"I actually was going to make room for my passion for storytelling and I was already in the midst of an intense writing process, when suddenly I felt an unbridled desire to play music rising. So I ended up writing during the day and at night I went to my studio, to completely lose myself in the playing, for hours, very much the same way as in the very beginning, no strategy, no concrete purpose, no plan. After some time it became very obvious; something wanted to come out and I should follow its 'calling'. I love the line 'man makes plans for the amusement of the gods...', how true this many times is ;-)."


Andreas Vollenweider AIR 2009

Astrud Gilberto, known as "The Girl from Ipanema" and often referred to as "The Queen of Bossa-Nova", is an artist with roots firmly planted in Brazilian music. Her music has become an interesting combination of the sensual rhythms of Brazil and American Pop and Jazz.

Born in the Northeast of Brazil, in the state of Bahia, one of three sisters of a German father and a Brazilian mother, Astrud grew up in Rio de Janeiro. She immigrated to the United States in the early 1960s, where she resides since then.

Astrud was first introduced to the World at large in 1964 through "The Girl From Ipanema", the Grammy-winning recording with Stan Getz and her then-husband João Gilberto (the father of Bossa Nova). The fact that Astrud seldom grants interviews made it possible for many untruthful versions on how her guest appearance in the Getz & Gilberto album came about to be printed here and there, such as that she was "discovered" by Creed Taylor, or by Stan Getz, or yet, by Jobim, when the only truth is that she was invited to participate in the album by João Gilberto, who has great admiration for her singing talents.

Astrud's recordings exposed the nations of the World to the sensuality of Brazilian music and to her unique vocal interpretations of American music, such as "The Shadow of your Smile", "It Might as well be Spring", "Fly Me to the Moon", "Look to the Rainbow" (from her album of the same title, with Gil Evans), "Love Story", etc...

Following the hit with "Ipanema", her recording career quickly took off. Her first solo effort, "The Astrud Gilberto Album", was an immediate best-seller and was itself nominated as album of the year. Her next albums were all chart-toppers and were released on a yearly schedule. Her talents were much in demand in other areas as well as she appeared in two motion pictures, "The Hanged Man" and "Get Yourself a College Girl" and also recorded the soundtrack for "The Deadly Affair", arranged by Quincy Jones. She made appearances in all of the popular US television shows of the time, and had TV specials built around her in Europe, Japan and Africa. For many years she was the voice of Eastern Airlines, having recorded award-winning commercials.

In the early seventies Astrud revealed another facet of her talents, her songwriting, which was introduced on the albums "Astrud Gilberto Now" (1972) and "That Girl From Ipanema" (1977). On the "That Girl from Ipanema" album Astrud recorded one of her songs, "Far Away" (with lyrics by Hal Shaper), as a duet with the legendary Chet Baker. As she has revealed in interviews, this was one of the most rewarding events of her career, since Chet has been one of Astrud's idols dating back to her teenage years. In 1976, one of her compositions, "Live Today" (co-written with Jerome Schur), received an award at the Tokyo Music Festival.

In the early eighties, Astrud Gilberto formed a group, a sextet comprised of piano, bass, drums, trombone, guitar and percussion. Her son, Marcelo Gilberto, joined her group as bassist. With this group format, she toured Europe, Japan, Canada, and the United States. With the aid of Marcelo's valuable musical contributions, she polished the group's arrangements and entered a different phase in her career, as her music became more diversified and her songwriting more proliferous. Her shows, from the beginning of her career up to her last public appearance (2001), have been usually sold out and at many venues she has broken the house record in attendance. Seeking for a way to overcome her stage fright, which was sometimes overwhelming, Astrud attended the Stella Adler School of Acting, for a couple of years, in the early eighties. The experience was helpful. Although still shy, Astrud learned to control the stage fright to the extent that she can "live with it".

Her album "Astrud Gilberto Plus The James Last Orchestra", released in 1987, solidified her career as songwriter. The album includes a few of her own original compositions of which "Champagne & Caviar", "Amor e Som" and "I'm nothing without you" (Astrud's lyrics to A.C. Jobim's melody) are best known. The release of this album combined with the reissuing of some of her early records as CDs has created a whole new generation of fans for Astrud Gilberto all over the world, in addition to her already large number of followers. The "Astrud Gilberto Plus the James Last Orchestra" album was extremely well received by critics, as well as fellow artists.

In 1990, Astrud Gilberto, along with her sons Marcelo Gilberto and Gregory Lasorsa, formed Gregmar Productions, Inc. In the years that followed, Astrud toured extensively, developing her live show and writing new material.

