{"id":6820,"date":"2015-08-03T03:11:36","date_gmt":"2015-08-03T10:11:36","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6820"},"modified":"2015-08-03T10:45:13","modified_gmt":"2015-08-03T17:45:13","slug":"guinga-and-maria-joao-in-ystad","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2015\/08\/guinga-and-maria-joao-in-ystad\/","title":{"rendered":"Guinga And Maria Jo\u00c3\u00a3o In Ystad"},"content":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;dfZ5B9A9qpQOeDE8mWjlntGAsXvKg69o&#8221;]<\/p>\n<p>The international character of the Ystad Jazz Festival was enhanced&#151;dramatically&#151;in a concert by the Portuguese singer Maria Jo\u00c3\u00a3o and the Brazilian guitarist Guinga. They performed in the venerable St. Mary\u00e2\u20ac\u2122s Church on Ystad\u00e2\u20ac\u2122s main square. Jo\u00c3\u00a3o calls on folk music, avant-garde classical, Portuguese fado and other sources, but she is most often described as a jazz artist. Her background includes work with Joe Zawinul, Ralph Towner, Bobby McFerrin and Trilok Gurtu in addition to Guinga, Gilberto Gil and other stars of the Brazilian samba tradition.<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/08\/Guinga-Maria-Joao.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/08\/Guinga-Maria-Joao.jpg\" alt=\"Guinga, Maria-Joao\" width=\"400\" height=\"361\" class=\"aligncenter size-full wp-image-6821\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/08\/Guinga-Maria-Joao.jpg 400w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/08\/Guinga-Maria-Joao-300x271.jpg 300w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" \/><\/a><\/p>\n<p>Guinga (given name: Carlos Althier de Souza Lemos Escobar) is a lifelong guitarist whose profession was dentistry. His musical artistry was widely admired by many in the top tier of Brazilian musicians. In the 1990s, the Grammy-winning songwriter and singer Ivan Lins and others founded a record label specifically to record the guitarist. Since then, Guinga has built a reputation as one of Brazil\u00e2\u20ac\u2122s leading players of the instrument and an innovative composer who often also sings.<\/p>\n<p>Jo\u00c3\u00a3o is a dramatic vocal actress capable of unleashing a torrent of Portuguese lyrics at supersonic speed, swinging all the way. At Ystad, in the course of a song she was likely to rise from baritone to coloratura soprano, with a corresponding emotional sweep. I know of no video of their Ystad performance. This amateur clip from a Sao Paolo concert in 2012 will give you an idea of Guinga\u00e2\u20ac\u2122s and Jo\u00c3\u00a3o\u00e2\u20ac\u2122s compatibility, her preternatural vocal range and his skill as an accompanist.<\/p>\n<div align=\"center\"><iframe loading=\"lazy\" width=\"540\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/IIkTiuK9gn0?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/div>\n<p><p>Guinga\u00e2\u20ac\u2122s and Jo\u00c3\u00a3o\u00e2\u20ac\u2122s concert was one of three exceptional duo performances during the festival. Coming up in the <em>Rifftides<\/em> reports on Ystad: impressions of Kenny Barron with Dave Holland and Viktoria Tolstoy with Mattias Svensson. <\/p>\n","protected":false},"excerpt":{"rendered":"<p>[contextly_auto_sidebar id=&#8221;dfZ5B9A9qpQOeDE8mWjlntGAsXvKg69o&#8221;] The international character of the Ystad Jazz Festival was enhanced&#151;dramatically&#151;in a concert by the Portuguese singer Maria Jo\u00c3\u00a3o and the Brazilian guitarist Guinga. They performed in the venerable St. Mary\u00e2\u20ac\u2122s Church on Ystad\u00e2\u20ac\u2122s main square. Jo\u00c3\u00a3o calls on folk music, avant-garde classical, Portuguese fado and other sources, but she is most often described [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":6821,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-6820","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6820","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=6820"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6820\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/6821"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6820"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6820"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6820"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}