Marcus Tardelli

A revolutionary in his playing technique, Marcus Tardelli is transforming guitar thought, showing paths never traveled on the guitar, in search of perfect harmony and an orchestral approach to his instrument. “I started out self-taught,” he says, “playing everything by ear, and never fitting into any method or school of guitarists. I always heard more recordings of orchestras or other forms than of guitar. To reproduce the sounds I heard, my hands began to develop a form uncommon in the traditional technique for the instrument. For example, the use of the left thumb all the time to make harmony or tunes that I couldn’t do with the traditional technique. I never recognized any technical barriers, and ended up creating a new path for the guitar.” “Marcus Tardelli has an ear,” writes music critic Paulo Sales in the newspaper Correio da Bahia, “that is directly connected to his soul, capable of recognizing the universe of a composer in all its depth, and reproducing it in all its fullness.” Composer and guitarist Guinga, one of the greatest names in Brazilian music, was one of the first to recognize the genius of the guitarist. In an interview with Jornal O Tempo, a newspaper from Belo Horizonte in Minas Gerais, Guinga said: “One of the things that sets Marcus Tardelli apart is the feeling with which he plays, which is unique and places him at a level that is his alone. It is like Rubinstein at the piano. There are certain musicians who are beyond mere technical judgment, who have a relationship with the unfathomable. God touched the heart of this boy.” In October 2005, he released his first solo CD, Unha e Carne - an album which Marcus arrange and interpret Guinga`s compositions. Brazil is considered to be “the nation of the guitar,” so it is noteworthy that this album was recognized by some critics to be one of the five most important guitar albums of all time. With this album Marcus Tardelli won the most important award in Brazilian music: The 2007 Tim Award - Revelation in Brazilian Music.

www.marcustardelli.com.br

Carlos Oliveira

Guitarist, composer, arranger, and teacher Carlos Oliveira, originally from the state of Pernambuco (Northeast region of Brazil), started playing the guitar in his teens but has been living in the US since 1980 teaching and performing his native music in which he showcases a variety of Brazilian music styles. His CD Brazilian Origins was released in 2000, and his group Brazilian Origins has appeared as main and introductory acts for great Brazilian artists such as Sergio Mendes, Gilberto Gil, Jaques Morelenbaum Quartet, Rosa Passos, and has appeared at many important venues like Yoshis, Kuumbwa Jazz, San Francisco, San Jose and Monterey Jazz Festivals. As a composer, guitarist, and arranger, Carlos has contributed for the albums Ambrosia from Bay-Area’s saxophonist Harvey Wainapel and pianist Kenny Barron, on New Choros of Brazil by Wainapel and Brazilian guitarist Paulo Bellinatti, with mandolin legend Mike Marshall & Choro Famoso , and recently on David Grisman's release Tone Poets CD featured on a duet with prodigy mandolinist and violinist Eva Scow. Presently Carlos continues to develop his music, dedicating his efforts to the study of the Brazilian 7 string nylon guitar, composition, and the creation of a Brazilian guitar instructional method book.

www.coliveira.com

Ricardo Peixoto

Ricardo Peixoto's fluid melodic sense and original harmonic approach place him at the forefront of brazilian guitar in the world today. An inspired improviser with a keen compositional sense,

Ricardo's unique and eloquent style evokes images far beyond his brazilian territory.

Born in Rio de Janeiro, guitarist/composer/arranger Ricardo Peixoto's first instrument was the piano which he began studying as a child. In his early teens he switched to guitar, influenced by the pop music of the day, especially the Beatles, Jimi Hendrix and Cream. He was soon very active in Rio's busy music scene, playing in many jazz and rock groups, as well as accompanying various popular singers. By the time Ricardo came to the US on a Berklee College of Music scholarship, he had also begun studying the classical guitar. While at Berklee he was able to perfect his jazz skills gigging in and around the Boston area, and through his studies at the school. Soon after graduating, Ricardo moved to San Francisco and continued his study of the classical guitar at the San Francisco Conservatory.

Though grounded both in the jazz and Brazilian music traditions, Ricardo has ventured well beyond their borders. With influences ranging from Egberto Gismonti to Villa-Lobos and Miles Davis, guitarist and composer Ricardo Peixoto regularly uses a broad range of instruments in a wide variety of musical dialects. "I like to explore the use of many types of guitars, using each one's unique voice", says Ricardo. "I often prefer to create textures with various stringed instruments, in lieu of synthesizers." Working as a solo artist, or in collaboration with others, he draws on a huge stylistic palette. Whether playing classical or electric guitars, Brazilian 7-string, 12 string, octave guitar, cavaquinho, or tenor banjo, Ricardo's music combines rich melodies, unusual harmonies, and the unmistakable rhythms of Brazil.

From his home base in the San Francisco Bay Area, in addition to his current work with vocalist/composer Claudia Villela, Peixoto has recorded and toured with Flora Purim and Airto, alto saxophonist Bud Shank, percussionist Dom Um Romão, keyboardist Marcos Silva, as well as with his popular ensemble, Terra Sul.

In addition to his work as a performer and composer, Peixoto is also well respected for his work as a teacher and lecturer on Brazilian music.

www.ricardopeixoto.com