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1. Todas as Teclas/Inocência 6:25
2. Serra da Boa Esperança 4:24
3. Aquarela Do Brasil 5:24
4. Curumim 3:52
5. Cravo E Canela 5:10
6. Pavana 5:52
7. Asa Branca/Paraíba/Norte 4:38
8. Isn't She Lovely 4:54
César Camargo Mariano - Keyboards
Wagner Tiso - Keyboards
AMG:"Wagner Tiso is an internationally renowned musician whose achievements include a having a solid impact on the rise of major singer Milton Nascimento, an extensive set of composed soundtracks for movies, a solo discography comprising 28 albums, and performances with jazz giants such as Edison Machado, Paulo Moura, Ron Carter, Johnny Alf, and many others. He frequently played in the best European jazz festivals such as Montreux, Berlin, Montmartre (Denmark), and Nice and the main concert halls in Greece, Italy, France, Austria, and Germany. Tiso was a self-taught musician in his small town, lost behind the mountains of Minas Gerais. He soon formed a group that played in little neighborhood parties, later playing in local nightclubs. They went by Luar de Prata and later as the W's Boys, from 1958 to 1961.
As his lifelong partner and friend, Milton Nascimento accounts about his own first public appearance, at 14. 'I was a neighbor of Tiso's and we used to perform together. Because we were underage, when the inspectors came, we used to run for the kitchen, where we would drink guaraná and eat chips.' Moving to Belo Horizonte, from 1962 to 1964 he performed with the Berimbau Trio. In 1964, he moved to Rio, joining the Sambacana group, recording for them for the first time through Odeon. From 1964 to 1965, he was the pianist for the legendary Edison Machado Quartet. With the renowned clarinetist/conductor Paulo Moura, he worked from 1965 to 1967 in a profitable association where he learned that music could also be instrumentally played without vocal support. In 1967, he wrote the musical arrangement for the opening of the major Carioca showroom Canecão, for a Maysa Matarazzo show directed by Paulo Moura. As an accompanist, he worked in this period for several top singers, such as Cauby Peixoto and Marcos Valle. In 1969, he joined the Som Imaginário, a group dedicated to accompany Milton Nascimento in recording sessions and live performances. In that year, he performed extensively abroad, in Athens, Greece, and Montreux, Switzerland. In the U.S., he performed with Ron Carter, Flora Purim, and Airto Moreira, along with his shows with Milton.
In 1969, he also composed the soundtrack for Ruy Guerra's movie Os Deuses e os Mortos. In 1970, the Som Imaginário recorded their first LP for Odeon. In that year, with Milagres dos Peixes Ao Vivo, Tiso started his career as a conductor in a duet with Milton Nascimento. He was awarded as Best Arranger by the São Paulo Art Critics Association and Best Arranger by the Folha de São Paulo, Jornal do Brasil and O Globo newspapers. The next year, they recorded the Som Imaginário II for the same label. In 1972, they recorded the Cabeça de Porco album, awarded as Best Record by the São Paulo Art Critics Association and as Best Record by the Jornal do Brasil newspaper. In 1974, he worked on the LPs Flora Purim in Montreux and Wayne Shorter's Native Dancer. In 1975, Tiso was awarded as Best Arranger for Milton/Fafá de Belém/Gal Costa's recordings. In 1977, he wrote the soundtrack for Lyra dos Deuses, Walter Lima, Jr.'s movie. In 1978, he released the solo LP Wagner Tiso, through Odeon, and was awarded for Best Record by the São Paulo Critics Association. The specialized press also voted him as one of the all-time best of Brazilian music. In the next year, he released Assim Seja, also through Odeon. In 1980, he wrote the soundtrack for Ferreira Gullar's play Poema Sujo, and recorded Trem Mineiro for Odeon, which was awarded as Best Record and Best Show by the Jornal do Brasil newspaper in 1981. Also in 1981, he wrote the soundtrack for Walter Lima, Jr.'s movie Inocência (awarded as Best Musical Direction in the Brasília Film Festival of 1983), was awarded as Best Arranger by the Brazilian Records Association for his work on Milton's Sentinela, and recorded Toca Brasil (Ariola/Barclay). For the same label, he recorded in the next year Wagner Tiso ao Vivo na Europa and in 1983, Todas as Teclas, with César Camargo Mariano, was awarded as Best Instrumental Record by the following magazines and newspapers: Isto É, Domingo, Veja, Playboy, Jornal do Brasil, O Globo, Folha de São Paulo, O Estado de São Paulo, and was also one of the best-selling instrumental records in Brazil. Tiso was also awarded as Best Arranger and Best Keyboardist (Playboy, 1983) for the album. In 1984, he wrote the soundtrack for Walter Lima, Jr.'s movie Chico Rei (awarded as Best Soundtrack at the Colombia Film Festival of 1987) and Silvio Tendler's documentary Jango, which was awarded as Best Soundtrack at the Gramado Film Festival. The next year, he recorded two albums, Coração de Estudante (Barclay) and Os Pássaros (Odeon). Coração de Estudante was awarded as Best Show and Best Record by the press of Rio de Janeiro and Best Music, Best Musician, and Best Record by Rádio Tupi (1985). In 1986, he wrote the soundtrack for Ramalho Júnior's movie Besame Mucho and soap opera Dona Beija. In that year, he recorded two albums, Branco & Preto - Preto & Branco (awarded as Best Arranger Villa-Lobos Award - A.B.P.D., 1987, and as Best Orchestrator: Villa-Lobos Award A.B.P.D. 1987), and Giselle, both through Polygram.