In 1992, Astrud received the "Latin Jazz USA Award for Lifetime Achievement" for her outstanding contribution to Latin jazz music.

In 1995, the first project by Gregmar studios was released on an album as tribute to Jobim on the label Ps Flag/BMG ("Heirs To Jobim"). The song, "Forever Green", one of Jobim's last compositions before passing away, features saxophonist Michael Brecker. In that same year, in a sold-out Thursday night appearance, Astrud Gilberto became the first "Jazz" Artist to sing at the trendy "House of Blues" in Los Angeles, which had until then presented Blues and Rock acts, exclusively. She has also broken house records at the very popular "Jazz Cafe" club in London.

In early 1996 the first album from Gregmar was released in the Asian territories, including Japan, on the Pony Canyon label. It is comprised of various live performances recorded in NYC in 1989, for which is called "Astrud Gilberto - Live in New York".

The "Desafinado" duet with George Michael, in the Fall of 1996 included on the "Red Hot & Rio" album, gained international attention, and exposed the Bossa Nova style to a large number of Pop music fans. "Desafinado" has also been included on George Michael's 1999 release "Ladies and Gentlemen, The Best of George Michael".

Also in 1996, Astrud recorded a duet with the famous European vocalist, French Pop star, Ettienne Daho. The song, "Les Bordes de Seine", included on Daho's "Eden" album, was co-written by Daho and Gilberto and was particularly well received by "Hip-Hop" fans.

In late 1997, a studio album (also by Gregmar Productions), produced by Astrud and Marcelo Gilberto, was released in the Asian territories by the Pony Canyon label. Comprised entirely of Astrud Gilberto's original compositions (with the exception of just one American standard), the album bears the title of "Temperance". Yet to be released outside of Asia, the album features guests Michael Franks and the New York Voices. Astrud is particularly proud of this work, because it is a labor of love. Both of her sons, Greg and Marcelo perform on it.

Astrud Gilberto's sold-out performances at the "House of Blues", and her legendary shows at NYC's SOB's continued to be musical "happenings" to her fans up until 2001, when she decided to take indefinite time off the "road", in order to be able to spend more time with her family, and do more writing and painting (she is also a fine art artist (click here to view some of her artwork).

Astrud's style has been a strong influence in contemporary music. Many artists have revealed the fact that they have been inspired by her musical style, among them: Basia (who recorded a tribute to Astrud, a song named "Astrud"), Sade, Sinead O'Connor, Michael Franks, Pat Metheney, and Suzanne Vega. Several "avant-garde" groups have also professed having Astrud as their "inspiring muse".

Astrud's work as songwriter has gradually but surely developed from a "side thing" in the beginning of her career, to an integral part of it, in the later years. Since the mid-eighties, her live shows featured a large number of her own original compositions, to which audiences have been just as receptive as they have always been to old standards such as "The Girl from Ipanema", "One Note Samba", or "Quiet Nights".

Astrud Gilberto's 2002 "Jungle" album release, is a showcase of Astrud's songwriting, as it features ten original new compositions.

In April of 2002 Astrud Gilberto has been inducted to the "International Latin Music Hall of Fame".

In November of 2008, Astrud Gilberto was awarded by the Latin Recording Academy the "Lifetime Achievement" Grammy Award.



Astrud Gilberto Astrud For Lovers


Astrud Giberto with Stanley Turrentine

Blues & Roots is an album by Charles Mingus, recorded and released in 1959. It has been reissued twice as a CD, first by Atlantic Records, and then again by Rhino Entertainment in 1998.

Mingus explained the birth of this record in the album's liner notes:

This record is unusual—it presents only one part of my musical world, the blues. A year ago, Nesuhi Ertegün suggested that I record an entire blues album in the style of Haitian Fight Song (in Atlantic LP 1260), because some people, particularly critics, were saying I didn't swing enough. He wanted to give them a barrage of soul music: churchy, blues, swinging, earthy. I thought it over. I was born swinging and clapped my hands in church as a little boy, but I've grown up and I like to do things other than just swing. But blues can do more than just swing. So I agreed.


Charles Mingus BLUES&ROOTS

In a week of unparalleled musicianship – 26th April to 2nd May – the streets and theatres of Melbourne will come alive with the dynamism, excitement and diversity of jazz music during the 2009 Melbourne International Jazz Festival.

Under the artistic direction of Michael Tortoni and program direction of Sophie Brous, the 2009 Melbourne International Jazz Festival features some of the most legendary, iconic and innovative artists in a distinctive program defined by unique collaborations, musical partnerships and world-class artistry.

