clube do choro de miami

CLUBE DO CHORO DE MIAMI
“CHORO ITINERANTE: ORIGEM DA MUSICA POPULAR BRASILEIRA”
O "Clube do Choro de Miami” em colaboração com as bibliotecas públicas dos condados de Broward e
Miami-Dade, propõe conduzir durante o ano de 2009 concertos/workshops mensais, com a finalidade
de divulgar a matriz da música popular brasileira no Sul da Flórida: o CHORO.
O projeto Choro Itinerante : “Origem da Musica Popular Brasileira” explorará as origens da
música popular brasileira através de temas de alguns dos mais ilustres compositores brasileiros como
Pixinguinha, Jacob do Bandolim, Luis Americano, Zequinha de Abreu, Waldir de Azevedo, etc.
O projeto de Choro itinerante visa promover a música brasileira
expondo-a a uma audiência americana e também oferecer
mensalmente um evento cultural singular aos brasileiros residentes
no Sul da Flórida.
A idéia do projeto de Choro itinerante surgiu do grande interesse e
receptividade constatados nos shows e workshops sobre as
origens da música brasileira, apresentados pelo Clube do Choro de
Miami nas bibliotecas publicas de Hollywood e Fort Lauderdale em
2007.
A importância do Choro na formação da música popular brasileira é indiscutível.
O Choro como gênero musical nasceu nos meados do
século dezenove e durante certo tempo foi considerado
uma espécie de versão brasileira da música clássica
européia para dança. A identidade do Choro se firmou
definitivamente quando Pixinguinha, um dos mais prolíficos
compositores brasileiros, exímio improvisador e flautista,
incorporou percussões afro no Choro.
Alem das qualidades intrínsicas da música, o interesse pelo
Choro nos Estados Unidos se dá ao fato de que o Choro
tem uma certa ligacao histórica e musical com o Jazz em sua forma originária; o Ragtime.
O Choro está para bossa nova e samba assim como ragtime está para o bebpop e o jazz
contemporaneo. Embora o Choro preceda o Jazz em algumas décadas, Choro e Jazz sao
contemporaneos e elementos comuns. Choro e Jazz tornaram-se famosos pelas mãos dos grandes
solistas do começo do século 20 e ambas formas musicais têm
forte influencia Afro e elementos comuns como interpretação,
improvisação e virtuosismo.
Meio a ondas de elementos introduzidos na música brasileira ao
longo de sua trajetória, especialmente elementos importados, o
Choro sobreviveu e se fortalece cativando novos adimiradores no
Brasil e no exterior, graças a sua beleza e excelência, definidos
num estilo musical para ser ouvido e admirado e até dançado.
O Clube do Choro de Miami é formado por um grupo de músicos brasileiros residentes no Sul da
Flórida, dedicados ao desafio de executar este vibrante estilo musical genuinamente brasileiro que é
o Choro.
O Clube do Choro foi fundado com dois objetivos principais: o de
criar uma roda-de-choro onde músicos locais versados na
linguagem do Choro possam se encontrar para tocar Choro
regularmente, e o de oferecer aos amantes deste gênero musical a
oportunidade de apreciar boa música brasileira.
O Clube do Choro de Miami é formado por Danúzio Lima (flauta),
Victor Souto (bandolim), Bill Duba (cavaquinho), Ramatis Morais (7
cordas), e Felipe Souto (percussão).
O Clube do Choro de Miami tem apresentado frequentemente nos últimos oito anos no Sul da Flórida,
sendo ganhador do Troféu Press Award em 2003 como melhor grupo musical brasileiro nos Estados
Unidos na categoria “Preservação da Música Brasileira”.
Clube do Choro de Miami
Contato: Danúzio Lima
2801 NE 183 Street # 1204
Aventura, FL 33160
Tel: (786) 853-9624
Email: danuzio@danuziolima.com
Press Release
Clube do Choro de Miami
Contact: Danuzio Lima
Tel: (786) 853-9624
Web page: www.danuziolima.com
In the maze of music in Miami, one type, though said to be decades older than Jazz, is carving a
niche among music lovers from all backgrounds. The name is Choro (pronounced ‘shoro’) which
literally means I cry, and one listen to this Brazilian import and you can see why it has been
described as the perfect marriage of European and African music. Quite simply, Choro is to Bossa
Nova what Ragtime is to Bebop.
Choro was born in the mid-nineteenth century and was once regarded as Brazil’s version of classical
dance music. It’s been noted that Choro took shape when master flute improviser Pixinguinha, who’d
go on to become one of the genre’s most prolific composers, incorporated Afro-Brazilian
percussionists into his performances.
"Choro is perhaps best described as instrumental music drenched with African influences and
important features in interpretation, improvisation and virtuosity," said Danuzio Lima, cofounder of
Clube do Choro de Miami.
