Promotions
Leo Gandelman: “Ventos Do Norte” (Northern Winds)
Ventos do Norte (Northern Winds) summarizes the contribution of saxophonists from the Northeast region of Brazil in the consolidation of a Brazilian style of saxophone playing through the recreation of music specifically composed by them for the instrument throughout the twentieth century. Although the Northeast is more geographically accurate, the title refers to the North, reflecting the manner in which ancient people referenced their immigration, i.e., “when I came from the North”. However, the music made by those masters came to Rio de Janeiro through a strong wind from North America and helped popularize the saxophone: Jazz
Luiz Americano Rego (Aracaju SE, 1900 to 1960) was the first musician to arrive in Rio de Janeiro in 1921, and he soon began recording on the Odeon record label. In 1928, Luiz began touring in Argentina, playing in the band of the American drummer Gordon Stretton, a jazz pioneer. In the next year, Luiz began recording an extensive solo discography, playing both the saxophone and the clarinet. The samba-choro “Dancing Avenida” (Dancing Avenue) was released in 1935 and was nearly forgotten, while “Sorriso de Cristal” (Crystal Smile) , recorded towards the end of his life, became one of Luiz Americano’s most recognized works.
In July 1921, Pixinguinha and the “Oito Batutas” performed in Recife. Local talents opened the show, with performances featuring Jararaca on guitar and vocals and Ratinho (Severino Rangel de Carvalho (Itabaiana PB, 1896 – 1972) on soprano sax.
In the next year, the group named Turunas Pernambucanos arrived in Rio and performed until 1925. Subsequently, Ratinho and Jararaca formed a famous hillbilly duo, with performances that included humor shows with instrumental solos. The classic “Saxofone, porque choras?” (Saxophone, why are you crying?) and the maxixe “Vamos pra Caxangá” (Let’s go to Caxangá) elucidated the saxophone-related verve of this pioneer in spreading the music performed with the soprano sax throughout Brazilian lands.
While Ratinho and Americano influenced the music in the capital of the republic of that time, in a city on Agreste de Pernambuco, Severino cherished the style of his father, Cazuzinha, the Master of the band. Severino Araújo de Oliveira (Lemon Tree, PE, 1917 – 2012) soon began playing, composing and writing music, and at twenty years old, Severino assumed a role as the director of the Orchestra Tabajara in Joao Pessoa in Paraiba at a radio station bearing the same name. During this time, in response to a complicated choro written by a colleague in the orchestra, Severino developed the masterpiece “Espinha de Bacalhau” (Codfish Bone). Recorded in 1945 on the first album of the Orchestra Tabajara, “Espinha de Bacalhau” catapulted Severino’s career.
K-Ximbinho (Sebastian Barros, Taipú RN 1917 – 1980) was Severino’s colleague from the Orchestra Tabajara. K-Ximbinho constantly collaborated with Severino in matters of general arrangement and innovations and also pioneered teaching harmony in popular music. K-Ximbinho established “Eu quero é sossego” (I want peace), “Ternura” (Tenderness) and “Perplexo” (Perplex), a precious work fusing jazz with choro elements, which was recorded in 1953 on his first album as a soloist.
Similar to other heroes of our history, Netinho (Pedro Silveira Neto, Simão Dias SE, 1921 – 1994) began playing in music bands as a child. Netinho began his professional career in Salvador, and in 1956 Netinho travelled to Rio, where he played in many orchestras and the famous band Bandinha de Altamiro Carrilho. I can testify that the leadership of Netinho in the sax section was completely natural and fluent. Netinho was proud of his good technique, and “Chorinho de Tula” is a challenge for any performer.
Moacir Santos (São José do Belmonte PE, 1926 – 2006) is one of the most unique authors of Brazilian music in the twentieth century. His compositions transcend matters of style, constituting a separate universe. This transcendence is observed in the samba song “Triste de quem” (Who sad), composed in collaboration with Vinicius de Moraes in the 1950s and “Amphibious”, presented here as a samba, with a generous batucada.
