Alessandro Penezzi & Alexandre Ribeiro
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Alessandro Penezzi & Alexandre Ribeiro

São Paulo, São Paulo | Established. Jan 01, 2011 | INDIE

São Paulo, São Paulo | INDIE
Established on Jan, 2011
Duo Latin World




"Alessandro Penezzi & Alexandre Ribeiro"

Alessandro Penezzi & Alexandre Ribeiro - Live

In 2009, guitarist Alessandro Penezzi and clarinetist Alexandre Ribeiro - both wellknown figures in choro circles of São Paulo and elsewhere in Brazil - started a partnership after a successfull performance in Denmark at Copenhagen Jazz House during a Brazilian festival featuring various Brazilian musicians.The duo recorded a CD in 2010 with the title Cordas au vento (- meaning 'strings in the wind' in English) containing performance of 12 pieces, most of them new compositions by Alessandro Penezzi.

Click on cover illustration above to have more info on the Cordas au vento CD. The music featured at the CD was presented in a TV studio performance in Brazil, here is the titletrack

The duo had success with their partnership and the CD, which earned them a tour of both the USA and Europe in 2011 besides numerous live performances in Brazil. In October that year the duo had a concert in Holland at the Bimhuis in Amsterdam that was recorded and later issued on a CD in 2012.

The CD contains 13 tracks recorded live at the concert in the Bimhuis, Amsterdam, on October 28th, 2011. The repertoire has compositions from the Cordas au vento program as well as other pieces, mainly composed or recorded earlier by Alessandro Penezzi, click illustration above to have more info on the recorded tracks. - To give you an impression of the great music and performance contained in both the Cordas au vento CD and the live-recording from Amsterdam, I'll insert a couple more video fragments uploaded at YouTube. Unfortunately, there's only a single uploaded fragment from the Bimhuis performance available - the composition 'Heleninha chegando' by Penezzi

The first track on the live CD is the duo's version of Luiz Gonzaga's choro 'Araponga', this was also featured in the TV presentation of the Cordas au vento program mentioned above

Another classic choro composition, 'Famoso' by Ernesto Nazareth, is also featured in the live CD recording as well as in the TV performance from the Brazilian presentation

One of the highlights of the Bimhuis live concert is the duo's medley version of Garoto's 'Lamento do morro' and Sivuca & Oswaldinho's 'Um Tom para Jobim' - here from the Brazilian TV performance

The music performed both at the Cordas ao vento CD and in the live-recordings from Amsterdam is terrific examples of great musicianship as well as a guideline to new branches of Brazilian instrumental music with roots in choro and related genres. You have the opportunity to listen to both CDs in streaming audio at Alessandro Penezzi's official website, here . You can also listen to and buy the tracks from the live concert at Bimhuis here - Choro Music

"Alessandro Penezzi & Alexandre Ribeiro"

Mixing virtuosity with the simplicity of these two musicians, Alessandro Penezzi, on guitar, and Alexandre Ribeiro, clarinet, stroll through the universe of Brazilian popular music among its varied rhythms and styles. Choro, baião, maxixe, polka, samba – all gain strength and authenticity with the peculiar language and performance of these two great musicians. - SP Musica

"Alessandro Penezzi & Alexandre Ribeiro"

Brazilian guitarist Alessandro Penezzi plays specific instruments, among which the seven string guitar, violão tenor (tenor guitar), cavaquinho (soprano guitar), mandolin and flute. He is fascinated by choro. Just like his duo-partner, clarinettist Alexandre Ribeiro, he often collaborates with jazz orchestras. Tonight the two musicians perform in the BIMhuis as part of the Brasil Festival. - Cultural Exchange

"Skopje Jazz Festival"

Wayne Shorter on the Opening of the 30th Skopje Jazz festival

The first night of the 30 anniversary of the Skopje Jazz Festival start with Brazilian duo Penzzi and Ribeiro followed by the legendary jazz Musician Wayne Shorter and closed by Trio Corrente. Skopje, Macedonia. 20/10/2011.