"Between waves of other rhythms which appeared from time to time, especially from abroad, Choro
has endured and has captivated the attention of younger generations in Brazil," Lima said. "People
are enchanted by its beauty and excellence, and it’s just as easy to listen to as it is to dance to."
Choro groups usually consists of acoustic instruments including, flute; madolin or clarinet (as
soloists); seven-string guitar; six-string guitar; cavaco (four-strings); and percussion.
Clube do Choro de Miami is founded by musicians living in the Miami area. These musicians—Danuzio
Lima on flute; Vitor Souto on mandolin; Ramatis Morais on seven-string guitar; Bill Duba on
cavaquinho; and Felipe Souto on percussion) are just as dedicated to introducing the music form to
new audiences as they are to keeping it alive for the many Brazilians who call Miami home.
"Our goal is really twofold," Duba said, "we want to create ‘roda de choro’ where local musicians can
get together to play choros on a regular basis and to offer lovers of this genre music a chance to
reminisce about Brazil."
The Clube do Choro de Miami is a winner of the prestigious Brazilian Press Award as the
best authentic Brazilian instrumental music ensemble in the United States.
Brazilian Music Workshops, by Antonio Adolfo presents:
MASTER CLASS with CLUBE DO CHORO de Miami
Choro, the Brazilian Ragtime
Ragtime, The American Choro
Saturday, Aug 25th at noon
Demonstration of the style and its musical characteristics, formal structures, derivatives and a little bit of its history
presented and performed by one of the best Choro groups of our time: The Clube do Choro de Miami
About Choro
During the 19th Century the Schottishes (originated in the Bohemia region - Germany) and the Polkas (originated in
Poland), both very popular in Europe took their own characteristics when established in New Orleans (Schottishes) and
Rio de Janeiro (Polka), respectively, to form two of the most popular musical styles of the beginning of 20th century: The
Choro (from Rio de Janeiro, Brazil) and the Ragtime (from new Orleans USA). Both styles, then, mixed with African
rhythm elements have generated very rich combinations in both Countries. It is incredible how we can find similarities in
the two styles.
We can say that the Choro is the Brazilian Ragtime and/or that Ragtime is the American Choro. In the maze of music in
Miami, one type, though said to be decades older than Jazz, is carving a niche among music lovers from all backgrounds.
The name is Choro, which literally means I cry, and one listen to this Brazilian import and you can see why it has been
described as the perfect marriage of European and African music. Quite simply, Choro is to Bossa Nova what Ragtime is
to Bebop.
"Choro, pronounced Œshoro¹, is perhaps best described as instrumental music drenched with African influences and
important features in interpretation, improvisation and virtuosity," said Danuzio Lima, cofounder of Clube do Choro de
Miami.
Choro groups usually consists of acoustic instruments including, flute; madolin or clarinet (as soloists); seven-string guitar;
six-string guitar; cavaco (four-strings); and percussion.
Clube do Choro de Miami
The Clube do Choro de Miami was founded by musicians living in the Miami area. These musicians, Danuzio Lima on
flute; Vitor Souto on mandolin; Ramatis Morais on seven-string guitar; Bill Duba on cavaquinho; and Felipe Souto on
percussion, are just as dedicated to introducing the music form to new audiences as they are to keeping it alive for the
many Brazilians who call Miami home.
"Our goal is really twofold," Duba said, "we want to create Œroda de choro¹ where local musicians can get together to
play choros on a regular basis and to offer lovers of this genre music a chance to reminisce about Brazil."
The Clube do Choro de Miami is a winner of the prestigious Brazilian Press Award as the best authentic Brazilian
instrumental music ensemble in the United States.
Brazilian Music Workshops
2040, Sherman St
Hollywood, Fl
Information:(786) 566 1527 http://www.antonioadolfo.net
Price $30
a, 14 de Fevereiro 2006, 17:39
Clube do Choro traz boa música brasileira à Miami
Clube do Choro faz apresentações todas as sextas em Miami
Setembro 2006
O Clube do Choro, grupo de brasileiros que tocam autêntica música brasileira, é um exemplo de
que música boa não tem época nem lugar. É aquela que dura para sempre, e não aquela que toca
nas rádios e depois ninguém nunca mais lembra. Com algumas exceções, é claro. Um bom exemplo
contemporâneo, é Aquarela Brasileira de Ary Barroso, que tem a cara da nossa terra e da nossa
gente, que tem “gosto” de Brasil e canta: “...estava no Ceará, terra de Irapuã, de Iracema e
Tupã. Fiquei radiante de alegria, quando cheguei à Bahia, Bahia de Castro Alves e do Acarajé, das
noites de lua cheia, do candomblé...”. Assim é a música do Clube do Choro, que toca todas as
sextas-feiras no C.J. Café, em Miami. t a “cara”do Bra, e que f
O choro não é o tipo de música que está nas paradas
musicais, mas é o tipo de música que até hoje é atual, e
deixa brasileiros e “gringos” (no bom sentido) de boca
aberta. É um estilo que surgiu na malandragem carioca e
que, por malandragem, tinha como característica
principal os acordes complicados, justamente com a
intenção de “derrubar” os demais músicos que tocavam
no grupo. Assim, tudo era improviso, e quanto mais
difícil, melhor.
