Paulinho Garcia

Featured Artist: Paulinho Garcia

CD Title: Tempo Feliz

Year: 2006

Record Label: Jazzmin Records

Style: Brazilian Jazz / Brazilian Pop Jazz

Musicians: Paulinho Garcia (guitar, vocals)

Review:
It is always a special pleasure to listen to the music of Paulinho Garcia. Whether he is playing guitar or singing, or both, his outstanding, sensitive delivery style shines! In this CD collection, he provides hauntingly beautiful sounds which reflect the masterful style of his delivery. His jazz style is fluid and enchanting.
There are fifteen songs in the CD collection. Each song will appeal to different listeners for different reasons. Among the songs are found "Aos Pes Da Cruz," "If You Could See Me Now," "Tristeza," "Estate," "E Quando," "Berimbau," "Duas Horas Da Manha," "Brigas Nunca Mais," "Do You Remember Me?", "Desafinado," "Samba De Uma Nota So," "What'll I Do," "Upa Neguinho," "Eu Sei Que Vou Te Amar," and "Tempo Feliz."
If you are new to Paulinho Garcia's music, and stylings, this is a fine introduction. His version of songwriter Irving Berlin's "What'll I Do" is perfectly suited to the great talent of Garcia and ranks among the finest recordings ever made of this old American Standard. Garcia gives this classic a new approach with a rendition which will linger in the jazz audience's memory for a long, long time. This song, and Garcia's original composition, "Do You Remember Me?" are prime and perfect examples of Garcia in performance. It is this reviewers hope that Garcia will always include these two songs in his performances in the future.
Paulinho Garcia is in topnotch form with this collection of fine songs. His sound, his style, his techniques -- are revealed fully in this excellent recording.
This CD collection is highly recommended for all those who love hearing sensitive, well-performed jazz. It would make an ideal gift for a friend and certainly deserves placement in your local public library for library jazz patrons. This is Paulinho Garcia at his finest. He is one of a special kind, a musician who is one with his song and reflects that deep oneness when he performs. Excellent collection of songs in all aspects!


Artist's Website: http://www.paulinhogarcia.com

Reviewed by: Lee Prosser
- Jazzreview.com

Paulinho Garcia “Tempo Feliz”
By Dr. Judith Schlesinger


In Chicago and Japan, among other exotic places, guitarist/vocalist Paulinho Garcia is well-known and beloved as one half of the multi-recorded group “Two for Brazil” (with tenor saxophonist Greg Fishman). He's also a third of “Three for Brazil” (with Fishman and celestial Polish jazz vocalist Grazyna Auguscik) as well as the leader of his own band, Jazzmineiro.
A resident of Chicago for over two decades, the Brazilian-born Garcia brings the same distinctive sound to all of his musical configurations: his fluid, expressive voice and clean, jazzy guitar are warmly intimate and full of heart. This CD is Garcia's second solo effort and his best yet; it engages the listener from the first note, then soothes, swings and seduces until the last.
The fifteen tracks on Tempo Feliz include old favorites and lesser-known, jazz and Brazilian standards, and a pair of tuneful Garcia originals. Garcia covers Jobim, Baden Powell, and Edu Lobo, as well as Tadd Dameron and Irving Berlin with soul and infinite tenderness.
Listen, for example, to his take on “If You Could See Me Now” or “Eu Sei Que Vou Te Amar [I Know I'm Going to Love You]”—and especially his own “Do You Remember Me?”—each of which is likely to melt every female heart within a fifty-mile radius. Another highlight is Garcia's unique rendition of “Samba de Uma Nota So (One Note Samba),” a tune which too often sounds choppy or rushed; here, his voice floats over the rhythm, giving a whole new lilt and breathing space to the melody. .
Garcia's music is straightforward but never simple, and new subtleties emerge with every listening. Tempo Feliz is recommended for fans of Brazilian jazz and solo guitar, and those who simply want to kick back with some classy, beautiful music.
Visit Paulinho Garcia on the web.
Paulinho Garcia at All About Jazz.

