Impulse! Records, a label synonymous with some of the greatest names in jazz, celebrates its 50th Anniversary with an exhibit to San Francisco’s Jazz Heritage Center’s Lush Life Gallery. This exhibition celebrates the 50th anniversary of Impulse with iconic album covers and images of musical history’s giants captured by Chuck Stewart’s camera that tell the label’s story as vividly as its music does. I was amazed at the album covers and photographs in this exhibit; from drummers Art Blakey, Chico Hamilton and Max Roach, to vocalist Shirley Horn and of course, John Coltrane, perhaps Impulse's most famous artist.
From the very beginning, artwork was a major component in the identity of Impulse Records. When producer Creed Taylor laid out his vision for the label in late 1960, before any records had been released, he set a visual standard to match the music: laminated gatefold covers rich in colorful graphic design, distinctive typography and magnificent photography. The label launched in early 1961 with its own slogan: “The New Wave Of Jazz Is On Impulse!” Creed Taylor and his successor Bob Thiele fulfilled that promise in a variety of musical directions. Albums with well-defined concepts and cutting edge music were the label’s forte.
The exhibit will run from September 29th to October 23rd. The Jazz Heritage Center located in the famed Fillmore District of San Francisco with it’s own lauded musical history has been opened since 2007 and has hosted many fine exhibitions, most recently the very successful ‘ Presenting Bill Graham’ exhibit which was extended several times due to overwhelming demand.
If you enjoyed last year's Herman Leonard photography exhibit at the JHC, you will love this one A jazz lover's delight and a stroll down memory lane, filled with iconic covers and photos of one of the greatest eras in jazz.
Jazz Heritage Center
Lush Life Gallery
1320 Fillmore Street
San Francisco, CA 94115
Thursday, September 29, 2011
Friday, September 23, 2011
Return to Forever IV & Zappa Plays Zappa Comes to the Warfield
Return to Forever, one the best jazz fusion bands ever, were spectacular back in 2008, at the Regency on Van Ness. That exciting tour celebrated a 30 year reunion of the most popular incarnation, featuring co-founders Chick Corea on keyboards, and Stanley Clarke on bass, withdrummer Lenny White and guitarist Al DiMeola. An amazing show and subsequent albums, DVDs and live recordings would soon follow. This time RTF re-emerges sans DiMeola, and his stead is guitarist Frank Gambale and an unexpected bonus: France's incomparable jazz violinist, Jean-Luc Ponty. Ponty is no stranger to either RTF, or young Dweezil Zappa, having performed on some of the late Frank Zappa's greatest albums.
The Warfield performance opened with Dweezil Zappa, who had an amazing command of his father's repertoire. Zappa had killer musicians in those days, like the aforementioned Ponty, George Duke, Chester Thompson, Ruth Underwood (she was amazing on marimba & xylophone), Napoleon Murphy Brock, Terry Bozzio, Patrick O'Hearn, Eddie Jobson, just to name a few. That group and the others that followed would go on to play Zappa's most challenging compositions. I'll confess, I'd gotten my first Zappa album, "Freak Out", when I was 12, so I'm no stranger to Zappa's music. That being said, Dweezil and his group performed them with the same mind-bending musicianship, as well as the humor that was part of the Zappa genius. The crowd loved them, and they closed the set with "Hot Rats", featuring Dweezil and joined by Gambale on guitar.
Return to Forever IV started off in Canada before heading to Europe and Zappa Plays Zappa joined them for the beginning of this latest leg. Like Zappa, I'd first seen RTF in the days before DiMeola with guitarist Bill Connors. The addition of Ponty and Gambale has added a unique, new flavor to the group. A leader in his own right, Ponty, still possesses that grace and his gorgeous touch on violin rarely heard in jazz. My favorite part of the show perhaps, was RTF IV's version of Ponty's "Renaissance"; beautifully re-imagined by Corea, Gambale and Clarke, with Ponty easing out of the shadows with his awe inspiring melodies, accented by White's rhythmic prestidigitations.
