Musician. Composer. Guitarist. One of the best MPB and Jazz guitarists plays classical and electric guitar. Born in the neighborhood of Bangu, west of Rio de Janeiro, he was raised in Italy by his father, the “immense” guitarist IRIO de PAULA, a musician residing in the country since the 70s. Robertinho De Paula has played in several European countries (Germany – France – Greece – Spain – Netherlands) and Argentina He has played in several festivals “Festival de Jazz de Castelbuono”, “Ariano Irpino Jazz”, “Seravezza Jazz”, “Teggiano Jazz”, “Padova Jazz Festival Centro Porsche” “Jazz Pantelleria Festival” “GuitarMaster” (Germany), Ecojazz Festival “(Italy), “Peperoncino Jazz Festival” (Italy) “Jazz in Sud de France” (France) “Roma Jazz Festival” (Italy) “San Marino Jazz” (Republic de San Marino) “San Martin Jazz Festival” (Italy) “Beat Onto Jazz Festival” Italy “Etno Jazz Festival” Italy the others… In 2004 he released his first solo CD entitled “Bate Papo”, along with his father Irio De Paula being voted one of the best albums of 2004 in Italy, touring several cities in Italy: Verona, Torino, Ná poles, Palermo, Acona Cevignano di Friuli, Borgo Valsugana, San Donà di Piave, Vilminore di Scalve, Bolzano and Venice. He released solo albums in Europe, especially “Cores” (RDP Quartet – Italy) “Vera Cruz – Vertere and RDP String Quartet” (Italy); “The Seed of Love, jazz guitar, Brazilian style – RDP” (Italy) “Chameleon Jazz – RDP Jazz Quartet” (Italy) “ITBRIT – RDP” (Italy) “Live In Berlin – RDP ” (Italy); “Bebo Best and Our Soul Sings – Special Guest RDP “Atras Da Porta” Nadia Cancila – RDP (Italy) “Roda De Bossa” Nossa Alma Sings with RDP (Italy) “Natural” RDP (Brazil) ) “Bate Papo” Irio De Paula and Robertinho De Paula (Italy).
Robertinho De Paula has played with musicians such as: Larry Coryell – Martin Taylor – Paul Wertico (Pat Metheny Group)- Dave King – Ivan Lins – Fabrizio Bosso – Massimo Manzi – Vito Di Modugno – Seu jorge – Soweto Kinsh Robertinho Silva
Hakan Başar, who was born in 2004 and started playing the piano at the age of 8, continued his studies with his father, who is a guitarist, after short private lessons. In this process, he made the first jazz piano studies with the curriculum of jazz pianists such as Walter Norris, Clare Fisher, Noah Baerman, Jeb Patton, David Berkman, Bill Dobbins, Andrew D.Gordon, Neil Olmstead, Bill Cunliffe, Andy LaVerne. Afterwards, he completed the second part of his studies by studying “Jazz Piano” styles of Michel Petrucciani, Oscar Peterson, Keith Jarrett, Hank Jones, Bill Evans, Tommy Flanagan, Kenny Barron, Sonny Clark, Art Tatum, Scott Joplin, Thelonious Monk, Chick Corea and developing his etudes. While all these studies were going on, Başar was 10 years old when he gave his first concert within the 5th Pera Music Festival. Continuing her music studies and education life together, he made her first studio recordings in 2015 at İTÜ MİAM. In addition to international special events, he gave a concert at the age of 12 as part of the Istanbul Jazz Festival.
The concert series, which started with the “Akbank Sanat Young Talent” concert in February 2017, continued with the Izmir-European Jazz Festival, Istanbul Jazz Festival Promotion Night and Ahmet Ertegün Memorial Night. Afterwards, World Jazz Day, Zorlu PSM Jazz Festival, Ankara Jazz Festival, Istanbul Jazz Festival and Akbank Jazz Festival were the concerts that followed this series. During this time, he met names such as Ron Carter, Russell Malone, Eddie Gomez, Donald Vega, especially Chick Corea, and had the chance to do a workshop with Chick Corea before the Istanbul concert. After this meeting, Chick Corea’s views, who admire Hakan’s talent, are as follows:
“La releve est assurée.”
In February 2018, Hakan was entering his first recording, which will turn into an album in 2019, at Babajim Studios, this time with Turkey’s most important musicians Ferit Odman, İmer Demirer, Engin Recepoğulları and Kağan Yıldız. The last part of the recordings was completed with the contributions of Halil Çağlar Serin, and the statement made by Martin Hummel ,who is director of Ubuntu Music, when he came to Istanbul and the Hakan Başar Trio at another Akbank Art Concert, indicated the album date as 19 October 2019. The album, which was released by Ubuntu Music in London, was distributed by Equinox Music.
