Mr. Paulo Moura

His duo record "Mood Ingenuo: Pixinguinha Meets Duke Ellington" with 2000 Grammy Award winner Paulo Moura represents one of the first cross-cultural explorations of jazz and choro.An adjunct professor at the City College of New York, he regularly teaches courses on Jazz Piano, Jazz Theory, Improvisation, and Brazilian Instrumental Music at the Federal University of Minas Gerais, the Escola de Musica of Brasilia, UniRio, and leads a rhythm section seminar at the Drummers Collective in NYC.

A legend of instrumental music for half a century, clarinet and saxophone virtuoso Paulo Moura is the first Brazilian instrumentalist to be honored with the Latin Grammy (2000) for his CD "Paulo Moura e Os Oito Batutas", which popularized internationally the century-old Brazilian instrumental style called "choro".To categorize or "label" Paulo Moura is next to impossible.His name is spoken with reverence in musical circles ranging from jazz to classical, and known throughout the world.His sound - whether on saxophone or clarinet is unmistakable.His unique sense of improvisation, his interpretations and phrasings, have made him the model that a generation of Brazilian instrumentalists have looked up to.And while he is passionately dedicated to the preservation of the various traditions of Brazilian music, he is arguably Brazil's greatest living interpreter of mainstream improvisational jazz.The youngest of ten siblings, born in the mid-1930s to a working class Afro-Brazilian family in a small city in Brasil, Paulo Moura began playing as a child in his father's band and by age 19 appeared as soloist with the Brazilian Symphony Orchestra, playing Weber's Concertino for Clarinet and Orchestra.
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Because of his artistic prominence Mr. Moura has held important and prestigious public positions: Director of the Museum of Image and Sound in Rio de Janeiro (1997-99), and member of the Municipal Council for the arts (1997-99).In 2000, Moura composed and performed the Urban Fantasy for Alto sax and Orchestra for the centennial of the Oswaldo Cruz Foundation.He was featured in the film "Villa-Lobos: A Passion" for which he also arranged and performed the opening soundtrack, and he performed in a 19-concert tour in Japan with the singer Joyce.His discography includes over 25 recordings.
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1988 Quarteto Negro: Paulo Moura, Jorge Degas, Zez#233 Mota e Djalma Corr#234a, Kuarup
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1999 Mood Ingenuo: Paulo Moura and Cliff Korman duo, JazzHeads

His duo record "Mood Ingênuo: Pixinguinha Meets Duke Ellington" with 2000 Grammy Award winner Paulo Moura represents one of the first cross-cultural explorations of jazz and choro.Their collaboration expanded to other important crosscultural projects: Gershwin & Jobim, Gnattali and Monk, and to their latest show and record dedicated to "gafieira" and swing, which was presented at Lincoln Center in 2001: "Gafieira Dance Brasil"

An adjunct professor at the City College of New York, he regularly teaches courses on Jazz Piano, Jazz Theory, Improvisation, and Brazilian Instrumental Music at the Federal University of Minas Gerais, the Escola de Musica of Brasilia, UniRio, and leads a rhythm section seminar at the Drummers Collective in NYC.