Separated almost half a century, but united through the saxophone and the passion for frevo, the conductors Zumba (José Gonçalves Junior, Timbaúba PE, 1889 – 1974) and Duda (Ursicino José da Silva, Goiás PE, 1935) developed careers in Recife, but divulged their compositions in Rio de Janeiro. Similar to Zumba, Pixinguinha and his orchestra “Diabos do Céu” (Heaven’s devils) recorded frevo songs, such as “Bicho danado” (Darn critter) in highly virtuosic records in the 1930s. However, Duda was often on stage in Rio de Janeiro constantly performing his compositions, such as the delicious frevo song “Cara lisa” (Smooth face). In Ventos do Norte, Leo Gandelman makes a second attempt at mapping the Brazilian sax, originally initiated in 2006, with the award-winning CD “Radamés e o Sax”. Again, Leo uses the refinement of his sonority and interpretation to honor the masters of the Brazilian saxophone, thereby maintaining his trademark as a soloist and building a bridge with the past without any shade of nostalgia.
Henrique Cazes – April 2013
Track Listing: 1. Saxofone porque choras (Ratinho – Severino Rangel); 2. Amphibious (Moacir Santos); 3. Vamos para Cachangá (Ratinho – Severino Rangel); 4. Chorinho da Tula (Netinho); 5. Ternura (K-Chimbinho); 6. Dancing Avenida (Luiz Americano); 7. Espinha de Bacalhau (Severino Araújo); 8. Perplexo (K-Chimbinho); 9. Eu quero é sossego (K-Ximbinho); 10. Sorriso de cristal (Luiz Americano); 11. Cara lisa (Duda); 12. Triste de quem (Moacir Santos); 13. Bicho Danado (Zumba).
Personnel: Leo Gandelman (Saxes); Antonio Neves (Percussion); Henrique Cazes (Cavaquinho); Guto Wirtti (Bass); Glauber Seixas (7 String Guitar).
Website: leogandelman.com.br/en/
Latin Grammy nominee Estrella Acosta expands her artistic reach with Caminos – A Latin American Landscape. Recorded with her Amsterdam-based ensemble, Esquina 25, the album is a vibrant exploration of “music without borders,” bridging the gap between Cuban roots and the diverse traditions of Mexico, Brazil, Argentina, and beyond.
Acosta’s vision traces a musical map across the continent, blending Afro-Caribbean grooves with Brazilian lyricism and Peruvian rhythms. From intimate duos to the expansive sound of a full band with special guests, the recording offers a wide variety of creative arrangements. This project isn’t just a collection of songs; it’s a living dialogue that connects cultures through a shared musical language.
Whether you’re drawn to intricate jazz compositions or infectious rhythms that invite you to dance, Caminos provides a captivating journey through the soul of Latin America. Experience a landscape where tradition meets innovation in one seamless, borderless performance.
• FEATURED VIDEOS •
• SELECTED QUOTES •
“…Balancing the sophistication of jazz with the warmth and rhythmic energy of Latin American music… Acosta has a smooth yet commanding presence, and her vocals give the album a feeling of intimacy even when the music becomes lively and exuberant… Contemporary Latin jazz that is polished and accessible, but still full of the distinctive rhythmic and emotional character of Latin American music… an album of warmth, movement, and atmosphere.”
– Acacia Grace (All About Jazz)
“The new album by Cuban-Dutch singer Estrella Acosta opens with familiar sounds— jazzy Cuban vibes, just as we’ve come to expect from her previous CDs. Her longtime partners-in-crime, pianist Marc Bischoff and reed player Efraïm Trujillo, are still on board, so the instrumental quality is top-notch. Immediately, the first surprise arrives, as the second track kicks off with the feather-light swing so characteristic of Brazilian bossa nova. … In
Nevando en Camagüey, the rhythm section—drummer Enrique Firpi and double bassist Samuel Ruiz—steps up, delightfully delivering angular breaks and punchy accents. When the backing vocals join the fray, Acosta takes flight, her voice soaring joyfully above the beautiful, spirited interplay. … Stylistically more varied than previous albums, yet bearing the same
unmistakable signature of craftsman/womanship that has been honed and refined in friendship over the years…”
– Ton Maas (MixedWorldMusic.com)
“What happens when an artist maps an entire continent through song? For Amsterdam-based, Cuban-born vocalist and Latin Grammy nominee Estrella Acosta, the result is Caminos – A Latin American Landscape (released May 2026). Backed by her formidable, long-standing ensemble Esquina 25, Acosta crafts a spectacular musical map tracing the folk traditions of Mexico, Cuba, Venezuela, Brazil, Peru, Uruguay, and Argentina. It is a stunning showcase of what she calls music without borders.”
– Danilo Navas (LatinJazzNet.com)
“I enjoyed every note of the CD… very fresh arrangements and your voice fits them perfectly. I loved the work of the tresero, as well as the bassist, the guitarist, the tenor player and the rhythm section, very delicious.”
