Bossa Nova Sinfónico & TOCA Culture: Resounding Success in Havana
The sun had not risen on the morning of May 11th when Robson Coccaro, President of TOCA Culture, was already being interviewed by Univision Television Network at Miami International Airport about the upcoming performance of Bossa Nova Sinfónico in Havana. The interview session culminated with an impromptu rendition of Girl from Ipanema by vocalist Rose Max to the delight of the airport staff, the press and dozens of travelers who broke into applause. Bossa Nova Sinfónico is an ode to Brazilian music, an homage to the legendary Antonio Carlos Jobim, one of the 20th-century’s most admired composers. It features the classic Brazilian jazz quintet format in tandem with a symphonic orchestra. The glorious sounds of Jobim’s compositions come to life through the voice of Rose Max, accompanied by Ramatis Moraes (guitar), Mike Orta (piano), Carlomagno Araya (drums) and Jamie Ousley (bass), all under the direction of conductor Jeremy Fox. The project has been presented in Costa Rica and Mexico, was nominated for a Latin Grammy, and received the Brazilian Press Award for Album of the Year. Jeremy Fox conducts Cuba’s National Symphony Orchestra for Bossa Nova Sinfónico The cultural immersion of TOCA Culture’s entourage of artists and VIP sponsor guests began as soon as we arrived in Havana. The group seemed overwhelmed by the colors, textures, sounds, and architecture of the city, a grand old dame that has been given a second chance to shine. Our first stop was the classic Café del Oriente in San Francisco Square. It was a time to take in the city’s vibe and get ready for an unforgettable four-day musical journey. Havana, cradle of Cuban music and culture Bossa Nova Sinfónico was selected to perform at the Inaugural Gala of Cuba Disco 2016, Cuba’s premier music industry event, which was celebrating its 20th anniversary. As we approached the theater for our first rehearsal, TOCA’s staff had been prepped by our Cuban counterparts for a simple session without much expectation. But as the first chord made its way through the theater halls, everyone sensed that the concert would be a success. One of the most emotional moments came during the first rehearsal when both the orchestra and the quintet realized they were a perfect fit. Everything was fluid. Maestro Enrique Pérez Mesa, Director of Cuba’s National Symphony Orchestra—and the most gracious host—said, “the music of Cuba and Brazil—and their cultures in general—share the same roots: Yoruba African slaves and colonizers from the Iberian Peninsula.” These historical ties manifest themselves through parallel cultural landscapes that understand each other without speaking the same language. Rose Max and Bobby Carcasses, who was instrumental in presenting Bossa Nova Sinfónico in Cuba. It was most gratifying to observe as new relationships and friendships were born between the musicians, producers, event organizers, and staff in general. And our project lives on through the national broadcast on Cuban television of the concert, and will spread beyond the Island as TOCA Culture identifies global broadcast partners for the project. There could not be a better example of real People-to-People exchange. The concert was broadcast on Cuban National television on June 4th. Bossa Nova Sinfónico was presented to a full crowd at Teatro Nacional de Cuba in Havana. Between rehearsals, the group explored Havana’s neighborhoods, from the baroque palaces and squares of Old Havana to the dive bars in Centro Habana as well as the theaters and restaurants in posh Miramar. The Bossa Nova Sinfonicogroup met more musicians in the streets and were invited to play in some descargas with local bands. As a prelude to the main concert, part of the quintet (Rose, Ramatis, and Jamie) had the opportunity to present a concert at the Centro Hispanoamericano de la Cultura—a gorgeous neoclassical building along the Malecón— sharing the stage with the renowned vocal ensemble, Schola Cantorum Coralina. Under the direction of Dra. Alina Orraca, the ensemble performed a program of Cuban traditional classics with perfect pitch. Meanwhile, Rose Maxdelighted the audience with Brazilian standards preceded by a lovely children’s choir. A few tears were shed by some members of the public as children and adult choral members joined Rose on stage for a resounding finale. Rose Max and Ramatis share the stage with the renowned vocal ensemble, Schola Cantorum Coralina at Centro Hispanoamericano de Cultura. Front row from left to right: Mike Orta, Jamie Ousley, Jeremy Fox, Carlomagno Araya, Rose Max, and Ramatis Moraes. Rose Max, Carlomagno Araya (project founder), and Robson Coccaroparticipated in a press conference that drew almost 60 national and international media outlets. The trio charmed the press with their genuine words of gratitude and admiration for the Cuban musicians, people, and culture. When the day of the concert arrived, all the musicians were relaxed, as when one knows things