Jaijai, what a wonderful mission you've undertaken to create such a place for artistic minds to meet and share their hearts. A place to renew faded determinations, and revive lessened momentums. A place to display our wares and reconfirm to one another that we actually are on the right track.
I commend you, Jaijai, for caring so much that you created this castle of the heart for all of us. I want to share my praise for all of the new friends as well as old friends that I've met and will meet here in our castle. Here we can garnish the where-with-all, the strength, the conviction, and the selflessness through our symbiosis, to share our gift to the world with an unbiased agenda.
My mentor, Daisaku Ikeda says of art: "A beautiful flower delights and refreshes the hearts of all people equally, no matter what soil it grows in. That is the power of beauty. The same is true of great art. It is this spirit that the German poet Heinrich Heine sang of when he wrote that once the peapod bursts open, the sugar peas inside are for everyone to enjoy."
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THE JAZZ NETWORK WORLDWIDE IS AN ORIGINAL ENTITY AND SOLE PROPRIETOR AND HAS NEVER PARTNERED OR AFFILIATED ITSELF WITH ANY OTHER JAZZ NETWORK THAT EXISTS THAT HAS A SIMILAR INTERFACE TO OUR ORIGINAL INTELLECTUAL PROPERTIES, LAYOUT, ADVERTISEMENTS AND GRAPHIC DESIGN.
MARTES DÍA 2 de DICIEMBRE en el Clube del Choro: Presentación Especial de Luís Floriao y Adriana D´Adri (de Rio de Janeiro - Brasil), acompañados por Brazil Essence. Muestra de Samba Carioca (Samba de Gafieira), Samba no Pé y Forró en el MADE IN BRASIL.
El próximo día 12 de noviembre Brazil Essence actuará en el "Jazz Voyeur Club" de Palma. La actuación empieza a las 22:00h, pero el local tiene aforo limitado, por lo que si quieren encontrar sitio, hay que llegar antes.
El repertorio incluirá conocidos temas de Bossa Nova y por supuesto Lo mejor del Choro.
"Roda de Choro" (Choro Jam Session) in Balears Islands / Spain Chôro, literally "cry" in Portuguese, meaning "lament"), traditionally called chorinho ("little cry" or "little lament"), is a Brazilian popular music style. Its origins are in 19th century Rio de Janeiro.
Old Choro group
Originally choro was played by a trio of flute, guitar and cavaquinho (a small chordophone with four strings). Other instruments commonly played in choro are the mandolin, clarinet, and saxophone. These melody instruments are backed by a rhythm section composed of guitar, 7-string guitar (playing bass lines) and light percussion, such as a pandeiro. The cavaquinho appears sometimes as a melody instrument, other times as part of the rhythm. Compositional structure
Structurally, a choro composition usually has three parts, played in a rondo form: AABBACCA, with each section typically in a different key. There are a variety of choros in both major and minor keys.
Much of the success of this style of music came from the early days of radio, when bands performed live on the air. By the 1960s, it had evolved into urban samba. However, in the late 1970s there was a successful effort to revitalize the genre, through TV-sponsored nation-wide festivals in 1977 and 1978, which attracted a new, younger generation of musicians. Thanks in great part to these efforts, chôro music remains strong in Brazil. More recently, chôro has attracted the attention of musicians in the United States, such as Mike Marshall, who have brought this kind of music to a new audience.
Bossa nova is a style of Brazilian music popularized by Antônio Carlos Jobim, Vinicius de Moraes and João Gilberto. Bossa nova (which is Portuguese for "new trend") acquired a large following, initially by young musicians and college students. Although the bossa nova movement only lasted six years (1958–63), it contributed a number of songs to the standard jazz repertoire.
Bossa nova is at its core a rhythm based on samba. Samba combines the rhythmic patterns and feel originating in former African slave communities with elements of European march music. Samba's emphasis on the first beat carries through to bossa nova (to the degree that it is often notated in 2/4 time). When played on the guitar, in a simple one-bar pattern the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns usually contain a syncopation into the second measure. Overall, the rhythm has a swaying rather than swinging (as in jazz) feel. As bossa nova composer Carlos Lyra describes it in his song "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back".
In terms of harmonic structure, bossa nova has a great deal in common with jazz, in its sophisticated use of seventh and extended chords. The first bossa nova song, "Chega de Saudade," borrowed some structural elements from choro; however, later compositions rarely followed this form. Jobim often used challenging, almost dissonant melody lines, the best-known being in the tunes "Desafinado" ("Off-Key"). Often the melody goes to the altered note in the chord. For example, if the chord is DM7#11, the note sung in the melody line there would be G#, or the sharp 11.
In the early bossa nova recordings, in terms of lyrical themes and length of songs (typically two to four minutes), bossa nova is very much a "popular music" style. However, its song structure often differs from European and North American rock-based music's standard format of two verses followed by a bridge, and a closing verse; bossa nova songs frequently have no more than two lyrical verses, and many lack a bridge. Some of João Gilberto's earliest recordings were less than two minutes long, and some had a single lyrical verse that was simply repeated.
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Hello Carlos ....
Welcome to our Family here at TJN ~ Hope You will have a Lot of Fun with us --- as we have Great Talent, and Sounds at this very Special 24/7- J@zzClub !!
... thanks for the Great sounds on your Page !
You surely will be a Real Asset here !!
Would be a Great Honour to be Your Friend ...