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OceanlinerNotes Artist Interviews
OL:
We'd like to Welcome the brilliant
Brazilian Guitarist Composer & Arranger, Legend Oscar Castro-Neves,
a major contributing pioneer, first bringing worldwide attention to the beginning wave of the
Bossa Nova movement...
along with friend & Legend Composer Antonio Carlos Jobim, João Gilberto and a few other fellow Brazilian Musicians,
who played a key role in the beautiful
Bossa Nova music-styled phenomenon!

OL:
Before working with the famed
Sergio Mendes' Brazil '66 Group
that swept the  U.S. off of its feet,
where Oscar Castro-Neves was the featured guitarist, music director & vocal coach for Mendes for many years. As we travel from the beginning in Brazil...
Oscar Castro-Neves

performed with his three brothers in Brazil...
Pianist Mário, Bassist Iko
& Drummer Léo, at the tender age of just sixteen.
And then working with greats, from
Vinicius de Moraes,
to Dorival Caymmi & then crossing over to the U.S. waters,
working with Jazz Legends... 
from Stan Getz, to Dizzy Gillespie,
Lalo Schifrin Trio,
the Laurindo de Almeida Quartet...
and so many others that we here at OL,
will be covering this week 
during Oscar's Interview!

OL:
Welcome Oscar, and thank you for giving us and all of the OL Site Visitors, for what will be a 7-part Interview on the Oceanliner Notes Weekly Series,  for the entire week of October 10, 2010. We here at OL have been waiting to Interview You for a long time, Oscar...
so we'd like to thank You for the opportunity to do so and we look forward to spotlighting all of the colors of your illustrious Career, that continues to shine brighter than ever, throughout the many years of your sharing with the world, your magic, music and mastery! On behalf of all of our OL Viewers, once again, thank you and welcome Oscar!

Oscar Castro-Neves:
Hello, it is nice to be here and to have this opportunity to chat a little bit.

OL:
Oscar, for our OL Readers, we'd like to take them on a journey, starting from the very beginning, where You were born in Rio de Janeiro, Brazil. Tell us of your childhood memories growing up in Rio, and when you first came to know and love music?

Oscar Castro-Neves:
 We were a big family, six brothers and a sister.  I am one of triplets. So, growing up was a lot of fun, the house always full of friends and family, 'specially around holidays.

OL:
Your first instrument was the 'cavaquinho', the small Brazilian guitar used in such traditional styles as Choro. Tell us about the introduction to You of this instrument,
and who taught You?

Oscar Castro-Neves:
I come from a musical family full of amateur musicians: my mother played a little guitar, an uncle played cello, an aunt was a soprano singer, and most special, another uncle that taught me really hip chords on the guitar.
 And I fell in love with harmonic structures. The cavaquinho was the first instrument
(when I was about 6 years old)
because it was small enough
for my little hands.

OL:
You started performing with your brothers at an  early age. So, it seems like You certainly grew up in a Musical Family. What was it like playing in a band with your brothers?

Oscar Castro-Neves:
It was great. It was another link in what united us. My eldest brother played piano, the second eldest the drums; one of the triplets a little flute and the other the bass.

OL:
You recorded your first song called, 
"Chora Tua Tristeza,"

at the tender age of sixteen?

Oscar Castro-Neves:
I was at a friend's house, a musical reunion. Everybody was playing his or her songs.
When I did mine, there was a singer there,
Alaide Costa
who told me she was recording her album and asked if she could record that song. It was an instant hit. I was lucky. Alaide became a close friend and throughout the years we did a lot of music together.

OL:
From beginning with playing the 'cavaquinho' instrument, You also mastered the Piano and of natural legendary progression to the Classical Guitar Instrument. When You wrote your first song, what instrument did you use, to write it with?

Oscar Castro-Neves:
I actually wrote the first half in a bus, going to visit my friend Luvercy Fiorini, who wrote the lyrics. As I got to his place I got the guitar and finished the song.

OL:
Oscar, as it is now a classic, your first recorded song, "Chora Tua Tristeza,"
became a national hit in Brazil and generated over fifty covers recorded by various artists. What was it like to hear your music in general, celebrated by so many Artists'
cover versions of your song?

Oscar Castro-Neves:
What a feeling. First of all, going to the studio and hearing it orchestrated for the first time... rhythm section, strings horns, the works. The guitar player in the orchestra was Badden Powell,
who also became a good friend.

Oscar Castro-Neves:
A month after it was released, I woke up one morning and the milkman was passing my window, singing the song. I ran outside in my pajamas yelling; You're singing my song, You're singing my song...
The guy, not really believing me,
 looked at me with a funny face and said; "Yeahhhhh..."
I'll never forget it.