The album “On Top Of The Roof” was a very important start for Hakan. Because he was on an international platform for the first time, and this time the London Jazz Festival opening concert was Hakan’s second stop after the album launch. The concert on November 15, 2019 was held at Pizza Express Jazz Club Soho and received serious coverage in the British press. The interview by Mike Collins on behalf of London Jazz News was followed by the broadcasting of the album tracks on Jazz FM, one of the world’s most important jazz radios.
In 2020, which started very quickly with concerts, unexpected pandemic process brought its negativity. Although there were no concerts, the album On Top Of The Roof have been broadcasted on many jazz radios and interviews were held in the written jazz press. One of them was Radio Boğaziçi’s nomination of Hakan among the jazz musician candidates of the year. Hakan Başar’s explanations for the challenging pandemic process are as follows: “This period has been a new beginning for me again. Because I think that I got the necessary substructure with the preparations I have made so far. I switched to a different system. I can say that by making good use of this free time, I gained different opinions for my creative development by analyzing the compositions of Miles Davis, John Coltrane, Kenny Dorham, Lee Morgan, Wayne Shorter, Freddie Hubbard, Ornette Coleman etc. Also, I have listened jazz guitarists such as George Benson, Pat Martino, Wes Montgomery, Bireli Lagrene. Besides, I try to enrich his music by listening to Debussy, Chopin, Bach and especially by studying Debussy.”
On the anniversary of his album, another surprise was awaiting Hakan. His recording which was made with Jimmy Haslip and Will Kennedy who are two invaluable legendary musicians of Yellow Jackets, came out in the world, again by Martin Hummel who is Ubuntu Music’s director, this time as “Hub Art Special Edition Single”. The views of Jimmy Haslip, Will Kennedy and Martin Hummel about this project are as follows:
“Hakan Başar is a brilliant young pianist and the New Hub Art project frames the beauty of his performances and his compositions.”
“The future is in the hands of the young and as we do our best to encourage, inspire, and guide those who we pass the baton to, we rest in the knowledge that the future is in good hands. The hands of Hakan with the spirit and soul behind those hands gives us confidence for the future.”
“Another dream comes true for this amazing young talent. And everyone should expect many, many more to come! Hakan is a truly gifted artist and a very special person. We love him!” he concludes.
Horacio “El Negro” Hernández | Drums
Dany Noel | Bass
Jorge Vera | Piano and keyboard
Amik Guerra | Trumpet
HORACIO “EL NEGRO” HERNANDEZ
“El Negro” follows the influences from Arturo Sandoval, Paquito D’Rivera, Ignacio Berroa, and others. His drumming reflects a musical heritage rooted in folklore tradition.
“El Negro” first gained international recognition as the drummer for the pianist Gonzalo Rubalcaba and his group Proyecto. Since leaving Cuba in 1990, Hernandez has played in the U.S. with many different pop, rock, jazz and Latin jazz acts, including on many albums, some of which have received Grammy awards, including Roy Hargrove’s Havana (1997), Carlos Santana’s Supernatural (1999), Alejandro Sanz’ No es lo mismo (2003) and Eddie Palmieri’s Listen Here (2005). Hernández owns a Grammy award for the 2001 Latin Jazz album Live at the Blue Note with Michel Camilo (piano) and Charles Flores (bass). Since 2004, Hernandez has recorded and toured with his own band, Italuba.
In July 2010, Hernández was awarded an Honorary Doctorate of Music from Berklee College of Music. He was presented with the award at the Umbria Jazz Festival in Perugia, Italy by Berklee’s former Vice President of Academic Affairs, Larry Monroe.
In 2011 he recorded the album Proposición, with a band including Dany Noel Martinez, Giovanni Hidalgo, Ivan Lewis, Dario Chiazzolino, Ivan Bridon and Amik Guerra. In the same year he played at the Modern Drummer Festival with his new band The New World Order; the concert was released on the Modern Drummer Festival 2011 DVD. Also in 2011 he began playing with Marc Ribot y Los Cubanos Postizos.
In 2016 Hernández joined Salazh Trio, a jazz fusion group featuring bassist Jeroen Paul Thesseling. Their debut work Circulations was released in December 2017.
Of all the Afro-Cuban musicians playing the “conventional” [if you could at all call it that] North American – or “Jazz” – drum sets there is no one more dazzling to watch and listen to than Horacio “El Negro” Hernández. He can play at extraordinary speeds with both hands, never losing control of pulse or time, he seems to have wrists – not lubricated by but – made of liquid and his hand-eye-foot co-ordination is diabolically brilliant. This miraculous dexterity enables him to morph from montuno to swing, mix things up with machine-gun-like “bebop” rhythms as well as odd metres… and best of all he can make it all sound perfect and exactly where it belongs – all in the space of a fine or six minute song.