Uma definição que é “a cara” do Choro foi contada pelo
carioca Bill Duba, cavaquinista (sim, a palavra existe!) do Clube do Choro. “Choro é igual mulher
bonita. Você sempre acha que encontrou a mais bonita de todas, mas sempre aparece outra”. Ele
garante que a frase não é dele. Psicólogo, casado com Adriana Duba, e músico por puro prazer,
ele diz que as três coisas que mais gosta na vida são mulher, música e futebol. “Futebol eu sou
Flamengo, mulher sou Adriana Duba e música sou choro”, brinca.
Igualzinho aos primeiros compositores e intérpretes do Choro, Bill (cavaquinho), Felipe Souto
(pandeiro), Danúzio Lima (flauta) e Douglas Lora (violão) são mestres no improviso, têm suas
profissões fora do palco e não tocam para ganhar dinheiro porque fazem da música uma fonte de
prazer.
“A gente nunca tocou muito por grana. Até porque quando tem que fazer show pelo cachê, você
tem que preparar um show, e isso tira um pouco da espontaneidade”, diz Bill que se diverte com
as estórias dos tempos em que tocavam nos bares de amigos pela satisfação de tocar e pela
conta da mesa paga no final da noite. “O bar lotava e todo mundo aplaudia, mas nunca
conseguíamos ganhar dinheiro com isso”, se diverte.
Música feita de boemia e improviso
Clube do Choro traz boa música brasileira à Miami
pagina 2
Os primeiros criadores do Choro eram gente comum, que trabalhava duro na linha férrea, ou na
alfândega do porto durante o dia, e à noite faziam música só pela farra. Coisa mesmo de boêmio.
Não havia regras nem partituras e qualquer instrumento era bem vindo. Era só chegar e mostrar
que sabia fazer. Essa música de improviso é hoje um dos estilos mais importantes da música
brasileira, e criou nomes como Valdir Azevedo (Brasileirinho), Pixinguinha (Carinhoso), e Jacob
do Bandolim (Receita de Samba).
Por causa do improviso e da marca instrumental, o Choro é, muitas vezes, comparado ao jazz
americano que, na verdade, surgiu 50 anos depois. O tão falado improviso do jazzístico, portanto,
já existia no Brasil desde os tempos do Império. “Quando a gente toca e músicos profissionais
americanos de jazz nos vêem tocar, eles ficam loucos. E são só uma flauta, um violão de sete
cordas, um cavaquinho e um pandeiro. É um som que as pessoas ficam paradas olhando e se
perguntando: - que tipo de música é esse, é uma música clássica, é um samba?”, conta Bill.
Ele explica que o choro é a transição da música clássica para a música popular brasileira. “É onde
o Brasil virou musical”, define o músico acrescentando que o choro é resultado da música clássica
da Corte, a polka, que foi apropriada por músicos e intérpretes como Chiquinha Gonzaga, que
começaram a fazer música no ritmo negro com influências de polka. “E quando chega Pixinguinha
o choro explode e vira uma festa musical alucinante”, entusiasma-se Bill. Em algumas das
principais cidades do Brasil o choro é hoje uma “febre”, que reúne gente de todas as gerações,
fazendo juz à velha e boa boemia brasileira de sempre.
Como começou a história do estilo musical em Miami.
A história do Clube do Choro de Miami começou em 1997 quando o guitarrista Landinho decidiu
abrir um bar e tocar choro todas as terças-feiras. Juntaram-se Landinho, Bill, José Nóbrega
(que era lavador de pratos) e é considerado o pai do choro de Miami, Victor Souto e Claudinho
Borogodó (percussionista) e formaram o “Quem não chora não mama”. De lá para cá, já passaram
pelo grupo alguns grandes talentos do gênero como Sérgio Ferreti e José Nóbrega. Cerca de um
ano depois o grupo mudou o nome para Aquarela e promoveu inúmeros shows com o apoio do
Centro Cultural Estados Unidos-Brasil e apresentou-se em shows de Jorge Ben, Ivan Lins,
Djavan e Arthur Moreira Lima, entre outros. Em 2001 o grupo ganhou o nome que tem até hoje.
