paulomoura

A legend of instrumental music for half a century, clarinet and saxophone virtuoso Paulo Moura is the first Brazilian instrumentalist to be honored with the Latin Grammy (2000) for his CD Paulo Moura e Os Oito Batutas.

But to categorize or “label” him is next to impossible. His name is spoken with reverence in musical circles ranging from jazz to classical, and known throughout the world. His sound, whether on saxophone or clarinet, is unmistakable. His unique sense of improvisation, his interpretations and phrasings, have made him the model that a generation of Brazilian instrumentalists have looked up to.

And while he is passionately dedicated to the preservation of the various traditions of Brazilian music, he is arguably Brazilâs greatest living interpreter of mainstream improvisational jazz.

The youngest of ten siblings, born in the mid-1930s to a working class Afro-Brazilian family in a small city in Brasil, Paulo Moura began playing as a child in his father's band and by age 19 appeared as soloist with the Brazilian Symphony Orchestra, playing Weber's Concertino for Clarinet and Orchestra. However his devotion to classical music was accompanied from the very beginning by a profound passion for and understanding of the popular tradition of his country. While he was learning harmony, counterpoint and fugue in private classes, he would play pop music at the neighborhood gafieira (dance hall). Out of this mixture emerged a style that shows a complexity of elements: his Afro-Brazilian origins, the pop music of the poorer classes of Rio, his experience during the golden age of Radio Nacional and his "higher education" as a first clarinetist of the Municipal Theater's Orchestra.

His international career as a soloist started in 1953 in Mexico playing with Ari Barroso, the famous Brazilian composer. And since his acclaimed performance at Carnegie Hall in 1962, he has been frequently invited to play in the US, Great Britain, Japan, Africa, Germany, Switzerland, Holland, Greece, Argentina, and France. His recordings have been released in the US, France, and Japan, and he has made appearances in music festivals in the US, France, Switzerland (Montreux), Rio de Janeiro (Free Jazz), and Germany. He has taught as a visiting professor, along with Karl Berger, at the Creative Music Studio in Woodstock andat the Zurich Festival where he held a Brazilian music workshop.

He continues to be a highly influential force in Brazilian popular music, teaching music theory and arranging recordings by Elis Regina and Milton Nascimento. His 1976 solo album Confusão Urbana, Suburbana e Rural, is considered a masterful tour through landscapes of modern and traditional Brazilian music. His career as a composer and conductor also include several symphonic pieces. Major public presentations include the 1988 commemoration of the Centennial of Abolition of Slavery in Brasil, featuring the National Symphonic Orchestra, and in 1992 the inaugural piece for the world conference ECO92 that included a choir of 120 public school children.

Because of his artistic prominence Mr. Moura has held important and prestigious public positions: Director of the Museum of Image and Sound in Rio de Janeiro (1997-99), and member of the Municipal Council for the arts (1997-99).

In 2000, Moura composed and performed the Urban Fantasy for Alto sax and Orchestra for the centennial of the Oswaldo Cruz Foundation. He was featured in the film "Villa-Lobos: A Passion" for which he also arranged and performed the soudtrack, and he performed in a 19-concert tour in Japan with the singer Joyce. His discography includes over 25 recordings.

