No RJ -> Toninho Horta & Orquestra Fantasma

. Toninho Horta & Orquestra Fantasma

Dias 31/10 e 01/11 – Sexta e Sábado – às 19h30 - Teatro Rival - RJ

Toninho Horta em companhia da luxuosa Orquestra Fantasma festeja o relançamento do cd intitulado “Terra dos Pássaros” no palco do teatro Rival Petrobras em duas únicas apresentações.



O influente intérprete e compositor Toninho Horta desenvolveu um estilo pessoal de harmonização e teve grande participação em projetos de outros artistas e também gravou mais de dez álbuns solo, sendo vários no exterior.

No Brasil, ele decidiu mostrar a sua obra, como compositor e intérprete, iniciando a sua carreira solo, em 1980, com o álbum, "Terra dos Pássaros". Depois do sucesso do seu batismo de fogo, Toninho encontrou o seu caminho natural através da complexidade de conceitos e harmonias únicas, em sua composição que gradualmente causou o reconhecimento de grandes músicos brasileiros e músicos internacionais.

A “Orquestra Fantasma” surgiu como complemento do título “Terra dos Pássaros”. A intenção era de obter coloridos orquestrais como uma orquestra fictícia sem violinos, cellos e trompas reais; estes sons eram criados por Hugo Fattoruso e Toninho com seus mini-mugs, guitarras e pedais de volume.

Para Toninho, a Orquestra Fantasma equivale, o mesmo que o Som Imaginário representa para o Milton Nascimento: a sonoridade única e a criatividade musical em primeiro lugar, tal a qualidade refinada dos músicos.

Formada por André Dequech (teclados), Lena Horta (flauta), Iuri Popoff (baixo) e Esdra “Neném” Ferreira (bateria).

Convidado especial RUDI BERGER (violino).

Nas duas apresentações no Teatro Rival a Orquestra Fantasma conta com a participação de Cláudio Faria (teclados).

Venham conferir!

Serviço:

Teatro Rival Petrobras

Dias 31/10 e 01/11 – Sexta e Sábado – às 19h30

Rua: Álvaro Alvim, 33/37 – Cinelândia - RJ

http://www.rivalpetrobras.com.br/toninho.html

Preço:
Setor A/Mezanino:
R$ 50,00(Inteira)
R$ 25,00(Meia)

Setor B:
R$ 40,00(Inteira)
R$ 35,00(Os 150 primeiros pagantes)
R$ 20,00(Meia)

...
Fotos by Berenice Horta. Japão, 2008.
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Bossa Still Sounds Nova Fifty Year Later

THE JAZZ.COM BLOG

October 27, 2008

Bossa Still Sounds Nova Fifty Year Later

Tim Wilkins, a frequent contributor to these pages and editor of the jazz.com Encyclopedia of Jazz Musicians, reports on a celebration of bossa nova featuring (among others) the fine Brazilian guitarist Toninho Horta, who deserves to be much better known by jazz fans. His account is below. Check back here soon for Wilkins’s follow-up review of Brazilian music in performance (next time: Milton Nascimento). T.G.

Pianist Cliff Korman calls the Manhattan School of Music an "innovatory", rather than a conservatory, and on Tuesday night I could hear why. A noncommercial island in New York's musical stream, it has some of the city's best players as students and faculty, who consistently perform miracles.

Toninho Horta (photo by Brian Hatton)

The concert on Tuesday (October 21) was one such miracle. The school brought guitarist Toninho Horta from Brazil to celebrate "50 Years of Bossa Nova". The concert, which spanned nearly three hours, evoked the future of Brazilian music as well as its past. The event was the brainchild of Korman, a Long Island native who spends half his time in Rio, soaking up the city's samba, choro and gafiera, when he is not teaching at MSM. The concert was subtitled "To Jobim with Love" to honor Antonio Carlos Jobim, the composer who hatched the laid-back jazz hybrid in Rio in the late fifties.

Pat Metheny calls Toninho Horta "the Herbie Hancock of the guitar", and rightly so. He is a master of inner voicings with a lyrical style which feels at home in any musical setting. But he is not from Rio—he’s from Belo Horizonte in Minas Gerais, an inland city ringed by mountains, far from the sand and sea celebrated by Jobim. Yet like many of us, he remains drawn to bossa nova's rebellious calm. "Everybody wanted to play like that—ting ting, ting ting", he recalled with a smile about the first time he heard bossa nova at age ten. "Very simple, but very cool".

