Com Fusoes Sound System
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Com Fusoes Sound System

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"une compilation estivale incontournable de musiques du monde et une véritable mine de musiciens et de producteurs qui gagnent à être connus."

En 2000, le producteur brésilien Maurício Pacheco découvrait la musique pop angolaise des années 1960 et 1970. Depuis lors, il voyage régulièrement en Angola. Fan de chanteurs comme Teta Lando, Artur Nunes ou Carlos Lamartine, il a eu l’idée de transposer leurs chansons dans l’univers des clubs brésiliens d’aujourd’hui. Des producteurs et DJ de ses amis, comme Mario Caldato Jr., qui a produit notamment les Beastie Boys et Beck, ainsi que Dj Dolores, Moreno Veloso et Kassin, ont planché sur l’adaptation et le remix des anciens tubes angolais. Le mélange d’ancien et de nouveau, de chants traditionnels et de rythmes dance font de « Comfusões 1 » une compilation estivale incontournable de musiques du monde et une véritable mine de musiciens et de producteurs qui gagnent à être connus.

- Arte - TV (France)


"CD review @ mondomix.org"

Brazilian Mauricio Pacheco came onto the music scene in 1994. He has produced for Fernanda Abreu and Jussara Silveira and founded the successful capoeira-hip hop band Stereo Maracana. In 2009 he produced a remix project Comfusões 1 – From Angola To Brasil, Angolan songs from the 60s and 70s remixed by Brazil’s top left-field producers.



In what feels like a labour of love, Rio producer Mauricio Pacheco took a hand-picked collection of Angolan tracks to a select crew of Brazilian remixers. The results are soulful and dreamy.

Sourcing songs from the archives of the Angolan National Radio, Pacheco unearthed some gems from the 60s and 70s, a golden age in Angolan pop music which spanned the bitter fight towards independence in 1975. Bonga, Teta Lando, Artur Nunes and Carlos Lamartine were part of the generation of popular songwriters who took a pro-independence stand and became legendary touch-stones as their country headed into a civil war which would not end until 2002. Plugging retro African tracks into shimmering studios on the other side of the Atlantic takes a sure hand, and Pacheco has gathered together some of the most sought-after left-field Brazilian producers to carry it off. In a call for a united Angola on Angolé, Teta Lando’s mournful and heartfelt vocals get a gentle lift from Pacheco’s drifting electronica and his reverb rework of Avozinho’s Mama Divva Diame is another highlight.

Kassin operates at the epicentre of the Rio avant-garde. Here, with Berna Ceppas, he puts a breezy, spacey spin on Bonga’s gorgeous lament Kapakiao. Celebrated Pernambucan innovator DJ Dolores tips breaks and metallic upbeats into the liquid guitar loops of Merengue Rebita. While on Kappopola Makongo, Moreno Veloso traces the sweet spot where Angolan semba meets samba. In this exchange, Comfusões celebrates and reroutes Angola’s rich musical past. With new kuduro king Dog Murras guesting on Chofer de Praça this album is clearly forward facing. But with all their experimental takes, Pacheco and Co have cut up the beats but not severed the links - the album is shot through with a tender mood and the sense of sad longing so at the core of Angolan song remains intact. There are deep cultural connections between Angola and Brazil, and this album explores that fractured story with the balanced flow of a capoeirista.

www.myspace.com/comfusoes

Comfusões 1 – From Angola To Brasil is out 1 June 2009 on Out Here Records
www.outhere.de - Mondomix


"Classicos angolanos em Com Fusões I"

A Maianga Produções lançou-se num projecto que não deixa de ser aventureiro, mas que também tem boas perspectivas em termos de resultado. O CD “Com Fusões 1”, pelo menos, já é um sucesso em alguns países como Portugal, Brasil e Inglaterra, e segundo uma nota daquela empresa, chegou a conquistar a posição de melhor disco lusófono de 2009 no blogue Lusotones, à frente de nomes conhecidos como Bonga, Yuri da Cunha e Sara Tavares.

O álbum é um remix de clássicos angolanos, alguns dos quais criados há várias décadas por músicos que já não fazem parte do mundo dos vivos, como Luís Visconde, Artur Nunes, Teta Lando, Avozinho, entre outros. Com doze faixas bem conhecidas do público apreciador da boa música angolana, tiradas do “fundo do baú”, este, porém, trata-se de um disco consumível nos tempos actuais, face ao trabalho, bastante contemporâneo, feito pelos artistas que nele intervêm.