OL:
While building the foundation of your Career in your native Brazil, Oscar, you also worked with Dorival [Dori] Caymmi, the godfather of Bahian-rooted Afro-Brazilian sounds,
 an ongoing collaboration that has lasted even to this day... Tell us of how you first came to work together with your friend, Brazilian Legend Vocalist & Composer,
Dori Caymmi
in Brazil?

Oscar Castro-Neves:
First of all...  Dorival Caymmi is all that you said. Dori Caymmi is his son, also an incredible composer and arranger. He lives in Los Angeles, CA.  ...Dorival lived across the street and Dori used to come to my apartment. He was 3 years younger, and 
at that age, when you are that young it makes a lot of difference.

Oscar Castro-Neves:
He is a very dear friend. Regarding Dorival, we first worked together in a show produced by Aloyso Oiveira, featuring
Dorival Caymmi, Vinicus de Moraes,

the vocal group "Quarteto em Cy" and my band. I also was the musical director.
The show ran for a year.

OL:
And we come to the time that You first met fellow Brazilian,
Legend Antonio Carlos Jobim.

Tell us about that and what it meant to You, yourself Oscar,  to be one of founding pioneers of the great Bossa Nova phenomenon that captured the whole world?

Oscar Castro-Neves:
I met Jobim when I was 16. My brother Mario found his name in the phone book (isn't that so simple?) and called him... "Hi Tom
(his nickname),
this is Mario Castro-Neves." Tom said, 
"Yeah, I know you guys, what is it?"
 Mario said... "We have a garage with a piano, would you like to come, have a beer and make some music?" He said, 
"Give me an hour."
He came and became a friend and in the years to come we worked many times together.

OL:
As we start to travel to the U.S. in the next segment of this week's Interview,
of when You first came to the U.S.,
tell us Oscar, for our new OL Viewers,
in general, simply... What is the musical magic behind the Bossa Nova and what does it mean to You on the most deepest depth of the soul?

Oscar Castro-Neves:
First, like the golden age of American Music, the music of the Bossa Nova repertoire is music of the highest caliber, poetically, musically and harmonically.
Timeless, Perennial.

Oscar Castro-Neves:
Second, when João Gilberto created this rhythm with his guitar, He decanted all the myriad of rhythm figures of the samba into a minimalist synthesis that not only captivated Brazil but also allowed the music to travel.

OL:
Thank you very much Oscar, for coming on as our Special Guest Artist. Is there any music commentary you'd like to share with the viewers, in concluding this OL Interview
 1 of 7 segment?

Oscar Castro-Neves:
Thanks for this opportunity,
and I look forward to our conversations.

OL:
We look forward tomorrow in Part 2 of this 7 part Oceanliner Notes Weekly Series,
where Brazilian great Guitarist Composer & Arranger Oscar Castro-Neves comes to the U.S. for the first time... on the path of his phenomenal musical journey & more...!   Thank you Oscar. We'll see you tomorrow!

OL:
And thank you all for visiting
OL's Oceanliner Notes Weekly!


OL:
Welcome Back to renowned Brazilian Jazz Guitarist, Composer & Arranger
Oscar Castro-Neves,

this being Part 2 of our 7 day Interview for
OL's Oceanliner Notes Weekly Series.

OL:
Welcome back Oscar, and thanks again for sharing some of your time with OL this week. Tell us about your first music project that brought You from the shores of Brazil
 to the shores of the U.S.?

Oscar Castro-Neves:
Sidney Frey, owner of Audio Fidelity Records had recorded an album with me in Rio. Later, together with Show magazine he produced the first Bossa Nova Concert at Carnegie Hall, November 21, 1962
and he invited me to be on the show.

OL:
Oscar, let's cover your beginning tours
with your Quartet and who was on the set?

Oscar Castro-Neves:
I was playing piano, my identical twin brother, Iko (Antonio Carlos) Castro Neves on bass, Henry Wilcox on guitar and
Roberto Pontes
on drums,
replacing my brother Leo Castro Neves.

OL:
How did You come to work with Jazz greats Stan Getz and Dizzy Gillespie?

Oscar Castro-Neves:
After the Carnegie Hall concert, Sidney Frey promoted
a mini tour with the
Dizzy Gillespie Quintet,
the Stan Getz Quartet, The L.A. Jazz Quartet;
with Laurindo Almeida
on guitar,
Ray Brown
on bass,
Bud Shank
on sax,
and Shelley Manne on drums,
the Lalo Schiffrin Trio,
and my quartet.

