antônio Carlos Jobim / Vinícius de Moraes
 6 Garota De Ipanema 4:46
Antônio Carlos Jobim / Vinícius de Moraes
 7 Anos Dourados 3:56
(Chico Buarque / Antônio Carlos Jobim)
Raphael Rabello feat: Luiz Avellar / Dininho
8 Garoto 2:34
(Antônio Carlos Jobim)
Raphael Rabello feat: Wilson DasNeves / Leo Gandelman / Antônio Carlos Jobim / Paulo Jobim
9      Pois É 6:41
(Chico Buarque / Antônio Carlos Jobim)
Raphael Rabello feat: Paulo Moura & Nico Assumpção
10 Luiza 2:24
Antônio Carlos Jobim

RAPHAEL RABELLO - Todos Os Tons 

[1992] BMG / FLAC / scans

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O Púbis da Rosa

NEY MATOGROSSO / RAPHAEL RABELLO - À Flor da Pele [1990] LP / FLAC

 1   Modinha (Tom Jobim - Vinicius de Moraes)
2   Retrato em preto e branco (Chico Buarque - Tom Jobim)
3   Molambo (Jayme Florence - Augusto Mesquita)
4   Tristeza do Jeca (Angelino de Oliveira)
5   Da cor do pecado (Bororó)
6   No rancho fundo (Ary Barroso - Lamartine Babo)
7   Último desejo (Noel Rosa)
8   O mundo é um moinho (Cartola)
9   As rosas não falam (Cartola)
10   Autonomia (Cartola)
11   Prelúdio nº 3 [Prelúdio da solidão] (Lobos - Hermínio Bello de Carvalho)
12   Três apitos (Noel Rosa)
13   Caminhemos (Herivelto Martins)
• Segredo (Herivelto Martins-Marino Pinto)
14   Negue (E. de Almeida Passos - Adelino Moreira)
15   Na Baixa do Sapateiro (Ary Barroso)
16   Vereda tropical (Gonzago Curiel)
17   Balada do louco (Arnaldo Baptista - Rita Lee)

Ney Matogrosso / Raphael Rabello 

À Flor da Pele  1990 / Som Livre / LP / FLAC

O Púbis da Rosa

RAPHAEL RABELLO - Lamentos Do Morro [1988]

In spite of his short life, Raphael Rabello was acknowledged internationally by his virtuosity. His mastery can be checked out on 16 released solo albums, on more than 400 he recorded as a sideman, and several solo tracks still unreleased. He worked with such artists as Paulo Moura, Elizete Cardoso, Turíbio Santos, Canhoto da Paraíba, and Paul Simon among many others. A flamenco-style proponent (he played with his fingertips, not with fingernails) within the Brazilian popular roots and always foreseeing the classical tradition on the horizon, he was celebrated by many first-class musicians and critics worldwide. Pat Metheny, for example, said about him: "He is the most prominent guitarist of our generation and one of the greatest of all times."

Dois Irmãos His grandfather, José de Queirós Batista, a violonista himself, was a strong influence in Rabello's family, heavily bent over the musical side. Rabello's sisters, Luciana and Amélia, are also professional distinguished musicians, a cavaquinista and a singer, respectively. Rabello, a self-taught violonista, started to learn music at age seven. Influenced by Dino Sete Cordas, he was taught later by Meira (Jayme Florêncio). At 12, he was already playing professionally. At 14, he formed his first choro regional, Os Carioquinhas, in which Luciana also took part. In 1977, Os Carioquinhas recorded their first LP, Os Carioquinhas no Choro (Som Livre), playing the seven-stringed Brazilian guitar. In 1979, together with mandolin virtuose Joel do Nascimento, he formed the group Camerata Carioca. The group specialized in playing music in the choro tradition and aimed at a synthesis of the erudite sophistication that was displayed both by the group's name and by its members' technical proficiency. The group caught the attention of distinguished composer, arranger, and orchestrator Radamés Gnatalli, who was personally dedicated to put down any segregation between classical tradition and popular Brazilian music. It was natural that Rabello would later become one of the main interpreters of Radamés' violão production. In 1984, he and Radamés recorded the album Tributo a Garoto through Funarte, with Garoto's compositions and Gnatalli's "Concertino No. 2." In that same year, he recorded for Polygram his first solo album, Rafael Sete Cordas, with compositions by Tom Jobim, Augustin Barrios, Jacó do Bandolim, João Pernambuco, and others. In 1986, he presented himself, together with singer Ney Matogrosso, in the show Pescador de Pérolas, which, out of the solid acclamation received, became a national tour and a recorded album, Pescador de Pérolas. In that same year, Rabello recorded Rafael Rabelo Interpreta Radamés Gnatalli through Vision. In 1988, he recorded Rafael Rabello, again for Vision. In 1989, he broke his right arm in a car accident, but that didn't stop him from accompanying Elizete Cardoso just four months later in her show Todo Sentimento, released in 1991 as a CD through BMG/RCA. In 1990, his duet with Ney Matogrosso yielded another show, À Flor da Pele, recorded and released by Som Livre as À Flor da Pele. In 1991, he recorded a great album with his first idol, Dino Sete Cordas. The album, through Caju Music, brought his name as Raphael for marketing purposes. Raphael Rabello & Dino Sete Cordas has several classic choros by João Pernambuco, Pixinguinha, and Ernesto Nazareth; sambas by Noel Rosa and Lamartine Babo; and the virtuosistic valse "Desvairada," by Garoto. With Paulo Moura, he recorded the album Dois Irmãos in 1991, through Caju Music/Milestone, with sambas, choros, and Tom Jobim' valse "Luísa." This CD would be awarded with the Prêmio Sharp in the next year as Best Instrumental Album. But in the same year, Rabello was awarded with a Prêmio Sharp for his duo album with Carlão. In 1992, he released through BMG/RCA his album Todos os Tons, with his arrangements and transcriptions of Tom Jobim' compositions. The album had as guests Jobim himself, Paco de Lucia, Paulo Moura, Luiz Avelar, Nico Assumpção, and other distinguished musicians. In 1993, he recorded with Romero Lubambo for the album Shades of Rio (BMG/RCA). A more diversified mix, it has compositions by him, Dori Caymmi, Jobim, Ary Barroso, Pixinguinha, Gnattalli, and others, exploring not only the choro, but other languages such as samba-canção. In that same year, he recorded for the same label Delicatesse, with another choro master, Déo Rian, in which the only popular composition was by Jacó do Bandolim, all the rest being classical music. In 1994 and 1995, he was awarded again with a Prêmio Sharp as Best Soloist. In 1994, he displayed his arranging skills, transcribing important pieces recorded and/or composed by the virtuoso violonista Dilermando Reis for his own performing style. This album yielded him another Prêmio Sharp award as Best Instrumental Album.