O seu projecto nasceu da iniciativa do director da Maianga Produções, Sérgio Guerra, que solicitou ao músico e produtor brasileiro Maurício Pacheco um remix da música “Angolé”, de Teta Lando.


Da ideia de se fazer a versão de uma única música emergiu outra: a de se produzir um CD com vários clássicos angolanos, em que pudessem actuar importantes produtores da música underground brasileira.

Maurício Pacheco obteve autorização para pesquisar nos arquivos da Rádio Nacional de Angola todo material bruto que resultou na criação do CD “Com Fusões 1”. Os arranjos técnicos não deixam dúvidas de que, de clássicas, as canções seleccionadas passaram a ser bastante contemporâneas, a tal ponto de se enquadrarem bem entre as selecções actualmente feitas por DJ’s de rádios e discotecas.

“A união de músicos angolanos e brasileiros criou um álbum dançante, de ritmos variados e sonoridade contagiante”, refere a nota emitida pela Maianga Produções. Numa outra passagem é citado um comentário do crítico de música Cláudio Silva, segundo o qual este disco é uma viragem na maneira como a música angolana é encarada e pensada.

“É uma maneira das pessoas reencontrarem-se com os grandes temas cantados pelos nossos grandes músicos dos anos 60 e 70 (…). Projectos como este levam a música ao mundo, ressuscitando-a e reinterpretando os clássicos que moldaram uma geração, inspiraram o movimento da independência e se tornaram na identidade de uma nova nação”, refere o crítico ligado ao blogue Lusotones.

O CD começa calmo, com o tema de Teta Lando que deu origem ao projecto. O remix feito por Maurício Pacheco sobre a música “Angolé” realça um baixo e uma batida com ritmos que se aproximam do hip-hop.

Entretanto, o produtor brasileiro confirma na faixa número três a sua grande versatilidade no que diz respeito à música electrónica. Dá novas tonalidades ao tema “Mamã Divua Diami”, do também malogrado Avozinho, recorrendo para tal às várias ferramentas que oferecem os modernos aparelhos produtores som, criando uma harmonia conseguida apenas com trabalho muito aturado.

O resultado foi comparado pela revista inglesa Songlines a um tema do The Clash, grupo pilar de punkrock, considerado pioneiro das fusões do pop com a música do Terceiro Mundo.

RENOMADOS PARTICIPANTES
Para além dos autores já citados, o disco “Com Fusões 1” oferece a oportunidade de ouvir vozes de outros consagrados artistas nacionais: Bonga interpreta o tema “Kapakiao” (remix dos produtores Kassin e Berna Ceppas que emprestam a sua estética fracturada, com beats e synths); Carlos Lamartine intervém com dois temas – “Nzambi Nzambi” (remix de Rica Amabis que com um violão revela todo samba que tem este semba) e “Kuale N’go Valodo” (com fusões de Maurício Pacheco e intervenções do produtor MPC, do Digital Dubs e do percussionista brasileiro Jam da Silva); o considerado rei da música angolana, Elias Diá Kimuezo, canta a música “Zom Zom”, em que Maurício Pacheco dá um grande passo do semba para a house music.

O tema “Chofer de Praça”, da autoria de Luís Visconde e Alvarito, cujo remix também esteve a cargo de Maurício Pacheco, é também um dos que chama mais a atenção da crítica. Nele, o músico e produtor brasileiro faz uma viagem pelo ritmo pop, e conta com a excelente parceria do angolano Dog Murras. No tema “Merengue Rebita”, de Paulino Pinheiro, o DJ Dolores reforça a ligação do semba com as guitarradas do Norte do Brasil.

Outra conexão bem sucedida dáse na canção “Koppopola Makongo”, de Ciros Cordeiro da Mata, em que o produtor Moreno Veloso, filho de Caetano Veloso, aproxima o tema ao estilo samba da região baiana, num rearranjo em que entram percussão de garfo no prato, pandeiro, violão e outros instrumentos mais modernos.