American jazz legend Wayne Shorter has an inspiring performance on the opening night of Skopje Jazz Festival. Before his performance the stage was occupied by really interesting Brazilian duo Penzzi and Ribeiro and finished with performance full of energy delivered by Trio Corrente.


A meeting between two young musicians, who adds another great page in the book of Brazilian music. Born in Barrio Alto, Piracicaba, in the Brazilian state of São Paulo, Alessandro dos Santos Penezzi began playing guitar at the age of 7. A few years later, he lied about his age to study with the great Sergio Napoleão Belluco, who would only take students who were at least the age of 12. In addition to the classical guitar, Penezzi plays the ukulele, mandolin, tenor guitar and a variety of woodwinds. He writes for various music magazines in Brazil and is a sought-after performer, composer and teacher. He has toured Russia, the United States and Angola, and performed with many noted musicians such as such as Dominguinhos, Yamandú Costa, Zimbo Trio, Beth Carvalho, Silvio Caldas, Danilo Brito, and Renato Borghetti. Recorded in 2010 and released earlier this year, his latest CD ”Cordas ao Vento” (Strings in the Wind) features 10 original compositions by Penezzi and his amazing performances with Alexandre Ribeiro, a young clarinetist who has gained a place among the best of his instrument. Ribeiro has has collaborated with some great names of Brazilian music: Jair Rodrigues, Tom Ze and Dona Ivone Lara.

feat. Danilo Perez, John Patitucci and Brian Blade (USA)

Wayne Shorter is considered a living legend in jazz. Born in 1933, he did not pick up a musical instrument until he was sixteen when he started playing the clarinet to placate his father. A quick learner, his passion for music grew quickly. After earning a degree in music education from New York University in 1956 and a two year army stint, Shorter turned professional in 1959 with the Maynard Ferguson Orchestra, which also included at the time Joe Zawinul. At the same time he became close friends with John Coltrane and the two would often get together to woodshed and discuss music. In the fall of '59, Wayne made his breakthrough joining Art Blakey's Jazz Messengers with Lee Morgan. In 1964, he joined Miles Davis, pumping new blood into the Miles Davis Quintet of the time with Herbie Hancock, Ron Carter and Tony Williams, which is regarded as one of the most influential and the most innovative groups in jazz history. Throughout the sixties, Wayne also recorded an impressive body of work under his own name for Blue Note. His creative muse seemed boundless. Wayne, Miles and Herbie Hancock would again change instrumental music in the late sixties with an open-ended music that would later be called fusion. Wayne and Joe Zawinul, both of whom can draw great drama and beauty from music using color, rhythm and leaping intervals, formed the most creative and innovative of fusion bands, Weather Report, which they co-led until 1985. His latest release is “Beyond the Sound Barrier” and for his first time appearance at Skopje Jazz Festival, Shorter is joined by his all-star band featuring Danilo Perez, John Patitucci and Brian Blade.

The Trio Corrente is an all star cast from the highest echelons of the São Paulo scene that includes Edu Ribeiro, the sensational drummer for Chico Pinheiro or Yamandu Costa, while pianist Fabio Torres is currently working with Joyce and bassist Paulo Paulelli is a mainstay in the bands of Ivan Lins and Rosa Passos, historical figures both. As a trio their star is in the ascendance in this most jazz inclined of Brazilian cities. Their eponymous debut Corrente (Maritaca) boldly recasts the high watermarks of composers that reflect the breadth of Brazilian music, from Jobim to Pixinguina, from the perspective of a typically discursive contemporary piano trio. Fender Rhodes lends a funky edge to proceedings and the playing for all three is extremely agile, the arrangements often breathtaking, as they move across rich rhythmic terrain of bossa, samba and choro, always with that Brazilian gift for equal parts lightness of touch and heavy grooving that stimulates the musical pleasure centers. This year is rich of new projects: a special concert in may in Sao Paulo with the great American singer Stacey Kent, another tour with Paquito D’Rivera , in Spain, and a new CD called ‘Vol. 2”.