Watching the quintet, I couldn't help thinking about the other late 70's jazz rock "offsprings" of Miles Davis; Weather Report, and John McLaughlin's Mahavishnu Orchestra. Of them all, only Return to Forever still remains. Although the members of the Mahavishnu Orchestra still survive, it is unlikely that their line up of guitar, violin, keyboards, bass and drums will every reunite beyond a studio track or two. Last week, I saw the 68 year old Diana Ross still belt it out with the best of them. At 70, Chick Corea is still every bit as amazing.
Perhaps it is only fitting that Ponty, who also once performed with the Mahavishnu Orchestra, and Gambale joined RTF for this outing, re-imagining their music. Corea, Clarke and White looked particularly happy, clearly enjoying and appreciating the music and the audience. White let the crowd know that he was particularly grateful to be back in San Francisco, (many of his albums were recorded at Different Fur Studios), and recognized them "People who know good music, music that isn't played on radio & MTV, or wherever they play it these days!"
The Warfield performance opened with Dweezil Zappa, who had an amazing command of his father's repertoire. Zappa had killer musicians in those days, like the aforementioned Ponty, George Duke, Chester Thompson, Ruth Underwood (she was amazing on marimba & xylophone), Napoleon Murphy Brock, Terry Bozzio, Patrick O'Hearn, Eddie Jobson, just to name a few. That group and the others that followed would go on to play Zappa's most challenging compositions. I'll confess, I'd gotten my first Zappa album, "Freak Out", when I was 12, so I'm no stranger to Zappa's music. That being said, Dweezil and his group performed them with the same mind-bending musicianship, as well as the humor that was part of the Zappa genius. The crowd loved them, and they closed the set with "Hot Rats", featuring Dweezil and joined by Gambale on guitar.
Return to Forever IV started off in Canada before heading to Europe and Zappa Plays Zappa joined them for the beginning of this latest leg. Like Zappa, I'd first seen RTF in the days before DiMeola with guitarist Bill Connors. The addition of Ponty and Gambale has added a unique, new flavor to the group. A leader in his own right, Ponty, still possesses that grace and his gorgeous touch on violin rarely heard in jazz. My favorite part of the show perhaps, was RTF IV's version of Ponty's "Renaissance"; beautifully re-imagined by Corea, Gambale and Clarke, with Ponty easing out of the shadows with his awe inspiring melodies, accented by White's rhythmic prestidigitations.
Watching the quintet, I couldn't help thinking about the other late 70's jazz rock "offsprings" of Miles Davis; Weather Report, and John McLaughlin's Mahavishnu Orchestra. Of them all, only Return to Forever still remains. Although the members of the Mahavishnu Orchestra still survive, it is unlikely that their line up of guitar, violin, keyboards, bass and drums will every reunite beyond a studio track or two. Last week, I saw the 68 year old Diana Ross still belt it out with the best of them. At 70, Chick Corea is still every bit as amazing.
Perhaps it is only fitting that Ponty, who also once performed with the Mahavishnu Orchestra, and Gambale joined RTF for this outing, re-imagining their music. Corea, Clarke and White looked particularly happy, clearly enjoying and appreciating the music and the audience. White let the crowd know that he was particularly grateful to be back in San Francisco, (many of his albums were recorded at Different Fur Studios), and recognized them "People who know good music, music that isn't played on radio & MTV, or wherever they play it these days!"
Friday, September 16, 2011
Sarah Wilson Comes to the Red Poppy Art House
Bay Area composer/trumpeter/singer-songwriter Sarah Wilson performs with her Quintet — violinist Charlie Burnham, guitarist John Schott, bassist Jerome Harris, and drummer Matt Wilson, tonight at San Francisco's Red Poppy Art House on Folsom. Following her critically acclaimed 2010 album "Trapeze Project", Wilson's concerts have featured recent commissions Wilson received from The Center for Cultural Innovation and Zellerbach Family Foundation to write music in tribute to her female jazz mentors, Carla Bley, Laurie Frink and Myra Melford. “While I don't know Carla Bley personally, it was at her 1999 Knitting Factory concert that I finally saw a model for what I wanted to do...just be up there and have the focus be on my music,” says Wilson. “If these women hadn't paved the road for me, I never would've been able to do what I do. They made it possible for me to follow my musical path.”