Track listing: Aos Pes da Cruz; If You Could See Me Now; Tristeza; Estate; E Quando; Berimbau; Duas Horas da Manha; Brigas Nunca Mais; Do You Remember Me?; Desafinado; Samba de Uma Nota So; What'll I Do; Upa Neguinho; Eu Sei Que Vou Te Amar; Tempo Feliz.
Personnel: Paulinho Garcia: guitar, vocals.
Style: Brazilian | Published: April 15, 2007
- Allaboutjazz.com

"Garcia's vocals are never less than seductive, his guitar playing ever atmospheric and evocative. Garcia...........ought to be considered a local treasure."
Howard Reich, Jazz critic. "Chicago Tribune"

"This Garcia among Garcia's is a man of his words, and worlds, and no matter where he takes you, and no matter where you ask him to take you, you travel the byways of heart and soul. Brazil, where we have never been, rejoices. Chicago, where he now has never not been, the same. Listen, listener, and hear the freedom of horizons stretching.
Lloyd Sachs, Jazz critic. "Chicago Sun-Times"

"Garcia floats on a cloud of soft tones, gently plucked notes, and stimulating Brazilian rhythms. His tune selection is not the standard fare in this post-Jobim period, yet the music is refreshing in its diversity while still maintaining the intimate spirit of Brazil and its music. The lyrics are primarily in Portuguese with occasional English, Italian and Spanish. He sings of love and plays with the emotions to support the lyrics."
Frank Rubolino, critic. "Cadence Magazine"

"...He becomes the epitome of the solitary troubadour-a romantic figure hardly visible anymore even in Brazil, where, like everywhere else, popular music has grown busier, louder, and rougher. Garcia's voice, an airy baritone, has less shadow and a bit more energy than Joao Gilberto's, and his languid chords and cleanly plucked lines illuminate the complicated rhythms with the cool clarity of moonlight.
Neil Tesser, Jazz critic "The Chicago Readers"

Paulinho Garcia's sensuous voice is heard to wonderful advantage on nineteen songs that cover the spectrum from standards sambas to Peruvian Chabuca Granda's immortal "La flor de la canela". Garcia sings in Portuguese, English, Spanish, and Italian and his spare guitar work draws attention to the lyric beauty of these songs. Every song is rewarding.
Marcela Brenton, JazzTimes Magazine

- various

Buzz: Worldbeatz: Brazilian Magic
By Errol de Cruz errol@nstp.com.my
01 June 2001

SUNDAY night, about nine, at the Gazebo Stage in Suntec City. The closing night of the three-day Singapore International Jazz Festival. Media coordinator James Brasher was working at his desk at the centre when he heard a roar from the nearby festival village.

Thinking that some trouble had erupted at one of the 'live' venues, he rushed out of the room - only to learn that the only 'trouble' was that Latin jazz duo Two For Brazil had just finished their last set of the festival and the crowd of about 300 people at the Gazebo were screaming for more.

That was the situation every time the duo, comprising acoustic guitarist Paulinho Garcia and saxophonist Greg Fishman, performed at the festival. People of all ages were crowding to watch the two display their fusion artistry.

Often the crowds were so big, organizers had to shepherd them to the apron of the stage so that they would not spill onto the road and interrupt traffic.

Two For Brazil was an act with a big difference. While almost all the other artistes were out in full force with amplifiers, heavy equipment and full drums kits, here were two guys on acoustic instruments – Garcia on his Spanish guitar and Fishman on saxophone and flute.

"The response isn't surprising," said Keith Pereira, who had recently brought them down for a run at Aubrey's, one of the two official jazz joints of the festival. "Latin jazz is a lot easier for newcomers to understand, compared to traditional mainstream and bebop."

Garcia and Fishman weren't surprised either because the response is the same wherever in the world they play and it's been like this since they first performed got together at the Chicago Cultural Centre in early 1999.

Garcia was an Antonio Carlos Jobim virtuoso. He was born in Brazil and an award-winning composer, arranger and guitarist before he moved to Chicago in 1979. While he was based there, he recorded three albums, first with Made In Brazil and then with Jazzmineiro. All received rave reviews.

Fishman's heart belonged to Stan Getz. Armed with a Masters degree in Jazz from Northwestern University, he authored four Getz transcription books and also performed with the Woody Herman Orchestra and at the North Sea Jazz Festival.

Both were in Chicago in 1999 to star at special, separate tributes to Getz and Jobim, whose birthdays fell on Feb 2 and 25, respectively.

They met, played together, found a level of musical understanding that transcended all else and forged a duet that still plays together at least thrice a week, with three CD albums – Two For Brazil, Two For Noelle and When Love Was Young – to boast of. And they're working on another of songs from the movies.

