The Sounds of VTech

Timeless describes moments outside of time-those moments that exist so deep inside history that they break through that finite grid. Timeless: The Composer/Arranger Series is an homage to the composer-arrangers that have influenced hip-hop in the most literal and profound ways. 

From Ethiopia to Detroit to Brazil, the Timeless Series has brought world music center stage in Los Angeles.

Since the start of the series, Mochilla has been diligently documenting every rehearsal, every show to capture this amazing experience. During the filming process of the Timeless Series, we have been very fortunate to catch many intimate moments between fellow musicians. This moment is a perfect example. Three friends, coincidentally all amazing musicians, sharing music and a brief laugh. Ivan “Mamao” Conti and Jose Roberto Bertrami from Azymuth and Aloisio Aguiar, the original pianist from Verocai’s original album, during a rehearsal day for Arthur Verocai.

Since the start of the Timeless Series on February 1st, 2009, word has spread throughout the streets, over airwaves and the internet, and across oceans about the magic it has brought, not only to Los Angeles, but to music lovers worldwide. Timeless has given those fortunate to attend, the chance to bear witness to musical miracles and be engulfed by beautiful melodies. Music that truly stays with you forever.

On March 15th, 2009, Los Angeles was blessed with a very special gift. The opportunity to see Arthur Verocai perform his seminal 1972 album for the very first time with a 36-piece orchestra.

From the moment the maestro, Arthur Verocai, stepped out onto the stage at the Luckman Fine Arts Complex on Sunday night, the audience was mesmerized. Not only by the sight of this musical powerhouse gracing the L.A. stage for the very first time, but by his haunting, intensely beautiful and psychedelically soulful arrangements. 

From the musical Lea family (Chris: flute/piccolo, Tom: viola, Elizabeth: trombone) to trumpet player Todd Simon, from Suite For Ma Dukes arranger/composer Miguel Atwood-Ferguson (viola) to Justo Almario (alto sax, flute), there was no shortage of talent in Verocai’s orchestra that night. And with the added help of Verocai’s friends and some of the finest Brazilian musicians, Ivan “Mamao” Conti and Jose Roberto Bertrami from Azymuth, percussionist Airto Moreira,  and Aloisio Aguiar (original piano player on Verocai’s debut album), the music was undoubtedly superb. 

Vocals provided by Carlos Dafé (original singer on Verocai’s debut album) and Clarisse Grova (original singer on Verocai’s second album) brought an authenticity to Verocai’s music that was reminiscent to listening to his record for the very first time. And when Verocai took the microphone to perform Caboclo, the audience held its breath. 

There is something special to be said about seeing a live musical performance. The nuances of the singers as they change octaves and harmonize, the synchronization of the string section as each shift in the head and sway of the body is timed perfectly, the love and emotion beaming from the musicians faces as they perform, and the joy and humble gratitude shown by a legend to an audience who appreciates his work. 

To be in the presence of such a man, on such an evening, unequivocally a gift to treasure for a lifetime.

VTech and Mochilla have brought a breathe of fresh air to Los Angeles.

-Let’s keep on breathing- 

Photos by Azul 213*

Day 1 of rehearsals for Timeless III with Arthur Verocai, was filled with friendly hellos, warm embraces, and old friends catching up.

At 12:30 pm, a white van dropped off the silent giant at the backdoor of the Luckman Fine Arts Complex. Arthur Verocai had landed. One by one, musicians and singers exited the vehicle and instantly the energy level elevated. 

Singer Carlos Dafé  kissed young ladies’ hands as he suavely introduced himself, drummer Ivan “Mamao” Conti sported a rich brown complexion from his recent beach visits, Debora Pill (translator and long time friend of Mochilla) flew in from Barcelona specifically for this show before she heads back home to Sao Paulo, and composer/ arranger Arthur Verocai, towered over all this, and silently took out his camera. He needed photos. 