Wilson has truly emerged as “one of the most intriguing and promising composers and trumpeters on the contemporary music scene..." Most recently she was one of 6 California composers awarded a prestigious Composers Collaborative grant from the Wallace Alexander Gerbode Foundation and The William and Flora Hewlett Foundation.
This grant will fund the world premiere of Wilson’s music production with dance, “Off the Walls” at San Francisco’s de Young Museum in fall 2012. Wilson will be a 2011-2012 Artist Fellow at the de Young Museum with funding from the James Irvine Foundation. Wilson earned wide acclaim for her 2006 Evander Music debut, Music for an Imaginary Play, as well as her most recent CD "Trapeze Project" (Brass Tonic Records).
Wilson didn’t come to music through the usual channels. As an undergraduate anthropology major at the University of California, Berkeley, Wilson, a lapsed high school trumpet player, took a strong interest in theater. A visiting artist from Vermont’s globe-trotting Bread and Puppet Theater inspired her to move east to work on their spectacular giant-puppet productions after graduation. She spent two years as a member of the troupe, increasingly conducting, arranging and performing music for their shows. In 1993, she moved to New York to concentrate on music, studying with trumpeters John McNeil and Laurie Frink.
Through her affiliation with Bread and Puppet Theater, she soon found herself musical director and composer of Lincoln Center’s Out of Doors Festival’s annual puppet program. “At the time, I didn’t really have any formal training or experience composing,” Wilson says. “I didn’t know much harmony, so I would just write these melodic bass lines and layer contrapuntal melodies on top of them. I was really into Afro-Cuban music and Henry Threadgill and Steve Coleman, so everything had a really strong rhythmic base, sometimes with odd meters. I’ve formally studied music since then, but my basic composing approach hasn’t changed much.”
“Because I started writing for puppet theater, there is a strong visual reference to my music, a kind of music to image to movement concept,” she continues. “When I compose I imagine myself in the music, picturing the image it evokes. It is also a visceral, physical feeling. Composing can be a kind of ecstatic experience for me, it's like finding the right movement for a puppet on stage, and by puppet I don't mean hand puppet, but the kind of big puppet we used in Bread and Puppet Theater, that requires use of your entire body. On a basic level, it's music you can dance to. That kind of a pulse is always there because that's where I get my inspiration.”
Wilson absorbed other sources of inspiration from the eclectic downtown New York new music scene of the 1990s into her compositions, and found plenty of open-minded musicians willing to play them. “I was fortunate to find these amazing musicians, like Kenny Wollesen, and Peck Allmond, Tony Scherr, and others,” she says, “who liked my work precisely because it was different and original.”
To further blur stylistic boundaries, Wilson began singing and writing her own songs in 2000. “My mom died that year, and I gave up the trumpet. I listened to the radio a lot and I started writing songs. It was distracting, soothing as I was dealing with this terrible loss in my life. Finally, I put together some songs, borrowed a microphone from Norah Jones (this was before she became famous, we were all scuffling then) and performed at Performance Space 122. I realized afterwards that singing gave me this intimate connection with the audience and I felt relaxed doing it. It is another avenue for my music to travel down. I don’t feel like I have any direct influences as a singer. It’s very pure.”
Trapeze Project brings together all the disparate elements of her career. “The title reflects how I felt moving from coast to coast,” says Wilson, who left New York in 2005 and moved back to California, “and also the way my music can swing back and forth between genres.” Indeed, the CD shows how she has absorbed and personalized many influences—American, Balkan, and Persian folk music; New Orleans jazz; marching bands; the blues; pop music; and other far-flung sources.
