Sambaguru

"....The day started off on a good omen with the long-overdue Playboy debut of the energetic Los Angeles-based band SambaGuru, featuring Brazilian singer Katia Moraes -- a born afternoon sunshine performer -- who stirred up an unpredictable stew of ingredients rooted in the samba." - Variety

June 2004
"The day kicked off with a blast from Katia Moraes & Sambaguru, one of L.A.´s best Brazilian bands who have been tearing up the club scene for years now. Their energy transferred nicely to the large setting…"
- Entertainment Today

May 2004
"The music of Kátia & Sambaguru is heavily rooted in traditional Brazilian rhythms and forros such as samba, frevo, baiâo and choro, but is non-traditional in the sense that most of their material is original, with a unique textural variety. In other words, this is Brazilian music in its modern popular form that pays tribute to all the musical influences of its interpreters. Kátia Moraes & Sambaguru is a high-energy, dynamic collective that celebrates life and the joy of dancing, drumming and singing. The best way to absorb and enjoy their magic is to see them perform live." - Latin Beat Magazine

By Don Heckman
June 22, 2004

"Sunday’s program immediately dipped into Brazilian sounds with singer Katia Moraes & Sambaguru. Delivering a program that ranged exuberantly across Brazil’s multiplicity of rhythms, Moraes was a bundle of galvanized energy, her quick-paced singing empowered by Sambaguru’s driving rhythm section and the well-crafted arrangements of Bill Brendle."


- Los Angeles Times

By Rebecca Howard
January 14,2004

KATIA MORAES AND SAMBAGURU,
Salt Lake City Centre Sheraton, Monday

Percussionist Kevin Ricard introduced Katia Moraes and Sambaguru by saying, "You may not know it, but it's the middle of the summer in Brazil. With that in mind, we're going to take you there." And that's how they played. Led by Moraes' vocals and driven by Ricard and drummer/percussionist Tony Shogren's rhythms, the band heated up the Sheraton Monday night ˜ enough to make most of us forget how cold it was outside. All the music they played was Brazilian at heart, although some of the charts mixed in elements from other genres (e.g. rock, blues, various ethnic flavors). Better yet, all the music was happy, upbeat and sunny, performed with infectious, electric energy. Moraes, of course, set the tone with her outgoing personality and vibrant energy. Singing, dancing and joking with the audience, she set a great party atmosphere. But for all that she gave to the performance, it was hard to tell who gave more, Moraes or the two percussionists, Shogren and Ricard. They were clearly working up a sweat with all those wonderful Brazilian rhythms, which often sped by at a frenetic pace. Of course, guitarist Mitchell Long, bassist Hussain Jiffry and keyboardist Bill Brendle all gave good, tight performances as well; they just weren't as athletic as the other three in their delivery. While all the music had a Brazilian base in common, the group added variety to the mix by performing styles from different regions. One of the most flavorful was the forro from northeastern Brazil, which Ricard kept referring to as their "country music," Fast and happy, it featured a triangle, accordian, and a drum called a zabumba. Another interesting style was the choro, which blends ragtime and samba, and which featured a drum called the pandero. They also had some fun with a Brazilian salsa. Of course, they didn't neglect the samba, which was featured plentifully. Nor the bossa nova Some of the most entertaining and spirited charts were the sambas in Carnival style ˜ which really cut loose with some no-holds-barred rhythms. The lyrics to all of the charts were in Portugese, but Katia's actions and body language communicated the spirit of each song, even if most of the audience
couldn't understand the words. While the music wasn't exactly deep or intellectual, it certainly didn't lack intelligence, and the band was tight. Perhaps more important, the group focused on delivering a great performance of what the music is all about: lightening the spirit. And the audience responded.
At first, there were visible smiles scattered throughout the audience as heads bobbed and toes tapped to the rhythm. But by the end of the concert,
small groups of people had gathered in the corners and were cutting loose and dancing.
- Deseret Morning News

Sambaguru is back with "Tribo"

by Sergio Mielniczenko
host of Global Village - KPFK Los Angeles

The band Sambaguru is back with a new album “Triibo”. This world band with Brazilian sounds is Los Angeles based with Brazilian leading singer Katia Moraes who also writes Portuguese lyrics. The band blends sounds based on Brazilian rhythms and styles. They are a very successful band with world class musicians and the ever powerful performance of singer Katia Moraes. Members of the band are: Kevin Ricard on percussion, Tony Shogren drum kit, Hussain Jiffrey bass and Grecco Burato guitars, Bill Brendle keyboards and accordion and Mitchel Long seven string guitar. Special guests: Oscar Castro Neves, Justo Almario, Arturo Veloso, Mitchel Long, Ken Applegate, Paul Jackson Jr., Flavio Ribeiro, The Vine Street Horns and Erock dos Santos. This good sounding album has some special tunes such as “Everything that is You” by Bill Brendle, English lyrics by Siedah Garret and lyrics in Portuguese by Katia Moraes with the participation of Oscar Castro Neves on acoustic guitar. This time Katia sings in English in a very lush music arrangement that I guess was done by Bill Brendle. For a very up beat Brazilian beat and samba the song is: "Beleza da Mulher Brasileira” by Bill Brendle and Katia Moraes. Good job! - Los Angeles Times

Sambaguru is a high-energy Brazilian/World Beat collective that celebrates life through dancing, drumming, and singing. Navegar Ao Sol (translated "sailing under the sun") features carioca singer Katia Moraes and is rooted in traditional samba, frevo, baiao, and choro. "Brazilian music of the highest caliber... a fragile combination of sophisticated rhythms that will delight fans of percolating percussion." - Los Angeles Times - Los Angeles Times