As the orchestra (originally 30 members, now 36) chatted on stage while tuning their instruments, the moment Verocai stood at the podium, they waited with bated breath for their maestro’s instructions. 

Verocai’s music is beauty personified. From sweeping strings, to the soulful twang of the electric guitar, and the blaring horns, it was truly breathtaking.

For five hours his music rang through the complex, with every head nodding in approval and toes tapping to the beat. 

Break Time

Todd Simon

Airto's music stand

Old Friends: Ivan "Mamao" Conti and B+

Verocai, Aguiar and Bertrami around the piano

Behind the scenes:

Jose Roberto Bertrami and Aloisio Aguiar acting out funny stories to each other in Portuguese.

Ivan “Mamao” Conti and Airto Moreira reiminesce about how long they’ve known each other.

Mamao- “It must be 30-35 years?”

Airto- “Everything for us now is 30 or 35 years!!”

Mamao embraces Airto- ”He (Airto) is like the godfather for Azymuth.”

Percussionist Andres Renteria admiring Airto Moreira’s treasure trove of percussion instruments.

While tapping on Airto’s wooden blocks, he notices a gong and turns it over. ”Hey this one is mine!” laughs Andres.

Miguel Atwood-Ferguson (composer and arranger for Timeless II: Suite For Ma Dukes) talks about Arthur Verocai:

Q: How you do you feel about having Arthur Verocai in LA?

M A-F: “I’m ecstatic, overjoyed. I feel very lucky, don’t want it to end.”

Q: How long have you known about Verocai’s work?

M A-F: “Two months!”

A quote from Brasil to her old friend:

“I’ve known Arthur Verocai for many years. He was a longtime friend from my old neighborhood at Posto Seis, a lovely spot in Copacabana. I was happy to see how much he grew as a musician, arranger and composer, unfortunately still underrated for most audiences. Hope this will change now.”  -Joyce, singerBrasilian Singer Joyce (photo by Lizzie Bravo)

** Rehearsal photos by Joy Yoon

VTech and Mochilla are bringing you another installment to their  monumental concert series, a landmark in Los Angeles music history, with Timeless III.

Get ready to experience the cosmic vibes of none other than, ARTHUR VEROCAI. The legendary Brasilian producer/composer will be on stage this Sunday, March 15th, 2009, at the Luckman Fine Arts Complex. He’ll be performing his 1972 self-titled album in its entirety with a 36 piece orchestra featuring percussionist Airto Moreira, Ivan “Mamao” Conti and Jose Roberto Bertrami from Azymuth, and Carlos Dafé (the original singer on Verocai’s 1972 album).

Here’s a closer look at the supporting cast:

Ivan “Mamao” Conti and Jose Roberto Bertrami of AZYMUTH 

Ivan "Mamao" Conti of Azymuth

Jose Roberto Bertrami of Azymuth

Azymuth is a three-piece electric funk jazz group from Rio de Janeiro, Brazil. Formed in 1972, the group is comprised of Jose Roberto Bertrami (keyboards), Alex Malheiros (bass,guitar), and Ivan “Mamao” Conti (drums, percussion). They’re known for their particular style of music called “Samba Doido”, which means “Crazy Samba”.

The group started out in the early 70’s as Grupo Seleçao, a cover band. In 1973, they switched to the name Azymuth, inspired by a Marcos & Paulo Sergio Valle song. Their first album of the same name, was released two years later and featured the hit “Linha do Horizonte”. In 1976, they recorded other minor hits like the single “Melo da Cuica“. From 1979-1989, they released many albums for Milestone Records, including their 1979 hit, “Jazz Carnival”. 

Recently, many of Azymuth’s songs have undergone a series of remixes from various artists and musicians.

Ivan “Mamao” Conti and hip hop musician Madlib released an album in 2008, as Jackson Conti, titled Sujinho.

Jose Roberto Bertrami has recorded at least six albums under his own helm.