Oscar Castro-Neves:
I remember we played the Forum in
Los Angeles
and the Masonic Auditorium in Los Angeles. I felt humble and excited to be working with those great musicians
and personal idols.

OL:
 In working with Legend Guitarist
Laurindo Almeida...
what experience and growth did You draw from working with one of Brazil's most celebrated Musician?

Oscar Castro-Neves:
Laurindo was wonderful, with a great sense of humor. He was encouraging, giving me great insight in the recording world of
Los Angeles.
Later we did an album together,  Laurindo Almeida,
"The Best Of Everything"

which I arranged.

OL:
Oscar, also your working with
Composer great Lalo Schifrin.

Tell us about that?

Oscar Castro-Neves:
Lalo was already very famous,
having worked and arranged for
Dizzy's Gillespiana Orchestra.
We worked together in 1962, on an album with
Brazilian guitarist Luiz Bonfá.
He is a marvelous composer and conductor
and a wonderful gentleman.

OL:
Your Guitar, Orchestral, and
Vocal arrangements are signature
and legendary, Oscar, not to mention your magical compositions, themselves.
In highlighting your song,  "Pensando" from your BRAZILIAN SCANDALS CD, which we feature during this Interview...
in the ever-steady and supporting
rhythm guitar track,
that keeps your beautiful lead guitar melody floating on air, is really something, with the strings soaring in the background.
When writing music, what do You concentrate on most,
the chord changes, or the melody?

Oscar Castro-Neves:
Every piece, song, every arrangement you write brings different propositions. You try to be at service for the task at hand. If you are working with a singer, you try to create the best frame for her or his voice.

Oscar Castro-Neves:
 If it is music for a film, your job is to service the director's vision. I love intricate, sophisticated harmonies,
like Ravel or Debussy. Whether you are writing in country, or pop style, you have to "speak"
in that idiom. Like learning several languages. I am still learning,
I will die a student.

OL:
Speaking of arranging, how can we not cover your extraordinary time with the Sergio Mendes Brasil '66 Group. Clearly this was one of the defining moments when the
bossa nova took the world by storm...
and Oscar, you were a special part of that.

OL:
Tell us of your beginning years of working with Sergio Mendes and the great front Singers in the group, Lani Hall,
Gracinha Leporace
& Karen Philipp
on Herb Alpert's A&M Label?

Oscar Castro-Neves:
I learned a lot working with Sergio.
He not only is a fantastic musician but a great producer and arranger himself.
Look at the longevity of his career.
A&M
at that time was a great big family.

Oscar Castro-Neves:
It was great hanging out a lot with everyone in the band and the other artist on the label. Gracinha, I knew from Brazil, having arranged her first three albums in Rio... very dear to me.

OL:
Oscar, there's so much ground to cover on your impressive music career, we look forward to just rattling off some of the key names of the many great Artists that you've worked with. In the meanwhile,
as we close for this segment...
tell us about the 1962 historic
Carnegie Hall Bossa Nova Festival
that you were a part of and some of the great highlights in your career, that it led to?

Oscar Castro-Neves:
I guess I already said something about that. But, looking back at the Carnegie Hall,
I was very busy backstage, writing last minutes charts to accompany all the friends that came from Brazil without back up... Bonfá, Menescal, Jobim,
Agostinho dos Santos, Carlos Lyra

and the others.
I did not have awareness of where I was.

Oscar Castro-Neves:
Today I look back and say wow, my first gig in the USA was at Carnegie Hall. This is a snapshot of that evening:
after Luiz Bonfá
and Agostinho dos Santos
(the singing voice of Orpheus in the film "Black Orpheus")
performed "Manhã de Carnaval.

Oscar Castro-Neves:
You can also see me at the piano,
my twin brother Iko at the bass,
Roberto Pontes
at the drums, and
behind Agostinho, my guitar player,
Henry Wilcox
(Brazilian,
 in spite of having an English name).

OL:
Thank you very much Oscar, for coming on as our Special Guest Artist. Is there any music commentary you'd like to share with the viewers, in concluding this OL Interview
2 of 7 segment?

Oscar Castro-Neves:
Just a note to say that if the journey was a good one, I am still traveling.

OL:
We look forward tomorrow in Part 3 of this 7 part Oceanliner Notes Weekly Series, where we travel to the world of  Brazilian great Guitarist Composer & Arranger
Oscar Castro-Neves'

Film Orchestrations, Big Band moments
& more !

OL:
And thank you all for visiting
 OL's Oceanliner Notes Weekly!


