Born: March 2, 1974 Primary Instrument: Bass
Cited by music critics as one of the top musicians of the new crop of Brazilian music, Marcos was born in Tupã, São Paulo and grew up in Viçosa, in the interior of Minas Gerais. He began studying music at the city’s conservatory and his adolescence was marked by the influence of regional music by Toninho Horta and Milton Nascimento. He taught himself to play the electric bass at 16 years of age. At 20 he moved to Rio de Janeiro where he studied at the Uni-Rio Federal University and at the Centro Ian Guest de Aperfeiçoamento Musical (Cigam), important outlets for the dissemination of popular music. He moved to São Paulo in 2000.
There Marcos rose rapidly in the musical world, playing with important artists and sharing the stage with important musicians. Important names in Brazilian vocal music, such as Bibi Ferreira, Zizi Possi, Ná Ozzetti, Danilo Caymmi, Maria Alcina, Cauby Peixoto, Ana Caram, Célia, Lucinha Lins, Agnaldo Rayol, Fabiana Cozza, Virginia Rosa, Jamelão, Guga Stroeter, Verônica Ferriani, Carlinhos Vergueiro and Elton Medeiros, and international names, such as the pianist Tânia Maria, who now lives in France, the Portuguese singer Teresa Salgueiro (grupo Madredeus), the Mexican singer Magos Herrera and the Cuban singer Fernando Ferrer, allowed Marcos to travel Brazil and the world playing at the big jazz and world music festivals and in important theaters, such as the Israeli Opera Theatre.
In instrumental music he has worked with Yaniel Mattos, Marquinho Mendonça, Bob Wyatt, Michel Freidesson, Lupa Santiago, Alex Buck, Daniel D’Alcântara, Rubinho Antunes, Djalma Lima and Fabiano Araújo, in addition to participating in the most important bands of São Paulo, such as the Heart Breakers Orchestra and the big bands Sound Scape, Cacique Jazz Combo, Banda Urbana and the pop-orchestral group Nouvelle Cousine. He began to study the acoustic bass at 28 years of age, with Nei Corrêa (OSESP – São Paulo Symphony Orchestra) and Gilberto Chacur (Baroque Art Orchestra). And was a teacher at the renowned Tatuí Conservatory in São Paulo, in 2007 and 2008, where he taught weekly classes on the acoustic bass.
As a musical director and producer, Marcos was behind the production of the two CDs by the singer Fabiana Cozza – “O Samba é Meu Dom” (Samba is My Talent) and “Quando o Céu Clarear” (When the Sky Clears) (nominated for the Tim Prize in 2006 and 2008) with participation from Maria Rita and Rappin Hood. He began his solo career in 2007, with the release of the album “São Mateus” (St. Matthew) on the Sesc Brasil Instrumental program – Sesc TV Network. The CD made a real impact on critics and the musical world. In 2007/2008, in addition to doing shows for the CD São Mateus, he did a tour with the Portuguese singer Teresa Salgueiro around Europe (France, Spain, Portugal, Italy, Luxembourg and Serbia), the Americas (Mexico, Venezuela, Brazil and Chile) and Israel.
In February 2012, Marcos released the CD “Meu Samba no Prato – Tributo a Edison Machado” (My Samba on Cymbals—a Tribute to Edison Machado) by the Marcos Paiva sextet MP6, where he pays tribute to the Brazilian style of samba jazz of the 1960s and 1970s, especially the anthological album of the drummer Edison Machado entitled “Edison Machado is New Samba” (Edison Machado é Samba Novo). The CD was written up in the newspapers O Globo, Folha de SP, O Estado de São Paulo, Estado de Minas, and other important Brazilian outlets.
For 2013, he is preparing the release of the CD “Marcos Paiva Trio - Choroso Vol. 2,” a new perspective from the Brazilian double bass player and an original interpretation of one of the most important and creative musical genres in Brazil, the choro.
Marcos Paiva in praise of Edison Machado Double bass player releases exquisite album under the name of the number one drummer
A bass player remembers Edison Machado. One of the pivotal drummers to the existence of bossa nova, the man who reduced all of the parts of a samba school to the seven pieces of a drum set and gave it levity, teaching samba to speak English so it could flirt with jazz, Machado earns a tribute of the highest caliber from one of the specialists of Brazilian music.
Marcos Paiva, double bass player with a vibrant touch and impressive resume, along with his band MP6 (with Edinho Santana on piano, Cássio Ferreira on sax, Daniel de Paula on drums, Jorginho Neto on trombone and Daniel D'Alcântara on trumpet) celebrate one of the most important artists to come out of the seminal Beco das Garrafas nightclub district at the start of the 1950s. The show led by Paiva will be held next Thursday, at the Sesc Pompeia Theater. “Meu Samba no Prato – Tributo a Edison Machado” (My Samba on Cymbals – a Tribute to Edison Machado), the name of the album and the show, presents vibrant themes performed by virtuosos of a group that, in addition to abundant technical mastery, also know how to play off each other.
Remembering Edison Machado in itself would already deserve merit, but what is interesting is that the drummer is mentioned not only as a drummer, but as one of the most important thinkers of those Beco das Garrafas years.
The themes bring out a pre-bossa nova esthetic, from an era when instrumental groups were all the rage in São Paulo. The Brazilianness of the wind instruments shift from sounding like gafieira to a movie soundtrack, always backed with a pulsing beat. Confining it to just a single period of Brazilian music would be to limit it.
Marcos Paiva moves in the same direction without copying. He creates a free interpretation of “Aquarela do Brasil” (Watercolor of Brazil), with fluctuating tempos. And attacks the themes of Edison # 3, 2, 6 and 5 with fury or sweetness. One of the great bass players of the new generation makes his mark with an original tribute, worthy of applause.
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