Mite Kuzevski
Veles, Macedonia, Europe - Demotix


Alessandro Penezzi and Alexandre Ribeiro
When: Thu., June 6, 5 & 7 p.m., Fri., June 7, 7:30 p.m. and Sat., June 8, 5 & 7 p.m. 2013
Phone: (843) 579-3100
Price: $30
Brazilian guitarist extraordinaire Alessandro Penezzi made his first Festival appearance in a rousing 2010 performance with clarinetist Nailor “Proveta” Azevedo. He now returns with Proveta’s exceptional young protégé, clarinetist Alexandre Ribeiro, for intimate duo concerts. Approx. 1 hour. Part of Spoleto Festival USA.

Tags: Jazz, Blues, & More
Recital Hall, Simons Center for the Arts
54 St. Philip St. - Charleston City Paper


Live Review: Spoleto Festival USA 2013
An eclectic mix in Charleston
By Perry Tannenbaum

Since the first day of 90 degree weather for 2013 didn’t hit Charleston before the last note was played, this year’s Spoleto Festival USA may have literally been the coolest ever. Jackets were worn primarily for warmth rather than to make a fashion statement when Gregory Porter sang among the live oaks at Cistern Yard on the opening weekend. A week later, the mercury lingered over the 80 degree mark past sundown, but the laminated paper fans handed out with program booklets for the André Mehmari concert hardly came into play unless you needed it to swat a pesky insect.

Julia Lynn
Gregory Porter, Spoleto USA, 2013

Not to worry, in the absence of torrid Charleston temperatures, the lineup assembled by Spoleto jazz director Michael Grofsorean generated some serious heat. Finnish pianist Iiro Rantala made his Spoleto debut with six sets during a four-day stand at the Simons Center Recital Hall, where the duo of guitarist Alessandro Penezzi and clarinetist Alexandre Ribeiro took over a week later for a three-day run, playing five sets. Arguably the hottest of all was Israeli tenor man Eli Degibri, who played the Cistern after Porter’s two-night stint.

Coming to Spoleto for the first time on the heels of being named the Jazz Journalists Association’s best male vocalist three weeks earlier, Porter wasn’t exactly laid-back as he and an instrumental quartet performed under the stars. The voice is rich and deep, sprinkled with appealing graininess, and the outdoor acoustic, paired with the fine electronic setup, added more poignancy or jagged thrust, depending on where the music took him. Porter’s playlist was a good mix of material from his two CDs, Water and Be Good, plus a few tunes that he hasn’t recorded, and a fine work-up of a recorded cover for live performance.

That work-up added a blues shout, “Oh, Alberta,” done as a call-and response with the Charleston audience, at the front end of Nat Adderley’s “Work Song,” with a slowed-down intro of its own after a portentous drum fill by Emanuel Harrold. The trade-off, losing the horn arrangement from the Be Good album, worked well. Otherwise, when the tunes shed their horn arrangements, the traveling versions took up the slack by giving alto saxophonist Yosuke Sato and pianist Chip Crawford more space for stretching out.

All of the quartet members, even bassist Aaron James, are core players on both CDs, so the feel of the concert was very much like the studio recordings. The first three tunes, beginning with “Painted on Canvas,” were the same three that begin the disc, the title song and all its suggestive lion imagery switching positions with “On My Way to Harlem.” Sato proved to be the fierier soloist, Crawford the more unique and varied. Porter has obviously learned from the vocals of Kurt Elling, but when he moved from his own originals to the bluesier Adderley line, it was clear that he’d also profited from listening to Stevie Wonder, Joe Williams and a long line of bluesmen.

Porter involved the audience in rhythmic clapping on “Liquid Spirit,” but fans of Be Good are likely to be more enamored with “No Love Dying” and its typically associative lyrics. On the heels of “Skylark” from Water, Porter unveiled an as-yet unrecorded standard, “Bye Bye Blackbird,” featuring James’ finest work of the evening on bass. The concert wound down with the passionately swinging “Mother’s Song,” followed by the mellow “Imitation of Life”—so mellow with its intimations of Nat Cole that it was hard to believe that Porter wasn’t planning an encore.

