People is coming here at my home
Downloaded from YTS.MX
in order to finish
or start this film beautifully.
Official YIFY movies site: YTS.MX
We sent the scores by e-mail
I'm printing mine now.
We’re going to play "Flor Amorosa",
a samba choro by Catulo da Paixao Cearense
and Joaquim Antonio da Silva Callado.
Otorhinolaryngologist
Crab
parallelepiped
ophthalmologist
Well, back to our subject.
It has six counts. Should I play these six?
You remember that seven.
I play it.
Seven?
I have to...
Memorize this lyrics.
How we start?
I start.
At the very beginning.
Then you clean it up.
Did you like more that part?
Hi Ana, Are you all right?
Oh, I’m in a hurry.
The first time I came to Rio was in 1975, I guess.
I had married to Claudia.
The beginning of our conversation was about Brazilian music,
How was Brazil, Rio de Janeiro
and mainly Villa Lobos.
We came to spend six weeks, a honeymoon
here in Rio at her parents home.
That was a lifetime image.
I stayed on that balcony, looking at the Guanabara Bay,
the Christ Redeemer statue, a beautiful day
with the Yacht Club behind, the boats.
I met with David in London like rogues from Soho.
David was born in London, England.
First time in Rio in 1975.
He came back in 1981 and... He stayed.
In this conversation came Villa Lobos,
Copacabana, Ipanema, Tom Jobim.
We also decided to play together,
and to enlarge the repertoire that we played,
my father sent scores from Villa Lobos.
This interest he has for the work of Villa Lobos,
specifically directed to the cello.
David has always wanted to know about the work of Villa Lobos.
Then the opportunity arose
to meet conductor Isaac Karabitchewisky.
David appeared for the exam,
I was practically complete with the cello’s suit.
Isaac liked him a lot.
Besides all that he could do musically,
he was a source of sympathy.
And he got the invitation to come to Rio de Janeiro.
There are musicians that come, I've had this experience many times,
stay here some time, do not adapt at all,
being to Rio de Janeiro or the Orchestra,
and simply return, return.
One of the biggest reasons I came to Brazil was football.
The British who invented that wonderful ball, football,
got the ball square.
They were playing, the ball was becoming rounded.
Now I’m in Brazil, supporting this wonderful Fluminense.
What firstly struck me was the Rio de Janeiro`s nature,
the pure nature.
In that beautiful house in Urca,
I sat on the balcony looking to Christ Statue and thought:
the third time I come to Brazil will be to live here.
I was five years old, was with my parents,
and this film appeared on television: Black Orpheus.
The movie begun
and I heard a sound that pleased me.
Music of Tom Jobim,
Vinicius de Moraes, Baden Powell.
And then I approached and said:
it seems that I already know these songs.
As if I was recognizing the songs.
This explains what I felt:
I recognized the musics,
I recognized the Brazilians spirit in me.
It was a hit.
I felt an attraction to the gentle side of people,
willing to live good moments, always.
I told my parents: I want to go there.
To know that country, these people.
And what’s very interesting is that,
not only I was there as I’m here now,
doing what I said when I was five years old.
Idriss was born in Massy Palezeau, France.
I have a brother and two sisters that I left in France.
I left my very good job at Celmer.
First time in Rio in 1982
He came back in 1983 and... He stayed.
I left my singing teacher, my teacher of judo...
A troubled past.
Because my childhood was not the easiest.
With seven years old I had to leave my family,
live with another family due to financial and health difficulties.
Three years afterwards my mother died.
It was hard.
I first arrived in Sao Luis do Maranhao,
because I had some friends who hosted me there.
The parents of these friends,
because my friends were studying in France.
Then I learned to speak that "wonderfull" Portugues I speak.
I received a postcard from a musician friend
who lives in New York, who is the Brazilian Claudio Roditi,
saying he was coming to Rio for a vacation.
"come here and we are going to play."
So I came to Rio and he introduced me to a lot of people.
That was a great help
because I've met great musicians.
The famous night, in the whole world is similar.
You meet people here and there and then affinities emerge.
Go out to have a beer, then a chat,
make an appointment elsewhere
and the thing is happening.
Since birth, I’ve always wanted to be a singer.
My mother used to say that
before I spoke the first word I was already singing.
Mako was born in Kobe, Japan
First time in Rio in 2000
She came back in 2001 and... She stayed.
Everyone talked:
"you have to know Rio de Janeiro"
because it is there where samba and Bossa Nova are.
I sang Brazilian music in Japan,
but I didn’t know the Brazilian rhythm,
what exactly was.
In Japan I wanted to work in a show house
to meet the musicians,
and met a bass player,
who introduced me to a percussionist,
who played Brazilian music in Japan.
Then he said that he needed a person
to sing Bossa Nova with his band.
I said: what is Bossa Nova?
What is "Tom Jobim"?
Who's "The Girl from Ipanema"?
Tom Jobim is a very famous Bossa Nova composer.
"But you have to sing in Portuguese", he said.
What is Portuguese?
My God, how can I learn it?
You only hear and memorize.
All right. And I began singing.
I Memorized twenty songs by ear and sang them all wrong.
Then I started working.
But the Kobe earthquake happened.
And we found a restaurant that opened for us
to play for free.
And we played.
But the place owner asked me:
"you're singing Brazilian music,
then you know Brazil, you speak Portuguese, right?"
Then I said: unfortunately I don’t know Brazil,
I speak no Portuguese at all.
It won’t work for you.
You want to keep singing Brazilian music,
you don’t know Brazil,
you do not speak Portuguese,
it’ll not work!
I was shocked.
Oh my God, what I'm doing here in Japan?
Nobody speaks Portuguese,
Japanese people doesn’t know what Portuguese is.
I must go to Brazil, I gotta know it.
The earthquake gave me an opportunity to know Brazil,
and I realized what I should do with my life:
to learn Brazilian music.
My older sister
has already been to the USA and never returned.
And when I said to my dad I wanted to know Brazil,
he said: no, you will not.
And I came the first time in 2000,
and one day it rained a lot.
There were problems, the city light fully failed.
I couldn’t talk to my family.
I was depressed for, I guess, one month.
What am I doing here?
I couldn’t go out alone,
I hasn’t known the beach yet,
I couldn’t do any sightseeing
I was in Ramos, outskirts, for two months,
in this first visit to Rio de Janeiro.
Totally lost,
not speaking the local language,
but very determined to learn.
Then I found Copacabana,
Shopping centers,
a lot of cool stuff.
Then I moved.
Started to speak a little of Portuguese,
and know people, meet some friends.
I have an American passport,
but its spirit is Carioca.
But you were born in the United States...
Born in the USA,
raised in Spain,
and then I arrived in Brazil.
For me, my hometown is more Spain than the United States.
