Cantora-compositora nascida na Guatemala é hoje uma das mais cultuadas artistas da Califórnia: conheça a música de Gaby Moreno, vencedora do Grammy Latino

Nascida em 1981 na Guatemala, onde viveu até os 19 anos antes de emigrar à Califórnia/EUA,  Gaby Moreno é uma fonte jorrante de musicalidade e lirismo.

Cantora-compositora e guitarrista dotada de um esplendoroso flow, Gaby é a fonte de uma música que flui melíflua e aconchegante, cálida de afetos vividos, aventurando-se nos dois idiomas que domina – o espanhol e o inglês.

Vencedora do Grammy Latino de 2013 na categoria Artista Revelação, Gaby elencou nesta entrevista algumas de suas inspirações maiores entre as cantoras: Nina Simone, Aretha Franklin, Koko Taylor, The Staple Singers etc. Só as divas do gogó de ouro!

Em um dos documentários musicais mais pertinentes lançados em 2017, The Art of Listening, de Michael Coleman, Gaby Moreno participa de modo muito inspirador dos debates que o filme realiza sobre a longa e complicada jornada da música, de suas dores de parto até os tímpanos, corações e mentes dos ouvintes.

A intenção deste doc é investigar todo o complexo e às vezes misterioso processo prévio à nossa experiência sensorial com a música gravada, desde os fabricantes de instrumentos musicais e luthiers até os engenheiros de som e produtores musicais (que são verdadeiros feiticeiros-dos-estúdios), sem esquecer a  inspiração e a transpiração dos artistas, em uma miríade de formas, que também jogam papéis preponderantes durante a captação de suas invenções e criações musicais:

Gaby Moreno contribui com The Art of Listening com ótimas reflexões e performances que sublinham a conexão umbilical entre música e afeto, canção e empatia, arte e justificação da vida. Começa parafraseando Nietzsche: “Life, without art, would be a mistake. Try to imagine life without music… it would be a mistake!” (assista acima, aos 32 minutos de duração).

Encantado com esta beldade guatemalteca, fui atrás de seus discos e estou conhecendo-os com muito gosto, já tendo adicionado Gaby ao rol das artistas de raízes latino-americanas que mais aprecio ouvir cantando na atualidade: rol que tem também Ana Tijoux (Chile), Rebeca Lane (Guatemala), Juçara Marçal (Metá Metá, Brasil), Salma Jô (Carne Doce, Brasil), dentre outras.

Ela estreou em disco com o álbum Still The Unkown (2008), que A Casa de Vidro compartilha na íntegra para download gratuito, contribuindo para abrir as primeiras portas para que vocês possam conhecer mais intimamente a obra desta artista magistral, ainda entre nós uma desconhecida… Em tempo, talvez a canção que mais gostei do álbum, “Letter To A Mad Woman”:


“Letter to a Mad Woman”
Acordes em Chordify

A letter came to him today
Said he really should obey
What an utter outrage
Someone could think that way
She said you better start to pray
If all you people wanna get saved
“We’re perfection, you’re a disgrace
Make no mistake!”

He’s just passing the days
Trying not to feel blue
But it’s all he can stand
They keep on feeding him the lies
Nothing else he can do
But to hope and to pray for this nonsense to change
But it won’t so he’s back in his gloom.

Sir you mean to imply
What I’ve said it’s all a lie
Can you look me in the eye
And justify
Well I think you’ve all gone mad
There’s so much loving to be had
Change your tune and I’ll be glad
Tolerance ain’t no fad

He’s just passing the days
Trying not to feel blue
But it’s all he can stand
They keep on feeding him the lies
Nothing else he can do
But to hope and to pray for this nonsense to change
But it won’t so he’s back in his room…

You offer solution
I’m hearing confusion
You stand there so proud and confident
I’m only one person
It could be so much worse
You say I must change what I believe it’s true

They keep on feeding us the lies
Nothing else for us to do
But to hope and to pray for this dust to disappear
So we all see a little more clear…



“AFRO-CUBAN”, de KENNY DORHAM (1957): “A first-rate recording for the under-appreciated Dorham, this one should be in every collection of all true music lovers.”

Kenny Dorham – Afro-Cuban

(1957, Blue Note)