By thirteen, Horta was writing songs, and at nineteen he was winning prizes alongside another Minas native, singer Milton Nascimento. The pair inspired a movement in Belo Horizonte called "clube da esquina”—the "club on the corner"—which offered a more open alternative to Rio's studied cool and the surrealistic ironies of the Tropicália musicians from Bahia and Sao Paulo.

"I never really set out to be a jazz musician", says Horta, whose early influences included Debussy, Tatum, Mancini and Kenton. His seemingly effortless musical range led to close collaborations with a who's who of Brazilian musicians, including Elis Regina, Chico Buarque, and Sergio Mendes. When he moved to the U.S. in the eighties, he worked with Metheny, Wayne Shorter and Bobby McFerrin, among others.

Horta's music involves more colors than the original bossa, which he draws from the baroque church and Pink Floyd, by way of Ellington and Tatum. Like Tatum, his harmonic flights always sound like an organic outgrowth from the composition.

"Those aren't the changes I learned in Long Island!" Korman joked onstage after Toninho led the band through his reharmonization of Jobim's classic "Once I Loved". Korman’s point was twofold: not only does Horta depart from the original versions, but the bossa nova songs which entered the jazz repertoire during the genre's brief boom in the U.S. at times lacked the harmonic, and rhythmic, subtleties of the originals.

Bossa Nova at MSM (photo by Brian Hatton)

Bossa Nova was first a revolution of rhythm, then of dynamics: João Gilberto found a way to condense the patterns of Rio's raucous samba schools on the six strings of his quiet guitar. To this, Antonio Carlos Jobim added impressionistic harmonies drawn from jazz, but the foundation of bossa was always rhythm. This point was sometimes lost to Americans, who identify the genre more with the affectless delivery of Astrud Gilberto's English vocals on "The Girl from Ipanema" with Stan Getz from 1964.

Korman's reworking of "Ipanema" was one of the evening's highlights. Taking his cue from Horta, he led the band through a moody, wide-open reharmonization of the tune which highlighted bossa nova's untapped possibilities, more than its nostalgia for sand and sea. "Just open your ears, and drop this necessity of identifying one thing to represent a culture that's immense", Korman said. "I hope that I'm opening some creative windows to say we can really do something with this music".

The concert was really three programs in one: first, conductor Justin DiCioccio led the the school's jazz orchestra through a set of elegant Jobim arrangements commissioned by members of the Westchester Jazz Orchestra. These included Scott Reeves' "Waters of March", Mark Patterson's "Agua de Beber" and Tony Kadleck's "Desafinado". Rather than count off the the band, DiCioccio rubbed his hands together to simulate the sound of feet shuffling through sand, setting up the deceptively simple pulse essential to bossa nova. To further emphasize the importance of this "foreign" rhythmic sensibility, on "Agua de Beber" the band set down their horns to follow him through a spokenese arrangement of vocal polyrhythms.

Second, Toninho led the band through versions of some of his best-known compositions, including "Moonstone",
"Broken Kiss", "Aqui, Oh!" and "From Ton to Tom", which can be heard on his album To Jobim With Love, released by Resonance Records in September.

Third, Korman led the rhythm section through a set of "samba-jazz", Brazil's take on hard bop, which thrived alongside bossa nova but is little known in the U.S. This included his arrangements of "Ipanema" and "Embalo", by pianist Tenorio Jr., as well Horta's "Bons Amigos" and
"Aquelas Coisas Todas". It was during this third "set" that the rhythm section really caught fire, with drummer Will Clark catching a groove with Horta, percussionist Café da Silva and bassist Billy Clark.

Other standout soloists were trombonist Timothy Vaughan, who brought fearless swagger to "Desafinado", without turning the song into salsa stomp. Jay Rattman offered a beautifully understated baritone sax solo on the evening's opener, "Look to the Sky", which made it clear that he understands bossa's quiet fire. Saxophonist Steve Wilson, also on the MSM faculty, also joined the band at Horta's request and contributed fine solo work to "From Ton to Tom" and "Comecar de Novo".

Throughout, Korman, Horta, and Café pushed and pulled the beat with bossa nova's subtle sixteenth-note accents, capturing the revolutionary equipoise of Gilberto, Jobim and the other originators of the style. The evening was a testament to the enduring possibilities of bossa nova, which suggests that the conversation between the musics of the United States and Brazil, two bulwarks of African culture in the New World, has just begun.

"We're celebrating the great reach of two musics that meet, and create", Korman told the audience. "Two musics which really meet as equals, and celebrate each other; that's what we're celebrating tonight".