He was indeed, training the entire band’s heavy artillery on the incendiary “1960 What” and its vivid images of riot-torn Detroit. Crawford’s eloquence set up the piece and Porter’s vocal ignited it. Then Sato blazed white-hot, abetted by Harrold’s most assertive pounding of the night. Stripped of its horn arrangement, the concert “1960” actually generated more heat and electricity as the whole band joined in on the protest. The second Porter vocal, backed only by James, built majestically, passionately, horrifically as the other instruments and voices layered on and then quieted one last time for a sobering, satisfying finish.

No less personable than Porter, though markedly less famous here in the States, Iiro Rantala brought his mordant wit to bear on a set list that didn’t lean quite as heavily on his newest CD, My History of Jazz, as his sometimes scathing, sometimes self-deprecating introductions made it sound. As you might guess, Rantala’s tastes are eclectic, ranging from Gershwin to Ellington to Monk and to Corea in his discography. But jazz, architecturally at least, begins for Rantala with Bach, so that’s where his set began—and soon returned.

Rantala played on the first Kyrie from Bach’s Mass in B Minor, but his rhythmic approach didn’t push the music into syncopation or modernity, so it was easy to imagine the pianist channeling Bach or Mozart as he spun out this theme-and-variations. Obviously wishing to speak to music buffs in general, rather than exclusively to jazz fans, Rantala addressed the audience while playing his first piece, announced that he was about to shift to his own “Thinking of Misty,” and added that he would try to raise his hand to signal the beginning and end of his improvisations.

“Try” proved to be an accurate modifier as the concert proceeded, particularly as applied to signaling the end of Rantala’s ruminations. Equally apt was his declaration that “Thinking of Misty,” with a blend of rhythmic suppleness and technical rigor carrying it into Keith Jarrett territory, wasn’t at all like the Erroll Garner tune. Then the quirky chronological journey through jazz history commenced with Rantala’s interpretation of the aria and first variation of Bach’s Goldberg Variations. Hand-raising notwithstanding, there were notable alterations already in evidence while Rantala played Johann Sebastian’s lines, with the first variation—and what he played on it afterwards—accelerated to a manic pace, somehow culminating with Jerome Kern’s bop basic, “All the Things You Are.”

Gershwin’s “Liza,” with a heavy emphasis on ragtime and stride piano styles, didn’t altogether let go of Bach, which is probably Rantala’s historical point. Three originals followed, two of them—“Americans in Paris” and “Uplift”—from the History project. Like “Goldberg,” which is spread across seven tracks and played with a trio on the CD, “Americans” drew more intensive playing from Rantala without accompaniment, on a ballad with a bitter sweetness resembling “Days of Wine and Roses.” The next two, “Freedom” and “Uplift,” saw Rantala messing with the piano’s innards. As yet unrecorded, “Freedom” was rigged to sound like a harpsichord before “Uplift” took on some paper in the strings in order to give Rantala what he fancied was a synthesizer sound as his history lurched forward into fusion. It was fascinating fusion, with a disconnect between the percolating line and the Finn’s tango-like solo that hearkened back to Bach.

Rantala had a couple of final bon mots before he concluded with “Pekka Pohjola,” his homage to the fellow Finnish composer. He promised that he or a stunt double would be available afterwards to autograph CDs in the Simons Center hallway and proclaimed solidarity with all other Scandinavian jazzmen, who are not truly happy unless they are wallowing in misery. The mournful tone of “Pohjola,” of course, was not at all forbidding, containing at its core a melody very close to Ravel’s beloved “Pavane pour une infante défunte.” Very lovely.

For jazz aficionados with John Coltrane, Sonny Rollins or even Stan Getz channels on their Pandora accounts, the Eli Degibri concert was a godsend. The opening “8 Ball” had a mean freight-train thrust to it that remained untapped on One Little Song, Degibri’s duo recording with Kevin Hays in 2006. Degibri and pianist Aaron Goldberg both had torrid solos on the line before they and drummer Gregory Hutchinson put a fresh twist on the title with a rousing trade of 8-bar volleys that Hutchinson broke open with an explosive solo of his own.