"Recording is easy," Garcia said. "We can complete an album in two days."

Two for Brazil is also very busy and popular on the 'live' circuit, thanks to their music being so infectious, and the duo loves the whole affair. "We can play play five nights without repeating a song," Fishman said.

But, in spite of that wide repertoire, the crowds still want the favorites, stuff like Girl From Ipanema and Tristeza, quite naturally because people like numbers they can identify and relate to.

Both musicians are happy for the Latin music craze that's sweeping the world. "It will eventually turn people on to jazz," Garcia believes.

"They listen to pop Latin, then Latin jazz and slowly, hopefully, jazz and its various traditional forms."

The way they talk of each other, at both personal and professional levels, it's obvious that they love what the duo has brought them. And they do feel that what they're doing is the essence of what jazz is about.

"It's all from the heart," Garcia volunteered.

"No big amplifiers, no drums and most of all, no manuscripts and score sheets," Fishman added.

It was evident that the impromptu and unarranged solos and jams were what encouraged their Singapore audiences to shout for more over their several performances over three days of the jazz festival.

It was a repertoire of ethnic Brazilian songs but in the able hands of Paulinho Garcia and Greg Fishman, it was one that everyone at the festival understood and loved.
- Errol de Cruz

Jazzreview.com Feb. 5, 2003
Featured Artist: Two For Brazil

CD Title: Take Five

Year: 2003

Record Label: Jazzmin Records

Style: Brazilian Jazz

Musicians: Paulinho Garcia, acoustic guitar and vocals. Greg Fishman, tenor saxophone and flute.

Review: The wait is over, for here comes the long awaited new recording by Two For Brazil, featuring the talents of Paulinho Garcia on acoustic guitar & vocals, and Greg Fishman on tenor saxophone & flute. TAKE FIVE is a fine CD collection, full of sensitive and haunting melodies performed as only Garcia and Fishman together can create!
There are 14 songs on this CD. Among them are such jazz gems as "A Night In Tunisia," "Take Five," the hauntingly beautiful "Pra Dizer Adeus" ("To Say Goodbye"), "Capim" ("Grass"), "Menina Flor" (Young Flower"), and "Batida Diferente," ("Different Beat"), among others.
Garcia and Fishman are incredibly good together in this collection, and Dave Brubeck & Paul Desmond would be genuinely pleased with this duo's performance of their classic "Take Five." Garcia's beautiful and sensitive vocals and guitar performances are a perfect match for the sensitive and indepth saxophone and flute performances of Fishman. This is one of the finest duos in contemporary jazz.
TAKE FIVE is a winner in all ways. This is a flawless, beautiful collection and will appeal to all jazz listeners.
TAKE FIVE is a classic in the making and a recording which will hold up well with the passage of time.
TAKE FIVE delights, entertains, and is enjoyable listening. Highly recommended.

Reviewed by: Lee Prosser (Jazzreview.com)
- Jazzreview.com

June 2003 edition of the magazine, "Jazz Improv."

Two For Brazil

Greg Fishman & Paulinho Garcia
PERSONNEL: Paulinho Garcia, acoustic guitar, vocals; Greg Fishman, tenor saxophone & flute.

By Winthrop Bedford

Two For Brazil is a refreshing and energetic duo that performs a combination of standards, jazz, and Brazilian tunes. What makes the duo so compelling is the compatibility and delightful, danceable interplay between these two consummate musicians--Greg Fishman on tenor sax and flute, and Paulinho Garcia on guitar, bolstered by his authentic renditions of the lyrics to these songs.

The unmistakable influence of Stan Getz in terms of both sound and unwavering allegiance to a musical, lyrical, and melodic approach, with flawless technique are cornerstones of Fishman's style. Indeed, Fishman is regarded as an expert on the music of Stan Getz, whose four books of transcriptions of Getz's solos are published by Hal Leonard Corporation. While Fishman certainly has an abundance of academic credentials-including an undergraduate degree in music from De Paul University and a Masters Degree in Jazz at Northwestern University-it would be not only be presumptuous but a big mistake to characterize Fishman's music, improvisational skills as "academic." Fishman is a sensitive and stellar musician, who has played with Louis Bellson, Clark Terry, Ira Sullivan, Eddie Higgins, and the Woody Herman Band. His own recordings define that quite thoroughly––including Indian Summer recorded with pianist Eddie Higgins; “In The Moment,” a quartet recording led by his wife and pianist Judy Roberts, along with two earlier albums by the duo Two For Brazil the first entitled Two For Brazil, and the latter Plays The Standards.