Embora a paixão do grupo seja o choro, o Clube do Choro não dispensa o samba. Toca Paulinho da
Viola, Martinho da Vila, Nelson Cavaquinho, Beth Carvalho, Zeca Pagodinho, entre outros. No repertório estão nada menos que 150 músicas. Só falta agora a gravação de um CD.
“O que nos falta é tempo e disposição para buscar patrocínio. Eu trabalho 60 horas por dia em
três clínicas, consultório e dou aula no Miami Dade College. Todos os outros têm o mesmo ritmo”,
diz Bill.
AGENDA DA MUSICA
August 26
Clube do Choro de Miami
@ BOTECO… “The Place to Hang Out”
at 7:00pm
916 N.E. 79th Street
Miami, FL 33138
Tel: (305) 757-7735
boteco@botecomiami.com
Press Release
Clube do Choro de Miami Comemora Aniversario de Pixinguinha
O Clube do Choro de Miami estara comemorando no dia 23 de abril no Gil’s Café o 106 aniversario do
grande musico e compositor brasileiro.
O Clube do Choro de Miami, formado por Danuzio Lima (flauta), Victor
Souto (bandolim), Sergio Ferretti (7 cordas), Bill Duba (cavaquinho),
Nobrega (violao) e Felipe Souto (pardeiro), apresentara “Chorando pra
Pixinguinha”. No repertorio classicos do choro --- composicoes de Luis
Americano, Jacob do Bandolim, Anacleto Medeiros, Abel Ferreira, e do
proprio Pixinguinha entre outros.
O evento sera realizado no Gil’s Café, localizado no 216, 71st Avenue, em
Miami Beach (Tel: 305-867-0779), as 8 da noite, sexta-feira, dia 23 de abril de 2004.
Pixinguinha, nascido Alfredo da Rocha Vianna Júnior, nasceu dia 23 de abril de 1898 no bairro da
Piedade, na cidade do Rio de Janeiro.
O apelido de Pixinguinha surgiu após ter ele contraído Bexiga, na época da epidemia. Começaram
então a tratá-lo de « Bexinguinha », e depois « Pixinguinha ». Sua família, no entanto, chamava-o de
Pezinguim, apelido dado pela sua avó de origem africana, o que na sua língua queria dizer: Menino
Bom.
Com 11 anos de idade já tocava cavaquinho entre os chorões da época. Aos 11, fez sua primeira
composição, um choro chamado Lata de Leite. Aos 14 anos já tocava flauta na casa de chope La
Concha, das 20 às 24 horas (ainda de calças curtas); foi este o seu primeiro emprego. Foi maestro da
Companhia Negra de Revista, onde conheceu sua esposa, que nessa altura era a estrela da
companhia, atuando como cantora. Casou-se em 5 de janeiro de 1927, com Albertina da Rocha
Vianna (Beti) a quem dedicou a valsa “Querendo Bem”.
Suas primeiras gravações foram feitas entre 1914 e 1918 na Casa Edson. Seus parceiros de serenata
e amigos eram Luciano Gallet, Lulu do Cavaquinho, João da Baiana, Jacob e Raul Palmieri, Nelson
Alves, Luiz Pinto, seu irmão Otávio Vianna (China), Donga, José Alves, Luis Pinto, Léo e João
Pernambuco. Foi fundador do famoso conjunto “Os Oito Batutas”, e participou de muitos outros,
menos famosos.
Em 1922 gravou a valsa “Rosa”, e “Carinhoso”, sem duvida sua mais famosa composicao, depois de
apresentada a diversos intérpretes, os quais não se interessaram em gravá-la, foi imortalizada por
Orlando Silva num LP que levava na outra face, nada menos do que “Rosa”.
Pixinguinha musicou as revistas de teatro, “O que o Rei não Viu” e “Assim é que é”; a opereta “Flor
de Itapuia”; o melodrama “O Impossível Acontece”; e os filmes “Um Dia Qualquer” e “Sol Sobre a
Lama” de Alex Vianny.
Dia 23 de abril, Aniversário de Pixinguinha, é o tambem o Dia Nacional do Choro.