Review by Michael G. Nastos – Considered Kenny Dorham’s finest recording of his all-too-short career, this re-reissue has been newly remastered and presumably now includes all of the takes from these nonet and sextet sessions of 1955. Considering the time period, this date remains way ahead of the Latin-tinged and hard bop music that would follow. It would be difficult to assess the sextet being a step below the larger group effort, but only because it is much less Afro-Cuban. Nonetheless the unmistakable drumming of Art Blakey powers the combo through the blisteringly swinging “La Villa” with unison horns (Hank Mobley, tenor sax; Cecil Payne, baritone sax). The other easy swinging pieces “K.D.’s Motion,” “Venita’s Dance,” and “Echo of Spring/K.D.’s Car Ride” display great group empathy and seem effortless, though they’re not. It’s the Latin-based music that really differentiates this band from all others of this era, save Dizzy Gillespie’s. Payne’s robust bari ignites the hip call-and-response motif of “Afrodisia,” while his horn in tandem with pianist Horace Silver backs the up-front horns, supplemented by trombonist J.J. Johnson, for the heated mambo-ish hard bopper “Basheer’s Dream.” Two takes of “Minor’s Holiday” are, curiously enough, exactly the same time at 4:24, both super cooking with Dorham’s clear-as-a-bell trumpet leading the other horns, which practically act as backup singers. Percussionist Carlos “Patato” Valdes is the perfect spice added to this dish. The lone ballad, “Lotus Flower,” is remarkable in that its marked tender restraint feels on the brink of wanting to cut loose, but never does. A first-rate recording for the under-appreciated Dorham, this one should be in every collection of all true music lovers.

1) Afrodisia (5:06)
2) Lotus Flower (4:17)
3) Minor’s Holiday (4:28)
4) Basheer’s Dream (5:03)
5) K.D.’s Motion (5:29)
6) La Villa (5:24)
7) Venita’s Dance (5:22)
8) K.D.’s Cab Ride (6:12)

PLAY >>>

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Artist Biography by Scott Yanow

One of the most important (and controversial) innovators of the jazz avant-garde, Ornette Colemangained both loyal followers and lifelong detractors when he seemed to burst on the scene in 1959 fully formed. Although he, and Don Cherry in his original quartet, played opening and closing melodies together, their solos dispensed altogether with chordal improvisation and harmony, instead playing quite freely off of the mood of the theme. Coleman’s tone (which purposely wavered in pitch) rattled some listeners, and his solos were emotional and followed their own logic. In time, his approach would be quite influential, and the quartet’s early records still sound advanced many decades later.

Unfortunately, Coleman’s early development was not documented. Originally inspired by Charlie Parker, he started playing alto at 14 and tenor two years later. His early experiences were in R&B bands in Texas. (…) Coleman moved to Los Angeles in the early ’50s, where he worked as an elevator operator while studying music books.

(…) During 1959-1961, beginning with The Shape of Jazz to Come, Coleman recorded a series of classic and startling quartet albums for Atlantic. With Don Cherry, Charlie HadenScott LaFaro, or Jimmy Garrison on bass, and Billy Higginsor Ed Blackwell on drums, Coleman created music that would greatly affect most of the other advanced improvisers of the 1960s, including John Coltrane, Eric Dolphy, and the free jazz players of the mid-’60s. (…) Coleman has remained true to his highly original vision throughout his career and, although not technically a virtuoso and still considered controversial, is an obvious giant of jazz.

* * * *


Ornette Coleman, a true revolutionary who changed the course of jazz and made profound contributions to the music for six decades, died of cardiac arrest in Manhattan on June 11 at age 85. Known primarily for his work on alto saxophone, Coleman also played trumpet and violin.

More than almost any other jazz musician of his generation, he was as revered for his philosophy and ideas as he was for his groundbreaking music.

“I have always wanted to do as many things as I could learn to do,” Coleman told DownBeat associate editor Dan Morgenstern in the April 8, 1965, issue. “The reason why I am mostly concerned with music is because music has a tendency to let everybody see your own convictions; music tends to reveal more of the kind of person you are than any other medium of expression. It’s not like painting, where all of a sudden it’s there. It’s unlike any other activity, and I love it because of that.”

Born in Fort Worth, Texas, on March 9, 1930, Coleman started out on tenor sax and began playing in r&b and bebop bands before switching to alto, which became his main instrument after relocating to Los Angeles in 1954. While his iconoclastic approach to his instrument was off-putting to many musicians at the time, Coleman found an inner circle of kindred spirits in pianist Paul Bley, trumpeter Don Cherry, bassist Charlie Haden and drummers Ed Blackwell and Billy Higgins, with whom he began forging a new collective improv vernacular in their early experiments at L.A.’s Hillcrest Club.

His triumverate of forward-looking albums as a leader—Something Else!!!!: The Music of Ornette Coleman(1958) along with Tomorrow Is The Question and the prophetically titled The Shape Of Jazz To Come (both released in 1959)—ushered in the free-jazz movement and introduced Coleman’s “harmolodic theory,” whereby harmony, movement of sound and melody all share the same value.

One of the pieces on The Shape Of Jazz To Come, the haunting “Lonely Woman,” has become a jazz standard, studied in conservatories and interpreted by innumerable artists through the decades.

After moving to New York City in November 1959, Coleman gained notoriety from a 10-week residency at the Five Spot with his quartet of Cherry, Haden and Higgins. For a second four-month residency at the Five Spot in 1960, Blackwell replaced Higgins on drums. Three important Coleman recordings were released that pivotal year, extending his influence in the jazz world—his double quartet project Free Jazz: A Collective Improvisation and two potent quartet recordings, Change Of The Century and This Is Our Music.

