John Patitucci
" b. 22 December 1959, Brooklyn,
New York, USA. Patitucci is a technically gifted bassist
best known for his work on both the electric and acoustic
instruments for fusion keyboard legend Chick Corea.
After playing some pop and rock in his brother's band
in New York, he moved with his family to America's
west coast, the home of a fearsome tradition for jazz/rock
fusion virtuosi, in 1972, and was introduced to the
jazz tradition by bass teacher Chris Poehler. Studying
the acoustic work of Ron Carter, Dave Holland, Charlie
Haden and Eddie Gomez, and the electric bass techniques
of Larry Graham, Marcus Miller, Stanley Clarke and,
particularly, bass hero Jaco Pastorius, he developed
quickly, working with pianist Gap Mangione (brother
of Chuck Mangione ), and veteran British-born vibesman
Victor Feldman. It was with Feldman that Chick Corea
came across him, and asked him to join the newly formed
Elektric Band. Patitucci stayed with the Elektric
Band throughout its life, recording five albums, and
played an important part in the Akoustic Band trio.
Since the late 80s he has also been working as a leader
on GRP Records and Stretch - Corea's own subsidiary
of the GRP label. An incredible technician on both
acoustic and six-string electric basses, Patitucci
has unfortunately allowed his output to be dominated
by material that works primarily as a means to demonstrate
his technique. His best record so far is probably
Sketchbook, featuring drummer Peter Erskine, tenor
saxophonist Michael Brecker and guitarist John Scofield.
"
(source http://music.yahoo.com/)
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Joao Bosco
" Since no others leap to mind,
I would have to say that Joao Bosco is the greatest
civil engineer turned singer/songwriter in the history
of Brazilian popular music. He graduated with his
degree in 1972 but since then has been concentrating
on becoming one of Brazil's most formidable songwriters.
For most of his early career he supplied Elis Regina
with some of her best material, indeed it could be
said that each one made the other's career, but since
her death, Bosco has stepped into the performance
limelight with a great degree of authority and has
been one of the more compelling figures in Brazilian
music for the last 25 years. Born in Ponte Nova in
1946, Bosco cut his musical teeth in family in which
music was as important as eating and sleeping. His
mother is an accomplished violinist, his father a
singer of samba, his sister a concert pianist, and
his brother a composer. While attending Ouro Preto
University he became steeped in American jazz (Miles
Davis in particular), and the bossa nova sound of
Joao Gilberto and Antonio Carlos Jobim, it was also
at university that he met lyricist Vinicius de Morais
who contributed his elegant, poetic lyrics to Bosco's
music. It was not long after that record companies
began offering Bosco and de Morais their services.
Later in the 70s Bosco became involved musically with
Aldir Blanc a psychiatrist who decided to give up
his practice to become a lyricist. Witty, surreal,
at times pretentious, but more often than not extremely
clever, Blanc became the perfect foil for Bosco and
the two would work together, quite successfully, until
the mid-1980s. Bosco's career rise coincided roughly
with Brazil's military dictatorship which lasted from
1964-1985 and his work, even the most innocuous love
song, was frequently censored. As he noted in an interview
in the early 90s, "Anything you composed or sang was
censored. And there were no guidelines as to what
you could or couldn't do. Every piece of music I wrote
meant spending hours in the censorship bureau, debating
with them, sometimes over one word." In 1977 Bosco
wrote what was (and is) his most personal protest
song, "O Bebaido e a Equilibrista" (The Drunkard and
the Tightrope Walker), which became the theme song
of Amnesty International. Despite his fame in Brazil,
Bosco wasn't known to Americans until he made a guest
appearance with jazz guitarist Lee Ritenour on the
latter's 1988 record Festival. The guest spot wasn't
enough to make Bosco an international superstar, but
he did begin attracting more interest in the US. It
wasn't until the early 90s that Bosco mounted a major
tour of the US, but since then he has become increasingly
popular internationally regularly performing at the
prestigious Montreux Jazz Festival which over its
history has frequently featured Brazilian performers.
Despite his growing popularity outside of his homeland,
Bosco remains rooted in Brazil to the point of never
leaving it for extended periods. So, while he remains
somewhat obscure to American audiences, his music,
rooted in Brazil's classic samba and bossa nova traditions,
combines rock and roll, jazz and other ethnic styles
in an eclectic brew that is a inventive and challenging
as is he.
-- John Dougan, All Music Guide "
(source http://music.yahoo.com/)
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