Preciso Aprender A Ser Só - Music
Preciso Aprender A Ser Só by Luiz Eça
Luiz Eça
Artist Biography For Luiz Eça
Luíz Eça Born Luís Mainzi Da Cunha Eça Was A Great Asset To Brazilian Music Especially For The Bossa Nova Movement. A Highly Skilled Classically Trained Piano Player He Could Just As Easily Go From Hard And Swinging To Quiet And Introspective Having Developed An Original Musical Vocabulary Mixing Brazilian Rhythmic Tradition And Erudite Advanced Harmonies. He Was Also Strongly Influenced By Jazz And Could Perform In The Style Of Any Jazz Pianist Giant Which He Used To Do But Only For Friends Because Professionally He Always Had A Highly Distinctive Voice. He Began To Learn Classical Piano At Age Five. In His Teens He Was Already Taken By Jazz And Was A Regular At Cantina Do César The Bar Owned By Famous Radio Host César De Alencar At Which Johnny Alf Was Breaking New Ground And Influencing All Of The Bossa Nova Generation. Soon In 1953 Eça Was Playing At The Focal Point Of The Nascent Bossa Nova The Plaza Nightclub. Winning A Brazilian Government Scholarship To Study Classical Music He Moved To Vienna Austria In 1958. Returning To Brazil He Joined The Group That Was Backing Singer Maysa And Toured With Them. This Group Also Had Pianist Luís Carlos Vinhas And Violonista Roberto Menescal And They Also Backed Singer Leny Andrade. In Those Times He Joined The Group Of Musicians Who Were The Modern Proponents Of Brazilian Music That Would Become Known As The Bossa Nova Movement. Eça Was An Important Inspiration And Influence To The Movement Due To His Extraordinary Piano Playing And Arranging Skills. Searching For New Venues Of Expression The Bossa Nova People In Bossa's First Period Of Popularization Looked For Places Such As University Auditoriums For Shows Entitled Festival De Samba Moderno Or Samba Sessions And Eça Was Always There With His Piano. In 1962 He Formed The Historic Tamba Trio Which Is A Fundamental Piece In The Brazilian Music Panel. Rejecting The Mere Backing Role Of The Rhythmic Section At Those Times The Tamba Trio Would Inspire Countless New Trios In Search Of Musical Expression And Artistry. The Trio Usually Had Three-Part Vocal Harmonies Backed With Strongly Empathic Instrumental Support. He Invited Drummer Hélcio Milito Also A Singer And Percussionist And Bassist Otávio Bailly Soon Replaced By Bebeto Castilho Also A Flutist/saxophonist/singer And On March 19 1962 The Tamba Trio Opened With Its Definitive Formation At Bottle's Nightclub At The Beco Das Garrafas Rio's 52nd Street . In The Same Year They Toured Through The U.S. And Argentina And Followed Their Extensive International Discography And Touring Schedule. In 1969 Returning From A Long Season In The U.S. Eça Joined The Group Sagrada Família And Went To Mexico. In Brazil Eça Had An Extensive Career Recording With Backing Singers Recording And Performing With Tamba Trio Or In Solo Acts. He Was Active Playing Every Night At Rio And São Paulo's Best Nightclubs. Some Of His Remarkable Recordings Include O Prestigio De Luis Eça Philips Tamba Trio BMG Tamba Trio Philips We And The Sea With The Trio Turned Quartet Tamba 4 A&M And Nueva Onda Do Brasil With Cláudio Roditi Recorded By A Private Label In Mexico 1978 . A Good Compilation Available In The U.S. Is The Double CD Tamba Trio Classics Polygram. Eça's Arranging Skills May Be Best Explored In Ten-Minute Cult Renditions Of Such Classics As "O Morro Não Tem Vez" Tom Jobim/Vinícius De Morais Or "Consolação" Baden Powell/Vinícius De Morais . He Also Voyaged Through More Abstract Classical Treatment Investigating The Group's Possibilities On Some Records Between Them Tamba Trio E Cordas And Tamba Trio E Quinteto Villa-Lobos. In This Mood It Was Performed In 1992 As A Series Of Nationally Presented String Concerts With His Orchestrations
50 Similar Tracks:
Luiz Eça - Wave Luiz Eça - Nosso Homem Em Três Pontas Tamba Trio - Não Tem Perdão João Donato - Bananeira João Donato - Fim De Sonho Tamba Trio - Morada Tamba 4 - Reza Zimbo Trio - Inútil Paisagem Zimbo Trio - Samba Dobrado Tamba 4 - San Salvador Paulo Moura - Espinha De Bacalhau Edu Lobo - Nego Maluco Sylvia Telles - Bom Dia Tristeza Radamés Gnattali - Uma Rosa Para O Pixinguinha Orlann Divo - Saudade De Maria Odette Lara - Meu Refrão Orlann Divo - Seleção De Sambas: Na Roda Do Samba / Enquanto A Tristeza Não Vem / Carioca Edu Lobo - Vento Bravo Carlos Lyra - Influência Do Jazz Sylvia Telles - Ilusão Á Toa Johnny Alf - Escuta Johnny Alf - Canção Pra Disfarçar Radamés Gnattali - Canhoto Luiz Bonfá - The Shade Of The Mango Tree Luiz Bonfá - Moonlight In Rio Ed Lincoln - São Salvador Roberto Menescal E Seu Conjunto - Balansamba Rio 65 Trio - Preciso Aprender A Ser Só Carlos Lyra - Minha Namorada Tenorio JR - Estou Nessa Agora César Camargo Mariano - Samambaia Sergio Mendes And Brasil '77 - País Tropical Roberto Menescal E Seu Conjunto - Amanhecendo César Camargo Mariano - Estação Do Norte Milton Banana Trio - Chega De Saudade / Desafinado / Corcovado Ed Lincoln - Balanço Azul Rio 65 Trio - Meu Fraco É Café Forte Milton Banana Trio - Só Tinha De Ser Com Você Os Gatos - Bonita Paulo Moura - Peguei A Reta Tenorio JR - Samadhi Moacir Santos - Maracatu, Nação Do Amor April Child Moacir Santos - Sou Eu The Ipanemas - Birinight The Ipanemas - Espelho D'Água Os Gatos - Água De Beber João Pernambuco - Sons De Carilhoes Sound Of Bells Miltinho - Estoy Pensando En Ti Taiguara - Terra Das Palmeiras Antônio Carlos Jobim - O Morro Não Tem Vez Favela
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Biography - Luiz Eça
Luíz Eça Born Luís Mainzi Da Cunha Eça Was A Great Asset To Brazilian Music Especially For The Bossa Nova Movement. A Highly Skilled Classically Trained Piano Player He Could Just As Easily Go From Hard And Swinging To Quiet And Introspective Having Developed An Original Musical Vocabulary Mixing Brazilian Rhythmic Tradition And Erudite Advanced Harmonies. He Was Also Strongly Influenced By Jazz And Could Perform In The Style Of Any Jazz Pianist Giant Which He Used To Do But Only For Friends Because Professionally He Always Had A Highly Distinctive Voice. He Began To Learn Classical Piano At Age Five. In His Teens He Was Already Taken By Jazz And Was A Regular At Cantina Do César The Bar Owned By Famous Radio Host César De Alencar At Which Johnny Alf Was Breaking New Ground And Influencing All Of The Bossa Nova Generation. Soon In 1953 Eça Was Playing At The Focal Point Of The Nascent Bossa Nova The Plaza Nightclub. Winning A Brazilian Government Scholarship To Study Classical Music He Moved To Vienna Austria In 1958. Returning To Brazil He Joined The Group That Was Backing Singer Maysa And Toured With Them. This Group Also Had Pianist Luís Carlos Vinhas And Violonista Roberto Menescal And They Also Backed Singer Leny Andrade. In Those Times He Joined The Group Of Musicians Who Were The Modern Proponents Of Brazilian Music That Would Become Known As The Bossa Nova Movement. Eça Was An Important Inspiration And Influence To The Movement Due To His Extraordinary Piano Playing And Arranging Skills. Searching For New Venues Of Expression The Bossa Nova People In Bossa's First Period Of Popularization Looked For Places Such As University Auditoriums For Shows Entitled Festival De Samba Moderno Or Samba Sessions And Eça Was Always There With His Piano. In 1962 He Formed The Historic Tamba Trio Which Is A Fundamental Piece In The Brazilian Music Panel. Rejecting The Mere Backing Role Of The Rhythmic Section At Those Times The Tamba Trio Would Inspire Countless New Trios In Search Of Musical Expression And Artistry. The Trio Usually Had Three-Part Vocal Harmonies Backed With Strongly Empathic Instrumental Support. He Invited Drummer Hélcio Milito Also A Singer And Percussionist And Bassist Otávio Bailly Soon Replaced By Bebeto Castilho Also A Flutist/saxophonist/singer And On March 19 1962 The Tamba Trio Opened With Its Definitive Formation At Bottle's Nightclub At The Beco Das Garrafas Rio's 52nd Street . In The Same Year They Toured Through The U.S. And Argentina And Followed Their Extensive International Discography And Touring Schedule. In 1969 Returning From A Long Season In The U.S. Eça Joined The Group Sagrada Família And Went To Mexico. In Brazil Eça Had An Extensive Career Recording With Backing Singers Recording And Performing With Tamba Trio Or In Solo Acts. He Was Active Playing Every Night At Rio And São Paulo's Best Nightclubs. Some Of His Remarkable Recordings Include O Prestigio De Luis Eça Philips Tamba Trio BMG Tamba Trio Philips We And The Sea With The Trio Turned Quartet Tamba 4 A&M And Nueva Onda Do Brasil With Cláudio Roditi Recorded By A Private Label In Mexico 1978 . A Good Compilation Available In The U.S. Is The Double CD Tamba Trio Classics Polygram. Eça's Arranging Skills May Be Best Explored In Ten-Minute Cult Renditions Of Such Classics As "O Morro Não Tem Vez" Tom Jobim/Vinícius De Morais Or "Consolação" Baden Powell/Vinícius De Morais . He Also Voyaged Through More Abstract Classical Treatment Investigating The Group's Possibilities On Some Records Between Them Tamba Trio E Cordas And Tamba Trio E Quinteto Villa-Lobos. In This Mood It Was Performed In 1992 As A Series Of Nationally Presented String Concerts With His Orchestrations
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