OL:
Welcome Back Oscar, glad to be here again with You at OL, this being Part 3 of our 7 day Interview for
OL's Oceanliner Notes Weekly Series.

Oscar Castro-Neves:
Hello again.

OL:
Oscar, how did it feel when the great Antonio Carlos Jobim included your song, "Morrer de Amor" (with Luverci Fiorini)
on his 1966 album "Tom Jobim Apresenta"?

Oscar Castro-Neves:
Actually, this album was produced by
Aloysio Oliveira,
famous producer, composer, lyricist and record company owner in Brazil. Aloysio, among many things was Carmen Miranda's music director and had worked with Walt Disney in the USA.

Oscar Castro-Neves:
After Carmen died, he returned to Brasil as A&R for EMI Odeon and later founded "Elenco," a recording company responsible for releasing an incredible pioneering catalog of Bossa Nova albums in Brazil. I am sure he had a hand also in choosing the songs. I learned to be a producer with him. I miss him. I miss Jobim.

OL:
Your 1962 "Big Band Bossa Nova -
Oscar Castro-Neves and his Orchestra"
Album,
you no doubt covered some of Jobim's classics, along with your own original songs. What Studio did You record this album with,  while working with your Orchestra, and tell us about the sessions?

Oscar Castro-Neves:
We used Columbia Records Studio, in Rio. The repertoire was chosen in collaboration with Sidney Frey, who was releasing the album on his Audio Fidelity label. I had my quartet as rhythm session, enlarged with: 2 more percussion players, and a small horn section, trumpet, trombone and 3 saxes.
 I just found some old photos and, among them some of those sessions.

Oscar Castro-Neves:
You learn from everybody. I grew up listening to all kinds of music: Ravel, Debussy, Brazilian popular music,
Frank Sinatra, Charlie Parker,
Dizzy, Mancini,
Nelson Riddle, Chet Baker,
Michel Legrand,
Elvis,
everybody and everything.

Oscar Castro-Neves:
You hope you digest all this and after a while something comes out that is your own expression  ...an Oscar Castro-Neves filter.
I think that the love of chords made me discover that the orchestra was a BIG instrument,
with a enormous palette of colors.

OL:
Your Film Scoring credits include:
 "Blame It On Rio," and also the
 Michael Caine
co-starring with Steve Martin
comedy movie vehicle,
"Dirty Rotten Scoundrels,"
 [Composer Miles Goodman],
 to  name a few...
Your musical works and orchestration, especially these two films, Oscar,
are absolutely wonderful. Can You take us there for a moment, when working on orchestrations and arrangements for films
in general?

Oscar Castro-Neves:
Like I said before, when you work on films, your job is to service the director's vision. You are successful to the extent that your contribution to the whole helps framing that vision. I also like the double challenge,
 that is writing for film.

Oscar Castro-Neves:
First you work to enhance the drama,
the laughter, or the romance of the image. Second, you have to navigate the world of frames, seconds and all that is necessary to synchronize the music to the moving images. It is a lot of fun.

OL:
In the film "Blame It On Rio," You are seen playing Guitar on the beach in the film.
Tell us about filming that scene?

Oscar Castro-Neves:
Stanley Donen, the director was enjoying the music I was writing and said he would like to have me do a quick appearance on screen. We rehearsed first, and I was to have a little monkey on my shoulder.

Oscar Castro-Neves:
During all of the rehearsals, and camera blocking, the monkey stayed very calmly on my shoulder, while I played my guitar.
Right at the moment the camera started,
she got afraid and jumped out.
So, she is not there in the shot.

OL:
Thanks for sharing that filming moment with us Oscar, that's great. Now on another note; if You can tell us about working with Saxophonist Paul Winter and recording with him on his "Brazilian Days" CD on his own 'Living Music'  Record Label?

Oscar Castro-Neves:
Paul is a dear old friend. We met in the sixties in Rio and have been collaborating for many years. This album reflects the love Paul has for Brazilian music and his involvement with the culture and history of Brazil.
It features compositions from many of the composers of the Bossa nova era.

OL:
Okay, your next CD that we're highlighting, "MARACUJA"... On this set, as on all of your recordings, Oscar, you're in great musical company... to name a few: Ernie Watts,
Don Grusin
and the cool Phil Perry,
who we just had the pleasure of Interviewing recently here at OL.

OL:
We wish we could name the entire cast,
but tell us Oscar, about the highlight moments of making this recording set, which include the very romantic track,
"Love In The Afternoon,"
among others and the title track "Maracuja" of the CD?