Contato: Danuzio Lima Tel: (786) 853-9624 or at www.danuziolima.com
Learning Curve
Clube do Choro revives a much-beloved Brazilian tradition
By Lissette Corsa
Published: April 3, 2003
In Brazil, choro continues to be heard amid a rich musical landscape. After nearly becoming extinct
during the emergence of bossa nova in the early Sixties, choro
(pronounced "shóro" in Portuguese, the word literally means "I cry") has
fluctuated in popularity, finally benefiting from a more lasting, if unlikely,
renaissance in the past decade. In the past few years the Chorando Alto
festivals in São Paulo have successfully closed the generation and cultural
gap by uniting pioneers such as Paulinho da Viola with modern masters like American mandolin
virtuoso Mike Marshall. Clube do Choro, a Brasilia-based musical epicenter in the tradition of New
Orleans' House of Blues, has kept choro's spirit alive and maintains the music's high stylistic
standards by promoting musicians who represent the crème de la crème. Toninho Ferragutti, whose
Núcleo Contemporâneo is responsible for the popularization of choro in São Paulo, and clarinet and
sax player Paulo Moura have been guests in the past. MPB (música popular brasileira) star Marisa
Monte has even included choro in her repertoire. In fact Monte and Arnaldo Antunes's "De Mais
Ninguém" may very well be the single most important hit in bringing choro back to life. Today tattooed
twentysomethings with body piercings bump and grind to choro in the cafes of Rio de Janeiro, the
same city that served as a backdrop to the art form's coming of age early in the Twentieth Century.
Go figure.
Last month at Tobacco Road, Miami's own Clube do Choro, an informal group of local Brazilian
musicians, acquainted its audience with choro. The intricate harmonies were new to listeners more
familiar with prefabricated pop than refined instrumental sounds. But by the end of the night even
Tobacco Road's hardened regulars stood in awe. "We had everybody on their feet," asserts flute
player Danuzio Lima.
Clube do Choro formed a year ago in North Bay Village. The group of musicians -- William Duba on
cavaquinho (a small, ukulele-like guitar), Sergio Ferretti on seven-string guitar, Lima on flute, Paulo
Carvalho on guitar, Vito Souto on mandolin, and Claudio Silva on percussion -- began congregating
weekly for a traditional roda de choro at the Bayview Café. The roda (a circle) is an all-night jam
page 2
Clube do Choro revives a much-beloved Brazilian tradition
By Lissette Corsa
session, a social gathering of sorts where the common language and bond is music, specifically
choro. "I really love the music," says Lima, who recently released a solo CD called Ave Rara. "In the
roda we talk, we play, it's very open." The group plays classic compositions from the likes of
Pixinguinha, Jacob do Bandolim, Luis Americano, and Zequinha de Abreu.
Choro is to bossa nova and samba what ragtime is to bebop and later forms of jazz. "It's the origin,"
says Lima, a native of Maranhão, Brazil. "The beginning of Brazilian popular music, the first time
there was a crossover of European and African music. When people get together and play choro,
young people listen. It commands respect and it's a way of playing music. Like in jazz, it lends itself to
interpretation and improvisation." In the same breath Lima, who says he took it up several years ago
because he felt he needed a challenge, cautions that spontaneity does not translate into laid-back
playing. "Choro is very difficult to play, but very beautiful. I think for you to be a Brazilian instrumental
musician you have to play some of it or else it would be like being a classical musician and not being
able to play Bach."
Choro was born in the mid-Nineteenth Century and was once regarded as Brazil's version of
European classical dance music. Structurally, it is the Brazilian music that most resembles the Chopin
waltz and polka. Choro's identity, however, really took form when Pixinguinha, one of the most prolific
choro composers and a great flute improviser ahead of his time, incorporated Afro-Brazilian
percussionists into his performances. In 1922 Pixinguinha, dubbed "the Bach of choro" by
musicologists because of his near-perfect mastery of harmonic structure, and his group Os Oito
Batutas (the Eight Masters) became the first Brazilian musicians contracted to perform abroad when
they played in Paris. In Brazil, he is synonymous with choro and is recognized as the father of samba.
Lima, who himself lived in France for eight years, hopes audiences in Miami are as receptive to his
band as the Parisians were with Pixinguinha and Os Oito Batutas. But he understands that the
average listener may find it hard to embrace the giant leaps in melody and sudden harmonic shifts.
For now he's content with simply weaving his flute in and out of Duba's cavaquinho and Ferretti's
seven-string guitar during the roda de choro. It's what he lives for.
Brazil
Brazil is the fifth largest country in the world and the largest in South America. It is about
the same size as the continental U.S. and, unlike its neighbors, Brazil is the only country
in Latin America that has Portuguese as its official language. The vast expanse of the
country contains enormous natural resources, such as rainforests, stretches of white
sandy beaches and towering mountains. At the same time, Brazil also boasts
cosmopolitan cities and industrial centers to rival many European and American
capitals. Throughout its history, Brazil has been enriched by waves of immigration from
Europe, Africa, the Middle East and Asia. The resulting Brazilian culture is unique and
vibrant, and embodies this colorful tapestry of human diversity.
