Bio:
Giba Conceição é um percussionista em Salvador, Bahia, Brasil. Ele começou a tocar profissionalmente em 1986 e em 1987 foi o vencedor do prestigiado Troféu Caymmi como a revelação musical daquele ano.
Giba está profundamente envolvido com o candomblé e os ritmos africanos da Bahia, e foi diretor musical do Grupo Ofá, organizando e tocando em suas gravações de música baseada no candomblé, lançadas como "Odum Orín". Ele trabalhou com Paulinho da Viola, Paulo Moura, Gilberto Gil, Jimmy Cliff e muitos outros. Algo menos comum na Bahia (mais associado ao Rio de Janeiro), Giba também é um exímio tocador de cuíca.
English:
Giba Conceição is a percussionist in Salvador da Bahia, Brazil. He began playing professionally in 1986 and in 1987 was the recipient of the prestigious Trofeu (Trophy) Caymmi as that year's musical revelation.
Giba is deeply involved in candomblé and the African rhythms of Bahia, and was music director for Grupo Ofá, organizing and playing on their recordings of candomblé-based music, released as "Odum Orín". He's worked with Paulinho da Viola, Paulo Moura, Gilberto Gil, Jimmy Cliff, and many, many others. Something less common in Bahia (more associated with Rio de Janeiro), Giba is also a consummate cuica player.
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The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).