Bruce was born in New York, USA
First time in Rio in 1965, and... He stayed.
My father had spent years here,
exiled from Spain, before I came.
And used to come often here in Arpoador Beach.
He liked very much Arpoador.
I have a close relationship with Arpoardor too.
There was the Flying Circus here.
What I left the United States?
A collection of rolls of toilet paper, the inner parts.
The first impression I had of Rio de Janeiro
when I landed here
was the smell of organic garbage, from fruits,
and the beach landscape.
I lived here in the late '60s.
I studied some years in University
and then went away,
and found myself in London
playing with Gal, Gil and Caetano.
When they returned from exile
and toured throughout Brazil,
I also came, playing with Gil.
We made the LP "Expresso 2222".
That’s Ipanema Pier’s time.
Lot of fun, cool time.
And after that time, everybody left, me too.
I returned to England, spent three months in winter,
a situation that anyone who already spent the winter in Europe
knows that it’s unpleasant.
And I miss Rio tremendously.
The beach, the good times,
and decided to come back.
At that time there were the Ipanema's dunes,
you could stay there,
kind of hidden behind the dunes.
Well, there were beaches, girls.
There were a lot of attractions that, at that time,
made me decide for staying here.
I think it was a great decision.
Brother Bruce, longtime buddy.
I first met Bruce at the high school.
It was the time of Sunday shows,
with bands.
And it was the first time I saw
someone singing "My Generation",
from The Who in that way.
I was very impressed,
Bruce singing this song beautiful,
that band, the cool trio.
I knew him long time ago.
He had just returned from London with Gil,
they were doing a show at Tuca, in São Paulo.
At that time they recorded "Expresso 2222".
I was very impressed with the way he played.
One of the best acoustic bass players.
He is faithful to the instrument,
He’s deeply versed in jazz as well.
We have a lot of fun with,
he also has a very peculiar mood.
Jazz? It’s that thing you have to sit to listen.
He has style and is very musical.
Can you play “Brasileirinho”?
Tell me if it is right, because I wrote this part last night.
Bruce had always a very peaceful mood,
very cool.
I don’t know how long the music will be.
Keep an eye on the clock and its ok.
- How long will be the show? - I think its one hour.
The first time I saw Municipal Theater was in 1965.
I thought: one day I'll be playing in it,
and I ended up playing
in the Orquestra Sinfônica Brasileira.
OSB rehearsal
I wouldn’t be here in Brazil if not for the OSB
It’s enormously important.
I have a job that few people have the luck to have.
After 30 years as a professional,
I still love what I do,
I think my professional life blends with the OSB.
Not only pay the bills,
but its a community with friendship.
I mean, one who lives in a community like the OSB
identifies a typical Brazilian life.
Most of the OSB colleagues are Flamengo fans.
I said: now I came back,
Fluminense will leave this lowered threat
and will win the Southamerican league.
We are one of the best orchestras in the country,
as good as with many orchestras in the world.
Although he was welcome
by both the conductor and musicians,
in the beginning David began to suffer
the difficulty of the local language.
I arrived here without Portuguese classes,
I began to see Tom and Jerry
and Westerns films dubbed TV programs.
Afterwards I had several classes
with colleagues from the OSB.
The first thing I learned:
this here is your ass, David.
He was staying, speaking worse
both English and Portuguese.
There are several words
I have had problems with since the beginning in Brazil.
And playing better and better.
The first word was parallelepiped, which I think I mastered.
The cultural difference.
The Carioca`s "smartness".
In England,
he made proposals and things happen immediately.
He demanded from the institutions and it worked.
He had no problems with schedules.
In Rio de Janeiro, what should happen does not happen,
As to get documents in several places in Rio de Janeiro.
And this would happen immediately if it was in England.
Carioca has always its “smartness”.
He arrived restless,
wishing to produce a series of things,
to create a chamber orchestra.
David is very entrepreneur.
And David has formed a suit of cellos,
which began with 12 cellos.
We decided to create the Rio Cello Ensemble.
That played with me on my tours.
David put the cello in evidence in Brazil,
both the classical and popular.
When I arrived in Brazil,
I had the OSB, and my goal
was to make chamber music.
And I formed a quartet with strings,
that after a year
was engaged to the Universidade Federal Fluminense.
This is a big dream of any musician,
to have a quartet sponsored by a university.
For me, this fell from the sky.
The quartet is a dream coming true.
Then we have played Brazilian music.
Although not being Colombian,
his French coffee is very good.
It’s a bowl filled to the edge.
He asked: how is to drink a gringo’s coffee?
It’s not weak, not too strong, but not weak.
Very quickly I felt at home.
So everything have been basically easy.
My house is small, but very enjoyable,
except for the mosquitoes that are destroying us.
I felt myself more at home here.
Than where I came from.
The rehearsal routine is no more called routine,
because its always very pleasant to meet these people,
hear their jokes, exchange notes,
talk about new musical horizons,
even about life itself.
Precisely here in Rio,
much better than if it was in another country.
People are loving,
warm, gentle,
loyal to friendship and great musicians.
You add a wonderful camamber,
butter together, dip in coffee with milk.
Who taught you that? Nobody.
Just with butter?
Camamber doesn’t exist, I know only the Camembert.
He is one of the most generous people I know.
I think this is also reflected in his music,
in his person, this way of being.
When I started recording,
1984 - 1985,
my first album,
it was tough.
I remember at that time I had to sell my instrument,
Let’s do it. Let’s see what we get.
What is this, a samba?
It’s a samba like that another we made.
This may be hard to do on bass.
The Brazilian influence on my life,
mainly when I'm with my friends.
Then it is easy to record,
the ideas flow,
composition comes easy,
I compose thinking on people.
What I felt when I was a child,
this thing of people's hearts and Brazilians,
when I saw the film "Orfeu Negro",
now I'm experiencing with them.
People here have open mind.
It is quite easy in Rio because,
a guy that nobody ever saw appears in a music place,
he is welcome and start quickly playing.
Musicians playing Choro at São Salvador Square
The city of Rio is perhaps the most beautiful in the world.
Nature did all the work.
A friend of mine who is here today, Alex, said:
Paris is very beautiful because It had nothing, it was plain.
Then people built big buildings,
with beautiful architecture, because It had nothing.
But here everything is ready,
nature has already done all the work.
Since I arrived in Rio de Janeiro
and started doing percussion classes and playing,
working,
I identified the Brazilian rhythms
like my beating heart,
bringing me soul, providing me blood.
I met the Chico's Women girls in Monobloco.
The girls group plays Chico Buarque's music only.
The lyrics are on women,
their feelings and vision.
As if Chico Buarque was a girl.
Rio de Janeiro is a city of samba, carnival,
and we play only with carnival instruments.
