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Ernest Barteldes

Born in Muskegon, Michigan, Ernest Barteldes started out playing in rock bands in Fortaleza, Brazil. Though his first instrument was the clarinet, he gravitated to guitar and percussion but eventually settled on the electric bass.

Over the years he played various genres, and after relocating to New York he started performing with a Beatles tribute band. After that project came to an end, he experimented with a blues duo (playing guitar) and then retreated from the music scene for several years except for a weekly gig at The Church of Our Lady of Pompeii, where he still performs every Sunday.

While away from the stages, Ernest went behind the scenes and built a career as a music critic covering jazz, Latin, Brazilian and dance for various publications, including AAJ

He always had a passion for Brazilian music, and after a friend suggested forming a bossa band, he threw himself into this new project as bassist, vocalist and songwriter.

Gear

Hofner 500/1 Violinbass Ibanez electric 4-string Sky acoustic bass Domino "Beatle" copy Fender acoustic folk guitar ES 335 1958 guitar


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6
Live Review

Maira Freitas + Lenine at Central Park Summerstage

Read "Maira Freitas + Lenine at Central Park Summerstage" reviewed by Ernest Barteldes


Maira Freitas + Lenine Brasil Summerfest at Central Park Summerstage New York, NY July 19, 2014 For her New York City debut, Maira Freitas traveled lightly, backed solely by a drummer on stage. She did the first few songs on piano, beginning with a jazz- inflected samba and then moving on to a very personal rendition of “Dream A Little Dream," her voice a clear soprano with great range. After introducing herself ...

7
Live Review

Helen Sung at Jazz Standard

Read "Helen Sung at Jazz Standard" reviewed by Ernest Barteldes


Helen Sung Jazz Standard New York, NYFebruary 12, 2014 The first set of the CD release celebration for Helen Sung's Anthem For A New Day (Concord, 2014), began with her original tune “Chaos Theory" that started with a percussive introduction by Samuel Torres with the quintet following in a theme that seemed to go into a Latin-inflected direction at first, but then went into more of a contemporary format. There was little improvisation there, as ...

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