Centro Cultural Brasil-USA da Florida and the Consulate General of Brazil, together
with our Presenter Sponsor RECORD TV INTERNATIONAL; the Host Sponsors, KEYS
GRANITE, TAM Brazilian Airlines, MIOLO Wines, and CARNAVAL DELI MARKET; and
our Cultural Supporters CCLS Language School, Brazilianbooks.com and BrazilianAmerican Chamber of Commerce proudly invite visitors to come discover and celebrate
the riches of Brazilian culture. Come taste mouth-watering Brazilian refreshments and
dishes, and discover hundreds of books by Brazilian authors in Portuguese, Spanish
and English. Browse Brazilian handicrafts and purchase traditional products in our minimarket.
Many beloved Brazilian writers will be discussing their works and signing book in an
intimate setting at the Brazilian Pavilion. Among the writers who will be present are
diplomat Joao Almino and children's books authors Ziraldo, creator of Flicts and the
phenomenon The Boy (0 Menino Maluquinho), Patricia Secco and Beti Rozen.
SPECIAL THANKS TO OUR INTERNATIONAL STAGE PERFORMERS: Brazilian Voices, Capoeira
Berimbau (Instructor Marcio Pizzanelli) and Clube
EDITORA MELHORAMENTOS for bringing Ziraldo.
do Choro de Miami, and to
FLORIDA ART EXHIBIT
ARCHIVE-----------------------------------------------------------------------1st Anuual "BRAZILIAN NIGHTS" - Brazilian Events in Florida
1st Anuual "BRAZILIAN NIGHTS" - Hosted by BRITTO CENTRAL
NEW DATE: Friday, October 7th at 7:30pm-10pm.
BRITTO CENTRAL - 818 Lincoln Road - Miami Beach, Florida
A night of Brazilian culture, Caipirinhas and culinary delights.
Silent Auction. A special benefit for Regis House Special Guest WPLG-TV
Local 10's Laurie Jennings.Brazilian Jazz performed by "O Clube do Choro
de Miami". TICKETS AVAILABLE online at www.regishouse.org or phone
305-642-9664 ext. 215. Advanced Ticket Pricing $25 ($35 event night)
Platinum Sponsor: Agua Viva USA - Sponsored by: TAM Brazilian Airlines
Brahma Beer, Porcao Miami and Happy Day Catering. With The Support of
The Cultural Department of The Consulate. General of Brazil in Miami and
The Brazilian - American, Chamber of Commerce of Florida
Regis House - 2010 NW 7th Street Miami, FL. 33125
All event proceeds directly benefit Regis House and its comprehensive
menu of services for youth, adults, and families in Miami-Dade.) Regis
House is a 501C (3), Non-Profit, Community Based Organization Serving
Youth, Adults and Family.
MUSIC
"Come Dance with us"
Wednesday - August 24-2005 - 7 pm / 1 am.
Cultural Center monthly get-together.
Dance to the music of the group "Clube do Choro" and singer
Rose Max.
Cocoplum Party Services
1375 Sunset Drive - Coral Gables, FL
Tickets: $10.00 including two drinks (the tables are set for eight
people).
The tickets must be purchased in advance at the Centro Cultural:
ccbu@bellsouth.net - tel. 305-376-8864
There will be bar & restaurant service.
Chorando pra Pixinguinha
Quinta, 19 de Abril de 2007
O Clube do Choro de Miami tem o prazer de te convidar para comemorar
no dia 19 de Abril no Piola Hallandale a partir das 7pm, o 109º aniversário
do grande músico e compositor brasileiro, Pixinguinha.
No repertório, clássicos do choro. Composições de Luís Americano, Jacob do
Bandolim, Anacleto Medeiros, Abel Ferreira, e do próprio Pixinguinha, entre
outros.
O Clube do Choro de Miami, formado por:
Danuzio Lima (flauta),
Douglas Lora (violão),
Bill Duba (cavaquinho),
Felipe Souto (pandeiro)
Happy hour das 5pm as 8pm:
Caipirinhas: $5.00 e Cervejas: $4.00
Local: Piola Hallandale
Endereço: 1703 E. Hallandale Beach Blvd. Hallandale FL
Horário: 7:00pm às 10:00pm
Tel.: 305 877 5199 / 305 917 3877 / 954 457 93
Press Release
City of North Miami Parks and Recreation Department
And
Clube do Choro de Miami
BRAZILIAN TRADITIONAL MUSIC
SUNDAY, SEPTEMBER 30, 2007
3:30 to 5:30 p.m.
GWEN MARGOLIS CENTER
1590 NE 123 STREET
NORTH MIAMI
In the maze of music in Miami, one type, though said to be decades older than Jazz, is carving a
niche among music lovers from all backgrounds. The name is Choro (pronounced ‘shoro’), which
literally means I cry, and one listen to this Brazilian import and you can see why it has been
described as the perfect marriage of European and African music. Quite simply, Choro is to Bossa
Nova what Ragtime is to Bebop.