Vivian founded Chico's Women
and invited some folks from Monobloco.
I began my drumming in Monobloco
and one of the people I met firstly was Mako.
I started doing workshop at Monobloco
playing surdo, agogô.
I knew her because she came to Monobloco workshop
through my acquaintances,
coming from Japan to explore Brazil,
Rio de Janeiro, the musical Brazil.
Japanese people are very dedicated,
they don’t see many musical barriers
to learn different cultures.
And its happened that way with Mako.
I knew nothing about Samba rhythm,
Marcha, Ciranda... Nothing.
I had gone to Japan and saw this
obstinacy of the Japanese
to learn these things,
especially the Samba’s language.
She has a musical ambition
for Brazilian music,
and she is always searching for it.
The biggest thrill I had
was the first Carnival with the Monobloco,
huge crowd.
I am a Japanese, who was playing Samba
in a group of drummers,
one hundred percent from Rio.
She has arrived with determination, musicality,
I felt what samba is,
its rhythm:
the Brazilian rhythm,
we’ve deeply learned from Monobloco.
Nothing was hindrance to Mako
getting involved with the samba language.
To sing is essential,
in addition to learn Portuguese,
I’ve learned how to dance samba.
I was pregnant,
Mako gave a nickname to my daughter, Maira.
Mako called her Mai, Mai, which means repetition.
Once again, once again to seek the perfection.
I think she brings an example of stubbornness,
that is very common and typical among Japanese people,
and she is no different.
So that stubbornness is an example,
an inspiration when you're chasing an idea.
She’s also encouraging
a new generation of girls to play percussion.
There have been many girls interested in playing drums
after they saw Masako playing.
Mako understood nothing of Portuguese.
At the end of the class,
the teacher was used to give many warnings,
reviewed rhythms,
explained the use of instruments,
But she understood nothing.
Then next to me, she asked me: what he said?
In the beginning, there were few people intimate with me,
but now it is a family.
As I have no family in Rio de Janeiro,
Chico's Women girls are like my family.
I had already lived out several times
and knew how it was
when we were alone in a country,
so I decided to take Mako as my surrogate daughter.
She had a myoma removed.
When I was hospitalized
There was a fight between me and Gal,
our common friend,
to decide who would sleep with Mako at the hospital.
After she recovered from this surgery,
her doctor said:
Mako, you are very well. You can get laid.
And she spoke to everyone,
like to a old man who came backstage after the show.
Have you been recovered?
I’m great, I can get laid!
Clapboard, take four
So we have David Chew,
Nice garden.
I suppose he'll do
the second voice of the bass clef,
I have OSB rehearsal later.
Mako is also coming.
I went somewhere else.
Are you all right? Nice to meet you.
Who will sing.
Nice to meet you.
A sax, with Idriss, who is coming.
And I'm doing by myself somehow.
Take four.
You see how the friends are.
I care on him, call to invite him,
but he doesn’t like me.
Radio MPB FM, I'm Leo Gandelman.
We are starting one more Instrumental MPB.
Today getting a visit from a good friend,
bassist, arranger, producer,
our beloved Bruce Henry. Good night, Bruce.
Good night, Leo.
How many own disks have you recorded?
Villa’s Voice is my fourth CD.
It's a different, contemporary,
jazzy look on the work of Villa Lobos.
In 1991, one CD called “Bruce Henri”,
by the way misspelled,
Henry with y,
because I hadn’t even realized that
in fact, my name is with i.
That’s Bruce Henri!
Have you stopped going to Buzios?
I went to Buzios two years ago
to play in an event at the Yacht Club and that’s all.
I played and came back.
It was 1976,
at that time I was doing studio recording a lot,
had an unhealthy lifestyle.
I smoked two packs of cigarettes a day.
There were the traditional summer hiatus.
We don’t work here in January and February,
mainly with music, except samba.
I got an opportunity
to spend a month or two in Buzios.
And we noticed that running a small inn would be super cool.
It was just to order some beds, buy a few sheets,
buy a refrigerator, breakfast,
so let’s spend the summer working in Buzios
and renting rooms.
It was so cool, so good,
that I was staying there.
And it was cool because, penniless,
we had always a kind host there.
I married Marta,
who was my partner in this Buzios hostel.
We had a first son, Tiago,
afterwards we had Paula.
I could even play chess in the Pedras Street.
Guess if today it would be possible.
There was always a small stage
with microphones and amplifiers
where happened music, meetings.
And I used to study a lot there, had my piano.
What are the other dishes that you brought?
There is “Santa Morena”,
from Jacob do Bandolim,
and “Curti a Poeira”, wonderful.
There was an incredible sight here.
It began to produce jackfruit, which is a non-native tree.
Many monkeys appeared,
they ate jackfruit,
it was kind of balanced.
Then authorities decided recently to kill the trees,
they wanted to recover that view.
Then monkeys were left without jackfruit.
So now the monkeys are attacking the nests of birds.
And the number of birds have decreased.
The walks are an opportunity
to feed me visually,
to hear unexpected and different sounds
and to change a little the acoustics of the day.
Ah, there is water there.
Waiting to take a sip of water.
- Good water. - Yes, its very good.
Also making a discovery.
And it's a good excuse to get to know this place,
where there was a restaurant.
One of the most striking features of Rio de Janeiro
is that we are surrounded by nature and its diversity.
We have hills on one side, with dense vegetation,
superb colors
and on the other side we have sea,
that peaceful, serene thing.
Horizon, that thing that makes you lose in your thoughts.
It’s inevitable that connection with nature,
and to me is essential.
When I went away to live elsewhere
after living in Rio de Janeiro,
I missed this horizon.
This is the bridge of my life.
I've been living in Brazil for thirty years,
and I cross this bridge every week.
But today we're going to see
the cellos of an orchestra,
that is part of a community in Niterói,
called Grota do Surucucú.
I’ve worked with them for more than ten years.
This is a string orchestra.
We had to call a person who could deal
with their progress.
I work with them as a conductor
as well as cello’s teacher.
I think this is very rewarding
and primary
in a country that has many social problems.
My mother has always said:
David, you’d better eat the leftover food on your plate.
Not because World War II,
this is because she really helped UNICEF,
needy children.
This can’t go fast.
Now you are teaching many people here,
children, young people.
He begun with cello.
Big hand.
The important is that renewal.
Everything you get you teach to someone else.
Farther with this note, play it out.
With music, these kids will find a discipline,
an art, something
that will sustain them in life.
It sustains them emotionally
and provides a discipline for anything they do in life.
They are talking you are a Fluminense fan.
Then get a Flamengo fan greetings.
I feel its a great privilege
the opportunity to both learn and teach them.
And it got stronger
when I went to New York with them.
