How Do You Keep The Music Playing?

My new solo CD “How Do You Keep The Music Playing? is for your consideration for Best Jazz Vocal Album .

The song “Take Five” is for your consideration for Best Arrangement, Instruments and Vocals

Please, scroll down to listen to 10 of the songs in the CD.  I hope you’ll like what you hear.

Thank you!

Paulinho’s new solo recording 02/2017

01. How do you keep the music playing? – Alan Bergman, Marilyn Bergman, Michel Jean Legrand
02. As rosas não falam – Angenor Cartola
03. Cintura fina – Paulinho Garcia
04. I’ll be calling for Maria – Paulinho Garcia
05. Adeus meus sonhos / Adiós mis sueños – Paulinho Garcia
06. Bolero de satã – Guinga / Paulo Cesar Pinheiro
07. Palpite infeliz – Noel Rosa
08. Feitiço da vila – Noel Rosa
09. Canto de Ossanha – Baden Powell, Vinicius De Moraes
10. Obsesión – Pedro Flores
11. Tristeza/A voz do morro – Nilton de Souza- Haroldo Lobo / Zé Keti
12. Embraceable you – George Gershwin, Ira Gershwin
13. Take five – Paul Desmond / Iola and Dave Brubeck
14. There’ll never be another you – Harry Warren, Mack Gordon
15. You are my greatest friend – Paulinho Garcia

Goosebumps!
Garcia’s acoustic guitar and vocals have a beautiful earthiness and humility to it. I really enjoyed the scat singing and vocal percussion in TAKE FIVE. BOLERO DE SATA is so captivating and vulnerable, but EMBRACEABLE YOU must be one of my favourites. The beauty and emotion in this piece is unbelievable: the vocals so gentle and honest, the strumming of the guitar mesmerizing. Superb performance!…Wouter Kellerman – musician

Quadir Dawan – musician –  I drove from Chicago to Mississippi and back with only 1 C.D and no radio. Guess what the C.D. was? Right! I love it. “How do you keep the music playing”



A wonderful review by Esther Berlanga-Ryan.

Intimacy in music is often missed  these days. True, heart-opening, soul-caressing intimacy – the one that can’t stand the sight of a superficial connection – is mostly gone. We find plenty of validation seeking artists, lost in the physicality of the expression of their artistry, slaves to the naked eye – empty of clear blue skies and starry nights, empty of true self confidence, empty of the very reason why music was created for to begin with. It is now viewed mainly as a sexual circus, disguised in freedom of creativity. But where do we find the artist’s very soul? Is it in a naked  pair of thighs, a see-through outfit, and swaying hips? Is it in the chiseled, tattooed chests of their male equivalents? Auto-tuned voices, repetitive lyrics, and mostly provocative videos are being mass produced, numbing our innate ability to feel – feel loved, feel moved, feel encouraged, feel celebrated. Now we are told to find a spot in a box, and make ourselves home there. And if we are not careful, music becomes just that: a box. One size. One color. One sound. But music – MUSIC – was meant to be everything that laid outside of any confinement. A true warrior. A freedom vindicator. A love writer. 

That being said, how do you suppose listening to Paulinho Garcia feels like? He is like a unicorn. There is no rush in his music. No overproduced sounds. No afflicted vocals. No abandoned truths. He picks up his guitar, and by the time he opens his mouth, his vocal chords already know how and when to come together and kiss you on the cheek. This Brazil born artist is the reason why I still dream of my one radio show that will fill the radio waves in the middle of the night, bringing sounds like these to the weary, making everything alright. 

This is Garcia’s 5th solo album – 22nd since 1979. Recorded in January of this year, this is a project where absolutely nothing is wasted. Alternating compositions by Dave Brubeck or Vinicius De Moraes with his own, every track was carefully crafted and beautifully envisioned in an all-acoustic heart pounding experience – Paulinho’s way. Whether he is rapidly scatting his emotions away – “Tristeza/ A Voz de Morro” – with a Samba, or paying tribute to an immortal Gershwin with “Embraceable You”, the one thing that always seems clear is that this is a man that understands compassion, and beauty, and truthfulness – in life and in music. And listening to him always feels like an undeserved moment of greatness – as if he is too pure for our intimacy-lacking ears. And yet there he is, making himself being heard, and felt – truly, truly felt – and definitely loved. A reminder of what musical sensitivity is all about. 