Oscar Castro-Neves:
Well, I am a romantic. The title of the song "Love in the Afternoon" comes from a 1957 Billy Wilder Film, with Gary Cooper,
Audrey Hepburn
and Maurice Chevalier.
It is just a wonderful film. "Maracujá" is the Brazilian name for the Passion Fruit.
So, you can see, everything connects.

OL:
Thank you very much Oscar, for coming on as our Special Guest Artist. Is there any music commentary you'd like to share with the viewers, in concluding this OL Interview
3 of 7 segment?

Oscar Castro-Neves:
I am a lucky individual, being able to make my living with something I love. It is a privilege. For me, there is no Sunday or Monday. Everyday is good.
 I am a happy person.

OL:
We look forward tomorrow in Part 4 of this 7 part Oceanliner Notes Weekly Series, where Oscar Castro Neves gives us a one-word playback on OL's weekly one-word commentary segment of this Interview...
so stay tuned and enjoy!

OL:
And thank you all for visiting
OL's Oceanliner Notes Weekly!


OL:
Welcome Back, Oscar. It's nice to have You on again, this being Part 4 of our 7 day Interview for
OL's Oceanliner Notes Weekly Series.

OL:
We're at the segment Interview feature, where we introduce a 'one word'  Interview question to You, Oscar, and if you can you please playback a One-word Commentary Note for the OL Visitors, that would be a treasure! Okay, Oscar it's all yours!

OL:
Brazil?
Oscar Castro-Neves:
Sensual

OL:
Smiling?
Oscar Castro-Neves:
Yes

OL:
Record?
Oscar Castro-Neves:
always

OL:
Arrange?
Oscar Castro-Neves:
color

OL:
Miss?
Oscar Castro-Neves:
Lorraine

OL:
Samba?
Oscar Castro-Neves:

double sensual

OL:
Nova?
Oscar Castro-Neves:
Bossa

OL:
Heart?
Oscar Castro-Neves:
Romance

OL:
Cafe?
Oscar Castro-Neves:
Now

OL:
Orchestrate?
Oscar Castro-Neves:
Life

OL:
Thank you very much Oscar, for coming on as our Special Guest Artist.
Is there any music commentary you'd like to share with the viewers, in concluding this OL Interview 4 of 7 segment?

Oscar Castro-Neves:

Bye

OL:
Thank you, Oscar. We look forward tomorrow in Part 5 of this 7 part Oceanliner Notes Weekly Interview, as Guitarist great,
Oscar Castro-Neves
talks about some of his recording sessions, 'live' concerts and gives us all a look inside the magic of his legendary and beautiful signature chord progressions & colors. that are always present in his music...

OL:
And thank you all for visiting
 OL's Oceanliner Notes Weekly!

OL:
Welcome Back to celebrated
Brazilian Jazz Guitarist, Composer & Arranger Oscar Castro-Neves,
this being
Part 5 of our 7 day Interview for
OL's Oceanliner Notes Weekly Series.
Welcome back Oscar,
it's a pleasure to have You on again.

OL:
Your signature in-the-pocket rhythmic guitar-playing style, is truly a gem to the listening ear... moving from chord to chord, with such grace and beauty, an art unto itself.
What moves You Oscar, to create this dynamic effect on your recordings in general?

Oscar Castro-Neves:
Thank you for your kind words. Harmony is also a question of flow, how one chord connects with the next, and its relationship with the one that came before. I try to make those connections as smooth as I can.

OL:
Prior to recording for Mack Ave Records,
You did some recordings for JVC Record Label, including your
MORE THAN YESTERDAY CD.
And in between you have also the wonderful
TROPICAL HEART
on the
'Samson Music'
Label.

OL:
Tell us about recording the track, "Souvenirs," as You from time to time, feature Vocals on your tracks... on this one, Singer Bunny Hull?

Oscar Castro-Neves:
TROPICAL HEART was first released on
JVC Records. Bunny Hull
is a Grammy award winner, songwriter, singer, producer and long time friend. We got together to write "Souvenirs" and the demo was so good, we just went to the studio and repeated the experience. I love her lyrics and her singing.

OL:
Okay Oscar, there are so many, but let us rattle off just some of your performing credits with these great Artists...
Barbra Streisand, Michael Jackson,
Al Jarreau, Flora Purim, Airto Moreira, Toots Thielemans, Terence Blanchard, Dionne Warwick, Ivan Lins, Jon Lucien,
Luiz Bonfá, Yo-Yo Ma, Herbie Hancock,
Gal Costa, Harry Belafonte, Shirley Horn 
and Quincy Jones... All of this musical magic happening in your career can only be a wonderful thing... as with no surprise,
your career continues to  soar Oscar.
We ask...
Is this all so wonderfully overwhelming?