Wilson didn’t follow the path to creative music that most improvisers and composers take. But for her, that’s an asset. “My music is different because of how it was initially created,” she says. “People who play jazz or know jazz, often say that what I do isn’t jazz. Then other people say it sounds like jazz to them. I actually like being in this in-between space where I can do whatever I want.”
Sarah Wilson Quintet, Friday, September 16th
Red Poppy Art House, 2968 Folsom St., San Francisco
8 p.m. $12-$20 http://www.redpoppyarthouse.org
Wilson has truly emerged as “one of the most intriguing and promising composers and trumpeters on the contemporary music scene..." Most recently she was one of 6 California composers awarded a prestigious Composers Collaborative grant from the Wallace Alexander Gerbode Foundation and The William and Flora Hewlett Foundation.
This grant will fund the world premiere of Wilson’s music production with dance, “Off the Walls” at San Francisco’s de Young Museum in fall 2012. Wilson will be a 2011-2012 Artist Fellow at the de Young Museum with funding from the James Irvine Foundation. Wilson earned wide acclaim for her 2006 Evander Music debut, Music for an Imaginary Play, as well as her most recent CD "Trapeze Project" (Brass Tonic Records).
Wilson didn’t come to music through the usual channels. As an undergraduate anthropology major at the University of California, Berkeley, Wilson, a lapsed high school trumpet player, took a strong interest in theater. A visiting artist from Vermont’s globe-trotting Bread and Puppet Theater inspired her to move east to work on their spectacular giant-puppet productions after graduation. She spent two years as a member of the troupe, increasingly conducting, arranging and performing music for their shows. In 1993, she moved to New York to concentrate on music, studying with trumpeters John McNeil and Laurie Frink.
Through her affiliation with Bread and Puppet Theater, she soon found herself musical director and composer of Lincoln Center’s Out of Doors Festival’s annual puppet program. “At the time, I didn’t really have any formal training or experience composing,” Wilson says. “I didn’t know much harmony, so I would just write these melodic bass lines and layer contrapuntal melodies on top of them. I was really into Afro-Cuban music and Henry Threadgill and Steve Coleman, so everything had a really strong rhythmic base, sometimes with odd meters. I’ve formally studied music since then, but my basic composing approach hasn’t changed much.”
“Because I started writing for puppet theater, there is a strong visual reference to my music, a kind of music to image to movement concept,” she continues. “When I compose I imagine myself in the music, picturing the image it evokes. It is also a visceral, physical feeling. Composing can be a kind of ecstatic experience for me, it's like finding the right movement for a puppet on stage, and by puppet I don't mean hand puppet, but the kind of big puppet we used in Bread and Puppet Theater, that requires use of your entire body. On a basic level, it's music you can dance to. That kind of a pulse is always there because that's where I get my inspiration.”
Wilson absorbed other sources of inspiration from the eclectic downtown New York new music scene of the 1990s into her compositions, and found plenty of open-minded musicians willing to play them. “I was fortunate to find these amazing musicians, like Kenny Wollesen, and Peck Allmond, Tony Scherr, and others,” she says, “who liked my work precisely because it was different and original.”
To further blur stylistic boundaries, Wilson began singing and writing her own songs in 2000. “My mom died that year, and I gave up the trumpet. I listened to the radio a lot and I started writing songs. It was distracting, soothing as I was dealing with this terrible loss in my life. Finally, I put together some songs, borrowed a microphone from Norah Jones (this was before she became famous, we were all scuffling then) and performed at Performance Space 122. I realized afterwards that singing gave me this intimate connection with the audience and I felt relaxed doing it. It is another avenue for my music to travel down. I don’t feel like I have any direct influences as a singer. It’s very pure.”
Trapeze Project brings together all the disparate elements of her career. “The title reflects how I felt moving from coast to coast,” says Wilson, who left New York in 2005 and moved back to California, “and also the way my music can swing back and forth between genres.” Indeed, the CD shows how she has absorbed and personalized many influences—American, Balkan, and Persian folk music; New Orleans jazz; marching bands; the blues; pop music; and other far-flung sources.
