Also on the bill is Hamilton de Holanda, a practitioner of the bandolim, a Portuguese mandolin.
|
|
Now under the care of Instituto Jacob do Bandolim, they have been used in a few recordings again.
|
|
He has received several Latin Grammys. He has taught at the Raphael Rabello Choro academy. He plays a custom made 10 string Bandolim. In 2015, his album Bossa Negra, a partnership with Diogo Nogueira, was nominated for the 16th Latin Grammy Awards in the Best Samba/Pagode Album category.
|
|
The type was developed in Europe in the 1850s. The French and Germans called it a Portuguese mandolin, although they also developed it locally. The Germans used it in Wandervogel. The bandolim is commonly used wherever the Spanish and Portuguese took it: in South America, in Brazil (Choro) and in the Philippines.
|
|
Bandolim died of a heart attack, when coming back from spending the day with Pixinguinha, planning a recording project to benefit his friend. His son Sérgio Bittencourt (1941 - 1979) composed the hit song Naquela Mesa as a tribute to his father. Jacob had 2 mandolins, which he called "number one" and "number two". After his death they were kept in storage until 2002, when they received minor restoration.
|
|
After that, she formed the short-lived duo As Cilibrinas do Éden with Rita Lee and participated of the Festival Phono 73. In 1973, Turnbull became guitarist and vocalist, together with Lee, in the Tutti Frutti band, with which she toured Brazil. In 1976, she formed the group Bandolim and participated in the musical "Rocky Horror Show". In 1977 Turnbull sang the vocals of "Refavela" and "Refestança" with Gilberto Gil and Rita Lee.
|
|
The Laje de Santos Marine State Park is in the municipality of Santos, São Paulo. The park covers a marine rectangle that contains the Laje de Santos island and the Bandolim, Brilhante and Sul e Novo rocks and reefs. It is 16.8 nautical miles from the Moela Island Lighthouse on the mainland. The Laje de Santos is an island formed by the top of a mostly submerged granite mountain 22 nautical miles from the coast.
|
|
The day which was believed to be his birthday, April 23, is today commemorated as the National Day of Choro in Brazil. The day was officially established in 2000 after a campaign by bandolim player Hamilton de Holanda and his students at the Raphael Rabello School of Choro. In November 2016, however, it was discovered that Pixinguinha's real birth date was May 4, and not April 23. Despite that, Brazil's National Day of Choro remained unaltered.
|
|
Another group of related instruments to the mandore are the vandola or bandola, the bandurria and the bandolim, of Spanish origin, also played in Portugal and South America. In 1761, Joan Carles Amat said of the vandola, in his Guitarra espanola, y vandola, "the vandola with six courses is described here, because it is the more perfect form of the instrument, and better known and more widely used at this time than that with four or five courses".
|
|
The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players.
|
|
His father César Faria was a guitar player,Alvaro Neder, "Artist Biography", AllMusic. and musicians such as Pixinguinha and Jacob do Bandolim would often come to his house for rehearsals, which Paulinho watched for hours on end. After the rehearsals, Paulinho would pick up his father's guitar and strum the few chords he knew. Later, as a teenager, he was frequently seen at jams at mandolin master Jacob do Bandolim's house, quietly and attentively observing the older, more experienced musicians.
|
|
By the mid 1950s, changing tastes and the emerging popularity of samba and American jazz in Brazil led to the decline of the choro regional as other genres became dominant on the radio. Pixinguinha spent his time in retirement, appearing in public only on rare occasions (such as the "Evening of Choro" TV programs produced by Jacob do Bandolim in 1955 and 1956). Pixinguinha died in 1973 in the Church of Nossa Senhora da Paz in Ipanema while attending a baptism. He was buried in the Cemitério de Inhaúma.
|
|
The bandolim's popularity has risen and fallen with instrumental folk music styles, especially choro. The later part of the 20th century saw a renaissance of choro in Brazil, and with it, a revival of the country's mandolin tradition. Composer and mandolin virtuoso, Jacob do Bandolim, did much to popularize the instrument through many recordings, and his influence continues to the present day. Some contemporary mandolin players in Brazil include Jacob's disciple Déo Rian, and Hamilton de Holanda (the former, a traditional choro-style player, the latter an eclectic innovator.) Another is Joel Nascimento.
|
|
The Museum's collection of Image and Sound contains 304,845 documents between discs, scores, photos, letters, texts and videos, and 18,000 records of Radio Nacional, with songs, novels and scripts for programs of the years 30s, 40s and 50s. Also part of the archive, the personal collection of radio journalist Almirante, of the musicians Abel Ferreira and Jacob do Bandolim, of the researchers music Sérgio Cabral and Hermínio Bello de Carvalho, and interpreters of Brazilian popular music, as the sisters Linda and Dircinha Batista, Nara Leão, Elizeth Cardoso and Zeze Gonzaga.
|
|
Dawgwood is a 1993 all-instrumental album by American musician David Grisman, recorded with his group David Grisman Quintet. It is the second album recorded under Grisman's own label, Acoustic Disc. Grisman's self-named "Dawg" music was well established when this album was recorded — it is influenced by traditional bluegrass, jazz, gypsy music, Latin and more. Most of the songs are composed by Grisman, the two covers being Django Reinhardt's "Bolero de Django" — a gypsy song which Matt Eakle's flute gives a more modern flavour and "Asanhado" by Jacob do Bandolim.
|
|
Elizeth Moreira Cardoso (sometimes listed as Elisete Cardoso) (July 16, 1920 – May 7, 1990), was a singer and actress of great renown in Brazil. She was born in Rio de Janeiro; her father was a serenader who played guitar, and her mother was an amateur singer. Elizeth began working at an early age and between 1930 and 1935 was a store clerk and hairdresser among other things. She was discovered by Jacob do Bandolim at her 16th birthday party, to which he was brought by her cousin Pedro, a popular figure among the musicians of the day.
|
|
Gnattali's musical career straddled popular and classical genres and their traditions. His arrangements of samba pieces, involving strings, woodwind and brass (rather than the traditional accompaniments with two guitars, cavaquinho, accordion, tamborin and flute) exposed him to lifelong critical attacks from Brazilian musical traditionalists who resented the "jazzing up" of the genre. Conversely, some of his serious concert pieces (música de concerto) attracted the opposite criticism of inappropriately introducing instruments such as the mandolin, marimba, accordion, mouth organ and electric guitar into the concert hall. In doing this, he was inspired by his friends from the world of popular music, including Jacob do Bandolim (literally, "Mandolin Jacob"), Edu da Gaita ("Harmonica Edu") and Chiquinho do Acordeom ("Accordion Chiquinho"), for each of whom he composed dedicated concert pieces.
|
|