Paquito D’Rivera (multiple Grammy-winning clarinetist/saxophonist)
“Estrella Acosta has pulled it all together on this very special recording: heartfelt and unique vocal interpretations, an incredible team of musicians, and stunning arrangements. She has brought new life to many of Cuba’s forgotten great women composers by uncovering many musical gems with a new and fresh approach.”
Jane Bunnett (Canadian artist, multiple Juno Award winner and Grammy nominee)
“The delightful whimsy of Ms. Acosta’s interplay with the saxophone of Efraim Trujillo and the piano of the incomparable Marc Bischoff also adds to the marvellous aesthetic of this music. The supple bass playing of Samuel Ruiz throughout, and the masterful rhythmic colours of Enrique Firpi make this music so memorable that you will want to return to it frequently.”
– Raul da Gama (LatinJazzNet.com)
• PHOTO GALLERY •
Click on thumbnails to enlarge
• LISTEN TO “CAMINOS – A LATIN AMERICAN LANDSCAPE” •
• WEBSITE / SOCIAL MEDIA •
WEBSITE: https://estrellaacosta.com/
FACEBOOK: https://www.facebook.com/estrellaacostamusic
INSTAGRAM: https://www.instagram.com/estrella.acosta.music/
YOUTUBE: https://www.youtube.com/@estrellaacosta7061
BANDCAMP: https://estrellaacosta.bandcamp.com/
LINKTREE: https://linktr.ee/estrellaacosta
• CONTACT •
EMAIL: estrella@xs4all.nl
In 2025, Amsterdam-based band Estrella Acosta & Esquina 25 celebrate their 20 years of playing together! They will be touring to commemorate this anniversary and would love to make you part of their festivities
Marc Bischoff (piano)
Efraim Trujillo (saxes/flute)
Samuel Ruiz (double bass)
Enrique Firpi (drums)
Estrella Acosta (vocals)
Guest TBA (percussion)
Latin GRAMMY® 2023 nominee Estrella Acosta is an acclaimed vocalist known for her captivating performances and deep connection to her Cuban roots. In Esquina 25, Acosta has assembled a group of international musicians based in The Netherlands who artfully combine Afro-Cuban music and Latin jazz with modern arrangements and playful creativity.
Drawing inspiration from the rich musical heritage of her motherland, and especially the works of its female composers, they play a program featuring music from their nominated album ‘Tierra’, with songs deeply rooted in the music of the Cuban countryside, known as ‘música guajira’, including her own compositions. Thanks to the creative collaboration of all musicians and arrangers, the band has crafted a repertoire with a distinctive character, in which elements like improvisation and jazz harmonies meet Cuban tradition.
Performances at festivals like North Sea Jazz, World Music Chicago and Canada’s Sunfest have brought them international acclaim. Their music is described as “a happy transatlantic party that takes off and soars”.
• FEATURED VIDEOS •
• SELECTED QUOTES •
“I enjoyed every note of the cd… very fresh arrangements and your voice fits them perfectly. I loved the work of the tresero, as well as the bassist, the guitarist, the tenor player and the rhythm section, very delicious.”
Paquito D’Rivera (multiple Grammy winning clarinetist/saxophonist)
“Digging deeper, Estrella has bypassed classic tunes for songs off the beaten path that, like their authors, clamor for greater recognition… For her dedication to showcasing hidden gems in the songbook of her country of origin, Estrella Acosta deserves the appreciation of Cuban music lovers, not only in the Netherlands, her home base, but the world over.”
Nat Chediak, author of ‘Diccionario de Jazz Latino’ and Grammy winning music producer
“Estrella Acosta has pulled it all together on this very special recording: heartfelt and unique vocal intrepretations, an incredible team of musicians, and stunning arrangements. She has brought new life to many of Cuba’s forgotten great women composers by uncovering many musical gems with a new and fresh approach.”
Jane Bunnett, Canadian artist, multiple Juno Award winner and Grammy nominee
“The delightful whimsy of Ms. Acosta’s interplay with the saxophone of Efraim Trujillo and the piano of the incomparable Marc Bischoff also adds to the marvellous aesthetic of this music. The supple bass playing of Samuel Ruiz throughout, and the masterful rhythmic colours of Enrique Firpi make this music so memorable that you will want to return to it frequently.”
