Bio:
Ricardo Herz reinventou o violino brasileiro. Sua técnica leva ao instrumento o resfolego da sanfona, o ronco da rabeca e as belas melodias do choro tradicional e moderno. Com a influência de Dominguinhos, Luiz Gonzaga, Egberto Gismonti, Jacob do Bandolim entre outros, o violinista mistura ritmos brasileiros, africanos e o sentido de improvisação do jazz.
Graduado em violino erudito pela USP, sua sólida formação começou aos 6 anos, tendo passado pela escola Fukuda em São Paulo. Estudou na renomada Berklee College of Music, nos Estados Unidos, e no Centre des Musiques Didier Lockwood, escola do violinista francês, uma lenda do violino jazz.
De volta ao Brasil desde 2010, Herz tem participado de muitos projetos e colaborado com músicos e se apresentando como solista com orquestras de todo o país, como Yamandú Costa, Dominguinhos, Nelson Ayres, Proveta, Orquestra Jazz Sinfônica, Orquestra Sinfonica de João Pessoa, Orquestra Municipal de Jundiaí, Grupos de Referência do Projeto Guri, Orquestra Filarmônica de Violas, Orquestra Breusil entre outros.
Herz tem dez albúns lançados. Além dos dois do Ricardo Herz Trio e dois gravados solo, Herz gravou diversos CDs em duo: com o vibrafonista Antonio Loureiro, com Samuca do Acordeon, com o pianista, maestro e arranjador Nelson Ayres e com Yamandú Costa. Em 2019, Ricardo lançou seu décimo trabalho: Nova Música Brasileira para Cordas, este com a orquestra feminina de cordas cubana Camerata Romeu.
Ricardo tem realizado diversas lives e gravado vídeos em duo com a violinista e rabequeira Vanille Goovaerts, sua companheira, com quem tem um duo desde 2019.
Ricardo também tem dedicado parte de seu tempo no ensino e difusão do violino popular, tendo ministrado diversos cursos em festivais e recentemente lançou o primeiro método online de violino popular brasileiro.
Contact Information
Management/Booking:
Herz Produções Artísticas
Rua Fradique Coutinho 795, ap. 97
São Paulo, SP, Brasil 05416/011
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).