Oscar Castro-Neves:
Life has been good to me. I grew up in Brazil, listening to albums that had to be imported from the USA. It took sometimes 1 or 2 months to get the album. Then me and my brothers and friends would go home and listen to all those great musicians and follow their performances and improvisations.

Oscar Castro-Neves:
Guess what? Some of those became studio colleagues and friends. As I said before,
life has been good to me.

OL:
Yes Oscar, how true... life surely had been good! ...and also to the many music lovers out there, who have been touched
by your music!
Thank you!

OL:
As a music director, You directed for seven years, "A Night of Brazilian Music" at the Hollywood Bowl in Los Angeles, which boasted a regular attendance of over 14,000 people. Take us back there for a night and tell us about your performance run there?

Oscar Castro-Neves:
The first concert we had at the Bowl, featured Toots Thielemans'
"Brazil Project,"

an album Miles Goodman
and I had produced for Private Music. Together with Toots, we had my band plus Ivan Lins, Eliane Elias, Dori Caymmi, João Bosco
and cameo appearances
by Terence Blanchard and Mark Isham. And that was only the first half. The second half featured
Antonio Carlos Jobim
and his band.

OL:
In your touring travels, You also composed and conducted the musical revue
"Brazilian Scandals"
in Paris, France and has overseen music productions for theatre in
Los Angeles.
Tell us about
Oscar Castro-Neves
performing in the great city of Paris and the audiences there?

Oscar Castro-Neves:
I love Paris, its culture, and its beauty. Traveling in Europe is always a wonderful experience. As the French say,
"Vive la difference."
I love our differences. The change in language, points of view, history and traditions.

Oscar Castro-Neves:
Music is a universal language. It does not need translation. It goes straight to the heart. And I think Brazilian music in general and Bossa Nova in particular, have been Brazil's best ambassadors.

OL:
Well said, Oscar! ...On your PLAYFUL HEART CD for Mack Avenue Records, You are doing more covers than originals, but great recording just the same...
such as one our our favorites:
 "Lorry's Swing/Autumn Leaves" medley...,
which really starts off with just percussion and then gradually brings in the rest of the instruments, which once again, showcases your awesome rhythmic guitar and song arrangements. This track pleasantly surprises the listener with such an uptempo version of Autumn Leaves. Was that always your direction on this track?

Oscar Castro-Neves:
If you pay attention, the first melody, "Lorry's Swing" becomes "Autumn Leaves" counterpoint in the second half. The two melodies are superimposed. The melody of "Autumn Leaves" is sung at half speed with the counterpoint twice as fast.

OL:
An awesome arrangement indeed...
Oscar,
what set of guitars are you using mostly today in your performances?

Oscar Castro-Neves:
I use a wonderful acoustic guitar, hand made for me by Keith Vizcarra
in Santa Fe,
and also a solid body nylon string guitar
made by Frank Krocker,
 
of Frame Works, in Germany.
Both have an RMC pickup made by
Richard McClish,
from Berkley, CA.

Oscar Castro-Neves:
The pickups not only have a fantastic sound,   but also allow me to trigger sounds from my Mac and my synths. I use La Bella strings exclusively for many years.
They are the best.

OL:
Thank you very much Oscar, for coming on as our Special Guest Artist. Is there any music commentary you'd like to share with the viewers, in concluding this OL Interview
5 of 7 segment?

Oscar Castro-Neves:
I was very fortunate to get involved with computers and music since they invented MIDI. I think my knowledge of traditional orchestration made my computer work better sounding. But the acquired knowledge of the new technology kept me and my music young. I am still learning. And studying.

OL:
We look forward tomorrow in
Part 6 of this 7 part Oceanliner Notes Weekly Series, where Oscar Castro-Neves shares a few moments about working with his friends and great Artists such as
Brazilian Pianist/Singer Eliane Elias,
the celebrated
& renowned Cellist Yo-Yo Ma,
...also sharing his treasured memories of working with
Brazil's Legend Singer Elis Regina
& more...!

OL:
And thank you all for visiting
OL's Oceanliner Notes Weekly!


OL:
Welcome Back Oscar, it's nice to have You back on again, this being Part 6 of our 7 day Interview for OL's Oceanliner Notes Weekly Series. On your ALL FOR ONE CD recorded for Mack Avenue Records,
You include the beautiful original song,

OL:
"Morrer de Amor (I Live to Love You)"
that you co-wrote with Fiorini, Luvercy/Ray Gilbert. Outside of your solo songwriting, does your writing approach change when
co-writing with other Musicians?