Choro was born in the mid-nineteenth century and was once regarded as Brazil’s version of classical
dance music. It’s been noted that Choro took shape when master flute improviser Pixinguinha, who’d
go on to become one of the genre’s most prolific composers, incorporated Afro-Brazilian
percussionists into his performances.
"Choro is perhaps best described as instrumental music drenched with African influences and
important features in interpretation, improvisation and virtuosity," said Danuzio Lima, cofounder of
Clube do Choro de Miami.
Choro groups usually consists of acoustic instruments including, flute; madolin or clarinet (as
soloists); seven-string guitar; six-string guitar; cavaco (four-strings); and percussion.
Clube do Choro de Miami is founded by musicians living in the Miami area. These musicians—Danuzio
Lima on flute; Vitor Souto on mandolin; Ramatis Morais on seven-string guitar; Bill Duba on
cavaquinho; and Felipe Souto on percussion) are just as dedicated to introducing the music form to
new audiences as they are to keeping it alive for the many Brazilians who call Miami home.
The Clube do Choro de Miami is a winner of the prestigious Brazilian Press Award as the
best authentic Brazilian instrumental music ensemble in the United States.
For additional information please call (305) 895-1119
CLUBE DO CHORO DE MIAMI
presents
BRASILEIRINHO
(“bra-zil-yer-een-yo”)
1. Feitiço (Enchantment) by Jaco do Bandolim
Feitiço was composed by Jaco do Bandolim, whose “pen” name means “Jaco, the
Mandolin Man”. An innovator and virtuoso of the mandolin, he also developed an
enormous archive of Brazilian music.
2. Lamentos (Lament) by Pixinguinha
One of Pixinguinha’s most famous compositions, Lamentos embodies the essence
of the choro style, in temperament as well as rhythmically. Pixinguinha is often
considered in Brazil the greatest choro composer that ever lived.
3. Flor de Abacate (Avocado Flower ) by Alvaro Sandix
Composed by one of the greatest Brazilian choro masters, Flor de Abacate
illustrates Brazilian rhythms and influences.
4. Bola Preta (Black-ball) by Jaco do Bandolim
Composed by Jaco do Bandolim as a tribute to the famous Club “Bola Preta” in Rio
de Janeiro, this tune captures the essence of the choro swing.
5. Sonhando (Dreaming) by K-Ximbinho
Sonhando features an astonish melody as well as a perfect harmony, which convey
a romantic mood totally in sync with the song’s title.
6. Noites Cariocas (Rio Nights) by Jaco do Bandolim
Another Jaco do Bandolim’s classic, which captures the feeling and excitement of
Rio de Janeiro’s nightlife in the 60’s.
7. Vou Vivendo (Living as it goes) by Pixinguinha
Vou Vivendo is another 3-part lyric choro, composed by the great Pixinguinha.
8. Santa Morena by Jaco do Bandolim
Santa Morena is Jaco’s tribute and appreciation to the Hispanic culture and its
influence in all South American countries, with the exception of Brazil, which was a
Portuguese colony.
9. Um a Zero (1X0) by Pixinguinha
This exuberant tune was composed by Pixinguinha in honor of Brazil’s soccer star
Artur Friedenreich, who played in the 1946 World Cup.
Clube do Choro de Miami
10. Brasileirinho (The people of Brazil) by Waldir Azevedo
One of the many compositions written by Waldir Azevedo, one of Brazil’s foremost
cavaquinho players, Brasileirinho is an enduring classic, favored by both Brazilian
musicians and “the people of Brazil” after whom it was named.
Choro (“shoro”), a Brazilian popular music
Choro is essentially an instrumental music that shares many elements of the North
American Jazz. As in Jazz, the Choro has an important feature in improvisation.
Choro and Jazz have African origins. Choro is probably several decades older than
Jazz. Both forms of music became popular by great soloists around the beginning
of the 20th Century. Between waves of other rhythms which appeared from time to
time, especially from abroad, Choro has endured and captivated the attention of
younger generations in Brazil, enchanting by its beauty and excellence, a musical
style to listen to, to admire its shades, and to dance to. Choro groups are usually
formed by the following acoustic instruments:
Mandolin, flute or clarinet (as soloists); 7-string guitar; 6-string guitar; cavaco (4
strings); and percussion.
Clube do Choro de Miami
The Clube do Choro de Miami is dedicates to playing choro music. It is formed by
Danuzio Lima on flute, Vitor Souto on mandolin, Ramatis Morais on 7-string guitar,
Bill Duba on cavaquinho, and Felipe Souto on percussion.