Guitarist Garcia is a rhythmic dynamo whose harmonic and rhythmic contribution to this duo, make it so that the absence of a bassist doesn't even come to mind. Garcia arrived in the USA in 1979, after a successful stint composing, arranging, producing and performing jingles for a studio in Brazil; and founded his own band Jazzmineiro in 1991 in Chicago.

Take Five is the latest CD by this magnificent duo. The chemistry between Garcia and Fishman is readily apparent from the opening notes of the first track––a lively up-tempo rendition of Gilberto Gil's composition "Meio De Campo." Fishman serves up a masterfully lyrical solo. The interplay and sensitivity between the two is notable in their expression of the melodies. For example, within the background or accompaniment lines he plays on tenor sax, Fishman accents certain apropos syncopations and key points in concert with Garcia's expression of the melody.

The two provide another spirited performance on the well-known jazz standard "A Night In Tunisia' by Dizzy Gillespie. Fishman turns in another finely crafted and emotion-driven solo on this track. Garcia's vocals and vocalizations are an ideal foil for Fishman's tenor.

The two move into a more relaxed mode in their performance of Baden Powell's "Deixa,"which is a familiar melody to those who are familiar with Brazilian music. Garcia, as usual, sings the lyrics in native Portuguese. I felt the relaxed, comfortable interaction the two shared on Paul Desmond's "Take Five," which is in 5/4 time, and taken at an energetic tempo here. Garcia provides rock solid time, and his confidence clearly makes it a cinch for Fishman to sound great. On "Que Maravilha," Fishman switches over to flute, contributing another tastefully improvised solo-both rhythmically and melodically. "Chovendo Na Roseira" is in 3/4, and features a nod to more of a swing groove, than the straight eighth, bossa nova flavor that is what this album is very much about. The last of the fourteen tracks on this album is a spirited version of my favorite tunes "Batida Diferente" which I first heard on the landmark Cannonball Adderley album from 1962, Cannonball Adderley and The Bossa Rio Sextet. Fishman turns in one more fine tenor solo.

I recommend this album highly because it is so very musical from beginning to end, overflowing with Fishman's tasteful tenor sax solos, Garcia's toe-tapping rhythms, inspiring accompaniment, relaxed, solid sense of time, and the variety of grooves and tempos inspired different feelings and emotions throughout.
- Jazz improv magazine

Garcia the boss of bossa nova
by: Lou Carlozo
Chicago tribune, February 13, 2004

It's Super Bowl Sunday, and you might think that HotHouse should be as barren as the Bears' locker room. But the place is packed, and after Brazilian jazz guitarist Paulinho Garcia takes the stage, it's soon evident why.
With a grin, Garcia apologizes (he's recovering from a cold) and launches into "Upa Neguinho." His seductive fingerpicking suggests two classical guitarists. And to savor Garcia's voice, soaring and supple, one has to wonder: What cold?
Garcia, 55, is arguably Chicago's most talented guitarist-vocalists, and his gifts will bear much musical fruit in 2004. Three or four new CDs with different lineups are in the works, with Sweden, Poland and Brazil as probable studio stops.
"When I was [growing up] in Brazil, there was the perception, the talk, that a [full-time] musician would starve to death," said Garcia, who came to Chicago from Brazil 24 years ago. "But once you get into a position where I am, I can just make my music and not worry about it--and that makes me honest and sincere."
"He plays four musical roles: singer, guitarist, bassist and percussionist," said saxophonist Greg Fishman, half of the Garcia's duo Two For Brazil. "It's kind of like watching Michael Jordan--it looks so easy until you try to do it."
Garcia may play like he comes from musical royalty, but in fact was the first serious musician in his family. He started as a singer and drummer, but switched to bass--his primary instrument on arrival here--and was a recording engineer and jingle director in Brazil.
Prior to the 1990s, music was a sideline; he worked at a variety of places, including the Chicago Board of Trade. But as his children grew and his wife passed away in 1996, Garcia turned life transitions into opportunities.
At an age where most folks mull retirement, Garcia entertains no such notions. He teaches at the Old Town School of Folk Music and strives to improve his already formidable technique--a quest he hopes will culminate in a live CD.
"I think I'm in the prime of where I've been, and my next concert is going to be the best one," he said. "I don't think I've ever played better or sang better. I'm 100 percent into music."
- Chicago Tribune

June 2003 edition of the magazine, "Jazz Improv."