It’s not only four MI,
is one MI that go to another.
You must have a line.
Grota is a full life project.
In your opinion, what is the most important note of this whole sentence?
That has given me, as a human being,
not only satisfaction,
but hope that I can do much more for them.
You have now mastered it, you now play this part stronger.
We have to plant lots of seeds,
because Brazil, specifically Rio de Janeiro,
is a very fertile land,
we can plant lots of seeds,
and one day it will work.
This aquarium gives me peace, relax.
It has several types of tropical fish.
And here you will see
the plague of the aquarium,
here, he is afraid of me
because I am Fluminens's fan and he is Flameng's.
Look at his colors.
To all cellists the first lesson is Bach.
Bach is our great inspiration for cello.
Pablo Casals discovered Bach.
Nowadays, my biggest inspiration is Bach,
then comes Villa Lobos.
For me, David Chew is a great carioca.
What he has done for Brazilian music
is very important.
I gave a lot of chamber music and cello classes
in England and the United States.
And I’ve missed to have an academy.
You’re going to give an open class.
Cecilia asked me
to give chamber music postgraduate classes
at the Brazilian Music Conservatory.
Repertory, technique.
He is a gift we had from England.
Along the life we have to teach
what we know, our knowledge to others.
You will describe your career here in Rio de Janeiro.
In addition to boosting the perfect music listening,
playing in orchestras and quartets in Brazil,
David also joined the Brazilian music at all levels.
What a joy to be in this typical Rio’s place.
It still has a vestige of Portuguese colonization here.
When I look at that houses
its like I lived here in past lives.
It's a gladness I feel in my heart.
The best thing is to interact with locals musicians
here in this wonderful space,
where people make roots music.
Where people can freely listen to the music.
Play on the street
with many people sit and not paying attention,
is a bit painful when you have a career,
but I use it as training concentration.
And I'm happy to play with my friends anyway.
Jazz is freedom,
is a medicine for the soul.
The essence of the word is freedom.
He has achieved the ideal a musician can do.
That freedom and intimacy with the notes.
Today is the recording of one more CD,
after 30 years living in Rio.
It's the eighth CD.
Now we are doing the groundwork.
The recording period is wonderful for me,
because not only I am creating new music,
but also because I'm with my friends.
It’s a sacred moment for me,
even more important than the music itself.
Just oversliping a line here,
the chord is similar.
The moment we are living there
makes everything wonderful,
and I'm doing music without pretension,
but always taken very seriously.
I don’t want to prove anything,
so the music flows easier.
As if I had become the instrument itself.
The music goes through me and go out,
and because I love Brazilian music a lot,
it shows in all things.
If you want to make one more take.
We already have this one that is good.
This is flawless, let's hear it.
My son Jamal is carioca, born in Tijuca district.
There is love between us,
but what makes me happy
is that he is also a musician in his soul
and is very talented,
but he doesn’t live as a musician.
He was born in Rio,
and that’s a symbol of my whole story.
He is a typical carioca
and that makes me even more carioca.
I consider very positive being Idriss son, an immigrant.
I think it's a different culture,
that aggregates,
which in my education was paramount,
because I had a multicultural education
very positive and for my development as an citizen,
not only in terms of language,
but with a rich culture like the French culture.
Not only the French culture,
but the culture of jazz.
The great legacy that my father will give me in this life
is that cultural heritage.
Chico's Women.
Everybody have asked us to drive it forward.
Is it best to approach?
No, its ok.
And we're recording this demo.
We play "The Band",
which is a super famous Brazilian song,
and Mako does a whole part in the beginning of the song
singing in Japanese.
It's a very funny moment of the show.
It’s very cool, very good.
Do you want another take? Done!
- Do you want more? - Mako means success here.
Good, let’s do once more.
I don’t know why
samba moves me so much, I don’t know.
I wish to find out.
I want to study about Candomblé,
about Macumba,
any thing of African culture.
Why do I like samba?
To foreigners, Brazil means:
coffee, football and carnival. This here.
There is a very strong character in Brazilian music:
Clara Nunes, from Portela samba school.
When I first heard her disc,
I didn’t speak Portuguese,
but I started to cry, cry, cry,
all day at home alone, just crying.
I fell in love with samba
and started discovering a lot of things
about Brazilian people.
Samba’s birthplace,
at the slums, where there is much poverty,
difficulty, long suffering,
the very lively rhythm.
Since 2002,
every year I’ve paraded during carnival.
First parade was exciting,
I’ll never forget.
In the second year I also paraded playing drums.
I’s touched, I played crying.
And the thrill is over.
Nowadays I take tourists to parade as my job.
I am a member of the groupExalta Rei,
and its proposal is to play music from "the king".
And "the king" in Brazil is Roberto Carlos.
That begun at the 2009 carnival
as a carnival bloco and turned into a band.
But there was a drummer missing
and I was called.
You play with this melody.
I joined them because I wanted to play,
the deal for me is to play.
The interesting on Exalta Rei
is that we play Roberto Carlos songs,
but we choose the musics of the true "Kings".
The King of baião: Luiz Gonzaga;
King of pop: Michael Jackson.
And we search for all kings.
I'm also a singer of the Sushi na Brasa group.
I wanted to show my work in Japan.
I needed a recording
and my friends established a group.
Masako has been our representative
in Japan for a while.
A Japanese singing samba, with an accent,
is to Brazilian people
an odd thing,
something wrong. But it happens.
It’s not in the movie yet.
- What is that? - It’s called Order of the British Empire.
It's an award from the Queen
and she gave me in December of the last year.
For my services
done to Brazilian music, here in Brazil.
Any percussion instrument?
Sure. I brought one.
What is “Resadá”?
“Extirpar”?
It's all written there. Should I do the top part?
I currently share my space and my life
with a wonderful person,
a great artist, Lavinia, who lives with me.
I think he is much more carioca than a gringo,
because he came to Rio very young.
It’s his ability to adapt himself.
I spent a good part of this week
trying to meet the bureaucratic requirements
of a commercial entity.
I had to get clearance certificates
from things I've never heard before.
There is also the professional part,
because I'm a dancer, both of us artists,
having to understand each other's lives.
And also getting the famous Bruce Henry’s cuisine.
Great paella.
And I keep doing it elsewhere.
Today is a paella.
My mother was a good cook.
I started learning to cook watching her.
I’ve been polishing my paella.
- Today I make a paella... - Wonderful.
When I was about 19 years
I had a girlfriend that I really liked
and she made me notice that if I didn’t learn to fry an egg,
she wouldn’t get laid with me anymore.
So that was my first incentive,
but when I went to live in Buzios in 79, 80,
I run a bistro.
The idea of getting people's cool,
get them with food is even better.
And until today I have the habit
of cooking for others.