O cantor Wyza é o único a representar a nova geração de músicos angolanos neste CD. Da sua autoria foi seleccionada a canção “Mãe”, na qual surge como fusão o violão do músico brasileiro Lenine. Há ainda o tema musical intitulado “Cada Cidadão Deve Sentir-se Um Soldado”, da autoria do extinto agrupamento Kissanguela, com intervenções do MC Fábio - jornal O País - Angola


"Com fusões reviewed by Amar Patel - Straightnochaser"

Mention Angola to music lovers today and the first thing they'll think of is probably kuduro, the club mash-up phenomenon of 2007 by way of Portugal. But few will realise that during the 1960s and 1970s some of the most soulful African pop records were coming out of Angola – written by independance-minded songwriters such as Teta Londo, Artur Nunes and Carlos Lamartine.

Mauricio Pacheco is well aware of the Angola's music heritage. The Brazilian producer who has worked with artists such as Fernando Abreu, Jusara Silveira and the Capoeira hip hop band Stereo Maracana, as well as Paulo Flores, Elias Diá Kimuezo (the king of Angolan Semba music) and Kuduro star Dog Murras, has travelled frequently to Angola since 2000, two years before the bitter civil war had ended.

Pacheco conceived this project as an ongoing cultural exchange between Angola and Brazil. Simple premise: dig through the crates of the RNA (Angolan National Radio) for the best tracks from back in the day. Next, hand that selection to the cream of leftfield production talent in Brazil for a 2009 remix – enter Rio-based Kassin, Pernambucan DJ Dolores and LA-based Mario Caldato Jr.

This fantasy matchmaking has worked a treat for one main reason: it's such fun. From the fado-infused space lullaby 'Tia' (remixed by Caldato and featuring Money Mark on anything from wurlitzer to melodica) to the semba-meets-samba shuffle of 'Kappopola Makongo', (remixed by Moreno Veloso), via Dolores' acid-highlife version of 'Merebgue Rebita' and Pacheco's numerous experiments with sound FX and beats (check 'Mae', featuring Lenine on six-string, for one) new life is breathed into each song, without tarnishing its core character. Further volumes to come. (Amar Patel) - www.straightnochaser.co.uk


"COMFUSOES - FROM ANGOLA TO BRASIL"

COMFUSOES - FROM ANGOLA TO BRASIL WITH PRODUCER MAURICIO PACHECO

Link:http://www.flyglobalmusic.com/fly/archives/africamiddle_east_features/comfusoes_from_angola_to_brasi.html

MAURICIO PACHECO’S PASSION FOR ANGOLAN MUSIC HAS FLOWERED INTO A WONDERFUL ALBUM OF REINTERPRETATIONS OF CLASSIC ANGOLAN TUNES BY THE CUTTING EDGE OF BRAZIL’S UNDERGROUND SCENE


Fly: So, please tell us a little about your own musical background?
Mauricio Pacheco: I grew up in the 80s in Rio, and I always loved samba and rock, so I started playing guitar in a band where we mixed all these elements of Carioca music, such as Brazilian soul, samba and a bit of rock too. When I started being a professional musician, I started another band with some friends, called Stereo Maracanã, wich brought capoeira and candomble to my music environment, and was my debut as a producer, in 2002. After that, my computer was my new instrument, as the guitar was in the beginning. I think my city is very open minded in terms of music, and you feel free to experiment and create your own path.

How did you get interested in Angola and Angolan music?
When I was 17, I lived in France for a year, studied music and got in touch with African musicians, that introduced me to Touré Kunda, Fela Kuti, Manu Dibango. At that age, you absorb new influences very quickly, so, the following week I was trying to play Malian guitar licks, buying vinyl, etc. There were a lot of clubs playing African dance music as well, like Mori Kanté and Youssou n’Dour in remixed versions. When I came back, I was talking about African music and I felt like an outsider. It’s curious because in Brazil we have a great African heritage, but you couldn’t find African music in stores or on the radio. Then I must give the credit to my friend Moreno Veloso (who I invited to remix the track ‘Kappopola Makongo’), because he simply introduced me lots of other African artists, and to Angolan music. I can remember the first time I heard that old compilation from the Alliance Française, called Angola 70. You know, it was a strong experience, because we loved samba, Jorge Ben, Gilberto Gil, and George Clinton, Nile Rodgers, and Sly & The Family Stone, and African music really was the piece that was missing in the puzzle to me, so I was just driven to it and I started to dig it. Angola was always special for me, because we speak the same language, and we feel like brothers. We have important Brazilian artists like Jorge Ben, who made an LP in the 70ies called “Africa-Brasil”, wich is a masterpiece, with lots of African rhythms in it mixed with samba and rock. All the music I loved most kind of got together and made more sense like this.