PAULO MOURA

A legend of instrumental music for half a century, clarinet and saxophone virtuoso Paulo Moura is the first Brazilian instrumentalist to be honored with the Latin Grammy (2000) for his CD Paulo Moura e Os Oito Batutas. But to categorize or "label" him is next to impossible.His name is spoken with reverence in musical circles ranging from jazz to classical, and known throughout the world.His sound, whether on saxophone or clarinet, is unmistakable.His unique sense of improvisation, his interpretations and phrasings, have made him the model that a generation of Brazilian instrumentalists have looked up to. And while he is passionately dedicated to the preservation of the various traditions of Brazilian music, he is arguably Brazilâs greatest living interpreter of mainstream improvisational jazz. The youngest of ten siblings, born in the mid-1930s to a working class Afro-Brazilian family in a small city in Brasil, Paulo Moura began playing as a child in his father's band and by age 19 appeared as soloist with the Brazilian Symphony Orchestra, playing Weber's Concertino for Clarinet and Orchestra.
...
Because of his artistic prominence Mr. Moura has held important and prestigious public positions: Director of the Museum of Image and Sound in Rio de Janeiro (1997-99), and member of the Municipal Council for the arts (1997-99). In 2000, Moura composed and performed the Urban Fantasy for Alto sax and Orchestra for the centennial of the Oswaldo Cruz Foundation.He was featured in the film "Villa-Lobos: A Passion" for which he also arranged and performed the soudtrack, and he performed in a 19-concert tour in Japan with the singer Joyce.His discography includes over 25 recordings.
...
1959 Escolha e Dance com Paulo Moura, Sinter Discos 1960 Paulo Moura Interpreta Radamés Gnatalli, Continental 1962 Tangos e Boleros, Chantecler 1968 Paulo Moura e Quarteto, Equipe 1969 Paulo Moura e Hecteto: Mensagem, Equipe1 1970 Paulo Moura e Hecteto: Fibra, Equipe 1971 Pilantocracia, Equipe2
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1988 Quarteto Negro: Paulo Moura, Jorge Degas, Zezé Mota e Djalma Corrêa, Kuarup
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1999 Mood Ingenuo: Paulo Moura and Cliff Korman duo, JazzHeads

PAULO MOURA

A legend of instrumental music for half a century, clarinet and saxophone virtuoso Paulo Moura is the first Brazilian instrumentalist to be honored with the Latin Grammy (2000) for his CD Paulo Moura e Os Oito Batutas. But to categorize or "label" him is next to impossible.His name is spoken with reverence in musical circles ranging from jazz to classical, and known throughout the world.His sound, whether on saxophone or clarinet, is unmistakable.His unique sense of improvisation, his interpretations and phrasings, have made him the model that a generation of Brazilian instrumentalists have looked up to. And while he is passionately dedicated to the preservation of the various traditions of Brazilian music, he is arguably Brazilâs greatest living interpreter of mainstream improvisational jazz. The youngest of ten siblings, born in the mid-1930s to a working class Afro-Brazilian family in a small city in Brasil, Paulo Moura began playing as a child in his father's band and by age 19 appeared as soloist with the Brazilian Symphony Orchestra, playing Weber's Concertino for Clarinet and Orchestra.
...
Because of his artistic prominence Mr. Moura has held important and prestigious public positions: Director of the Museum of Image and Sound in Rio de Janeiro (1997-99), and member of the Municipal Council for the arts (1997-99). In 2000, Moura composed and performed the Urban Fantasy for Alto sax and Orchestra for the centennial of the Oswaldo Cruz Foundation.He was featured in the film "Villa-Lobos: A Passion" for which he also arranged and performed the soudtrack, and he performed in a 19-concert tour in Japan with the singer Joyce.His discography includes over 25 recordings.
...
1959 Escolha e Dance com Paulo Moura, Sinter Discos 1960 Paulo Moura Interpreta Radamés Gnatalli, Continental 1962 Tangos e Boleros, Chantecler 1968 Paulo Moura e Quarteto, Equipe 1969 Paulo Moura e Hecteto: Mensagem, Equipe1 1970 Paulo Moura e Hecteto: Fibra, Equipe 1971 Pilantocracia, Equipe2
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1988 Quarteto Negro: Paulo Moura, Jorge Degas, Zezé Mota e Djalma Corrêa, Kuarup
...
1999 Mood Ingenuo: Paulo Moura and Cliff Korman duo, JazzHeads