Discography

1956 Moto Perpétuo, Chantecler

1958 Sweet Sax , RCA Victor

1959 Escolha e Dance com Paulo Moura, Sinter Discos 1960 Paulo Moura Interpreta Radamés Gnatalli, Continental

1962 Tangos e Boleros, Chantecler

1968 Paulo Moura e Quarteto, Equipe

1969 Paulo Moura e Hecteto: Mensagem, Equipe1

1970 Paulo Moura e Hecteto: Fibra, Equipe

1971 Pilantocracia, Equipe2

1976 Confusão Urbana, Suburbana e Rural , RCA Victor 1981 Concert‹o, Kuarup

1983 Paulo Moura e Clara Sverner, Odeon

1984 Mistura e Manda, Kuarup

1986 Paulo Moura e Clara Sverner: Vou Vivendo, Odeon

1986 Gafiera Etc e Tal, Kuarup

1988 Paulo Moura e Clara Sverner Interpretam Pixinguinha, CBS

1988 Quarteto Negro: Paulo Moura, Jorge Degas, Zezé Mota e Djalma Corrêa, Kuarup

1991 Paulo Moura Interpreta Dorival Caymmi, Chorus 1992 Rio Nocturne, Messidor

1992 Dois Irmãos: Paulo Moura e Raphael Rabello, Caju Music

1996 Paulo Moura e Wagner Tiso, Tom Brasil

1997 Paulo Moura e Os Batutas, Rob Digital

1999 Mood Ingenuo: Paulo Moura and Cliff Korman duo, JazzHeads

2000 Paulo Moura visita Jobim e Gershwin, Pau Brasil 2000 Latin Grammy Award


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				A legend of instrumental music for half a century, clarinet and saxophone virtuoso Paulo Moura is the first Brazilian instrumentalist to be honored with the Latin Grammy (2000) for his CD Paulo Moura e Os Oito Batutas. But to categorize or “label” him is next to impossible. His name is spoken with reverence in musical circles ranging from jazz to classical, and known throughout the world. His sound, whether on saxophone or clarinet, is unmistakable. His unique sense of improvisation, his interpretations and phrasings, have made him the model that a generation of Brazilian instrumentalists have looked up to. And while he is passionately dedicated to the preservation of the various traditions of Brazilian music, he is arguably Brazilâs greatest living interpreter of mainstream improvisational jazz. The youngest of ten siblings, born in the mid-1930s to a working class Afro-Brazilian family in a small city in Brasil, Paulo Moura began playing as a child in his father's band and by age 19 appeared as soloist with the Brazilian Symphony Orchestra, playing Weber's Concertino for Clarinet and Orchestra. However his devotion to classical music was accompanied from the very beginning by a profound passion for and understanding of the popular tradition of his country. While he was learning harmony, counterpoint and fugue in private classes, he would play pop music at the neighborhood gafieira (dance hall). Out of this mixture emerged a style that shows a complexity of elements: his Afro-Brazilian origins, the pop music of the poorer classes of Rio, his experience during the golden age of Radio Nacional and his "higher education" as a first clarinetist of the Municipal Theater's Orchestra. His international career as a soloist started in 1953 in Mexico playing with Ari Barroso, the famous Brazilian composer. And since his acclaimed performance at Carnegie Hall in 1962, he has been frequently invited to play in the US, Great Britain, Japan, Africa, Germany, Switzerland, Holland, Greece, Argentina, and France. His recordings have been released in the US, France, and Japan, and he has made appearances in music festivals in the US, France, Switzerland (Montreux), Rio de Janeiro (Free Jazz), and Germany. He has taught as a visiting professor, along with Karl Berger, at the Creative Music Studio in Woodstock andat the Zurich Festival where he held a Brazilian music workshop. He continues to be a highly influential force in Brazilian popular music, teaching music theory and arranging recordings by Elis Regina and Milton Nascimento. His 1976 solo album Confusão Urbana, Suburbana e Rural, is considered a masterful tour through landscapes of modern and traditional Brazilian music. His career as a composer and conductor also include several symphonic pieces. Major public presentations include the 1988 commemoration of the Centennial of Abolition of Slavery in Brasil, featuring the National Symphonic Orchestra, and in 1992 the inaugural piece for the world conference ECO92 that included a choir of 120 public school children. Because of his artistic prominence Mr. Moura has held important and prestigious public positions: Director of the Museum of Image and Sound in Rio de Janeiro (1997-99), and member of the Municipal Council for the arts (1997-99). In 2000, Moura composed and performed the Urban Fantasy for Alto sax and Orchestra for the centennial of the Oswaldo Cruz Foundation. He was featured in the film "Villa-Lobos: A Passion" for which he also arranged and performed the soudtrack, and he performed in a 19-concert tour in Japan with the singer Joyce. His discography includes over 25 recordings. Discography 1956 Moto Perpétuo, Chantecler 1958 Sweet Sax , RCA Victor 1959 Escolha e Dance com Paulo Moura, Sinter Discos 1960 Paulo Moura Interpreta Radamés Gnatalli, Continental 1962 Tangos e Boleros, Chantecler 1968 Paulo Moura e Quarteto, Equipe 1969 Paulo Moura e Hecteto: Mensagem, Equipe1 1970 Paulo Moura e Hecteto: Fibra, Equipe 1971 Pilantocracia, Equipe2 1976 Confusão Urbana, Suburbana e Rural , RCA Victor 1981 Concert‹o, Kuarup 1983 Paulo Moura e Clara Sverner, Odeon 1984 Mistura e Manda, Kuarup 1986 Paulo Moura e Clara Sverner: Vou Vivendo, Odeon 1986 Gafiera Etc e Tal, Kuarup 1988 Paulo Moura e Clara Sverner Interpretam Pixinguinha, CBS 1988 Quarteto Negro: Paulo Moura, Jorge Degas, Zezé Mota e Djalma Corrêa, Kuarup 1991 Paulo Moura Interpreta Dorival Caymmi, Chorus 1992 Rio Nocturne, Messidor 1992 Dois Irmãos: Paulo Moura e Raphael Rabello, Caju Music 1996 Paulo Moura e Wagner Tiso, Tom Brasil 1997 Paulo Moura e Os Batutas, Rob Digital 1999 Mood Ingenuo: Paulo Moura and Cliff Korman duo, JazzHeads 2000 Paulo Moura visita Jobim e Gershwin, Pau Brasil 2000 Latin Grammy Award