Percussionist Airto Moreira

Airto Moreira

Airto Moreira was born in 1941 in the small village of Itaiopolis - south Brasil, and was raised in Curitiba. Even before he could walk he would start shaking and banging on the floor every time the radio played a hot song. This worried his mother, but his grandmother recognized his potential and encouraged him to express himself. By the time he was six years old he had won many music contests by singing and playing percussion. The city gave him his own radio program every Saturday afternoon. At thirteen he became a professional musician, playing percussion, drums, and singing in local dance bands. He moved to Sao Paulo at the age of sixteen and performed regularly in nightclubs and television as a percussionist, drummer and singer.

In 1965 he met the singer Flora Purim in Rio de Janeiro. Flora moved to the USA in 1967 and Airto followed her shortly after. When in New York Airto began playing with musicians such as Reggie Workman, JJ Johnson, Cedar Walton and bassist Walter Booker. It was through Booker that Airto began playing with the greats - Cannonball Adderley, Lee Morgan, Paul Desmond and Joe Zawinul,
to name a few. Zawignul recommended Airto to Miles Davis for a recording session in 1970 for the “Bitches Brew” album. Davis then invited Airto to join his group, which included such jazz icons as Wayne Shorter, Dave Holland, Jack DeJohnette, Chick Corea and later John McLaughlin and Keith Jarrett. He remained with Miles for two years, and appears on such releases as “Live/Evil”, “Live at the Fillmore”, “On the Corner”, “The Isle of Wight”, “Bitches Brew” and later releases including the “Fillmore Sessions”.

Following his stint with Miles Davis, Airto was invited to form the original Weather Report with Wayne Shorter, Joe Zawinul, Miroslav Vitous and Alphonse Mouzon with whom he recorded “The Weather Report”. Soon after, he joined Chick Corea’s original Return to Forever group with Flora Purim, Joe Farrell and Stanley Clarke and they recorded the albums, “Return to Forever” and “Light as a Feather”.

Airto remains one of popular music’s most in demand percussionists. His collection of instruments, along with his knack for playing the right sound at the right moment, has made him the first choice of many producers and bandleaders. His work with Quincy Jones, Herbie Hancock, George Duke and Paul Simon, Carlos Santana, Gil Evans, Gato Barbieri, Michael Brecker, The Crusaders, Chicago, and many others including contributions to movie sound tracks such as The Exorcist, Last Tango in Paris, King of the Gypsies and Apocalypse Now, represents only a small number of the musical contributions Airto has made over the last three decades.

His impact was so powerful that Downbeat magazine added the category of percussion to its readers and critic’s polls, which he has won over twenty times since 1973. In the past few years he was voted number one percussionist by Jazz Times, Modern Drummer, Drum Magazine, Jazzizz Magazine, Jazz Central Station’s Global Jazz Poll on the Internet, as well as in many European, Latin American and Asian publications.

Singer Carlos Dafé

Carlos Dafé

Carlos Dafé was born into a family of musicians in Rio de Janeiro. He learned how to play the cavaquinho, mandolin and accordion with his father. Later, he studied the piano and the bass. In the 1960s, he started out as a vocalist in nightclubs in Rio and São Paulo. In the 70s he added soul music elements to his songs, as heard on the album “Venha Matar Saudades” (1978, with Banda Black Rio). He was established as one of the most important names in Brazilian soul music, along with Tim Maia, Cassiano and Gerson King Kombo. 

Sunday, March 15th, 2009
7-11pm / All Ages / $22.50 Limited Presale / $32.50 After
*Presale Tickets Available @www.ticketmaster.com and
The Luckman Box Office +1 323 343 6600
(Please keep in mind that these are assigned seating events - in order to sit together you MUST purchase your tickets together - to view seating chart please go http://luckmanarts.org/seatingchart.php)
*Presale + early arrival is STRONGLY suggested*

Harriet and Charles Luckman Fine Arts Complex
Cal State University Los Angeles
5151 State University Drive. Los Angeles. 90032