“Take Five” takes my breath away. And so do also “Cintura Fina”, “Bolero de Sata”, “How do you keep the music playing?”, “Adeus Meus Sonhos Adios Mis Suenos” or “There’ll never be another you”. But please, don’t take my word for it: listen to this impeccable record on your own. Get comfortable, dim all lights, and let Garcia feed your spirit with the most delicate sounds you could possible imagine.

Intimacy will not be avoided. And everybody will keep their clothes on.

Enjoy.

Artist: Paulinho Garcia

Album: How do you keep the music playing?

Year: 2017

Label: Jazzmin Records


JAZZ AROUND TOWN

by Scott Yanow (08/17)

PAULINHO GARCIA

            For the past year, singer Cathy Segal-Garcia has been booking excellent jazz artists each Saturday night at the Bar Fedora at Au Lac LA (710 W. 1st Street). Recently I had the pleasure of seeing a solo set by vocalist-guitarist Paulinho Garcia. Born and raised in Brazil where he worked as a bassist, Garcia moved to Chicago in 1979, switched to guitar, and began singing. He led Made In Brazil and teamed up with tenor-saxophonist Greg Fishman as a duet called Two For Brazil. In recent times, Garcia moved to Los Angeles.

            At Bar Fedora, Paulinho Garcia performed warm vocals accompanied by his fluent guitar including such songs as “There Will Never Be Another You,” “Bluesette” (mostly taken in 4/4 time), “Blackbird,’ “When I Fall In Love” (including the rarely heard verse),  “Waters Of March,” “O Pato” and many lesser-known but rewarding Brazilian songs. A special highlight was “A Night In Tunisia,” one of many tunes on which he scatted brilliantly. Garcia, whose talking between songs was charming, had no difficult keeping the audience’s attention and he swung throughout his brand of Brazilian jazz. The only suggestion I would make is that he should feature his guitar playing a bit more and take some solos rather than have it always be a stimulating accompaniment to his singing.

            It was a highly enjoyable show. Catch Paulinho Garcia whenever you can. 


Carlos Borges, Brazilian Press Awards, July 2017

Paulinho, que mudou-se do Brasil para Chicago quando tinha 30 anos, atraído pela cena jazzística da terra de Obama,  lá se tornou uma relevante referência nesta mesma cena.

Depois de botar na sacola, em 2013, um Press Award como destaque musical nos EUA, Paulinho mudou-se, em 2015, de mala e cuia para Los Angeles. De olho, é claro, num pouquinho de sol y mar e, em tudo que a plataforma Hollywoodiana pode representar em sua carreira. Lógico, também, na escala natural que L.A. é para a Ásia, hoje o maior e mais rico mercado para a Bossa Nova, nossa e de todo o mundo que a ama, cultua e consome.

Isso tudo é para situar o leitor para o lançamento de “How do you keep the music playing”, o novo CD de Paulinho, outra coleção de pérolas construída em incrível e suave hamonia da voz e violão de Mr. Garcia. Muitos podem (e o fazem) gerar álbuns acústicos belos, minimalistas e até adoráveis. Mas o duo de Paulinho com si mesmo é um assombro de sonoridade que remete àquela qualidade, dita inigualável, de João Gilberto.

Nem vou comentar faixa por faixa. Deixo que os interessados vão à caça e se deliciem. Só recomendo uma de forma especialíssima: “Bolero de Satã”, revisitando a gravação que originalmente foi de Elis Regina com Cauby Peixoto. E eu achava que nunca na vida alguém poderia revisitar esta canção com brilho próprio. Thank god I was totally wrong!


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