The Festival program moves seamlessly from contemporary jazz to swing, avant-garde, modern improvisation, art music and beyond, with a rollcall of greats to headline this year’s program. Featuring twenty-three international and 183 celebrated Australian artists, the 2009 MIJF program explores the full breadth and range of jazz music as an art form, incorporating film, art, dance and poetry.

Some of the internationals Tortoni and Brous have courted to Melbourne include the incomparable jazz legend from the USA Charlie Haden, Grammy Award-winning guitarist Bill Frisell, free jazz luminary Cecil Taylor and saxophonist Joshua Redman. Leading Australian artists include Paul Grabowsky, Katie Noonan, Kate Ceberano and The Choir of Hard Knocks in an exclusive Festival commission presenting their own interpretation of Billie Holiday’s oeuvre.

New interdisciplinary programming streams include NGV Jazz Walks, the ACMI Film Program and the Australian premiere of The Poetry of Cecil Taylor. Free concerts and Masterclasses will also feature. Melbourne’s best venues have been engaged including The Forum, Melbourne Town Hall and the Melbourne Recital Centre in its first Festival presentation.

Charlie Haden – a collaborator with the likes of Keith Jarrett, Ornette Coleman, Nick Cave, and Pat Metheny, will be setting up residency at the Festival, appearing across all facets of the program in a number of interdisciplinary guises, such as masterclasses, Q&A sessions and collaborations with other seminal jazz masters.

Launching with a free Opening Night concert at Federation Square (Sunday 26th April), all of Melbourne – young and young at heart – is invited to get dancing to the 1930s sounds of the Mell-O-Tones swing orchestra and the wonderfully raucous musical melange of Actis Dato (Italy). Topping the bill is the Festival’s very special artist-in-residence, jazz icon Charlie Haden and his Liberation Music Orchestra in a one-off event featuring a first-time collaboration with Australian musicians including Paul Grabowsky, Jamie Oehlers and Scott Tinkler.

The free concerts continue every day of the Festival at Federation Square (12pm & 5pm), highlighting some of the brightest emerging stars of Australian jazz – The Hoodangers, Virus, The Vampires, Flap!, Melbourne Jazz Ensemble and VCA Jazz Ensemble providing a tantalising entrée into the Festival flavour for both the uninitiated, as well as jazz lovers.

In a convergence of sound, improvisation and visual art, the Melbourne Interna­tional Jazz Festival presents free Sound Walks at the NGV International. In small, guided walks, Bum Creek, a local trio of young multi instrumentalist performers will reframe your experience of art as they weave a musical response to the NGV permanent collection. Internationally renowned new music innovators Nels Cline and Oren Ambarchi will be Festival guests for the NGV art chat discussing their music and performing together for the first time.

At Hamer Hall, Melbourne’s remarkable community street choir, The Choir of Hard Knocks, will celebrate life and song as they perform the world premiere of their Festival commission Let’s Do It, The Music of Billie Holiday, along with special guests Kate Ceberano and Carl Riseley. Australian multi-award-winning songstress Katie Noonan presents her beautiful take on the Lennon/McCartney songbook under the guise of Blackbird Project with a band of Australia’s finest jazz instrumentalists.

At Melbourne Town Hall, the City of Melbourne and MIJF are proud to present the Australian premiere and second ever live performance of the iconic Charlie Haden/Bill Frisell/Ethan Iverson Trio (USA). As a part of this incredible evening of music, Paul Grabowsky presents the world premiere of his own special Festival commission – an extraordinary new work for the Melbourne Town Hall Grand Organ featuring virtuosic recordist Genevieve Lacey.

At Melbourne Recital Centre, Charlie Haden appears with the Australian premiere of Charlie Haden Quartet West (USA). One of the inventors of free jazz, Cecil Taylor (USA) teams up with free drummer, Tony Oxley, for his first performance in Australia for 30 years. And, son of Dewey Redman, virtuosic tenor saxophonist Joshua Redman (USA), performs with Reuben Rogers (bass) and Greg Hutchinson (drums).