Two acclaimed albums released at the end of that decade—1968’s New York Is Now and Love Call—featured the alto saxophonist doubling on trumpet alongside tenor saxophonist Dewey Redman, bassist Jimmy Garrison and drummer Elvin Jones.

In the Nov. 22, 1973, issue of DownBeat, Coleman discussed the concept of free-jazz with journalist Michael Bourne: “To me free is not a style. It’s a personal ability. Playing free is not having to have a style. This always bothered me, when I used to play for people to dance. I’ve always said that even if I’m playing this funny music, even if they’ve been dancing, it’s supposed to make whatever is inside your existence freer, a little happier.”

Coleman’s boundless imaginative powers as a composer were illustrated on 1972’s Skies In America, which was a single lengthy piece performed by the London Symphony Orchestra.

With 1977’s mesmerizing Dancing In Your Head, featuring the Master Musicians of Jajouka and introducing Coleman’s electric Prime Time band, he began courting a new muse that later coalesced with the 1982 groove-oriented free-jazz manifesto Of Human Feelings, fueled by the dynamic electric bassist Jamaaladeen Tacuma.

Other noteworthy recordings of the decade included Coleman’s collaboration with guitarist Pat Metheny, 1986’s Song X, and 1988’s Virgin Beauty, which featured a guest appearance by Grateful Dead guitarist Jerry Garcia.

The ’90s were marked by typically provocative statements, such as 1995’s Tone Dialing and 1996’s simultaneous releases, Sound Museum: Hidden Manand Sound Museum: Three Women.

The composer’s Pulitzer Prize-winning Sound Grammar was recorded live in Ludwigshafen, Germany, on Oct. 14, 2005, with his working quartet of son Denardo Coleman on drums and the two-bass tandem of Anthony Falanga and Greg Cohen.

Throughout his lengthy, prolific career, no matter how far “out” Ornette took his music, that plaintive alto sax cry and deep blue Texas feel remained at the heart of his soaring improvisations.

Voted into the DownBeat Hall of Fame by the readers in 1969, Coleman was also honored with an NEA Jazz Masters fellowship in 1984 and a Grammy Lifetime Achievement Award in 2007.

The venerable, beloved figure was feted at an all-star 84th birthday celebration and concert at the Prospect Park Bandshell on June 12, 2014. The diverse array of luminaries who attended was a reflection of the broad range of artists who respected and admired him: Sonny Rollins, Joe Lovano, David Murray, Henry Threadgill, Antoine Roney, Ravi Coltrane, James Blood Ulmer, Branford Marsalis, Geri Allen, Bill Laswell, John Zorn, Laurie Anderson, Patti Smith and Flea.

At the concert, the soft-spoken Coleman addressed the crowd: “It’s so beautiful to see so many beautiful people who know what life is, who know how to get together and help each other. It’s good to be alive while we’re alive. The only thing we have to do is to be alive. So do what you want to do so that we can all have something to enjoy.”

(To read a review of the 2014 tribute to Coleman, clickhere. To read Coleman’s essay “To Whom It May Concern,” written for DownBeat in 1967, click here.)

— Bill Milkowski

[Vídeos Musicais] Nina Simone, “Ao Vivo Em Londres, 1968” (22 min)


Nina Simone (1933 – 2003)

0.00 • Go To Hell
3:10 • I Ain’t Got, I Got Life
7:55 • Backlash Blues
11:35 • I Put A Spell On You
13:24 • Don’t Let Me Be Misunderstood

“Meu paraquedas pra lhe dar, pra te dar um bom motivo pra voar…” (Passapusso @ BLOCO DO EVOÉ 02)



01) Wado – Ontem Eu Sambei (3:27)
02) Mundo Livre S.A. – Bolo de Ameixa (3:56)
03) Tulipa – Megalomania (4:12)
04) Graveola e O Lixo Polifônico – Babulina’s trip (4:43)
05) Natália Matos – Beber você (3:48)
06) Rodrigo Amarante – Maná (2:39)
07) Chico Science & Nação Zumbi – Manguetown (3:13)
08) Ceumar – Turbilhão (3:56)
09) Russo Passapusso – Paraquedas (4:24)
10) Metá Metá – Rainha das Cabec¸as (3:50)
11) Castello Branco – Tem Mais Que Eu (3:06)
12) Saravah Soul – Fire (3:35)
13) Júpiter Maçã – Beatle George (3:37)
14) Carlos Malta – Come Together (3:18)
15) Mariana Aydar – Tá? (3:00)
16) Ceumar – Segura O Coco (2:53)
17) Bruno Batista & Dandara Modesto – Pois, Zé (3:20)
18) Baleia – Motim (4:46)
19) Zulumbi feat Elo Da Corrente – Sob o signo do insano (2:12)
20) Chico Science – Maracatu Atomico (4:43)
21) Jupiter Maçã – Um Lugar Do Caralho (4:58)
22) Metá Metá, Orunmila (4:03)


Capa: “Os Beberrões” de Vincent Van Gogh