You’ve been there numerous times now, what have you been doing there?
I go to Angola every year, since 2003, when I was invited to record the first live DVD ever made there, called “Quintal do Semba”. It was recorded at the RNA (Radio Nacional de Angola) with some great local artists, like Paulo Flores, and Carlos Vieira Dias, the son of Liceu Vieira Dias, wich is one of the patrons of the samba movement, with his group N’Gola Ritmos. When I got there, it was astonishing. It doesn’t matter that you learned it in school, that we were both colonised by the Portuguese. When you leave that, travel across an ocean and go to Africa, you find people that looks like your people and talk in the same language, it’s an incredible thing. I met people that could have been my neighbours, and, most impressive, musicians that played all the music I like and have been listening to for years. You know, the way they build their arrangements, for example. I just felt very comfortable with all that, and after that I met and made records with very soulful artists, like the amazing young singer Wyza, who I’m a fan of and play guitar with right now. I’m also finishing the production of a CD for Elias Dia Kimuezo, so called the King of the Angolan music. He is an incredible old guy who sings with his soul, for real. I’d say he’s like an African Ibrahim Ferrer, very beautiful music. There’s something I have to say about these guys: I know they’re anonymous outside Angola, and there’s not so much of Angola that comes out, but there’s such great music there, I think people should be interested, because something special is going there, besides kuduro. There’s this mix of African and Cuban music ,and a bit of the guitar tradition of western Africa, it’s something really particular, but it doesn’t communicate very much with other countries. Angola suffered a lot with three decades of civil war, and that obviously affected the cultural exchanges and the life of every artist, everyone there.

What was it like going through the archives of Angolan pop? How did you go about doing it?
In fact I had the idea of remixing one particular song from Tetalando, called ‘Angole’, the track that opens the CD. My friend Sergio Guerra, who does an amazing work there, with his label Maianga, really lik - Fly Global Music - UK


"The sound of summer"

Comfusoes 1 from Angola to Brazil
[Review] Out|Here B0025Y6S3M
Submitted by Jill Turner on 7 May, 2009 - 21:33.

Melstar finds a skip in her step as she sings and nods along to the mellow grooves and dancefloor burners, of Comfusoes, a project to remix Angolan pop from the 60's and 70's by cutting edge producers from Brazil....does it work...read on..
The sound of summer – what a cracking album with some top tracks. Mauricio Pacheco is certainly a talented producer. The album opens with my favourite track ‘Angole’ originally from Teta Lando, it’s a track for rolling, and cruising down the street in the sunshine with a spring in your step. It opens with a nice little riff, then the deep base drum kicks in, and the soulful lyrics lift it somewhere else. I found myself singing along, for Angola, it’s a bright soulful start.
As the album progresses you’ll get to understand the albums’ title ‘Comfusoes’ – ‘confusions’, or with fusions. There is a true range of lovely songs, as ‘Tia’, Artur Nunes, the second track takes things deeper before exploring some dub styling and the beautiful moving voice of Carlos Lamartine exuding the melancholic emotion of Portuguese Fado, all the while blended with a sensual rhythm that is so enticing and quite addictive.
Some great memories of Brazil were evoked for me??This album will make you move, in so many different ways - tracks like ‘Angole’ will have you bouncing. ‘Mama Divva Diame’- Avozinho, will have you rocking, and swaying, and all the while with a serene smile on your face. ‘Chofer de Praca’- Luis Visconde Alvarito, will have you jumping fist in the air. It’s a real club banger, and a killer track. I can’t wait to see the reaction on the dancefloor when this track is dropped… I predict some wild reactions. And I have to mention ‘Cada Cidadao deve Sentir – Se Um Soldado’ by Kissanguela. As a Hip Hop head, I loved this track, nod your head, feel the vibe, and appreciate the lyrics.?Some great memories of Brazil were evoked for me.
This is no cliched Samba infused album that one may expect when mentioning Brazil. Listen with open ears and you'll hear Brazil, the sunshine, smiles, and movement. It was all brought back to me. It’s a great merger, Angola and Brazil move together in rhythm and soul.