At the Forum Theatre, the question ‘what is jazz?’ is posed with the inclusion of Australian “jazz-punk” legends Laughing Clowns. Performing their first show in Melbourne since 1985, Laughing Clowns features the original line-up of Ed Kuepper and Jeffery Wegener, saxophonist Louise Elliott, bassist Biff Miller and keyboardist Alister Spence. In an Australian premiere, three of the most respected, new jazz creative musicians in the world Nels Cline/Tim Berne/Jim Black Trio (USA) play a double bill with jazz icon Bill Frisell Trio (USA). And yet another new generational double bill/Australian premiere takes place with Australian saxophonist Julien Wilson Quintet and New York drummer Jim Black (USA), on the same bill as post-modern New York pianist Ethan Iverson’s Cocktail Hour

At BMW Edge at Federation Square, the charismatic heroes of the Italian jazz scene, Actis Dato Quartet (Italy) will take centre stage with their raucous blend of jazz, Mediterranean and Middle Eastern music, Afro and funk rhythms, Caribbean and old Italian folk songs.

BMW Edge will also host the unique master classes presented by the Festival – Cecil Taylor, Katie Noonan, Charlie Haden, Joshua Redman, Ethan Iverson, Tim Berne and Bill Frisell. Masterclasses are a once-in-a-lifetime opportunity for emerging and established musicians to learn about the music, technique and psychology that inspires some the most accomplished jazz professionals working in the world today.

At Bennetts Lane, a series of Club Sessions take place nightly across the Festival, including Harry James Angus, Tim Berne’s Adobe Probe Melbourne (USA/Australia), Jazzgroove Mothership Orchestra (Sydney) with Bert Joris (Belgium), and Judy Carmichael (USA). Bennetts Lane Late Night Jam Sessions occur every evening with Marc Hannaford leading off a series of spontaneous performances, embodying the true spirit of jazz.

At ACMI, Jazz on Film is spotlighted with an exciting program of features – Sun Ra Space is the Place, Charlie Haden: Rambling Boy, Jazz on a Summer’s Day, Touch of Evil and Let’s Get Lost. And at the CUB Malthouse, the Melbourne Symphony Orchestra, under the baton of Matthias Pintscher and featuring Tristram Williams on trumpet, performs Metropolis Concert 1: Osiris in what promises to be a magical experience.

Jazz for Kids featuring Andrea Kellar, Zac Hurren Trio and Adam Simmons will entertain and inspire, with interactive concerts for the young and young at heart. The Festival invites children and families to engage with these musicians as they perform and chat about their music. Jazz for Kids is the perfect opportunity to introduce everybody to the joys and spirit of music and improvisation. Get involved, ask questions and sing along!

With a focus on interactivity, accessibility and philanthropic endeavours, such as the Future Leaders MIJF Jazz Award (supporting emerging musicians in Years 10, 11 & 12), this year’s Melbourne International Jazz Festival is more than just a spectator event – it’s about being completely submerged in jazz music and ensuring a healthy, continuing lineage well into the 21st century and beyond.

BE MOVED and experience a celebration of music and artistry at the 2009 Melbourne International Jazz Festival.

It takes a second to digest the pun crowning this celebrated combo, but once you’ve moved beyond the fantastically cringe-worthy Five Peace Band moniker, it becomes clear we’re dealing with some of the mainstream jazz elite. Fusion-forerunners pianist Chick Corea and guitarist John McLaughlin steer this prog-jazz beast, marking 40 years since their first collaboration on Miles Davis’s formal entry into his electric phase, In a Silent Way.

The two still regularly perform the title track on this extensive world tour that began last fall in Europe, yet their best-known collaboration remains Davis’s breakthrough Bitches Brew, which followed in 1970. The accomplished improvisers have always prodded one another to ludicrous levels of theory-defying dexterity: Corea initially with his Scientology-spirited Return to Forever and McLaughlin with his jazz-rock juggernaut the Mahavishnu Orchestra.

For this victory lap, they’ve tapped another veteran of Davis’s band (albeit the lesser ’80s lineup), alto-sax stalwart Kenny Garrett, along with Joshua Redman’s longtime rhythm section of bassist Christian McBride and drummer Brian Blade. Even in such a star-studded cast, the latter stands out for his fine-tuned approach, keeping the mix far more tasteful than did veteran Sting stickman and Modern Drummer darling Vinnie Colaiuta, who sits out the remaining U.S. portion.

Sporting a jam-band badge of honor, this showboating quintet sprints between moody meanderings and bop fun. Staples of the tour include a couple of new Corea tunes interspersed with standards, all of which appear on a new Five Peace album (already available both online and at concerts). After last year’s successful RTF reunion, Corea seems to be enjoying a late-career renaissance. With this cast of Guitar Center hall-of-famers on board, the sky—or, at the very least, an amphitheater tour—is the limit.


Chick Corea & John McLaughlin FIVE PIECE BAND