That hard-bop greeting was followed with an excursion to Degibri’s samba side in “The Spider,” where the tenor took on a more Getz-like tone, not at all a deterrent to an incendiary Goldberg rampage before the leader returned and steered the piece into a slowed-down, chamber-like ending. Elements of Trane and Rollins returned with a vengeance in “Pum Pum,” with Goldberg and bassist Reuben Rogers layering onto Degibri’s tirade for added sound and fury before the Charleston version refreshingly revealed the same surprisingly groovy midsection that was captured in the club recording with organist Gary Versace released on Live at Louis 649 in 2006. Degibri and the full quartet roared back, and now it was Goldberg’s turn to cool things off and then turn the heat back up—in a solo so majestic that Hutchinson was compelled to cue up the audience applause before sustaining the fireworks behind the kit. Clearly the chef d’oeuvre of the evening.

It was a good time for Degibri to catch his breath, tell us how he came to write “Liora mi Amore” to his devoted girlfriend in Tel Aviv, and luxuriate in a more tender mood. With Rogers taking a solo, the tune took on a palpitating intimacy. Nor did the quartet come back full blast for the penultimate tune of the night, taking a midtempo tack in “Mika,” a rather pleasant and routine number that lost some of its spark and distinction when Degibri stuck with his tenor instead of switching to soprano sax as he did on his Emotionally Available CD. He more than made up for that slight lapse by closing with the title tune from that same disc. Here we had Degibri and Goldberg both surpassing themselves in a stronger instrumental mix—tenor and piano instead of soprano and Fender Rhodes—and Rogers reaffirming his eloquence. The saxophonist added extra poignancy with his spoken intro, frankly confessing that “Emotionally Available” was now a misnomer in view of his devotion to Liora. That wasn’t exactly how he phrased it, but a review shouldn’t land a boyfriend in hot water.

Like guitarist Alessandro Penezzi, pianist André Mehmari had last been seen at Spoleto as a sideman for Nailor “Proveta” Azevedo in 2010, but Mehmari had brought his own trio to the Festival in 2005, before Azevado’s debut. It was the same trio now, with eight more years of seasoning, playing a songlist that was heavily freighted with selections from their new CD, Afetuoso. Listed on drums, Sérgio Reze merited a percussionist title since he actually played the line on Jobim’s dew-dappled “Chovendo na Roseira” on a set of chimes, and Zé Alexandre Carvalho completed the combo on double-bass.

A master of shifting moods and tempos, Mehmari wasn’t going to play his original compositions in the same order—or even in the same configuration—as they appear on the CD. So his “Choro da Continua Amizade” was newly coupled with Oscar Hammerstein’s “The Song Is You” while his “Lachrimae,” closing the set, was decoupled from another tune that he played in the studio. By adding Mehmari’s “Um Anjo Nasce” to the “Suite Clube da Esquina,” the string of Milton Nascimento tunes that opens Afetuoso, the trio produced their most epic statement of the night—shifting tempos, moods that ranged from stately to delicate, brilliant solos from Mehmari and Carvalho, and luminous colorings from Reze.

Of the works that don’t appear on the new release, the most compelling came out of Mehmari’s heightened interest in the works of Ernesto Nazareth (1863-1934). “De Tarde,” introduced by Mehmari as his own completion of a Nazareth opus, was easily the loveliest piece of the night, played on in a couple of nicely judged tempos by the leader with another fine solo from Carvalho. Aside from the “Nasce/Esquina” blend—and perhaps the closing “Lachrimae” (even more imposing on the CD’s 10-minute cut)—“Suite Nazareth” was the most impressive work, elegantly weaving in an allusion to Mozart’s Marriage of Figaro.

Wandering off into an impressionistic realm, Mehmari’s “Que Falta Faz tua Ternura” was certainly memorable. But if you came to the pianist’s concert hoping to be caressed by the cool essence of Brazilian music, the trio’s take on Jobim, which actually took on some grandeur during Mehmari’s solo, provided the most appealing melodic, and coloristic, voyage of the night. It wouldn’t be at all surprising to hear Reze turning more frequently to those chimes in the future. - Jazz Times

"Alessandro Penezzi & Alexandre Ribeiro - Spoleto Jazz Festival"