Oscar Castro-Neves:
It all depends on the task at hand. What is the song about? What style? What rhythm? What tempo? When you collaborate, those decisions are shared
and that is part of the fun.

OL:
When we spoke recently, You mentioned that You will be once again working with fellow Brazilian Vocalist/Pianist great Eliane Elias. Tell us about your years in working with her?

Oscar Castro-Neves:
Eliane is a wonderful musician. She has great technique and touché, lyrical when needed, fierce when necessary. We usually work with what we call the dream band, she on piano, her husband Marc Johnson on bass,
Paulo Braga
on drums and me on guitar.
It is great personal and musical pleasure.
We have a lot of fun together.

OL:
In addition to the Artists mentioned earlier in this week's Interview, the many Vocalists that you've worked with, including Djavan, Manhantan Transfer, Nancy Wilson, Rosemary Clooney, Diane Schuur,
Stevie Wonder
& so many others...
seems endless... Tell us of your time working with the late Elis Regina, one of Brazil's most celebrated and treasured Singers?

Oscar Castro-Neves:
Ah, what a singer and what an artist.
She was incredible on stage. A few years ago they released a special re-issue of the album she did with Jobim, "Elis and Tom." Mysteriously, on one of the tracks the piano and the guitar track had disappeared.
Cesar Camargo Mariano,
the great pianist arranger, her ex-husband and I,
together with the original mixes, re-created the parts we had played 30 years before.
 Had that happened with Jobim or Elis voices or with Luizão's bass, that would be impossible to redo. They were gone.

OL:
Oscar, you've been a long-time L.A. based Artist for a while now... When traveling back  home, to the beautiful Rio de Janeiro, Brazil, what classics do you like to play, when performing there?

Oscar Castro-Neves:
:
There are two old songs of mine that are evergreen in Brazil; "Onde está você" and "Morrer de Amor." Every time I perform there, those are perennial requests.

OL:
Tell us about working with
Yo-Yo Ma?

Oscar Castro-Neves:
That was one of the most satisfying experiences I had. Not just Yo-Yo's incredible artistry but also the wonderful individual he is. The project was to record the music of  Piazzolla, who I had met in 1967.
Putting Yo-Yo together with the musicians of Astor original group was a magical moment.

Oscar Castro-Neves:
But we also had the participation of the Assad Brothers who added their own kind of magic into the mix. Being a witness of so much art is something that you never forget. A lot of camaraderie, friendship and joy were   recorded on the album, together with the great music.

OL:
What so far,
 has been your favorite place to tour?

Oscar Castro-Neves:
That's difficult to say. Each place has its own attributes and present new challenges and discoveries. I guess people make the difference. Every place is more memorable because of human interaction than for its geography.

OL:
As we're coming near the end of this week's Interview Oscar, tell us what's next and upcoming in your music projects?

Oscar Castro-Neves:
I'm just finishing some recording with a French artist Hugues Auffray. Next week I will be recording with Eliane Elias for her new album. After that I have some recording in Los Angeles and a few concerts, including a concert/master class in Nashville.

Oscar Castro-Neves:
After a break for the holidays, I will be starting pre-production of a French-Brazilian collaboration album.

OL:
Thank you very much Oscar, for coming on as our Special Guest Artist. Is there any music commentary you'd like to share with the viewers, in concluding this
OL
Interview 6 of 7 segment?

Oscar Castro-Neves:
I just want to thank Oceanlight for your warm hospitality. I had a good time
re-visiting some old memories.

OL:
Thank You, Oscar... It's truly a treasure to have this time for OL to chat with You and to have great moments Interviewing You, Oscar, in depth. We wish You all the best and much continued success!

OL:
In the closing segment of this week's Interview, part 6 of this 7 part
Oceanliner Notes Weekly Series,
Brazilian Guitarist great
Oscar Castro-Neves

will give his closing commentary on where Brazilian Jazz is today! Thank you Oscar. We'll see you tomorrow!

OL:
And thank you all for visiting
OL's Oceanliner Notes Weekly!


OL:
Welcome Back, Oscar. It's nice to have You on again, this being Part 7 of our 7 day Interview for OL's Oceanliner Notes Weekly Series. As we have reached the closing segment of this Interview feature,

OL:
OL would first like to thank You, Oscar,
for sharing your endless joy of music with all of our OL Viewers. The sheer beauty and breadth of Your sound of music is more than sound... It's more like a wonderful lingering breeze of extraordinary talent and light,
of which we All treasure!
 Thank You, Oscar.

