redefining contemporary jazz by creatively balancing the musical cultures of two countries.
10 Questions with guitarist Ricardo Silveira reveals a portrait of international musicianship.
by Scott Adams
Any visit to Rio de Janiero wouldn’t be complete without a visit with Ricardo Silveira. So we meet for breakfast in Copacabana to catch up with one of Brazil’s guitar greats.
Looking back is only good for seeing where you were, so it’s fair to ask where he’s headed next – with these 10 questions for guitarist Ricardo Silveira.
10Q: How did you get started with music and what sparked your interest in jazz?
Well, I grew up listening to Brazilian pop music of the ‘60s and ‘70s (known as MPB). Of course, I also loved Carnaval music as well as American and English rock stars, too. So, I started trying to play along with those songs on radio and TV, using my sister’s old guitar.
I took a few formal lessons when I was 11. I played by ear sometimes only on one string … By the time I got to High School I’d had more lessons, played some classical pieces, and played in school music Festivals.
I was about 16 when I saw a Jazz group led by Brazil’s legendary sax player Victor Assis Brasil with trumpeter Marcio Montarroyos. That’s when I decided to start looking for jazz records!
10Q: How did you Get To Boston’s Berklee College of Music?
I had already decided to become a musician but had no idea what kind of a career I could have. Truth be told, it was just that I didn’t have anything better to do!
Friends like guitarist Victor Biglione and Marcio Montarroyos were Berklee alums and when I got into College at Rio’s Escola Nacional de Musica there was no guitar chair. I tried playing violin but that didn’t last long.
I knew Berklee had summer programs and I convinced my mother to send me. My friend Celia Vaz was there, too and she told me to apply for a scholarship or fellowship. So, I stayed in school for the fall and next spring.
I returned to Rio for a vacation, played with Marcio Montarroyos’ group for a couple of months, and then went back to Berklee.
During that second year at Berklee, I started playing gigs around Boston with a Latin band called Estrelas Latinas. Guitarist Bill Frisell gave me that gig when he became too busy
Brazilian trumpeter Claudio Roditi was another great musician I met in Boston. When he moved to New York he helped me to join flutist Herbie Mann’s band. Herbie was looking for a young guitarist who could play Brazilian and some jazz, so Claudio recommended me and I moved to New York. This was my big break.
So, the influence that Berklee had on my life was big. I was living by myself for the first time, in another city and country. I lived in a different language and was surrounded by talented musicians from different parts of the world.
What was supposed to be a two-month trip became a much bigger thing that is still going on.
10Q: What’s the most impactful moment in your musical life?
There are many, for different reasons… Playing at Carnegie Hall with Herbie Mann in 1978 with my mother and one of my sisters in the audience is one that comes to mind. It was the first time Mom saw me play in public!
Recording a live album with Milton Nascimento and Wayne Shorter(‘Barca dos Amantes’) after being a huge fan of both – and the ‘Native Dancer’ record is another…
10 Questions with Guitarist Ricardo Silveira: Ao Vivo
Center stage with guitarist Ricardo Silveira and his quartet at SESAC Brasil.
10Q: how is Brazilian music perceived internationally and what’s the future of Brazilian Jazz?
Brazilian music is recognized worldwide for its creativity and its long tradition of excellence – as is futebol (soccer).
Think of Vila Lobos, Antonio Carlos Jobim and João Gilberto. Consider Milton Nascimento, Sergio Mendes, Gilberto Gil, and countless more. They were already known and very respected when I first came to Boston. The affinity between jazz and Brazilian music is always going to be there. There is room for all kinds of possibilities that will keep us interested hopefully.
10Q: What advice would you give to Young musicians, especially those Wanting a career in Brazil or abroad?
Well, put in the time if you love it. That was what I always heard and it seems to remain true. Practicing is always good advice, Knowing how to find work and make a living is something hard to teach and very important.
10Q: You lived in the United States for quite a while: What are your best memories, and do you miss living here?
I’m always coming back and forth and feel very much at home here. I just played a couple of gigs in Los Angeles and on a couple of recordings and I have many very dear friends so I try not to stay away too long.
10Q: Fans Love your albums. Which one is your favorite, and why?
Thank you! It’s hard to pick a “favorite child” but Noite Clara being nominated for a Latin Grammy as Best Instrumental CD made me very happy.
10Q: Tell Us About your TV show.
I was the host of Estudio 66 for three years and it was an amazing experience. We recorded 73 shows with the same number of guests. Best of all, I played with the guests in a musical conversation.
10Q: You Are staying busy as a producer these days. Who have you worked with lately?
I have co-produced João Bosco’s ‘Não Vou Para O Céu Mas Ja Não Vivo No Chão’ CD with his son Francisco Bosco and that led to playing with him (João Bosco) ‘live’ again after many years.
I toured with him last year and there are some shows with him coming up in the fall that I’ll be participating in. I’ve recently produced a very talented young singer, Liz Rosa. The CD has her name and it’s her first. I’ve also produced Emilio Santiago, guitarist Tonnho Horta, and Jeri, too.
10Q: Fans want To get with Guitarist Ricardo Silveira ‘Live’! When will we see you performing here again?
Hopefully very soon!
10 Questions with Guitarist Ricardo Silveira
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