With “El Negro” commanding proceedings from his drum chair and Joaquín Betancourt at the helm of affairs [of] the rest of the ensemble, the Italuba Big Band pull off this perfect repertoire showing off their mastery of music redolent of soaring melodies, luscious harmonies, and dynamic, meteoric rhythms that dive in and out of the traditional and the contemporary. There is a magnificent balance of composition and invention throughout. Soli are brief, meaningful and always make elegant musical statements and soloists ascend in soaring parabolas and loops above the melodies before returning the music to its original themes. Music such as “Pati Metal” and Divertimento” are dense in orchestration, and you made ever- aware of the textural strands that make the music unique.
Meanwhile, speaking of the “unique”, it should not be lost on all of us, especially as we have been starved of live music [Cuban music in particular] for almost a year and a half. So what better way than to enjoy a live performance vicariously than on this double-DVD of what is easily one of the most memorable performances of that year – and to do so not only by “listening” to the music, but experiencing it as if it were “live” on DVD? As a production as well, this is a dizzying [sometimes a little too dizzying] production with 13 cameras, including the Go-Pro cameras now-ubiquitous on sound-stages worldwide. The jump-cuts may make things feel a little rushed at times, but nevertheless it is still an enormously rewarding musical experience.
Franck Biyong is available with two different amazing projects:
Franck Biyong & Lipombe Jazz (Afrobeat-AfroJazz) and Afrobrainz (Electronic-Funk-Rock)
AFRICA’S 21ST CENTURY ROCK GUITAR HERO
Growing up in Gabon, Nigeria and Ivory Coast before settling in the UK at age 14, Franck Biyong lived in households filled with good music. Little wonder why the towering Cameroonian artist is a composer, guitar player, singer, band leader and producer. This master of musical interpretation recalls American Jazz guitarist, Wes Montgomery’s “Canadian Sunset” as the song that set him down his musical path as a pre-teen.
Fanck Biyong went on to cultivate a personal and passionate relationship with music, recognizing it as “spiritual food for the soul”. Receiving musical instruction and training at the National Institute of Arts in Abidjan (Ivory Coast), he scorched a brilliant path with his electric guitar and became a reporter of human emotions and feelings. Franck translated these experiences into several Afro Beat and Afro Jazz albums that made people move, laugh, dance, cry and meditate.
Fanck Biyong has played at countless spots around the globe including SOB’s in New York and the Montreal Jazz Festival. Franck has also enjoyed European tours with music legends such as Nigerian Afrobeat drummer Tony Allen and Ghanaian Highlife guitarist Ebo Taylor. Franck has also worked with Wyclef Jean as well as Salif Keita, King Sunny Ade, Culture Musical Club, Burna Boy, Yemi Alade, Olamide, Waje, Phyno, Efya, Diamond Platnumz and Vanessa Mdee during his time as Music Director on Coke Studio Africa Season 1 & 2.
But Franck Biyong, a consummate performer and creator, has reinvented himself.
In 2016, he shared his vision for Alternative Afro-Electro-Rock and Crossover Music with the recording of the LIYOMBA CHURCH single. This exciting single mined the link between rock and electro with dazzlingly good results. Clever use of Swahili lyrics made it immediately familiar with fans in East Africa and the rest of the continent for whom this Bantu language resonates with many of their own.
This is in line with the Pan-African ideals underpinning Franck’s new sound. And, one of two logical evolutions of African Music; the other being creating musical forms that would appeal to diverse audiences regardless of their age and knowledge about new types of African music: “We have to adapt to change, not to dissolve totally our identity and unique approach to music, but to bridge the gap between where we were and where we should go”.
And, Franck is leading the pack…
Having been a musician for decades and with diverse influences and references (from Francis Bebey to Frank Zappa), Fanck Biyong serves as a
“filter” through which two different streams are passing. The first stream is represented by music of the past generation that he hopes to pass on to the next; stretched out, revamped and modernized. While the second is the modern urban sounds that he plans to incorporate, develop and confront working with musical forms that do not belong together in the first place.
Another aspect of Franck’s futuristic idea of African Music is defined by artistic independence and total freedom of expression. This is a marked departure from the current strong push towards commercialization of image in place of music.
Perhaps his new rock oriented project will herald crossover exposure and breakthrough on the international scene…and it may also finally alter the perception of African Music and its musicians at large.