I like to cook for me because I like to eat well
and get the family together with friends
is a cool program.
When I have no show I work it out.
Watch the musician just playing
is not as interesting as watching the music on the move.
That's why I've always been fascinated by dance.
I’ve worked for years with tap dance.
The only concern is survival,
money to pay the bills.
I can prepare dinners, do event production,
stage direction,
woodwork, anything.
This chameleon thing
from who have lived in various countries,
in various places
and always arranges a way to survive.
I really like making paella.
It's like a good jazz improvisation:
no cookbook, always a challenge.
Living in a village house is very English.
This house was built in 1896, Don Pedro’s age.
It was called Villa Real.
It’s peaceful, monkeys use to come here,
this is the house of the employees of Don Pedro.
In 1999 I was invited by
Mocidade Independente samba school in Bangu
to organize the carnival homage to Villa Lobos.
I had to go to the suburb of Bangu to train
and I put twenty musicians playing in the car.
It was the most exciting moment
of my life here in Brazil.
I looked at no woman all this preparation time.
I was focused only on music.
I thought, how I will put my family
to watch the parade,
as we had never seen it before.
Everyone played the cello,
so I put my family,
my wife, my daughters and my students, friends,
everyone in the carnival car.
It is a very Brazilian thing.
It's our wedding here.
I was very serious.
How could you fall in love with a guy like this?
I've already known David for many years,
but we began to relate more when
I decided to resume studying the cello.
Some people said he was the best person
to teach someone who doesn’t want so much stress,
because he...
After the first lesson we had, no more class.
Then we got married.
Carolina, Mariana, every one there.
- Which year was this? - This was in 1997.
I always have to return here.
I fell in love with Rio by visiting Urca,
My first memories of Rio de Janeiro
are with my daughter Mariana,
who was brought up here.
In the beginning,
when I came to this wonderful place,
I used to climb that rock with my son Daniel up there.
Climb higher, good, good, go higher.
He’s not so young to be doing this.
This wasn’t to long ago.
It was about Five to ten years ago.
Today, I get half way up, Esthers is screaming:
that’s enough, lets go. Come down.
I’m also very nostalgic,
I remember the happy moments in my life.
I often go back to these places,
because I like to feel happy.
Urca is a very important place for me.
The very first beach I went to was the Red Beach,
the first time a wave knocked me out,
the first time I was helped by life guards was here.
Conductor João Carlos Martins
came to conduct the OSB
and I played the Swan solo.
I started to conduct,
suddenly I heard David’s first solo.
I said, wow!
He said OSB sounded as if it was an European
or American Orchestra.
I feel as if I’m in Berlin or Chicago.
He came to me and said:
let’s play "Ave Maria" together.
Maestro João Carlos was a great pianist.
He had a serious accident with his hands.
David has what I think all musicians must have:
music inside him.
Music doesn’t come to a person,
Music comes from within a person.
I liked his musicality.
It was a big surprise to me
how he played the piano after such an accident.
He is a musician
who shows the discipline of an athlete
and the soul of a poet.
When I arrived in Brazil,
someone said to some musicians
that a French guy had arrived,
who was a luthier,
my first profession in France.
I started when I was 14 years old, in Paris,
and it's how I made my living.
And when things are not good in music,
It’s difficult in music,
not always how people think: happiness and fun.
He brought this know-how to Brazil,
he mended many times my instrument
and from many saxophonists,
helping us out in some difficult moments.
Thank God I have this privilege
of having this knack and this profession.
One day, the well known Mauro Senise,
who I knew only by name,
phoned me, asking me for help
as he had a problem with his saxophone.
I had just arrived,
I told him I came to make music,
not to mend instruments.
I used my technique to men
one of its parts which had been bent.
And he went crazy, he said “you're very good,
only with a spoon you solve my problem”.
Then certainly he has told everybody
that there was a good luthier,
who solved his problem, and I’ve become famous.
See this spring?
They're tempered springs.
Often one of the springs breaks and needs to be changed.
I work on my own, don't depend on anybody.
And it's also a therapy.
I didn't know when I came here
that I would teach many people things
about music in general,
sonority.
I came here to learn,
to know a culture
and so many other things.
And then people started to phone me,
wanting to have sax lessons with me.
Idriss has these generous soul and heart,
he’s given lessons to many people,
incentivated them,
including my son Miguel,
who I took to Idriss house
to have lessons.
At the end of the 80’s,
my father, got two Idriss LPs
Vinyl. He's a collector.
He used to listen to these two records a lot,
and I started to listen to them too.
Sensational. We both were fascinated.
Years later I had lessons with Idriss on sax.
Most of my students became my friends
It was a privilege to have lessons with Idriss,
because apart from having access
to his technical resources,
he's a musician who stimulates improvisation,
creativity, he connects you with Music.
I have many influences
of rhythm,
of melody
from Brazil, from Rio de Janeiro.
When I was a boy I used to listen to Jobim,
Vinicius, Baden Powel,
Luis Bonfá, João Gilberto, many from here.
The mess, the warmth of the Brazilian people,
of the Carioca, the nature, the food.
All of this drive me to a place,
that goes to my music and my way of playing.
The moment I play melody,
the rhythm, one can feel explicitly
the addition of this Brazilian language to my playing style.
He’s a spectacular saxophonist,
with a very refined technique.
And nowadays he sees music in a very Brazilian way.
Because he has been here for so long,
he knows what Brazilian music is,
the Bossa Nova, and he brings to Brazilian music
the elements from beep bop,
and his approach to sax alto,
doing something very different, very personal.
That’s Rio de Janeiro.
Marvelous view, it's beautiful.
Here in the lagoon, there is water,
birds, the sun,
everything is nice.
And all the foreigners, tourists,
dream with living in Rio de Janeiro, a paradise.
I also thought like this in my first year, second year,
for me everything was new.
Everywhere, every day.
Alone, getting the bus,
I went to every show on my own.
But the third and fourth years were worse,
because I started to feel lonely, I got real.
Whatever happened I felt sensitive.
Asking myself: what am I doing here?
Alone, away from my family.
Why am I here?
Since I arrived everyone have asked me
“you want to live in Rio de Janeiro,
you want to live in Brazil?”
To say the truth, I’ve never...
never decided “I will die in Brasil”.
To me the important is to search for happiness.
What is my happiness?
It's music,
its the Brazilian music, I don't know why,
the Brazilian music is fundamental.
It’s solitude that sometimes makes me sad.
Music, the natural beauty of Rio de Janeiro helps me.
When I feel lonely,
I stay on the beach alone,
looking to the sky.
I haven’t married yet, hope I get married soon.
The Piano Orchestra existed before I join them.
A percussionist, friend of mine,
couldn't continue with the group,
so I was called.
