¨Fresu is one of those musicians who come from time to timeto remind us why jazz is so special and unique" (Buenos Aires Herald).
The village marching band and the most important international awards, the Sardinian countryside and the albums, discovering jazz and his manycollaborations, his love of small things and Paris. There are not many people capable of putting together such a diverse array of elements and turn it into such an incredible and fast stylistic growth. Paolo Fresu succeeded in a country like Italy where, for too long, jazz was famous just like Shakespeare or Matisse paintings, Armstrong was little more than a freak show and Miles Davis was acknowledged well after his creative peak.The magic lies in the spontaneous way in which he managed to convey the deepest meanings and magic of his native land with the most precious of the arts.At this stage of his successful and long career there is no need to list recordings, awards and experiences that have made Fresu an international star, his music loved by many. Inside his trumpet sound runs the sap that has illuminated the European jazz nouvelle vague, the depth of a thought that doesn’t limit itself to music, his generosity that sees him in the right place at the right time and most of all the unending passion that always drives him and that, after entering the wisdom age having passed the fifty target, to think about alsowhat surrounds him, helping young artists and offering them a chance to express their potential through his Tǔk Music label.His present is a classic and whirly reality, a worthy sign of the omnivore and creative artist he is.
Daniele di Bonaventura is a composer- arranger and a pianist-bandoneonist. He was born in Fermo (in Marche region, Italy) in 1966. He started a classical training at the age of 8 and studied grand piano, cello, composing and orchestration. He obtained a diploma in composing.
In the early stages of his career, he was already showing great interest in improvised music His music ranges from classical to contemporary music, from jazz to tango, from ethnic to world music, and he has also been involved in the worlds of theatre, cinema and dance.
He has performed at major Italian and international festivals and has played, recorded and collaborated with: Enrico Rava; Paolo Fresu; Oliver Lake; David Murray; Miroslav Vitous; Rita Marcotulli; David Liebman; Toots Tielemans; Omar Sosa; Flavio Boltro; Joanne Brackeen; Greg Osby; Ira Coleman; Dino Saluzzi; Javier Girotto; Cèsar Stroscio; Tenores di Bitti; Aires Tango; Peppe Servillo; David Riondino; Francesco Guccini; Sergio Cammariere; Lella Costa; Eugenio Allegri; Alessandro Haber; Giuseppe Piccioni; Mimmo Cuticchio; Custòdio Castelo; Andrè Jaume; Tiziana Ghiglioni; Ornella Vanoni; Franco Califano; Furio Di Castri; U.T. Gandi; Luis Agudo; Elena Ledda; A Filetta.
In 2003, at the request of the Marchigiana Philharmonic Orchestra, he composed, played and recorded the "Suite for bandoneon and Orchestra" for them.
He has released more than 20 albums on various labels.
Former A Barca do Sol member, Jaques Morelenbaum participated in Tom Jobim's and Caetano Veloso's Grammy- winning albums and has been actively working with Egberto Gismonti, Ryuichi Sakamoto, Cesária Évora, Madredeus, Marisa Monte, Titãs, Skank, Carlinhos Brown, Daniela Mercury, Gabriel o Pensador, Elba Ramalho, Fernanda Abreu, Gal Costa, and many other top artists. Also a member of the Quarteto Jobim/Morelenbaum, formed with Paula Morelenbaum, Paulo Jobim, and Daniel Jobim (respectively, Tom Jobim's son and grandson, all four former members of Jobim's Banda Nova), Morelenbaum has writing music for cinema (including for the award- winning Central do Brasil and Orfeu do Carnaval). Son of conductor Henrique Morelenbaum and piano teacher Sarah Morelenbaum, Jaques Morelenbaum grew up in a highly musical environment, starting to study music at age three. At 12, he took up the cello. Morelenbaum's first professional experience was in the A Barca do Sol group. Having performed under Leonard Bernstein at Tanglewood, he also participated in Jobim's Banda Nova from 1984 to 1994, having already performed live with him in 1985 at a concert at Carnegie Hall. Among his other albums, Morelenbaum participated in the Grammy- winning Antonio Brasileiro. After 1988, he also became a sideman for Egberto Gismonti for five years, having taken part in his albums for ECM Infância, Música de Sobrevivência, and Amazônia. Morelenbaum also conduced the Orquestra Sinfônica da Bahia in 1997, played Gismonti pieces, and collaborated with Gismonti on the composition of music for ballets, films, and diverse ensembles.
After having participated in the Chico & Caetano TV show (hosted by Chico Buarque and Caetano Veloso), Morelenbaum started to work for Caetano Veloso on his Circuladô (1991), beginning a prolific collaboration with Caetano as instrumentalist, musical director, producer, and arranger, having been responsible for the arrangements and production of the Grammy winner Livro, along with other albums by him.
During production on Circuladô, Morelenbaum met Ryuichi Sakamoto, who was also participating on the album, and started collaborating with him, too. In the mid- '90s, Morelenbaum performed in Rio de Janeiro and São Paulo at the Free Jazz Festival with ten percussionists of the drum section (bateria) of the Mangueira samba school. With Caetano Veloso, Morelenbaum wrote and produced the soundtracks for the films O Quatrilho (Fábio Barreto), which was nominated for an Oscar in 1995 as Best Foreign Film, and Tieta do Agreste and Orfeu do Carnaval (both by Cacá Diegues). He also co- wrote (with Antônio Pinto) the soundtrack for the film Central do Brasil (by Walter Moreira Salles), which won over 30 international awards and was nominated in 1999 for a Best Foreign Film Oscar. That year, Morelenbaum was awarded the Prêmio Sharp in the Best Cinema Soundtrack category. Two years later, Morelenbaum² (Jaques and wife Paula) collaborated with Sakamoto on an album of Jobim material entitled Casa. In 2003 the trio, with guitarist Luis Brasil and percussionist Marcelo Costa, cut their live set in a Manhattan studio, A Day in New York. In 2006, Morelenbaum produced, arranged, and conducted the Lisboa Sinfonietta, was a soloist on fado singer Mariza's landmark Concerto Em Lisboa, and arranged strings for Cesaria Evora's Rogamar. While he didn't record on his own for five years, he was instrumental in providing arrangements and production help to recordings by Caetano Veloso (Lingua) and Monte (Infinito Particular) among others.
In 2011, he collaborated with Paolo Fresu and Omar Sosa on Alma, and followed it three years later with Rendez- Vous in Tokyo with Japanese composer, arranger, guitarist, and producer Goro Ito. In 2014, he issued CelloSambatrio: Saudade Do Futuro Futuro de Saudade with himself on cello, Rafael Barata on drums, and guitarist Lula Galvão. Morelenbaum's trio with Fresu and Sosa expanded to a quartet to include vocalist Natacha Atlas for 2016's EROS; Live in Italia (Omaggio a Jobim) was performed and recorded with Paula and CelloSambatrio. The following year saw the release of Zélia Duncan and Jaques Morelenbaum Interpretam Milton Nascimento: Invento Mais. In 2017, he arranged and guested on Os Argonauta's Samba delle Streghe.