Two For Brazil

Greg Fishman & Paulinho Garcia
PERSONNEL: Paulinho Garcia, acoustic guitar, vocals; Greg Fishman, tenor saxophone & flute.

By Winthrop Bedford

Two For Brazil is a refreshing and energetic duo that performs a combination of standards, jazz, and Brazilian tunes. What makes the duo so compelling is the compatibility and delightful, danceable interplay between these two consummate musicians--Greg Fishman on tenor sax and flute, and Paulinho Garcia on guitar, bolstered by his authentic renditions of the lyrics to these songs.

The unmistakable influence of Stan Getz in terms of both sound and unwavering allegiance to a musical, lyrical, and melodic approach, with flawless technique are cornerstones of Fishman's style. Indeed, Fishman is regarded as an expert on the music of Stan Getz, whose four books of transcriptions of Getz's solos are published by Hal Leonard Corporation. While Fishman certainly has an abundance of academic credentials-including an undergraduate degree in music from De Paul University and a Masters Degree in Jazz at Northwestern University-it would be not only be presumptuous but a big mistake to characterize Fishman's music, improvisational skills as "academic." Fishman is a sensitive and stellar musician, who has played with Louis Bellson, Clark Terry, Ira Sullivan, Eddie Higgins, and the Woody Herman Band. His own recordings define that quite thoroughly––including Indian Summer recorded with pianist Eddie Higgins; “In The Moment,” a quartet recording led by his wife and pianist Judy Roberts, along with two earlier albums by the duo Two For Brazil the first entitled Two For Brazil, and the latter Plays The Standards.

Guitarist Garcia is a rhythmic dynamo whose harmonic and rhythmic contribution to this duo, make it so that the absence of a bassist doesn't even come to mind. Garcia arrived in the USA in 1979, after a successful stint composing, arranging, producing and performing jingles for a studio in Brazil; and founded his own band Jazzmineiro in 1991 in Chicago.

Take Five is the latest CD by this magnificent duo. The chemistry between Garcia and Fishman is readily apparent from the opening notes of the first track––a lively up-tempo rendition of Gilberto Gil's composition "Meio De Campo." Fishman serves up a masterfully lyrical solo. The interplay and sensitivity between the two is notable in their expression of the melodies. For example, within the background or accompaniment lines he plays on tenor sax, Fishman accents certain apropos syncopations and key points in concert with Garcia's expression of the melody.

The two provide another spirited performance on the well-known jazz standard "A Night In Tunisia' by Dizzy Gillespie. Fishman turns in another finely crafted and emotion-driven solo on this track. Garcia's vocals and vocalizations are an ideal foil for Fishman's tenor.

The two move into a more relaxed mode in their performance of Baden Powell's "Deixa,"which is a familiar melody to those who are familiar with Brazilian music. Garcia, as usual, sings the lyrics in native Portuguese. I felt the relaxed, comfortable interaction the two shared on Paul Desmond's "Take Five," which is in 5/4 time, and taken at an energetic tempo here. Garcia provides rock solid time, and his confidence clearly makes it a cinch for Fishman to sound great. On "Que Maravilha," Fishman switches over to flute, contributing another tastefully improvised solo-both rhythmically and melodically. "Chovendo Na Roseira" is in 3/4, and features a nod to more of a swing groove, than the straight eighth, bossa nova flavor that is what this album is very much about. The last of the fourteen tracks on this album is a spirited version of my favorite tunes "Batida Diferente" which I first heard on the landmark Cannonball Adderley album from 1962, Cannonball Adderley and The Bossa Rio Sextet. Fishman turns in one more fine tenor solo.

I recommend this album highly because it is so very musical from beginning to end, overflowing with Fishman's tasteful tenor sax solos, Garcia's toe-tapping rhythms, inspiring accompaniment, relaxed, solid sense of time, and the variety of grooves and tempos inspired different feelings and emotions throughout.
- Jazz improv magazine