Piano Orquestra's rehearsal
The first time I saw Piano Orchestra playing
I was touched.
What's this? What is this invention?
Everything done with the piano,
inside and out!
A novelty, and I love novelties.
So when she called me to be a part of the group
I was happy.
I had never worked in Japan as a percussionist,
now I work as a percussionist
here in Rio with the Piano Orchestra,
working abroad as well.
Great job.
It's interesting how Mako has adapted to the Rio’s life.
We joke that she is Rio lising more every day.
It was hard to adapt myself to the Brazilian cultural life.
People always hugging and kissing any time,
even unknown people.
In Japan, we’re not used to do it.
When meet my family, father and my mother,
I never touch them.
When I got my first boyfriend in Rio de Janeiro,
well, I found it was very difficult...
to touch him,
to deal with him,
and I guess he wasn’t used to relate with a Japanese girl
who wasn’t used to being touched.
I think he suffered.
I also didn't know how approach him,
how to caress him exactly.
My first romance in Rio ended because of that.
Mako is a big success with younger guys.
Now I'm used to it,
I’m even more tender than a Brazilian women.
I need to understand the things written.
I don't know if to go ahead or not.
You could play the notes that are doubled,
and Idriss those that are doubled in the treble clef.
Can I try this second part?
This visceral passion for football,
for me is zero.
The best defense in the world,
the best defense.
Drogba is playing.
I love to watch the World Cup,
getting together with friends
and family, especially family.
They always make fun of me.
My dream is always the final match England X Brazil.
Since I came to Brazil,
it's just football, football, football.
Did you see the Italian match?
It’s difficult because the banks close,
all the shops close,
you can see what a country loses,
it's absolutely ridiculous.
But on the other hand, this morning I woke up,
I watched this Sunday morning,
everyone was getting ready for the Sunday match.
My daughter is a typical girl from Rio.
Paula is a botanical scientist,
she loves working in the laboratory,
smell of naphthalene.
She likes to do many things, carnival.
Paula has the same life style than me:
goes forward without breaks.
I love go to the beach, waterfalls.
She probably went to see
one or two Football matches,
more than me.
She's much more carioca than me, in this sense.
Because my dad is a "gringo",
I’ve always had a global idea of the world,
lots of people from abroad.
This thing of cooking,
he’s brought Spain food into our house.
The main part of my life
being brought up in Rio,
I created special ties to the town,
I haven't got with any other place in the world.
Tiago is kind of citizen of the world
I feel at home in several cities of the world.
I feel at home in Lisbon,
I feel at home in…
But the city I belong to
and the city that belongs to me is Rio de Janeiro.
Because I was brought up here,
I know these streets,
here are my friends,
here is the history of most of my family
and I feel this links to my history.
Sometimes I feel myself a "gringo",
by cultural reasons,
having been exposed to many cultures of the world,
and having a father that...
knows nothing about football.
I got the habit of going to the beach
purely by good sense.
Here at the Arpoador
there’s an open-air academy.
It’s a great place to workout,
it has a bar to stretch on.
I need to be in shape to play my instrument.
Other cities also offer
the opportunity to workout,
to keep one's body in shape,
a few minutes from the home,
but here is a thousand times better.
I think it is impossible to make good music
with such sound pollution in the city.
And the good thing about Rio is this:
nature is so close to ones home,
you are inside nature.
This is a great thing that many cities don't have.
When you’re having a frustrating day
or not getting things done, you go to these places
to calm the mind,
including the beaches.
I once crash my car
while watching a girl walking on the beach.
Rio’s women
are a spectacular for the eyes, very pleasant.
I’ve always said to my friends abroad:
if you imagine a person in your mind, a dream,
one day she will appear in front of you at the street.
Because of the hot climate,
Rio’s women use to wear few clothes,
and this attracts attention to them,
more than anywhere else in the world.
I remember when I arrived in Brazil,
I stared the women's faces.
Nowadays I look at the faces
and other things too.
There are the women from Rio de Janeiro.
David stated that there are women for fantasy.
Inspiring women.
And women to marry with.
You marries and stays at home.
And I'm telling him
that the women to marry
are the other men's fantasies.
Brazilian women
are the most beautiful women in the world.
Apart from my mother, of course.
The most important when one makes a musical partner
is that he becomes one's good friend.
Mauro Senise and Gilson Peranzzetta became great friends of mine.
We felt something very important
playing music together:
the three of us are romantics.
We started to show to him
other side of Brazilian music that he didn’t know,
with solos, improvisation
and other types of harmony.
I showed several Choro songs to David,
with that swing and relaxed cadence.
I took him to the Choro clubs,
where I used to play.
It brought this chemistry to our friendship.
And David was terrified:
“Mauro, I've never improvised in my life.”
I was afraid of improvising.
Mauro and Gilson are those who make me
feel free when playing.
Think in Brasil as a cool place;
think about Brazil's soil,
its beautiful women.
It's very important to Rio de Janeiro
or any other city,
the presence of foreign musicians,
because of knowledge exchange.
I think his great contribution
was the courage in doing this project,
Cello Encounter.
It has many free concerts,
bringing cellists from all over the world.
It's a musical month,
music almost all time.
There are also students from Brazil
playing not just classical music
but also music from Brazil.
The most important is that I'm bringing great artists
to the most beautiful city in the world,
and also a place where the communities are in need.
The international artists
come to Rio during the festival
to give free lessons,
in schools, communities, to the Brazilian musicians.
They come to the city and want to come back every year.
Excerpts from the short film "Era uma vez um índio Carijó"
directed by Noilton Nunes e Regina Abreu
A totally emotional guy.
He has enthusiasm for the things he does.
With good mood.
Can you show me the magical plants?
He has a flexibility
that would make Brazilians jealous.
I love coming to downtown Rio.
In 1983, my mother sat in this restaurant,
where she drank her first Caipirinhas.
After concerts we come here to drink a beer,
to eat and talk about music.
The nature’s force
is more important than things built by man.
What comes naturally,
brings qualities to Rio,
because one has options,
the air is much better,
and visually there is no way one can not like it.
That's why I like Rio too:
in the middle of the city there is this paradise
where one can drink pure water,
have a divine walk
and be at peace with one's self, find oneself.
We are here at the backstage of BJBB,
the Jazz Big Band of Baixada Fluminense.
We rehearse in a church in that Rio’s outskirts.
I found myself part of something even more Rioish.
It's something we do for love.
To play and learn together.
I like to be with people the simpler the better,
for me this is crucial.
I'm simple too and I’m always learning.
In April 2010, the city of Rio de Janeiro suffered from heavy rains,
which destroyed several areas of the city and its surroundings.
Everything came down here,
all the roads are closed.
The only box left is that heavy one.