– Raul da Gama, LatinJazzNet.com
“A project that pays tribute to the deepest roots of Cuban popular music. Sound imbued with the authentic fringes of the Guajiro-Sonero flavor in fusion with echoes of jazz and Afro-Caribbean cadences, in orchestrations of singular harmonic consonance.”
– Carlos Olivares Baró, La Razón, Mexico
“The seven songs, including three of her own, receive an emphatically jazz-tinged treatment with room for improvisation and soloistic excursions, especially by pianist Marc Bischof and saxophonist/flutist Efraim Trujillo. In addition, the sophisticated arrangements full of surprising breaks and twists provide extra listening pleasure.”
– Ton Maas, MixedWorldMusic.com
“Because Estrella Acosta is seasoned in the Latin American music tradition, this album sounds like a bell: it swings, introduces you to the Cuban music tradition, gives you a sense of ‘joie de vivre’ through the mixture of Cuban and jazz music and… gives you a new view on this special mix that was initiated by American jazz musicians in the 1940s and is now given a new handle by Estrella Acosta’s approach.”
– Rinus van der Heijden, JazzNu.com
• PHOTO GALLERY •
click on thumbnails to enlarge
• LISTEN TO THE LATIN GRAMMY® NOMINATED ALBUM “TIERRA” •
• WEBSITE / SOCIAL MEDIA •
WEBSITE: https://estrellaacosta.com/
FACEBOOK: https://www.facebook.com/estrellaacostamusic
INSTAGRAM: https://www.instagram.com/estrella.acosta.music/
YOUTUBE: https://www.youtube.com/@estrellaacosta7061
BANDCAMP: https://estrellaacosta.bandcamp.com/
LINKTREE: https://linktr.ee/estrellaacosta
• CONTACT •
EMAIL: estrella@xs4all.nl
Marlon Simon and The Nagual Spirits return with the ambitious new album On Different Paths, blending a myriad of cultural and musical traditions. A Truth Revolution Records release, On Different Paths features pianist Edward Simon, trumpeters Michael Simon and Alex Norris, saxophonist Peter Brainin, bassist Boris Kozlov and percussionist Roberto Quintero.
You can buy this acclaimed album directly from his creator at https://marlonsimon.com/online-store. Your purchase will contribute to keep the music alive and will support the artist directly, without intermediaries. GET YOUR COPY NOW!
JazzWax Review by Marc Myers
“The album is Latin jazz, but it’s way more than that. The album is loaded with a wide range of rhythms, jazz feel and tenderness… The Latin jazz on this album is unlike any you’ve heard before. Marlon’s original compositions seem to evolve organically, shifting moods and rhythms as they flower. The music is truly extraordinary.”
Modern Drummer Magazine Review
“The drum and percussion world should be much more aware of Marlon Simon, he is a master drummer, percussionist, and composer. And all of these components have never been on better display than on the record On Different Paths. Bassist Boris Koslov and pianist Edward Simon round out the rhythm section and guide us through eleven deeply emotional compositions. The Venezuelan drummer leaves more space than his contemporaries, but his sense of space is impeccable.”
LatinJazzNet Review by Brooks Geiken
In eleven tracks Marlon Simon and the Nagual Spirits explore a captivating and superbly imagined outing, On Different Paths. Marlon and his brothers Edward and Michael, all born in Venezuela, all composers, all esteemed instrumentalists, join together to delve into a sonic world with ties to jazz, European classical and world music. Having some experience with Edward’s piano playing through recordings with Charlie Sepulveda, SF Jazz Collective and his band with Scott Colley and Brian Blade, Steel House, I was somewhat prepared for On Different Paths. What I was unprepared for is the composing and drumming of Marlon taking the listener into some delightful and brilliant textures.
Jazziz Magazine Review by Matt Micucci
“On Different Paths is the fifth album from drummer, percussionist and composer Marlon Simon with his eclectic ensemble, The Nagual Spirits. Partly funded by Simon’s 2022 Guggenheim Fellowship, this bold new project propels beyond the innovative fusion of pan-Latin jazz and classical elements found in their earlier works, embracing a captivating blend of diverse cultural and musical traditions.”
Paris-Move Review by Thierry De Clemensat
“On Different Paths is an important, essential album that, beyond its cultural inspirations, serves as a note of hope, a form of renewal, a ray of sunshine in the heart of a winter that greatly needs it. Without hesitation, the editorial teams of Bayou Blue Radio and Paris Move have placed this album in the stack of Essentials.”
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