In 1994, he moved to California, where he lectured at the Los Angeles Music University and also recorded two more albums there. In 1995, he released his Back to Life album in Los Angeles. He then returned to Brazil to engage in a project with a foundation maintained by the state bank Banco do Brasil. The project, entitled Orgulho do Brasil (Brazil's Pride), consisted of a series of records dedicated to several Brazilian composers. It began with the composer Capiba. This would be the last effort of Rabello's and he committed himself to it. Unfortunately, the Banco do Brasil Foundation decided to abandon the project just as it was almost finished, offering no explanation. A 1997 release, Em Concerto (With Armandinho) by Spotlight, was of a live recorded show of Rabello's and also brings another live show, by mandolinist Armandinho (and not a show with both of them, as the title suggests). It was unauthorized by Rabello while he was still alive as he thought it wasn't good enough to be released, due to technical problems. The project under which those shows was developed, Música Viva, was denounced by Rafael's sister Luciana (she was a regular Rabelo accompanist whenever he played or recorded with a regional). According to her, all musicians involved in that show, including her, not only hadn't authorized its release on CD, but also hadn't received any rights for it. by Alvaro Neder

Faixas
1 - Lamentos do morro (Garoto)
2 - Jorge na fusa (Garoto) 
3 - Pedra do Leme (Rafael - Toquinho) 
4 - Comovida (Guinga)
5 - Ainda me recordo (Benedito Lacerda - Pixinguinha) 
6 - Vôo da mosca (Jacob do Bandolim)
7 - Grauna (João Pernambuco) 
8 - Retratos (Radamés Gnattali) 
9 - Nosso choro (Garoto) 
10 - Escovando (Ernesto Nazareth) 
11 - Desvairada (Garoto)
 Arranjos: Raphael Rabello
Raphael Rabello - acoustic guitar (1,2,3,5,6,7,8,9,10,11), 7 strings acoustic guitar (4,10)
Dininho - acoustic bass (1,2,3,6,7,8,9,11), steel acoustic guitar (5)
Chiquinho do Acordeon - accordion (3,8)
Creditos
1 Dininho (Horondino Reis da Silva) : Baixo Acústico Mariachi, Raphael Rabello : Violão
2 Dininho (Horondino Reis da Silva) : Baixo Acústico Mariachi, Raphael Rabello : Violão
3 Chiquinho do Acordeon (Romeu Seibel) : Acordeon, Dininho (Horondino Reis da Silva) : Baixo    Acústico Mariachi, Raphael Rabello : Violão
4 Raphael Rabello : Violão 7 Cordas
5 Dino 7 Cordas (Horondino José da Silva) : Violão 7 Cordas Aço, Raphael Rabello : Violão
6 Dininho (Horondino Reis da Silva) : Baixo Acústico Mariachi, Raphael Rabello : Violão
7 Dininho (Horondino Reis da Silva) : Baixo Acústico Mariachi, Raphael Rabello : Violão
8 Chiquinho do Acordeon (Romeu Seibel) : Acordeon, Dininho (Horondino Reis da Silva) : Baixo Acústico Mariachi, Raphael Rabello : Violão
9 Dininho (Horondino Reis da Silva) : Baixo Acústico Mariachi, Raphael Rabello : Violão
10 Raphael Rabello : Violão, Raphael Rabello : Violão 7 Cordas
11 Dininho (Horondino Reis da Silva) : Baixo Acústico Mariachi, Raphael Rabello : Violão

Na ficha técnica do disco a faixa 8 é creditada como "Retrato De Pixinguinha" e, na verdade, trata-se de "Retrato de Ernesto Nazareth". A edição em CD tem uma errata que corrige essa falha.   
http://www.acari.com.br/SiteOutdoorWS.asp

 Raphael Rabello - Rafael Rabello
Visom LPVO-018
1988 Visom Digital (LP)
2005 Acari Records (CD)
CBR320/scan

O Púbis da Rosa