College of Charleston Cistern Yard May 26 at 9:00pm
Eli Degibri, saxophone
Aaron Goldberg, piano
Reuben Rogers, double bass
Gregory Hutchinson, drums
ELI DEGIBRI was born and raised in Israel and began playing mandolin at age seven in an after-school music
program at the Jaffa Conservatory of Music. After attending a jazz concert, he became enamored with the saxophone
and switched his studies to that instrument. At 16, Degibri had already worked professionally with some of the major
names in the Israeli music scene, establishing himself as one of the country’s leading musicians. By the age of 16 in
1994, he was selected to receive a full scholarship to attend the Berklee College of Music’s Summer Performance
Program. In 1997, at age 18, he received a full scholarship to attend the Berklee College of Music and relocated to
the United States. After a year at Berklee, he was one of only six musicians from around the world to be selected to
attend the prestigious Thelonious Monk Institute of Jazz Performance program, where he studied and performed
with jazz legends Ron Carter, Benny Golson, Jimmy Heath, and Clark Terry.
After graduating with honors from the Monk Institute in 1999, Degibri joined the Herbie Hancock Sextet and toured the world, playing
music from the album Gershwin’s World. Relocating to New York in 2002, he formed his first quintet featuring Kurt Rosenwinkel, Aaron
Goldberg, Ben Street, and Jeff Ballard and performed regularly in New York’s best jazz clubs.
In 2003, Degibri released his critically acclaimed debut CD, In The Beginning. Four recordings have followed: Emotionally Available (2006),
One Little Song (2006), Live at Louis 649 (2008), and Israeli Song (2010). Among his many awards is the 2006 Israeli Prime Minister Award
for Jazz Composition. He has also been chosen as one of the first artists of the Israel Cultural Excellence Foundation, serving as a cultural
ambassador worldwide. He has recently been appointed co-artistic director of the Red Sea Jazz Festival, and in 2012 Digibri was invited
to be a part of UNESCO’s first International Jazz Day at the UN General Assembly in New York alongside many of the finest jazz musicians
in the world.
This performance is made possible in part through funds from the Spoleto Festival USA Endowment, generously supported by BlueCross
BlueShield of South Carolina. Piano generously provided by Steinway & Sons.
Simons Center Recital Hall at College of Charleston June 6 and 8 at 5:00pm and 7:00pm; June 7 at 7:30pm
Alessandro Penezzi, guitar
Alexandre Ribeiro, clarinet
ALESSANDRO PENEZZI was born in Piracicaba in the state of São Paulo, Brazil, and began studying guitar at age
seven. A composer, arranger, and multi-instrumentalist, he plays the 7-string guitar, tenor guitar, ukulele, mandolin
and flute. He received his bachelor’s degree in popular music at Unicamp in 2005. He has been part of several
important Brazilian instrumental groups including: the ensemble of flutist Carlos Poyares; Trio Quintessência; Grupo
Choro Rasgado; Projeto Violões do Brasil; a duo with Laércio de Freitas; a trio with Yamandú Costa and Rogério
Caetano; a trio with Sizão Machado and Alex Buck; and a duo with Alexandre Ribeiro. For his technique, virtuosity,
and compositions, which have been recorded by artists such as Yamandú Costa, Beth Carvalho, and Danilo Brito,
critics and musicians consider Penezzi one of the most impressive guitarists today.
ALEXANDRE RIBEIRO was born in São Simão in the state of São Paulo, Brazil, and began his musical studies
with clarinetist Krista Helfenberguer Munhoz, first clarinetist of Ribeirão Preto Symphony Orchestra. At age 18, he began study at the
Universidade Estadual Paulista (UNESP), earning a bachelor’s degree in clarinet performance under the guidance of Sergio Burgani and
Luis Afonso Montanha. As a guest musician, he participated in concerts with Orquestra Sinfônica Ribeirão Preto in the Festival de Inverno
de Campos Jordão and the Festival de musica Colonial de Juiz de Fora. As an instrumentalist of Brazilian popular music, he has appeared
alongside such musicians as guitarist Guinga in the project “Conexão Latina,” with Antônio Nóbrega in the show titled “Antônio Nóbrega
convida Jovem invites Young Talentos,” Carlos Malta, Osvaldinho do Acordeon, Laércio de Freitas, and Luizinho sete cordas. In 2008, he
received the award for best instrumentalist at the Festival Instrumental de Guarulhos.
These performances are made possible in part through funds from the Spoleto Festival USA Endowment, generously supported by
BlueCross BlueShield of South Carolina. -


