The Sounds of VTech

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*

Though some may say the Ides of March evokes a dark mood, VTech and Mochilla couldn’t disagree more (Sorry Julius Caesar).  It’s time to rejoice and cheer, Verocai is here!

 Arthur Verocai with a 36 piece orchestra will be performing live in Los Angeles for the very first time, and you won’t want to miss it.  

For hip hop fans and music lovers alike, come experience Arthur Verocai’s self-titled 1972 debut album in its entirety.

How can you resist this? Opening DJ sets with  Madlib and DJ Nuts. A 36 piece orchestra featuring Brasilian heavy hitters Ivan “Mamao” Conti and Jose Roberto Bertrami from Azymuth, Carlos Dafé (the originally singer on Verocai’s album), Airto Moreira, and more!! 

TONIGHT! TONIGHT! TONIGHT! TONIGHT!

Sunday, March 15th, 2009

7-11pm / All Ages /  $32.50 

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)
*Early arrival is STRONGLY suggested*

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

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 offer you a brief glimpse back at the first two events of the Timeless Series.

On February 1st, 2009, VTech and Mochilla started the Timeless composer/arranger series off with a bang. Timeless I: Mulatu Astatke.

Mulatu Astatke, Ethiopian musician and arranger, father of the Ethio-jazz sound, performed to a sold out crowd at the Luckman Fine Arts Complex with special guests, Bennie Maupin, Azar Lawrence and Phil Ranelin.

Musically trained in London, New York and Boston, Astatke became the first African student at the Berklee College of Music. From there he worked with jazz artists such as Duke Ellington and brought back Jazz to his native Ethiopia. 

Already beloved for his Ethio-jazz sound, Mulatu has continued his work in different realms of the music world. He continues to work on the modernization of traditional Ethiopian instruments, served as an Abramowitz Artist-in-residence at the Massachusetts Institute of Technology, and  produces songs for many artists from East Africa. In 2005, Jim Jarmusch’s Broken Flowers brought Mulatu Astatke’s music to a new level of sheer appreciation, solely using Mulatu’s music in his film.

On his signature instrument, the vibraphone, Mulatu’s sound reverberated throughout the crowd.

On Sunday, February 22nd, 2009, Miguel Atwood-Ferguson and Carlos Nino, brought J.Dilla to the stage in a fitting tribute, Timeless II: Suite For Ma Dukes.

“The concert is a celebration of J Dilla’s life, what he loved and what inspired him. It is a show of support, appreciation and love for his incredible mother Maureen Yancey, whom I recently had the sincere pleasure of meeting and sitting down with. It is very exciting for everyone, there is a real crisp freshness pervading everything on all levels. This is celebrating the infinite possibilities always before us.” - Miguel Atwood-Ferguson

J Dilla, born James Dewitt Yancey, is regarded by many of his peers as one of the greatest hip hop producers. Coming on to the scene in the early 90’s, by 1995, he became the go to man for many of hip hop’s elite. Working with such artists as Madlib, Pete Rock, Common, Busta Rhymes, Mos Def, Pharrell, 9th Wonder, A Tribe Called Quest, The Pharcyde, Kanye West, Karriem Riggins, Questlove, and more. 

Though Dilla passed February 10th, 2006, due to complications stemming from Lupus and blood disease TTP, those who knew and loved him continue to keep his music alive. 

Timeless II: Suite For Ma Dukes  brought the sold out audience  at the Luckman Fine Arts Plaza to their feet as the power of Dilla’s music, love, and energy  overwhelmed their very senses. It was indeed a magical evening. 

For the third installment of Timeless, a four-part series honoring legendary composers/arrangers, VTech, Mochilla and ArtDontSleep are proud to present Brasilian folk-soul-jazz composer and arranger Arthur Verocai with a 36-piece orchestra.

Why Arthur Verocai?

“For me Arthur Verocai’s music typifies a spirit that links the world of Rogerio Duprat’s Tropicali with the Milton Nasciamento’s Clube D’Esquina school from Minas Gerais to the powerful string soul coming from Charles Stepney in Chicago and David Axelrod in Los Angeles. But it is more too - ask Ludacris or 9th Wonder or MF Doom or Quantic. His arrangements ooze emotion”

-B+, Mochilla

Born in Rio de Janeiro on June 17th, 1945, Arthur Verocai first earned widespread attention in 1966 when Leny Andrade recorded his song “Olhando o Mar”. A product of a classical music education, Verocai embraced the contemporary pop, soul and jazz sounds emerging from all over. Gradually honing a sweeping orchestral psych-funk sensibility that has put him in the same category as producers David Axelrod and Charles Stepney.

He has collaborated with artists including Paulinho Tapajos, Elis Regina and Maria Creuza, and arranged sessions for Gal Costa, Marcos Valle, Quarteto em Cy, and others.

In 1972, Verocai released a self-titled solo LP, an innovative effort bridging the gap between Tropicalia of the late 60’s and the funk of the 70’s. “I was in an adventurous mood on this album and that led me to explore new melodic, harmonic and rhythmic paths.” Unfortunately due to the album’s poor sales, Verocai became a commercial arranger and producer, and failed to produce another solo album till Saudade Demais, 2002.

Though Verocai only released two albums, his 1972 self-titled album struck a cord with musicians from all walks of life. There seems to be no end to the praises artists have for Verocai.

“Arthur Verocai is a genius, one of the finest”- Quantic

“I could listen to the (Arthur Verocai) album everyday for the rest of my life“ - Madlib

“Em 1972 falaram que ele estava maluco… sua musica é agora.” - DJ Nuts

“Arthur Verocai is living proof that soul transcends generations, races, and creeds. If you are a producer and don’t know who this guy is……. then you don’t know soul music at its best….. Welcome to Brazillian Soul……………. meet Arthur Verocai” - 9th Wonder

“When I listen to Arthur’s music it makes me glad to feel alive. It doesn’t get any better than this” - Mark Pritchard/ Troubleman

“Of all the Brazilian music I have encountered, this is my favourite record” -Yoshihiro Okino, Kyoto Jazz Massive

“A touch of folk, more than a hint of funk, jazz-style solos, amazing 20-piece string arrangements, and a blending of electronics and keyboards with organic sounds and social commentary… You could easily get laid to this stuff.” -Water Magazine

“With influences stretching from Milton Nascimento and Herbie Hancock to Frank Zappa and Jimmy Webb, Verocai was very much a product of the Tropicalia era, drawing on the music of the exterior to speak to the oppressed youth. Touching on folk, jazz cinema music and early electronica Verocai’s self-titled album is a stunning piece of work and worthy of comparisons with the lo-fi sound of Shuggie Otis and the orchestral soul of Charles Stepney. A wonderful discovery.” -Straight No Chaser