With João Carlos Assis Brasil and Ney Matogrosso, he recorded A Floresta Amazônica with music by Villa-Lobos, in 1987. In 1988, he wrote the soundtracks to both Osvaldo Caldeira's movie O Grande Mentacapto and the Primo Basílio TV series. Also in 1988, he recorded Manu-çaruê (Polygram) and Coração Imprevisto, and with Eugênia Melo e Castro, he recorded through the Portuguese label Valentim de Carvalho. In 1989, he was commissioned by Portugal's education cabinet to write the soundtrack for six documentaries and released a compilation, Cine Brasil (Polygram), and Só Louco (with Nana Caymmi, for EMI). He also wrote several other soundtracks for documentaries in that period. In 1990, he recorded Baobab for Polygram. In 1992, Tiso recorded Wagner Tiso - Profissão: Música, also for Polygram.
For the label Trem Mineiro, he recorded O Livro de Jó in 1993. In 1995, he recorded the live album Wagner Tiso ao vivo com Rio Cello Ensemble (BMG). Tom Brasil's series Brasil Musical brought 1995's Wagner Tiso e Orquestra de Cordas Brasileiras. The same series brought Wagner Tiso e Paulo Moura (1996). In 1997, Tiso recorded Brazilian Scenes for the French label Kardum/Iris Musique. In 1997, Tiso recorded the CD A Ostra e o Vento for Rob Digital, and in 1999, Debussy e Fauré Encontram Milton e Tiso, for Visom.
One of Brazil's top arrangers, producers, and pianists, César Camargo Mariano has had extensive work in the most important arenas of the world. He has had musicians like Abe Laboriel, Alex Acuña, Mitch Holder, Paulinho da Costa, Jerry Hey, Bill Rickenbach, Ernie Watts, Hélio Delmiro, Wagner Tiso, Nelson Ayres, Crispin DelCistia, Azael Rodrigues, João Parahyba, among many others, participating on his solo albums. Mariano also co-produced, arranged, played the piano, and/or did the artistic direction for several shows and albums of Brazil's most important contemporary artists like Elis Regina, Nana Caymmi, Gal Costa, Maria Betânia, Simone, Rita Lee, Elba Ramalho, Ney Matogrosso, João Bosco, Leny Andrade, Leila Pinheiro, Beth Carvalho, Emilio Santiago, Ivan Lins, Ivete Sangalo, and others. Among his many awards are the eight Clio's and several São Paulo's Association of Art Critics (APCA) awards as musician, composer, arranger, and producer of records and shows. Over the past two decades, Mariano has produced, directed, and headed various TV programs. Mariano also wrote soundtracks for films, plays, and prime time nationwide soap operas (like Mandala).