Maria Pierson/Savannah Whaley
Pierson Grant Public Relations
954/776-1999 ext. 225
Jan Goodheart, Broward Center
954/765-5814
SAMBA INTO SEPTEMBER WITH THE BROWARD CENTER’S BRAZIL DAY
CELEBRATION ON SEPTEMBER 7
Broward County Libraries and SunTrust Sunday Jazz Brunch partner with
the Broward Center’s Point of Culture Program to create a fun day for the family
FORT LAUDERDALE – The Broward Center for the Performing Arts presents musical fireworks to celebrate Brazil’s
Independence Day on Sunday, September 7 when Clube do Choro de Miami and singer Rose Max perform in a free
concert in the Peck Courtyard from 11 a.m. – 2 p.m. as part of the SunTrust Sunday Jazz Bruch. The event, as well as a
special workshop with the ensemble and area music students the next day, is sponsored by Banco do Brasil.
During the event, Broward County Libraries will offer interactive
storytelling featuring Brazilian folktales and teach children a related
craft – free of charge Adults and children will also be able to apply
for library cards and pick up a passport listing major downtown
cultural events that children can attend for free now through the
end of the year. The passport events can be reached by riding the
downtown trolley for free, by showing a library card or for a
discounted fee by using the passport’s coupons. Children can also
Broward Center Brief
The Broward Center for the Performing Arts
celebrates Brazil Day with a free concert by Clube
do Choro de Miami and singer Rose Max in the
Peck Courtyard of the Broward Center for the
Performing Arts on Sunday, September 7 from
11 a.m. – 2 p.m. Broward Public Libraries will
provide interactive storytelling featuring Brazilian
folktales and teach children a related craft. The
Broward Center is located at 201 SW Fifth Avenue in
Fort Lauderdale.
enter a drawing to win a DVD of the popular film Nim’s Island by submitting a coupon with their Broward County Library card
number.
Winner of a Brazilian Press Award for best authentic Brazilian instrumental music ensemble in the United States, Clube do
Choro de Miami is comprised of Brazilian musicians living in South Florida. The SunTrust Sunday Jazz Brunch on September 7
will also feature Remix with Laura V. at the Esplanade Stage, Steve B. and Friends at the Connie Hoffman Gazebo and Jazz
Survivors at Las Olas Riverfront.
The Brazilian Ministry of Culture designated the Broward Center as a Point of Culture in 2006 as the first performing arts
center to receive the prestigious honor that recognizes the Broward Center’s commitment to the Brazilian community in the
South Florida region.
On September 8, music students from Parkway Middle Magnet School and Pompano Beach High School will participate in a
special Arts Inspire workshop with Clube do Choro de Miami as the ensemble presents an interactive lecture and
demonstration exploring Brazilian music and rhythms.
Brazil Day/2 of 2
Last year, Brazilian pop artist Romero Britto launched the Arts Inspire workshop series at the Broward Center in conjunction
with the Broward County Schools which features a well-known teaching and performing guest artist sharing their talents and
passion with students who are interested in the art form.
The Broward Center is located at 201 SW Fifth Avenue in Fort Lauderdale. Parking for the Brazil Day celebration and
the SunTrust Sunday Jazz Brunch is available at the county garage located on S.W. 2nd Street between S.W. 2nd Avenue
and Brickell Avenue or at the Riverwalk Arts and Entertainment District parking garage at S.W. Fifth Avenue in Fort
Lauderdale. Sponsors of the SunTrust Sunday Jazz Brunch are SunTrust, Broward Center for the Performing Arts, Las
Olas Riverfront, Love 94, 610 WIOD, Hot House and Marquee Graphics. This event is produced by the Fort
Lauderdale Parks and Recreation Department.
Chima Steakhouse, El Dorado Furniture, Mangos Restaurant & Lounge, Marriott Harbor Beach Resort & Spa, MercedesBenz of Ft. Lauderdale, Pepsi, Georges Duboeuf, Rothstein Rosenfeldt Adler (RRA), Comcast and Sun-Sentinel are
proud sponsors of the Broward Center.
###
Presentations at the Broward Center for the Performing Arts are sponsored in part by the State of Florida, Department of State, Division of Cultural Affairs, the
Florida Arts Council, and the National Endowment for the Arts. Support is also contributed by the Broward Performing Arts Foundation, Inc.
The Riverwalk Arts & Entertainment Consortium is a cultural partnership between the Performing Arts Center Authority, Museum of Art | Fort Lauderdale, Florida
Grand Opera, Concert Association of Florida, Inc., Fort Lauderdale Historical Society and the Historic Stranahan House Museum. It is supported by the Broward
County Board of County Commissioners as recommended by the Broward Cultural Council and the Greater Fort Lauderdale Convention Visitors Bureau.