Download Comfusões 1 - From Angola To Brasil
Buy the CD - Comfusoes - from Angola to Brasil

- gondwana.co.uk


"Its heart, soul, rhythms and rejuvenations shine brilliantly."



Comfusões sees contemporary Brazilian producers burnish Angolan’s fado-inspired golden pop age of the 1960s 1970s with dusty roots reggae, psych-jazz, space dub, spiky hip-hop and deep house. Unlike many fusion projects, this feels and sounds like a natural coalescence between two countries and peoples tethered through their colonizers (Portugal) and slave trade. Its heart, soul, rhythms and rejuvenations shine brilliantly. (****)

Rahul Verma

- The Independent ( UK )


"COMFUSOES - Cd of the week"

Remixe begleiten die Popmusik seit den frühen 80er Jahren. Spandau Ballet haben mit "Chant No1" das Remix-Format geprägt, fast immer sind es dabei Auftragsarbeiten für Studioproduzenten - in Auftrag gegeben von den Plattenfirmen und seltener von den Künstlern selbst - die einen Hit mit einem Four-to-the-Floor Beat unterlegen und auf Clubtauglichkeit trimmen.

House DJ und Produzent Felix da Housecat hat seine Änderungsideen für Nina Simones "Sinnerman" zum Beispiel am
Telephon seinem Studioingenieur vorgesungen - weil er selbst auf Club-Tournee war - und dieser hat dann die Klangbefehle an den Studioreglern brav umgesetzt; so
entstand ein internationaler Clubhit. Profitabel für alle Beteiligten, aber Musik für die Seele sieht anders aus.

Der brasilianische Musiker Mauricio Pacheco ging hier einen ganz anderen Weg - sein " Comfusões 1" Projekt ist eine engagierte Herzenssache, die ihn zwei Jahre lang intensiv beschäftigte. Pacheco wuchs in der Musikmetropole Rio de Janeiro auf, er spielt in der brasilianischen Hip Hop Capoeira Band Stereo Macana, als Produzent von Fernanda Abreu, Jussara Silveira und anderen brasilianischen Sängerinnen hat er sich einen Namen gemacht. Der befreundete brasilianische Top-Photograph Sérgio Guerra, der selbst in Angola lebt, machte Pacheco mit der Musik Angolas bekannt, lud ihn nach Luanda ein. Dort entstand die Idee zu " Comfusões 1", für das
brasilianische Produzenten die Musik Angolas aus den 60ern und 70ern in einem zeitgenössischen Gewand neu abmischten.

Sänger wie Teta Lando, Bonga und Artur Nunes haben diese goldene Ära der angolanischen Musik geprägt. Der Ruf nach eigener Bestimmung und einem vereinigten Land kommt im Lied "Angolé" des legendären Sängers Teta Lando zum Ausdruck, stellvertretend für den Spirit dieser Zeit zwischen politischer
Unabhängigkeit von Portugal und dem bevorstehenden Jahrzehnte anhaltenden Bürgerkrieg. Musikalisch ist in Tracks wie "Angolé" die klassische Semba Musik Angolas hörbar und gleichzeitig ihre Einflüsse auf Brasiliens Musik wie Samba - die
Namensähnlichkeit deutet es schon an. Fado klingt natürlich mit in den Songs, und auch dieser lusophone Blues verbindet die beiden Länder dies- und jenseits des Atlantiks. Jede Menge musikalisches Rohmaterial fand Pacheco also, mit
gemeinsamen Verwandtschaftsbeziehungen, die bis in die Zeit des Sklavenhandels zurückreichen. Pacheco erhielt Zutritt zu den Archiven des angolanischen nationalen Rundfunks, durch Berge von Tonbändern hörte er sich auf seiner Suche nach den Edelsteinen jener Epoche, nach und nach konnte er die Rechte für die kostbarsten
Funde sichern.