Wilson didn’t follow the path to creative music that most improvisers and composers take. But for her, that’s an asset. “My music is different because of how it was initially created,” she says. “People who play jazz or know jazz, often say that what I do isn’t jazz. Then other people say it sounds like jazz to them. I actually like being in this in-between space where I can do whatever I want.”
Sarah Wilson Quintet, Friday, September 16th
Red Poppy Art House, 2968 Folsom St., San Francisco
8 p.m. $12-$20 http://www.redpoppyarthouse.org
Saturday, September 10, 2011
The 12th Annual San Francisco Electronic Music Festival
The 12th Annual San Francisco Electronic Music Festival (SFEMF), consists of four evenings which began Thursday night, of stimulating performances and fixed media works by internationally recognized artists in the electronic music field. This year's Festival spans four evenings from Thursday September 8th through Sunday September 11th. The opening evening event will take place at San Francisco Museum of Modern Art (SFMoMA) in the Phyllis Wattis Theater, and the Friday through Sunday concerts will take place at Brava Theater Center in San Francisco.
As is their custom, the festival will feature a range of electronic music composers, performers and sound art practioners including respected pioneers and emerging artists whose work spans the sonic spectra from ambient to rhythmic, from atonal to melodic. As the only San Francisco music festival dedicated solely to electronic music, SFEMF brings together the varied practices of artists working with laptop generated sound, processed live acoustic instruments, amplified found objects, projected video, improvisation, and performance art.
You can buy individual concert tickets, or you can get a full festival pass, which will allow you entrance to all four events.
The full schedule is as follows.
Thursday, September 8th at SFMoMA
(tickets only available at the door or as part of this festival pass)
An evening of live and fixed media works for sound and video including works by Les Stuck & Sonsherée Giles, Sarah Howe, Tim Perkis/ Tom Djll, Alba G. Corral / Kadet Kuhne, and a performance of Milton Babbit's Philomel performed by Dina Emerson.
Friday September 9th at Brava Theater Center
Christian Marclay/ Shelley Hirsch
Zachary Watkins
Jessica Rylan
Saturday September 10th at Brava Theater Center
Yoshi Wada and Tashi Wada
Max Matthews tribute (with Marielle Jakobsons)
0th
Area C
Sunday September 11th at Brava Theater Center
Kevin Drumm
JD Emmanuel
Gregg Kowalsky
As is their custom, the festival will feature a range of electronic music composers, performers and sound art practioners including respected pioneers and emerging artists whose work spans the sonic spectra from ambient to rhythmic, from atonal to melodic. As the only San Francisco music festival dedicated solely to electronic music, SFEMF brings together the varied practices of artists working with laptop generated sound, processed live acoustic instruments, amplified found objects, projected video, improvisation, and performance art.
You can buy individual concert tickets, or you can get a full festival pass, which will allow you entrance to all four events.
The full schedule is as follows.
Thursday, September 8th at SFMoMA
(tickets only available at the door or as part of this festival pass)
An evening of live and fixed media works for sound and video including works by Les Stuck & Sonsherée Giles, Sarah Howe, Tim Perkis/ Tom Djll, Alba G. Corral / Kadet Kuhne, and a performance of Milton Babbit's Philomel performed by Dina Emerson.