Cordas ao Vento - 2010 - Capucho Producoes

Live at Bimhuis - 2012 - Capucho Producoes



The friendship between the guitarist Alessandro Penezzi and the clarinetist Alexandre Ribeiro permeates a unique musical partnership that goes beyond fluency of musical language and the great quality of their interpretations. Among several studies and experiments together, the idea of "Cordas ao Vento" (Strings in the Wind), which entitles the Duo's first CD project, was released in 2011 at the Ibirapuera Auditorium in São Paulo.


The project resulted in tours and concerts in Brazil and abroad, in many countries such as Denmark, Macedonia, USA, Belgium, Netherlands, among many others.


The repertoire of the CD, which is a great success of public and critic, is presented by original compositions and some reinterpretations of Brazilian music ever consecrated by great masters like Sivuca, Luperce Miranda, Zequinha de Abreu and Ernesto Nazareth. The project brings as special guests Toninho Carrasqueira (flute), Rodrigo Y Castro (flute), and Lo Rodrigues (tambourine).


The second CD recorded Live in Bimhuis - Amsterdam, features new songs, old songs from the former CD, and interpretations of great names of Brazilian music. This CD was released in Europe, United States and Brazil. The project was nominated at Prêmio da Música Brasileira (a Brazilian renewed award).


About the musicians:


Alessandro Penezzi

Born in Piracicaba (SP), the composer and arranger Alessandro Penezzi majored in classical guitar in 1997 at the Music School of Piracicaba, under the guidance of Maestro Ernst Mahle and Mr. Sergio Belluco. In 2005 he was graduated in Popular Music at UNICAMP-SP.

Currently, Alessandro is considered by critics and accomplished musicians, one of the most impressive guitar players of his generation. Some of his own compositions have being already recorded by many artists like Yamandú Costa (Dayanna), Beth Carvalho (Acabou a Brincadeira), Danilo Brito (Abraando), among others. Penezzi had integrated some important Brazilian instrumental groups like: Carlos Poyares Regional; Trio Quintessência; Choro Rasgado; Guitars of the Brazil Project; Duo with Laércio de Freitas; Yamandú Costa Trio; Rogério Caetano; Trio with Sizão Machado and Alex Buck among others.

Alessandro has been consolidating his career by his creativity, maturity and hard work. Several award nominations, recordings, TV and Radio shows, and very good critics notice the result of his talent.


Alexandre Ribeiro

Born in the city of São Simão, São Paulo, Alexandre Ribeiro began his musical studies as a teenager clarinetist. At age of 13 he became musician on the Philharmonic Band of Santa Rosa de Viterbo, first as a clarinet player then as a teacher. From 14 to 16 years old he played in the Youth Symphony Orchestra of Ribeirão Preto (SP).

Today Alexandre holds a Bachelor of Music - Clarinet instrument, by the Universidade Estadual Paulista UNESP. He is also founder, musician and arranger of the group Gafieira Etc e Tal.

As a musician of jazz and traditional Brazilian music he has a successful career alongside established musicians like the guitarist Guinga "Latin Connection Project", Yamandú Costa, Raul de Souza, Luciana Melo, Dona Inah, Gisa Nogueira, Consuelo de Paula and the singers Luis Carlos da Vila, Eduardo Gudin, Tom Zé, Jair Rodrigues, among many others. He received the award for Best Instrumentalist at Guarulhos Festival (2008 edition), which counted with the participation of musicians such as Mane Silveira, Marcio Bahia, Arismar do Espirito Santo, Sizão Machado and Toninho Ferragutti.

Currently participates in groups of instrumental music such as: Grupo Ó do Borogod, Trio Chorando a Tempo, Quarteto Bico de Lacre, Zé Barbeiro regional, and Danilo Brito group.

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Band Members