will go well. Bossa Nova Sinfónico was the first half of the gala and Max’s renditions of Jobim‘s songs grabbed the audience from the first note. The Cuban audience is extremely knowledgeable of Brazilian music and at times sang along, even danced in the aisles to the melodies and rhythms emanating from the stage during the final selection. The performance was received by two standing ovations, interrupted only by an interpretation of Mas Que Nada which brought the house down in a palpable celebration of the best in popular music. The second half of the program was entrusted to the singer/songwriter Raúl Torres, author of classic pieces such as Candíl de Nieve, and Se Fue. The great Vania Borges, a sultry chanteuse with a velvety voice was his guest. And so Cuba Disco 2016 was inaugurated. Granma International said in its art column, “The excellence, beauty and quality of the work of Tom Jobim, performed by the Bossa Nova Sinfónico quintet together with the Cuban National Symphony Orchestra, provided a high degree of distinction to the Inaugural Gala of the 20th CUBADISCO International Festival”. ACN (Agencia Cubana de Noticias) echoed Rose Max’s feelings about her stay in Cuba. “Being in Cuba is a great dream”, said the vocalist, “as a child I always heard about the quality of Cuban musicians, and as soon as we started rehearsing we were captivated by the warmth and talent of
Bossa Nova Then and Now
Who among you haven’t hear the song “The Girl from Ipanema?” Very few, we are sure, as the song has been ubiquitous ever since it was created by bossa nova king, Antonio Carlos Jobim. With its cool, laid back sound enhanced by the whispery voice of Astrud Gilberto, the song put bossa nova on the map, from Rio to NY and everywhere else beyond. The origin of bossa nova came from finding a new way of playing and singing samba, a musical genre with roots in Africa. Taking elements from jazz music and combining it with a soft and poetic sound, bossa nova came at a time when Brazil was changing and becoming more modern, and this sound surely became emblematic of the time. Born in 1927, Jobim was a revered songwriter, singer, composer, arranger, pianist, and guitarist who was a big part of the creation of the bossa nova style. With “The Girl from Ipanema” one of the most recorded songs in history, his music put bossa nova on the map, along with the music he wrote in collaboration with poet vinicius de Moraes in 1959 for the film, Orfeu Negro (Black Orpheus) directed by Michel Camus. Musicians like Stan Getz, Joaö Gilberto, and Astrud Gilberto helped to add fuel to the bossa nova craze all over the world, with Jobim at the helm. As one of the most important songwriters of the 20th century, his music was recorded by many famous singers, including Frank Sinatra and Ella Fitzgerald. Jobim died in 1994, but he had an airport named after him in Rio in 1999 and was awarded a Lifetime Achievement Award at the 54th Grammy Awards in 2012 . When it began, bossa nova was headquartered in a tiny alley in Rio called Beco das Garrafas in Copacabana, known to music afficianados as well as the great musicians who play and visit the local bars. Known as an after-hours place for musicians to play, it has been a hang out for greats such as Sergio Mendes, Milton Banana, J.T. Meirelles, and Edison Machado. Heavyweight jazz players like Coleman Hawkins and Herbie Mann were often regulars, and the beat goes on to today, where Beco das Garrafas continues to host some of the best bossa nova bands and the musicians who appreciate and contribute to the sound. In the latter part of the 1960’s pop and rock became the musical styles of choice in Rio, but bossa nova still held its ground as a staple. Today, bossa nova has evolved into a new sound, combining the style with electronic beats giving it a harder edge that makes it popular with a new generation of kids on the dance floor. The contemporary bossa scene is growing all the time. Bands like Bossacucanova combine the traditional sound with electronica. Nominated for a Latin Grammy in 2002 for Best Brazilian Contemporary Pop Album with “Brasilidade,” they are produced and engineered by Alex Moreira and boast stunning vocals by his wife, Cris Delanno. Innovators like Mitar Subotic, known as Suba, have pioneered a sound that is constantly transforming. Listen to his album Säo Paulo Confessions, or to Fernanda Porto’s bossa, drum n’ bass dance floor hit, “Sambassim” with its various contagious mixes. And then there is Mugamango, Marcelonho da Lua, Cibelle, Vanessa da Mata and Ramilson Maia, and so many more who are moving the bossa sound into exciting realms. Like all art forms that are alive with their times, bossa nova breathes new life into itself through the artists who expand the form through their own visions. Whether you want a soothing sound to soften your ears or a driving beat to lift you higher, bossa nova is a sound that can take you to many places, not the least of which is Rio de Janeiro where it all began. www.tocaevents.com