However, if they could have made music together, a likely result of such meeting would be Mood Ingênuo, an outstanding collection of music by those composers performed by two of the most prominent jazz artists in Brazil and the U.S.: Paulo Moura (saxophone) and Cliff Korman (piano).
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In just about one hour, Moura and Korman will astound your senses with their artistic and touching performances of classics such as Ingênuo (Naive), Satin Doll, Carinhoso (Affectionate), and more.
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One can only dream that future encounters between Moura and Korman will soon happen again.
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Paulo Moura is an Afro-Brazilian whose face, illuminated by eyes the color of the sea, expresses a profound and direct wisdom.
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If you don't know Paulo Moura you don't know Brazilian music.Paulo is perhaps Brazil's finest reed man. He's a musician's musician, the teacher of many of a new generation of Brazil's more renown sax players... At a time like this when highly contrived and mass produced sounds dominate the Brazilian music industry, Paulo's reading of Brazilian standards like the songs of Pixinguinha, Zeca de Abreu and Tom Jobim are more important than ever.Paulo represents a bridge between at least three Brazilian musical traditions: he is credited for reviving the choro of the early 20th century which is his musical heritage; he was a significant player in pre-bossa Brazil; and he is at the forefront of a newer tradition based on his Brazilian roots, yet influenced by and in continuous dialogue with his North American jazz counterparts. (...) Although Cliff hasn't been on the scene as long as Paulo, he's definitely someone to keep your eye on as a substantial jazz pianist and a musician whose playing will help other North Americans better understand Brazilian music and the bridges between the two worlds.
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Moura is an outstanding sax player who has chosen to be the heir of Pixinguinha, the great reed man that brought the saophone to Brasil at that time when Sidney Bechet made it poopular among the North Americans.
...
A gentle priest, Paulo Moura, whose clarinet is worldwide recognized as being the indelible memory of hundred years of choro, has enchanted the public by intertwining with the powerful geometries of Cliff Korman's piano and the acrobatic changes of the cavaquinho of Zé Paulo Miranda.
...
When Paulo Moura and Cliff Korman brought on stage for the first time their performance "Mood Ingênuo", the unexpected happened: one sound celebrated the music of two giants of the African-American tradition who never had a chance to meet in life: Edward "Duke" Ellington and Alfredo da Rocha Vianna ("Pixinguinha").
...
The malleable jazz piano of Cliff Korman and the unmistakable sound of Paulo Moura's clarinet engage in a knowledgeable dialogue, whose dreamy dimension of touchable lightness pays a well deserved homage two the two giants of music.

However, if they could have made music together, a likely result of such meeting would be Mood Ingênuo, an outstanding collection of music by those composers performed by two of the most prominent jazz artists in Brazil and the U.S.: Paulo Moura (saxophone) and Cliff Korman (piano).
...
In just about one hour, Moura and Korman will astound your senses with their artistic and touching performances of classics such as Ingênuo (Naive), Satin Doll, Carinhoso (Affectionate), and more.
...
One can only dream that future encounters between Moura and Korman will soon happen again.
...
Paulo Moura is an Afro-Brazilian whose face, illuminated by eyes the color of the sea, expresses a profound and direct wisdom.
...
If you don't know Paulo Moura you don't know Brazilian music.Paulo is perhaps Brazil's finest reed man. He's a musician's musician, the teacher of many of a new generation of Brazil's more renown sax players ... At a time like this when highly contrived and mass produced sounds dominate the Brazilian music industry, Paulo's reading of Brazilian standards like the songs of Pixinguinha, Zeca de Abreu and Tom Jobim are more important than ever.Paulo represents a bridge between at least three Brazilian musical traditions: he is credited for reviving the choro of the early 20th century which is his musical heritage; he was a significant player in pre-bossa Brazil; and he is at the forefront of a newer tradition based on his Brazilian roots, yet influenced by and in continuous dialogue with his North American jazz counterparts. ( ... ) Although Cliff hasn't been on the scene as long as Paulo, he's definitely someone to keep your eye on as a substantial jazz pianist and a musician whose playing will help other North Americans better understand Brazilian music and the bridges between the two worlds.
...
Moura is an outstanding sax player who has chosen to be the heir of Pixinguinha, the great reed man that brought the saophone to Brasil at that time when Sidney Bechet made it poopular among the North Americans.
...
A gentle priest, Paulo Moura, whose clarinet is worldwide recognized as being the indelible memory of hundred years of choro, has enchanted the public by intertwining with the powerful geometries of Cliff Korman's piano and the acrobatic changes of the cavaquinho of Zé Paulo Miranda.
...
When Paulo Moura and Cliff Korman brought on stage for the first time their performance "Mood Ingênuo", the unexpected happened: one sound celebrated the music of two giants of the African-American tradition who never had a chance to meet in life: Edward "Duke" Ellington and Alfredo da Rocha Vianna ("Pixinguinha").
...
The malleable jazz piano of Cliff Korman and the unmistakable sound of Paulo Moura's clarinet engage in a knowledgeable dialogue, whose dreamy dimension of touchable lightness pays a well deserved homage two the two giants of music.