Brazilian Nights: Leny Andrade with Paquito D'Rivera from Jazz at Lincoln Center
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The last date listed for Brazilian Nights: Leny Andrade with Paquito D'Rivera was Saturday April 2, 2011 / 9:30pm.
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Pulitzer-winning trumpeter and Jazz at Lincoln Center artistic director Wynton Marsalis has called Marcus Roberts "the genius of the modern piano," and there's no question that he's one of the greatest jazz pianists and composers working today. Since his Jazz at Lincoln Center debut in 1987, Roberts' deeply significant recorded and commissioned works have honored some of his most revered predecessors of the piano. Roberts has a long history of treasuring the tenets of jazz through his work, which, for the last quarter century, has epitomized preservation through innovation. Joining him for this musical exploration of the Piano Masters of Melody is his new ensemble The Modern Jazz Generation, a large ensemble that features nearly a dozen top musicians spanning three generations, including bassists Thaddeus Expose and Raviv Markovitz, drummer Jason Marsalis and sax man Ricardo Pascale. Learn More
Most of the seats at this venue are plastic director's chair height style with built in arms and a footrest. Not a problem for me, but in observing the audience as I waited for the performance to begin, noticed that for some patrons, it was difficult for them to comfortably fit in the chairs since they are not adjustable in terms of width. Be forewarned and potentially spring the extra bucks for the select café style table seats down in the orchestra level if this is a concern for you or ask the staff at Lincoln Center to help find you a more comfortable location if possible.Marty Stuart & Connie Smith info • Feb 20 2014 star this tip starred
Reviews & Ratings
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Leny Andrade and Paquito D'Rivera are great performers and put on an excellent show. My only complaints would be: too short a show, too tall a chair. To insure visibility, the chairs at the back of the mezzanine area are elevated. I might have...continued
Quotes & Highlights
“To describe Ms. Andrade as both the Sarah Vaughan and Ella Fitzgerald of bossa nova only goes so far in evoking a performer whose voice seems to contain the body and soul of Brazil.” —New York Times
Making the virtuosic and vigorous style of samba-jazz her main field of expression, Leny Andrade acquired a solid reputation as a singer and improviser, acknowledged by the many top musicians who have performed with her, such as Paquito D’Rivera (who considers Andrade his favorite singer), Luiz Eça, Dick Farney, João Donato, Eumir Deodato, and Francis Hime. Leny Andrade’s eclectic style became better defined with the advent of bossa nova, through which she introduced jazz elements into her singing. Finally, she opted for a synthesis of samba-jazz that refutes much of the delicacy and attention to the lyrics as proposed by bossa nova, in favor of a more energetic interpretation. The LP Registro (1979) is a good sample of her dedication to that genre. She also has albums dedicated to rootsy samba-canção/samba composers like Cartola, Leny Andrade Interpreta Cartola (1987), and Nelson Cavaquinho (Luz Negra, 1994). Throughout her career, Andrade had many hits and some of her biggest include “Estamos Aí” (Durval Ferreira/Maurício Einhorn), “A Resposta” (Marcos Valle/Paulo Sérgio Valle), and “Samba de Rei” (Marcos Vasconcellos/Pingarilho).
At six, Andrade was already taking classical piano classes. At nine, she started to sing on radio shows like the Clube do Guri (Rádio Tupi, Rio de Janeiro). Six years later, she became the crooner for the Permínio Gonçalves Orchestra. In 1961, she performed at the historic nightclubs of the Beco das Garrafas, Bacará (accompanied by the Sérgio Mendes Trio), and Bottle’s Bar. Her first album, A Sensação, was released that same year. In the next year, she became the crooner of Dick Farney’s orchestra in São Paulo. In 1965, she had success with the show Gemini V, together with Pery Ribeiro and the Bossa Três at the Porão 73 nightclub, which was recorded live and released as an LP. In that same year, she recorded “Estamos Aí” (Durval Ferreira/Maurício Einhorn), one of the most important songs of her repertory, for an eponymous LP. Andrade departed then for a season in Argentina, at the end of which she settled in Mexico, where she lived from 1966 to 1970. In 1972, she and Ribeiro starred in the Gemini V show again, yielding the live recorded LP Gemini Cinco Anos Depois/Pery Ribeiro & Leny Andrade. In 1973, she participated on the live recording Expo-Som ‘73, together with Márcia, Simone, and Ari Vilela. Her international activities gained momentum in the decades of 1980 and 1990, a period in which she shared her time between the U.S. and Brazil. In 1993, she moved to New York, NY. In the U.S., she performed intensively in jazz festivals, 40 just in the first year. In August 1994, she participated in the Hollywood Bowl Festival (Los Angeles, CA), performing for 15,000 people. In the same year, she performed at the Lincoln Center and released her praised acoustic album in duet with guitarist Romero Lubambo (Coisa Fina). In 1995, she was nominated for the Sharp prize as Best MPB Female Singer, released Letra e Música in duet with Cristóvão Bastos (an album dedicated to Tom Jobim’s originals with song and lyrics written without collaborators), and participated in the Umbria Jazz Festival (Umbria, Italy) and in the fourth Blu Jazz Festival (Blumenau, Santa Catarina, Brazil). In 1998, she also participated in the JVC Jazz Festival (New York, NY) and on the TV special Tim Maia Tribute (Multishow, Brazil). ~ Alvaro Neder, All Music Guide
About the Ticket Supplier: Jazz at Lincoln Center
Their mission is to enrich the artistic substance and perpetuate the democratic spirit of America’s music. From down home and elegant concert performances by the Jazz at Lincoln Center Orchestra to entertaining educational programs that bring the sound and feeling of jazz into the lives of thousands of kids and grownups to innovative collaborative programs with artists in diverse idioms: they offer top quality musicianship and universal friendship. By taking the feeling of jazz on tour and by inviting artists and audiences from all over the world into their new home in New York City, Frederick P. Rose Hall, Jazz at Lincoln Center brings people together for a simple purpose: To Have a Profoundly Good Time. Welcome is their motto.