Es ist Mauricio Pachecos Liebe und Engagement für dieses Projekt zuzuschreiben, dass er diesen Songkatalog entweder selbst gefühlvoll in die heutige Popsprache tradiert hat, beziehungsweise das Gespür für die Auswahl der richtigen DJ Produzenten in Brasilien bewies. DJ Dolores aus Pernambuco hat mehrere eigene Tonträger in Europa bereits herausgebracht, in Brasilien gehört er zu den Erneuerern in der Musikszene, die regional agieren, dabei aber auch international verständlich bleiben. Breaks und Loops belassen seiner Studioarbeit an "Merengue Rebita" von Paulinho Pinheiro den natürlich groovenden, melodiösen Fluss, aber gleichzeitig umgarnen die Breakbeats von Hip Hop diesen alten Klassiker. Natürlich hat es sich Pacheco nicht nehmen lassen, seine eigenen, angolanischen Favorites selbst zu bearbeiten, wie den Opener "Angolé" von Teta Lando, oder den Fado Blues von "Zom Zom" von Elias Dia Kimuezo; auf manchen Tracks spielt der Brasilianer sogar selbst Instrumente neu ein. " Comfusões 1" ist Gegenwart und Vergangenheit im Dialog, aber auch die Zukunft ist hier schon im Mix, wenn Kuduro Einzug hält, der digitale Streetsound Angolas, der mit der Band Buraka Som Sistema für Furore in europäischen Clubs sorgte. Kuduro-Musiker Dog Murras peppt hier "Chofer de Praca" von Alvarito auf. Es zeichnet " Comfusões 1" aus, dass eben kein Four-to-the-Floor Strickmuster über die Vorlagen peitscht, nein, diese Tracks können sicher im Club eingesetzt werden, aber eben auch an der loungigen Strandbar oder auf
Balkonien.

Comfusões - Pacheco hat das Wortspiel hinter dem Albumtitel bedacht gewählt, es geht hier um Verbindungen, Fusionen, aber es bleiben bewusst auch Verwirrungen, Konfusionen, bestehen. Es ist interkontinentale Kultur, Geschichte und Geographie "in the Mix", und zwar einem engagierten an Inhalten interessierten Mix, der trotzdem
Kanten und offene Fragen bestehen lässt. Dieses Projekt trägt Charme, Unterhaltung und gleichzeitig daneben und darunter auffindbar für den Interessierten die dritte,
tiefer gehende, historische Dimension, die Erfolge wie zuvor Africando aus dem Senegal auszeichneten, die mit ihren Alben ihre afro-kubanischen Wurzeln in einem zeitgenössischen mid-atlantischen Salsa Cross-Over präsentierten. Als Projekt von
Produzenten und DJs bietet es diese verschiedenen Komponenten aber einem doch jüngeren Publikum - Funkhaus Europa(German radio)


"This fantasy matchmaking has worked a treat for one main reason: it's such fun!"

Mention Angola to music lovers today and the first thing they'll think of is probably kuduro, the club mash-up phenomenon of 2007 by way of Portugal. But few will realise that during the 1960s and 1970s some of the most soulful African pop records were coming out of Angola – written by independance-minded songwriters such as Teta Londo, Artur Nunes and Carlos Lamartine.

Mauricio Pacheco is well aware of the Angola's music heritage. The Brazilian producer who has worked with artists such as Fernando Abreu, Jusara Silveira and the Capoeira hip hop band Stereo Maracana, as well as Paulo Flores, Elias Diá Kimuezo (the king of Angolan Semba music) and Kuduro star Dog Murras, has travelled frequently to Angola since 2000, two years before the bitter civil war had ended.

Pacheco conceived this project as an ongoing cultural exchange between Angola and Brazil. Simple premise: dig through the crates of the RNA (Angolan National Radio) for the best tracks from back in the day. Next, hand that selection to the cream of leftfield production talent in Brazil for a 2009 remix – enter Rio-based Kassin, Pernambucan DJ Dolores and LA-based Mario Caldato Jr.