Friday September 9th at Brava Theater Center
Christian Marclay/ Shelley Hirsch
Zachary Watkins
Jessica Rylan
Saturday September 10th at Brava Theater Center
Yoshi Wada and Tashi Wada
Max Matthews tribute (with Marielle Jakobsons)
0th
Area C
Sunday September 11th at Brava Theater Center
Kevin Drumm
JD Emmanuel
Gregg Kowalsky
Friday, September 2, 2011
Grupo da Sete (Brazilian Independence Day) Comes to Yoshi's
Love Brazilian music? I know I do. I fondly remember the days of Flora Purim, Egberto Gismonti, Airto Moriera, Paulhino da Costa and Milton Naciemento. Can't make it to Sao Paulo? No worries, because it’s now easier to travel around the world than ever before. In fact, you don’t even have to leave The City to do it. Every Wednesday Yoshi's weekly live music series, Global Movement, fittingly brings the best in local world music to a world-class venue. Afro-Brazilian, Reggae, Latin, and Middle Eastern-themed parties alternate each week, making Yoshi's SF your one-stop, virtual travel destination for global groove. SF's talented Brazilian ex-pats, Grupo da Sete, Sambaxé and a host of others are having a special show next Wednesday to celebrate Brazil's Independence Day on Sept. 7th at Yoshi's San Francisco.
Grupo da Sete has been playing authentic Brazilian music direct from Rio de Janeiro - bossa nova, samba, pagode, chorinho, samba cancao. baiao to partying crowds for the last eight years. Featuring some of the finest musicians in the Bay Area (such as Fabricio Makarrinha, Alex and Marquinho Calatayud, Carlos Oliveira), the group is all about re-creating a typical lively evening in a Rio club - full of singing and dancing to the songs of Joao Bosco, Zeco Pagodinho, Jorge Aragao, Seu Jorge, Fundo de Quintal etc.
Sambaxé is a full force, energetic group of dancers that perform various Brazilian dance styles including Rio Carnaval style samba, Samba-Reggae, Axé, Frevo, Maculele and more. They perform at many different venues throughout the Bay Area. This Brazilian-inspired dance group performs alongside with Bateria ¡Blocura! a live percussion squad led by Alfie Macias along side Ron "SuperMan" Jackson and Alex Nunez.
Founder of Sambaxé, Raffaella Falchi, teaches Brazilian dance classes in various dance studios including Rhythm &Motion/ODC, Dance Mission,and UCSF in San Francisco. Everyone from young kids to adults are welcome to join her weekly classes. Every year, Raffaella creates a Carnaval Contingent so that anybody interested in her classes can perform at the SF Carnaval in May. Her philosophy is "Dance is a celebration of life" enjoy it, heal through it and most importantly have fun!
Known for working hard to promote Brazilian music in the Bay. DJ Alfie has been putting events together that have feature the best of the local Brazilian music scene. His goal has been to showcase these talents and bring new appreciators into the fold of this community. On the decks he uses his percussion background to move the floor by always keeping an ear to the latest Brazil-Cutz from north to south of the musical oasis known as Brazil. If you ever wanted to visit Brazil, Alfie runs a tour every year to Rio & Bahia for X-Mas & New Years with www.sambaxedance.com
Independence Day(Sete de Setembro) is the National holiday of Brazil. Independence Day honors the birthday of the nation. On September 7th, 1822, Brazil claimed its independence from the hands of the Portuguese. Brazilians did not have to fight much for freedom, they won it from their parent country, Portugal. Prince Pedro, son of Portugal’s king, stood near Brazil’s Ipiranga River and made an announcement of independence. He tore the Portuguese symbol from his uniform and declared, “By my blood, by my honor, and by God: I will make Brazil free.” After that Pedro became the Emperor of Brazil and forced Portuguese forces to leave Brazil. In 1889 Brazil finished its monarchy and became a republic but kept September 7th as its Independence Day.
In Brasília, (Capital of Brazil) the day is celebrated at the Ministries Esplanade with a military parade in the presence of the President of Brazil. On this day many political leaders appear at the public events and talk about the nation's heritage, laws, history, people, about recent events and future projects. All Brazilians are entitled to Independence Day off work except some emergency service workers. Independence Day is considered as a Public Day with outings, picnics and lots of outdoor events like parades, air shows, fireworks and musical concerts. Parades generally occur in the morning and the fireworks occur in the evening. Thousands of Brazilians gather in the road celebrating this day with banners, balloons and streamers. They proudly fly their Flag, sing songs and enjoy the day with their friends and families.
