While my seven-string guitar gently weeps: Pablo Vieira and the new generation of Brazilian Chorinho
Choro (also Chorinho) is considered the first typically Brazilian urban music genre. It appeared in the city of Rio de Janeiro in the nineteenth century. The name means “lament” or “weep” and it comes from the mixture of the percussion base of African Lundu mixed with European rhythms. As in Jazz, improvisation is a basic condition, requiring high virtuosity from its performers, called Chorões (Weepers). Pablo Vieira (26), from São Paulo is a Weeper. The former Law student plays the seven-string guitar in the quartet “Chorando é que se aprende” (We learn as we weep) and is about to release a solo project. The new generation of Chorinho shows that the guitars have been weeping gentler then ever!
(GF) How was your first contact with music?
(PV) I usually say that I had several "first contacts" with music. I didn´t have much to do with music during my childhood, although I do remember that I really enjoyed listening to an album that belonged to my mother. It was "El Mauro", from The Gipsy Kings. Later, I listened to a lot of music with my dad and developed a taste for the Brazilian soul of Tim Maia and the country rock of Creedence Clearwater Revival. Later, when I discovered the album "O Poeta e o Violão" (The Poet and the Guitar), by Toquinho and Vinícius de Moraes I got hopeless hooked on music. And finally, I knew it was eternal love, when I first listened to “Doce de Coco”, composed by Jacob do Bandolim, one of the big names in the history of the Choro genre.
(GF) Choro has a tradition of skilful guitar players. Where do young musicians like you get their references from?
(PV) Toquinho is a very strong reference for me, but I'm also an unconditional fan of the guitars of Baden Powell, Yamandu Costa, Raphael Rabello, Rafael Schmidt, among many others. Lately, I have heard a lot of the so-called "Brazilian song", from musicians like Breno Ruiz, Renato Braz and Monica Salmaso.
(GF) What about the group, “Chorando é que se aprende”? How long have you been playing together?
(PV) It all started back in 2015, as a trio. I play the seven-string acoustic guitar, Lucas Martins plays bandolim (the Brazilian style flat- back mandolin) and João Pedro Franzosi plays the tambourine. In 2017, we became a quartet, with Leonardo Relvas playing cavaquinho, a four-string acoustic guitar. The funny detail is that we all met at the Law School and we actually managed to get through it!
(GF) Future plans?
(PV) After much hesitation, in March I will release a solo EP called “Missão” (Mission), a passionate work with three tracks of solo guitar. Right now, I am very involved with the production of the show. It will be a new experience for me, in a very cosy, intimate place in São Paulo, for 25 people only. It will be an af fectionate celebration.
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Written by Geisa Fernandes - Brasil / Rio de Janeiro
The repertoire of this jazz singer and awarded songwriter from Rio de Janeiro reveals influences of Brazilian popular music, the French chanson and Latin American rhythms, but most of all, Geisa Fernandes is a jazz singer. Billie Holiday aficionada (back in college folks used to call her "Lady Doc"), this PhD holder and Comics researcher was a former vocalist of several bands in São Paulo.
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