This blog entry posted by Tim Wilkins
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É hoje! TONINHO HORTA & ORQUESTRA de CÂMARA do SESIMINAS

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Toninho Horta com a Orquestra de Câmara do Sesiminas

> Dia 18 out - sáb – às 19h

Praça da Liberdade - Belo Horizonte, MG

Show de Toninho Horta c/ Orquestra Câmara do SESIMINAS - no evento dos 15 anos do Usicultura

...

Matéria no Jornal Estado de Minas em 17/10/2008, às 07:00

Seção: Música -

Shows instrumentais na agenda cultural do fim de semana

Ailton Magioli - EM Cultura

TONINHO HORTA & ORQUESTRA SESIMINAS

“Um concerto semi-erudito ao cair da tarde, em um dos cenários mais bonitos de Belo Horizonte”. Assim o violonista e guitarrista Toninho Horta define a apresentação única que ele e a Orquestra de Câmara do Sesiminas vão fazer amanhã à noitinha, na Praça da Liberdade, sob a regência do maestro Marco Antônio Maia Drumond.

Comemorando os 15 anos do Usicultura (Instituto Cultural Usiminas), o concerto vai privilegiar o repertório do autor de 'Beijo Partido' e 'Manoel, o Audaz', em casamento perfeito de madeira com cordas. Toninho fez dois arranjos inéditos para o show.

O concerto começa às 19h. Entrada franca.
...

> Fotos durante o ensaio do dia 16 out:

Toninho Horta no ensaio com Orquestra de Câmara do SESIMINAS, na sala da orquestra.

Toninho Horta e Yuri Popoff, no ensaio com a orquestra.

Toninho e a orquestra no ensaio, e o maestro Marco Antônio regendo.

Toninho Horta revendo um arranjo durante o intervalo.

Toninho editando o arranjo, concentrado, preparando mais uma obra de arte para nos encantar.

Toninho e a orquestra tocando, e o maestro Marco Antônio na regência.

. Fotos by Maria Valéria Bethonico.

Toninho Horta e Orquestra Fantasma em Tóquio, Japão

. Toninho Horta e Orquestra Fantasma em Tóquio, Japão

Após o show, em frente a van da BillBoard Live Tokyo, Berenice Horta, Yuri Popoff, Lena Horta, Toninho Horta, Neném, Rudi Berger, e André Dequech.

Berenice Horta, e a van da Billboard Live Tokyo.


Lena Horta e Kepel, dentro da Billboard Live Tokyo.

Toninho e Kepel, muitos anos de amizade!


Mariko, Toninho e Tatsuya na Billboard, feliz reencontro! Yuri Popoff ao fundo.


Toninho, Ken Hirai(cantor pop muito famoso no Japão) e Francis Silva (percussionista que mora no Japão e tocou no show). Ken Hirai foi ao camarim contar como ele fica impressionado pela música de Toninho! Ao fundo, Lena Horta conversando com as fãs japonesas.

Toninho, Kepel, Francis Silva, e a turma do Fã Clube japonês numa festinha após o show! Latinhas de guaraná Antárctica por toda parte!


Toninho, Sam Kawa (de cabeça raspada) e a turma do Fã Clube japonês na festinha após o show, felizes!

Fotos by Kepel, from Japan! Obrigada, Kepel!
...

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Comentário de Saulo Firosi Kikuchi, fã de Toninho Horta:

sfk disse...

"Vi as fotos do show no Japão e morri de inveja. Assisti o show de lançamento do CD "SEM VOCÊ" em 1995 em Toquio e não consegui nem chegar perto do Toninho e da Joyce. O máximo que consegui foi um autografo no CD Moonstone que a RP que estava lá consegui para mim.
Mas o Show foi inesquecível. Imagine só, comprei o ingresso com 3 meses de antecedência e só consegui lugar em pé."
Saulo Kikuchi - Uberaba - MG

21 de Outubro de 2008 19:18

Complementando o comentário abaixo, Saulo Firosi Kikuchi enviou a foto do teatro em Tóquio:

"O teatro onde rolou o Lançamento do CD Sem Você foi nesta Galeria no bairro de Harajuko em Tóquio 25/11/95. Muito frio e eu sozinho com uma câmera na mão esperando a abertura da entrada do teatro. Boas lembranças, esse bairro é muito louco. Pergunte para o Toninho que ele te conta.

Beijo!"

Saulo Firosi Kikuchi
Uberaba MG