Dom Um Romao
Dom Um Romão is an original stylist of the drums, an instrument in which he is able to evoke sounds of nature, adding much-appreciated overtones by the many artists to whom he has been associated. He also has developed an expressive solo discography. Dom Um Romão became a professional in the late '40s, playing the drums at dance orchestras, later being hired by the Rádio Tupi's orchestra. He was responsible for taking Elis Regina from TV to the Beco das Garrafas (Rio's 52nd Street), where, in 1955, he formed his Copa Trio (which also had pianist Toninho and bassist Manuel Gusmão). In the same period, he was hired by the Vogue nightclub. In 1958, he participated in the bossa nova initial milestone, Elizeth Cardoso's album Canção do Amor Demais. In 1961, Romão played with Sérgio Mendes in his Brazilian Jazz Sextet, which performed in the South American Jazz Festival (Uruguay). In 1962, with Sérgio's Bossa Rio Sextet, he participated in the Bossa Nova Festival at the Carnegie Hall. With Cannonball Aderley, he recorded Cannonball's Bossa-nova (Riverside). With the Copa Trio, he performed in the historic bossa nova show O Fino da Bossa, at the Teatro Paramount (1964). It was the first time that bossa nova was launched in the city of São Paulo. His first album, Dom Um, is from the same year. With pianist Dom Salvador and pianist Miguel Gusmão as the new formation of the Copa Trio, he accompanied several singers at the Bottle's nightclub, at the Beco das Garrafas, including the Quarteto em Cy. Joined by Jorge Ben, they became the Copa 4. Philips released his Dom Um in the same year. In 1965, he participated in Flora Purim's (then his wife) opening album, Flora É MPB (RCA). In the same year, he was invited by Norman Granz to move to the U.S. again, where he performed with Stan Getz and Astrud Gilberto, following them to Europe. A most requested sessionman, he recorded many albums, including one with Tom Jobim. Romão joined Sérgio Mendes's Brasil 66, recording the LP Fool on the Hill (A&M), and toured Brazil (1966). In the next year, he participated on the LP Francis Albert Sinatra & Antônio Carlos Jobim. Leaving Sérgio Mendes's group, he recorded with Tony Bennett (The Movie Song Album), among others. In 1971, Romão replaced Airto Moreira in the Weather Report. Dom Um Romão came in 1972. In 1973, he released Spirit of the Times and toured with Blood, Sweat and Tears. Hotmosphere was released in 1976. Owner of Black Beans studios in New Jersey, he moved to Switzerland in the early '80s. His Dom Um Romão Quintet performed abroad and backed many important artists like Blood, Sweat and Tears and Tony Bennett. Saudades was released in 1993, and in 1998, he recorded the CD Rhythm Traveller in Brazil.
© Alvaro Neder /TiVo
© Alvaro Neder /TiVo
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Dance - Released January 25, 2013 | Irma records
First, the disclaimer: Nu Jazz Meets Brazil: The Dom Um Romão Remix isn't really jazz -- certainly not in the true sense of the word. Jazz is about improvisation and spontaneity, which is what Pat Metheny, Scott Henderson, and Al DiMeola have in common with Eddie Lang, Django Reinhardt, and Charlie Christian. It's the thing that Michael Brecker has in common with Ben Webster, Hank Mobley, and Albert Ayler. And it's the reason why Miles Davis' Bitches Brew was every bit as much of a jazz date as Kind of Blue or Birth of the Cool. This CD isn't about improvisation and spontaneity -- it's about production gloss, programmed electronic beats, and dancefloor/club appeal. Nu Jazz Meets Brazil isn't really Brazilian jazz -- certainly not in the way that improvisers like Flora Purim, Stan Getz, Claudio Roditi, Bud Shank, Eliane Elias, and Azymuth have provided Brazilian jazz. It's jazzy electronica with a Brazilian flavor. But that doesn't mean that it's bad; it simply means that it should be judged by electronica standards rather than jazz standards. And from an electronica standpoint, Nu Jazz Meets Brazil is interesting and creative. These days, dance-oriented electronica is being combined with a variety of world music -- depending on the producer or the DJ, electronica can incorporate anything from Indian pop to Afro-Cuban salsa to Irish-Celtic music. And on this compilation, Brazilian songs like Jorge Ben's "Mas Que Nada" and Dom Um Romão's "Lake of Perseverance" are given the electronic treatment by various mixologists. Overall, Nu Jazz Meets Brazil isn't the sort of abrasive electronica that dominates some raves; the disc tends to be hypnotic instead of forceful, and it usually has more trip-hop and acid jazz appeal than techno appeal. This CD is well worth checking out if you're seeking something fresh, enjoyable, and chance-taking from clubland electronica. © Alex Henderson /TiVo