After what happened in Rio,
the floods, the landslides, with the mud,
I’m leaving this dangerous area for the time being.
Beside other problems,
like the parrot near the house that never stopped screaming.
I’m helping Idriss to move.
I knew Valeria when I first arrived in Rio.
Purity, sincerity.
It was love at first sight.
Despite not being married anymore,
we keep a great relationship.
I went to ask for her in marriage to her father,
I was so ashamed
that I didn’t do it.
She ended up asking for me to her father.
We’re like brothers.
When she asks for help I'm there,
and vice versa.
This will stay in your home too.
We both were 23 years old.
He played in a bar
and I was introduced to jazz by him.
I sing today because of Idriss.
Leaving Santa Teresa district.
Idriss is going to other apartment.
Welcome to my new home.
Here I go to a new place.
One typical face of Rio.
Every time I move I get lucky to have somewhere green.
And even with a sea view.
Now I'm fixing the stopper.
Putting things in order.
The most difficult word to me
when I first arrived here,
that people used to mocking me
was caranguejo.
Pa-ra-lle-lepiped.
Everytime I go to the doctor
I've got to say:
I'm going to the o-torrino-larinjo-gorista.
People made a lot of fun with this.
There's another.
Oto-otolomo-otolomo-fodista. Is this way?
Cangurejo, cranguejo.
Ca-bele-leiro.
Oftalmologista.
I’s very difficult.
- I don't understand these words. - Now I got it right.
We joke with her regarding her different accent,
but she always takes it coolly.
These jokes pissed me off.
She used to sing "under the caracôis".
Now I have fun.
I imitate as they do:
Japan, Japan.
It was hard for me to learn Portuguese.
Now I’m fluent.
When he first arrived in Rio,
he gave an interview to Radio Nacional.
My children always say to me:
dad, you speak Portuguese "wonderfull".
He said “I came to Brazil,
and married a brasileiro" (Brazilian man)
The next day
the phone kept ringing.
The press, the entire gay community
calling him and saying "that’s cool”.
Once he was coming home
and his car broke down.
He stopped at a garage,
and asked for a chupeta (jump start)
to make the car start again.
He found a mechanic, a big black man.
I know this.
He said to the big black man:
I would like a quick chupadinha (suck me off)
The big black man was furious.
My first father-in-law was a poet,
intellectual, spoke 15 languages.
The big man wanted to hit him.
He used to tell me: David, stop saying fantástico,
everything is fantástico.
He brought the big black man to the concert hall
and I explained: sorry, it's because he's a foreigner.
I’ve learnt Portuguese from my friends in the orchestra,
with the tax driver, in the bus, with people.
I just want to express myself.
He played a music
which the last movement
was “Burrico de Pau” (The Wooden Donkey)
I think the Portuguese is a very difficult language for a Englishman.
I asked David to come to the studio with me,
to comment on the work.
Then he said “Pau do Burrico” (The Donkey's Penis).
Sometimes I receive Japanese tourists
and they ask where's the best place to visit.
I usually say
Christ Statue, Sugar Loaf,
and also the Botanic Garden.
I work with so many groups
and at the same time have no family,
I'm alone in Rio de Janeiro.
And these opposites
I think are similar to music.
Music doesn't exist without breath, like a chant.
So many different rhythms in a score.
But there's always a pause where one can breathe.
When I start suffering with a problem,
I usually look for nature to breathe.
I go to the beach, green places.
At the moment I play on the stage,
I forget the loneliness
and deal very well with this solitude,
playing music on the stage.
Today I'm celebrating my 10 years living in Brazil.
Sometimes she is still very Japanese.
Excess of organization.
Time flies.
She still doesn't accept improvisation.
I don't know, really.
Japanese are like that, very inflexible.
It just happens I'm here.
She is inside Rio de Janeiro and its folklore,
the thing here is more relaxed.
Punctuality.
A problem here in Rio de Janeiro:
People tend not to respect timetable and being late.
And Mako brings Japanese culture with her.
She always shows to be bothered with it.
People used to set the rehearsal at 14:00.
I went out at noon, to have time to arrive,
as I didn’t know the place,
and the others arrived an hour and a half late.
I try not to get too stressed.
I know who get late,
so I schedule just a little before
I get a little time later.
You have to be prepared for this.
But people I do not know, when they delay...
- I got used. - If one is ten minutes late, I leave.
The invoice value is always wrong, every month.
At first, I got angry, fighting.
My Gosh, its wrong again.
Now I don’t fight anymore, I talk.
People stop at the school door to let her son.
This creates absurd traffic jams.
Instead of stopping after a street
and walk a little.
"Here are more relaxed."
I have to get in Niteroi at 10 AM.
I’ve been telling it since Thursday.
People that talk, talk, talk,
but doesn’t help the customer.
Never rely on the "let with me",
because "let with me" are words that precede the major disasters.
Bullshitting.
There is still no response yet,
then one says:
we decide latter, but its all right.
Nobody drives like Rio people.
It took me two years to drive a car in Rio de Janeiro,
mainly because I came from London,
where all is organized.
I think cariocas don’t wait
for the traffic lights to open,
ignores red lights,
goes up on the sidewalk.
What disappoints me...
It’s a cultural and educational issue.
It's bad manners.
If cariocas though a little more in other citizens...
People play samba every week at my street,
and these folks listen to music,
drink beer.
They piss at the street.
The biggest disappointment in my life.
It relates with respect.
In Rio de Janeiro, if you ask if you can do something,
the answer is always "NO".
And then comes the “solution”.
So many nice things in Rio de Janeiro.
The best city in the world,
regarding tourism.
However, there are serious problems here.
“Corruption”,
“The outlaws threw a grenade at the police”.
“A grenade fall inside a garage and several cars were hit.”
“They're shooting from a helicopter”.
I suffered about three, four assaults.
Those very harsh, with a gun against my head.
I heard knocking at the door and...
In one of them I reacted.
And it was my father with his face of…
I fought with the bandits.
A kid who had done a stupid thing.
I don't know how I survived.
All bloody, with purple eye.
There were gun shots.
I reprimand him,
because his attitude was quite...
The guy came with a gun at my head.
People are afraid of Rio de Janeiro.
I yanked the car, hit another car.
Big confusion, I took the guy to the hospital.
Rio has a bad reputation on it.
At the police station, they said:
you ignored the red light.
Rio was elected the paranoia’s capital
by the newspapers a few years ago and remains.
I’ve always been careful.
It’s difficult to undo this image.
After being mugged
you feel powerless.
At the places where I can get in and I can not.
It was a rape feeling.
I don’t get close to an weird person.
You wonder for long time
why you're living in that beautiful place.
Why do one live in Rio de Janeiro?
People are intimidated with so little.