Mariano started playing the piano by ear at 13, never having studied music before. Nine months later he played with Melba Liston (June 1957) in her concert in Rio. In the '60s, Mariano was hired by the William Furneaux Orchestra, playing dances. He also formed a quartet at that time with Theo de Barros (bass), Flavio Abattipietro (trumpet), and José Luis Schiavo (drums). Invited by Simonetti, Mariano put together a larger group, Três Américas, to cover some of Simonetti's gigs. In the A Baiúca nightclub (São Paulo) in 1962, Mariano participated in the Sabá Quartet with Sabá Oliveira (bass), Hamilton Pitorre (drums), and Theo de Barros (guitar). In the same year, Mariano produced and arranged Claudete Soares' Claudete é Dona da Bossa. In 1963 Mariano recorded his first album, Quarteto Sabá. Together with Airto Moreira and Humberto Clayber, Mariano formed the Sambalanço Trio (1964). With the American choreographer, dancer, and singer Lennie Dale, Mariano staged a bossa nova show that was a success, yielding the album Lennie Dale & Sambalanço Trio No Zum-Zum, which received two prizes from the newspaper Jornal do Brasil. From 1965 to 1971, Mariano led the Som Três trio. In 1967, Mariano wrote 12 arrangements for singer Marisa Gata Mansa. In 1968, Mariano became Wilson Simonal's producer, arranger, and musical director. In 1969, Mariano participated in the Festival of Black Arts in Senegal, Africa, with the singer Elizeth Cardoso and the Som Três trio. In 1971, Mariano was invited by Elis Regina to direct, produce, and arrange her new show at the Teatro da Praia in Rio and her new album for PolyGram, Elis. He put together a new quartet with Luisão Maia (bass), Helio Delmiro (guitar), and Paulinho Braga (drums). This would be the first of a series of 13 albums with Elis Regina. Mariano's first instrumental solo work was the show São Paulo Brasil (1978). In 1980, Mariano wrote and recorded the soundtrack for Arnaldo Jabor's Eu Te Amo. Two years later he wrote the soundtrack for Bruno Barreto's Além da Paixão. In 1988, Mariano performed another instrumental music show with Dino Vicente (keyboards), Luisão Maia, and Pedro Ivo (bass), Azael Rodrigues and João Parahyba (percussion), Ulisses Rocha (guitar), and Pique Riverte (saxes and flute). The show, called Ponte das Estrelas, was recorded live and toured all over Brazil and Latin America. In 1989, at the Montreaux Jazz Festival, Mariano performed as a duet with João Bosco. Putting together an acoustic trio with Hélio Delmiro on guitar and Paulo Moura on clarinet, they traveled to Spain for a ten-concert tour. In 1990 Mariano composed the soundtrack for another film, Paixão Cigana (Flávia Moraes), and the score for the play Luar em Preto e Branco. In 1994, Mariano moved to the United States. In that year he met Sadao Watanabe, who invited him to produce and arrange Watanabe's album In Tempo. Sadao Watanabe would bring Mariano again to produce and arrange his album Viajando. In that first period, Mariano played a piano concert at the Blue Note club in New York and traveled to Japan for various appearances with Watanabe and his group. In Chile, Mariano performed a four-handed piano concert with Michel Petrucciani. He also participated in Armando Manzanero's album El Piano - Manzanero y Sus Amigos. In New York in 1996, Mariano gave a solo concert at the Ballroom, along with John Patittucci's group. With Romero Lubambo (guitar), Leo Traversa (bass), and Mark Walker (drums), Mariano performed a tribute to Elis Regina at the Montreaux Jazz Festival with special guest Milton Nascimento. At the end of the year, Mariano directed a Brazilian music show at the Lincoln Center. In 1997, along with his quartet, he performed with Michael Brecker and Dianne Reeves at the Heineken Festival in São Paulo and Porto Alegre, Brazil. In Mexico, Mariano produced an album for PolyGram Latino with 12 Latin American singers (Tania Libertad, Vikky Car, Emmanuel, Maria Conchita Alonso, among others) backed only by piano and keyboards, Piano, Voz y Sentimento. In October, maestro and producer Ettore Stratta invited Mariano to join him in putting on the All Jobim concert at Carnegie Hall in New York. Acting as musical director and arranger for the concert, Mariano also performed alongside Ivan Lins, Leila Pinheiro, Dori Caymmi, Joe Lovano, Sharon Isbin, Eugene Maslov, and Al Jarreau. In April, invited by Ivan Lins, Mariano put together a duet program with Romero Lubambo on guitar for a series of concerts in the Brasil Musical (Musical Brasil) project in Rio de Janeiro. Followed another tour to Japan for various concerts alongside Sadao Watanabe, joined by Paulo Braga (drums), Marcelo Mariano (bass), Romero Lubambo (guitar), and Café (percussion). With guitar player Romero Lubambo, Mariano performed at Birdland in New York and at the Jazz Showcase in Chicago. In May 1999, invited by maestro Gil Jardim, Mariano participated in the Café Com Leite, a spectacle with the Brazilian Philharmonic Orchestra, followed by a a solo tour through Brazil. In September, Mariano was again invited by maestro Ettore Stratta to direct the All Jobim show at Carnegie Hall in New York. This time participants included João Bosco, James Ingram, Simone, Michael Brecker, the New York Voices, Paula Robinson, and the duo formed by Mariano and Romero Lubambo. In October and November, Mariano wrote the string arrangements for Blossom Dearie's album Blossom's Planet (Daffodil Records) and the arrangements for Romero Lubambo's album Love Dance (Aosis/JVC Japan)."
Todas As Teclas
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