Grupo da Sete (Brazilian Independence Day)
with Sambaxé, DJ Alfie1Bateria "Diaspora Rocka"
Resident DJ: Global Movement (Yoshi's SF)
Beleza Connection (Era Art Bar)
Yoshi's San Francisco, Wednesday, September 7th
Cover: $10
Doors: 8:30
Show: 9pm - 12am
Kitchen open till 10pm
Grupo da Sete has been playing authentic Brazilian music direct from Rio de Janeiro - bossa nova, samba, pagode, chorinho, samba cancao. baiao to partying crowds for the last eight years. Featuring some of the finest musicians in the Bay Area (such as Fabricio Makarrinha, Alex and Marquinho Calatayud, Carlos Oliveira), the group is all about re-creating a typical lively evening in a Rio club - full of singing and dancing to the songs of Joao Bosco, Zeco Pagodinho, Jorge Aragao, Seu Jorge, Fundo de Quintal etc.
Sambaxé is a full force, energetic group of dancers that perform various Brazilian dance styles including Rio Carnaval style samba, Samba-Reggae, Axé, Frevo, Maculele and more. They perform at many different venues throughout the Bay Area. This Brazilian-inspired dance group performs alongside with Bateria ¡Blocura! a live percussion squad led by Alfie Macias along side Ron "SuperMan" Jackson and Alex Nunez.
Founder of Sambaxé, Raffaella Falchi, teaches Brazilian dance classes in various dance studios including Rhythm &Motion/ODC, Dance Mission,and UCSF in San Francisco. Everyone from young kids to adults are welcome to join her weekly classes. Every year, Raffaella creates a Carnaval Contingent so that anybody interested in her classes can perform at the SF Carnaval in May. Her philosophy is "Dance is a celebration of life" enjoy it, heal through it and most importantly have fun!
Known for working hard to promote Brazilian music in the Bay. DJ Alfie has been putting events together that have feature the best of the local Brazilian music scene. His goal has been to showcase these talents and bring new appreciators into the fold of this community. On the decks he uses his percussion background to move the floor by always keeping an ear to the latest Brazil-Cutz from north to south of the musical oasis known as Brazil. If you ever wanted to visit Brazil, Alfie runs a tour every year to Rio & Bahia for X-Mas & New Years with www.sambaxedance.com
Independence Day(Sete de Setembro) is the National holiday of Brazil. Independence Day honors the birthday of the nation. On September 7th, 1822, Brazil claimed its independence from the hands of the Portuguese. Brazilians did not have to fight much for freedom, they won it from their parent country, Portugal. Prince Pedro, son of Portugal’s king, stood near Brazil’s Ipiranga River and made an announcement of independence. He tore the Portuguese symbol from his uniform and declared, “By my blood, by my honor, and by God: I will make Brazil free.” After that Pedro became the Emperor of Brazil and forced Portuguese forces to leave Brazil. In 1889 Brazil finished its monarchy and became a republic but kept September 7th as its Independence Day.
In Brasília, (Capital of Brazil) the day is celebrated at the Ministries Esplanade with a military parade in the presence of the President of Brazil. On this day many political leaders appear at the public events and talk about the nation's heritage, laws, history, people, about recent events and future projects. All Brazilians are entitled to Independence Day off work except some emergency service workers. Independence Day is considered as a Public Day with outings, picnics and lots of outdoor events like parades, air shows, fireworks and musical concerts. Parades generally occur in the morning and the fireworks occur in the evening. Thousands of Brazilians gather in the road celebrating this day with banners, balloons and streamers. They proudly fly their Flag, sing songs and enjoy the day with their friends and families.
Grupo da Sete (Brazilian Independence Day)
with Sambaxé, DJ Alfie1Bateria "Diaspora Rocka"
Resident DJ: Global Movement (Yoshi's SF)
Beleza Connection (Era Art Bar)
Yoshi's San Francisco, Wednesday, September 7th
Cover: $10
Doors: 8:30
Show: 9pm - 12am
Kitchen open till 10pm
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