You wish to go back to a safer place.
The more fear you have,
the more people will violate
your territory, your freedom.
Rio is different from other places.
Here I look around 360 degrees.
I have an eye behind me.
I don’t believe
Rio de Janeiro is more dangerous
than other urban center in the world.
“The urban war in Vila Cruzeiro:
More than 50 days of confrontation,
here there is no neutral zone.”
The chaos in Rio de Janeiro benefits me.
Because things here aren’t predictable,
you never know exactly how you will solve a problem.
And it makes you more active,
mentally more prepared.
A bird pooped on my cello,
I played all wrong.
Insert the sound of my instrument,
my sound in the work of others has a long history.
In the early 70’s I recorded a lot.
I’ve always added something personal.
That’s why I haven’t made myself as a studio musician.
I can’t resist the temptation to contribute with something.
And I also like to take risks.
Afterwards you are free.
Then you use it or not.
And today we have this situation:
independent producers and singers,
like Rodica,
need the contribution of other artists.
I do it because I care for the person
or I like the work of someone.
He is touching my leg under the table.
Today is my birthday
and I have my friends with me, my family.
It’s a very important moment of my life
with people close to me.
I work professionally with music because of him.
The education that my father gave me
has a great English influence.
I have a meeting in Niteroi,
I must get there 10:00 AM sharp.
But I think he changed a lot,
the way of being. He has adapted to Brazil.
30 years living Rio de Janeiro, I'm a carioca.
The music work that he has done here
with the community for so long
makes him passionate about Rio and for his work.
Today is my birthday.
I'm celebrating with friends,
kind of my family in Brazil,
because I don’t have my real family here.
Before coming here
I was looking at the view of Rio de Janeiro, beautiful.
I remembered my family,
because I always miss them.
We dont use to hug, but they're always in my heart.
Curiously in Japan people don’t celebrates birthday,
except among children.
A typical carioca,
he is the most carioca Englishmen I know.
It is very important having you here,
my family.
All of these musicians, including famous people,
My underwear has a hole.
I never talk about this feeling
for my mother and father.
I miss them.
In Japan we don’t talk so much as here in Brazil.
I haven’t talked with my mother, my father.
Today I didn’t speak with them
and they didn’t call me.
Why I don’t call them? Because I don’t.
I’m coming from Barra da Tijuca,
Alto da Boa Vista.
Now going to Santa Teresa,
through Paineiras.
We only notice that sound coming from the city
when we are well on top.
When we're in the city,
we don’t pay attention.
You realize that there are many cars,
airplanes.
It looks like a bogeyman that is down there,
that we don’t note when we're there.
There are two extremes:
the noise of traffic that makes you crazy
and the sound of building,
always with new constructions.
It seems that the city will never be finished.
I always look for the bird's singing.
It’s amazing how he’s absorbed
local customs in a so natural way.
And now he doesn’t know to live otherwise.
The characteristics of Rio,
its breathtaking landscapes,
the good spirit of its people, good humor,
makes me feel since I came here
on continuous vacations.
With all the problems, all the stress,
we live in a privileged place.
I can live naturally.
It has beach, nice people, music.
I can express
what I think, my opinion.
Rio has a beautiful cenary.
I can be real.
It’s connected to the things I like.
Here in Rio we learn
how to deal with life, with problems.
A joy.
I could play sports,
that every musician should do.
Better survival, better living.
I like that way of living.
It’s important for mental health.
I learned it Rio de Janeiro
and have gotten to do it.
Much warmth too,
within the professional relationships.
I notice when I go to London,
my own colleagues, all fat,
with so much stress,
drinking too much.
In Japan, so depressed,
a country with everyone with commitments only.
I think in Rio de Janeiro I could avoid it.
It’s saved my life.
I’m still in love with Brazilian music,
to learn it.
My children were born here.
What I’ve learned in Rio de Janeiro?
When one comes from a country
where everything is basically different,
surely there are some conflicts,
internal or external.
I certainly lost some of my European rigidity
without realizing.
Affection: to give and receive affection.
Almost all I’ve learned in life, I learned here.
Another thing I learned here:
to forfeit an appointment.
But I'm kidding.
I have emotions every day.
Don’t take things always seriously.
The city of Rio de Janeiro brings me health.
I'm getting more carioca.
The beautiful every day.
My nickname is japarioca.
To enjoy life.
Just take a look around
and you will see that Rio de Janeiro...
Brought much hope,
that I felt when I got here
and still feel today.
People are coming here at my home
in order to finish this film beautifully.
Acknowledgments
Cláudia Tolipan David’s former wife
Márcio Malard musician
Nayran Pessanha musician
Isaac Karabtchevsky conductor
Taíssa Matos from Exalta Rei
Evandro Mesquita actor / musician
Liminha musician / producer
Joao Carlos Martins conductor
Gilson Peranzzetta musician
José Schiller TV director
Vitor Gonçalves musician
Flávia, Manuela, Malu, Vivian from Mulheres de Chico
Pedro Luís musician
Robertinho Silva musician
Leo Gandelman musician / host
Márcio Selles ONG director
Cecília Conde CBM director
Maurício Einhorn musician
Jamal Idriss`s son
Lavínia Bizzotto actress / dancer
Esther Paes Leme David’s wife
Ângelo Paes Leme actor
Paula Bruce`s daughter
Tiago Bruce`s son
Mauro Senise musician
Valéria Boudrioua Idriss`s former wife
Mariana David’s daughter
Daniel David’s son
Tiago Cosmo David’s former student
Idriss I weak spot is food.
We were invited to the house of one of his students
and people had big deference to treat it.
He is a simple person.
And, after lunch,
with barbecue, beer, everything,
he simply vanished from the party.
Then everyone began to miss him.
Where is Idriss?
They found him locked in the bathroom,
sleeping on the cold tile floor.
I was on Ipanema beach with Mako and friends.
Bandits started stealling people,
Everybody run screaming "get the bag, grab the purse”.
We run scared, but Mako felt that very thrilling,
laughing and screaming happily "arrastão,
And we said: Mako, arrastão is not good, is bad!
She said: is bad?
In the OSB rehearsal,
in front of the orchestra,
Isaac conducting,
I took the shoes of David off, his stocking…
Two fingers off.
Not only two fingers off!
Bruce said: come to my hostel in the carnival,
people will come for dinner from Rio and watch the show.
He said: you get here at six PM,
then I prepare a paella for us.
We got there at eight PM,
out of schedule.
But it was not Leblon district.
We thought Bruce would understand that.
When we saw that beautiful
and colorful pot with seafood,
Bruce said: gee, you didn’t come at six!
I said: Bruce, we tried but here we are at eight.
A film by Ronaldo German
- I failed. - Me too.
I couldn’t turn the page.