This fantasy matchmaking has worked a treat for one main reason: it's such fun. From the fado-infused space lullaby 'Tia' (remixed by Caldato and featuring Money Mark on anything from wurlitzer to melodica) to the semba-meets-samba shuffle of 'Kappopola Makongo', (remixed by Moreno Veloso), via Dolores' acid-highlife version of 'Merebgue Rebita' and Pacheco's numerous experiments with sound FX and beats (check 'Mae', featuring Lenine on six-string, for one) new life is breathed into each song, without tarnishing its core character. Further volumes to come. (Amar Patel) - Straightnochaser(UK)


Discography

Mauricio Pacheco's Discography

Maurício Pacheco - Com Fusões vol.I - From Angola to Brazil - 2009

CD Released - Maianga Discos- Brazil & Angola
CD Released - OUT/HERE Records - Europe, North America, Asia

Wyza - Bakongo
Maianga Discos ( Brazil & Angola) - 2008
Totolo Records (Europe) - 2009

F.UR.T.O. - Sangueaudiência
SonyBMG - 2005

Jussara Silveira - Jussara
Maianga Discos - 2003

Paulo Flores & Carlos Vieira Dias - Quinta do Semba
Maianga Discos - 2003

Stereo Maracanã - Combatente
Maianga Discos - 2002

Photos

Bio

Brazilian producer Mauricio Pacheco came onto the music scene in 1994. He has produced for Fernanda Abreu, Lenine and Jussara Silveira and founded the successful capoeira-hip hop band Stereo Maracanã. Since 2002, he has been travelling frequently to Angola, when he was first invited by Sérgio Guerra to record the first DVD ever made in Angola, “Quintal do Semba”, for his label Maianga. The record was made in a live performance by two giants of the Semba movement: Paulo Flores and Carlos Vieira Dias. After producing several local artists, such as young bakongo singer Wyza, and Elias dia Kimuezo ( so called the King of angolan music), in 2009 he conceived a remix project: “Com Fusões 1 – From Angola To Brasil”, Angolan songs from the 60s and 70s remixed by Brazil’s top left-field producers.
Sourcing songs from the archives of the Angolan National Radio, Pacheco unearthed some gems from the 60s and 70s, a golden age in Angolan pop music which spanned the bitter fight towards independence in 1975. Bonga, Teta Lando, Artur Nunes and Carlos Lamartine were part of the generation of popular songwriters who took a pro-independence stand and became legendary touch-stones as their country headed into a civil war which would not end until 2002. Plugging retro African tracks into shimmering studios on the other side of the Atlantic takes a sure hand, and Pacheco has gathered together some of the most sought-after left-field Brazilian producers to carry it off. In a call for a united Angola on Angolé, Teta Lando’s mournful and heartfelt vocals get a gentle lift from Pacheco’s drifting electronica and his reverb rework of Avozinho’s Mama Divua Diame is another highlight.
The title of this compilation is a play with words: meaning either "Confusions", or "with fusions". The project is a confusing meeting and mingling of two cultures with a shared language (portuguese) and a somewhat related, yet different history. It is not about conserving culture. It is about continuing a story of exchange that started long ago when the first Africans were forcibly brought to Brasil and over time helped create a vibrant music that has touched people throughout the world.
Com fusões takes Angolan pop music from the golden 60ies and 70ies to Brasil. For a long time now Angola has been cut off from the rest of the world due to the civil war raging in the country until 2002. Times have changed. Today the economy is booming and also the magic of the countries music is starting to spread beyond the borders of the African continent. Kuduro being the latest craze spreading into the international club culture. The golden ages of Angolan music were in the 60s and 70s the Some of the most soulful african tunes coming out of Africa were recorded in Angola. It is the melancholy of portuguese fado infused with African rhythms (not unlike capeverdean music) that makes this music so special.

The CD received rave reviews and was a top feature in the specialized world music press, like websites mondomix.com and flygobalmusic.com.
The english journal The Independent wrote :"Its heart, soul, rhythms and rejuvenations shine brilliantly ".

Com Fusoes Sound System
To recreate live the sounds and mixes of brazilian and african music, Mauricio Pacheco invites the amazing singer Wyza, original from the Uíge , in the north of Angola, and DJ Sankofa, from Ghana, promoting a live experience of interaction and improvisation over solid beats and powerfull percussion provided by multi-instrumentist Jam Da Silva, co-founder of DJ Dolores's Orchestra Santa Massa and percussion player guest @ massilia Sound System and Troublemakers.

Links:
www.myspace.com/comfusoes
www.outhere.de
www.maianga.com.br