Oscar Castro-Neves:
Thank you... Our conversation was like getting together to share a Brazilian coffee, talking about life and friends, looking back enjoying life. It was a pleasure.

OL:
Around the world in one lifetime, won't do for an Artist like You! So for now Oscar,
thanks for the great Brazilian coffee Cafe Conversation during this Interview.
It was double the pleasure for all of us here at OL. If you will, please give us your closing liner note thoughts on Brazilian Jazz today and your closing music commentary quote? Thank you.

Oscar Castro-Neves:
I think the wealth of any country starts with health and education. If we are able to provide that, maybe we will learn to respect our neighbors, and wars will be a thing of the past, and art will thrive.

Oscar Castro-Neves:
Music is a great metaphor for human relationships. Take, for example a string quartet: the first violin, the highest voice, will carry the melody, but not always. Suddenly its role will be to play a counterpoint line, or nothing at all.
The cello, the lowest voice, will support the group with its lines. But it may,
 at any moment, take the lead,
and become the soloist, or be silent and let the rest of the group take over.
The constantly evolving dynamic of the group is a fragile entity. If you speak too loudly or too softly or at the wrong moment, you suffer, the group suffers and most important, the music suffers.

Oscar Castro-Neves:
The world we live in is also a fragile entity. We are all together and must learn to respect ourselves with the same respect for our neighbor and for the community at large.
If we persistently work with compassion,
and resolve to sustain this delicate balance, our world will benefit. We are all one, one really big orchestra trying to find the perfect harmony. May the Muse help us create
 a truly joyful planet.

OL:
Surely, the joy inside of this
Brazilian Guitarist great
Oscar Castro-Neves

radiates all through his music, rendering a universal love of how all things work together... Music at it's best, comes in all kinds of music... but there's only one
Oscar Castro-Neves.
He said earlier in this Interview that "Brazilian music in general and Bossa Nova in particular have been Brazil's best ambassadors."

OL:
We here at OL, would like to also say that Mr. Castro-Neves is one of the most distinguish-worthy conduits and musical messengers of Brazil's great gift to the world, the Bossa Nova and so much more. Thank You Oscar, for spending some time with us at OL, and for your priceless musical contribution to the world of music, stage, film and Life!

OL:
Thank you, to Brazilian Guitarist great
Oscar Castro-Neves,
and thank you All for visiting OL's Oceanliner Notes Weekly!

Playlist samples:
Brazo;oam Guitarist
OSCAR CASTRO-NEVES

. New Hope - Tropical Heart CD
2. Lorry's Swing / Autumn Leaves - Playful Heart CD
3. Chopin Prelude Op. 28, No. 20 - All One CD
4. N
ão Me Diga Adeus (featuring Luciana Souza) - All One CD
5. Ipanema Afternoon - Brazilian Scandals CD
6. Chora Tua Tristeza - Big Band Bossa Nova CD
7. J.S. Bach: Air on a G String - Oscar! CD
8. Souvenirs - Tropical Heart CD
9. Lapinha - Sergio Mendes & Brasil '66 CD
10. Return to Rio - Brazilian Scandals CD
11. Pensando - Brazilian Scandals CD
12. There Will Never Be Another You - All One CD
Special Guest Artist Online Interview Feature...
OSCAR CASTRO-NEVES
BRAZILIAN GUITARIST GREAT (1940-2013)
www.oscarcastroneves.com
Original  OL Records Artist Interview: 10/10/10 - 10/16/10


Oceanlight Records Remembering and honoring this great Legend of Brazil... Guitarist great Oscar Castro-Neves (1940-2013)

This Original Interview with Mr. Castro-Neves in 2010, will forever be one of the most treasured & beloved Interviews of OL's Oceanlinernotes Weekly Series. We are proud to have been a part of sharing some conversational moments with one of the Original pioneers of the Bossa Nova movement. We will miss you, Oscar...

but the world will forever have your music and your Playful Heart!
Mr. Castro-Neves, There Will Never Be Another You! As with all of our Interviews, You are reading the Artists' own direct thoughts & travels about their illustrious Careers. We hope that our  OL Readers can enjoy  and treasure their words of life and music, just as we do here at OL...

OL Quote Pick of the Guest Artist's Interview!

"Music is a universal  language. It does not need  translation. It goes straight  to the heart. And I think Brazilian music in general and Bossa Nova in  particular, have been  Brazil's best ambassadors."

Oscar Castro-Neves

Remembering OSCAR CASTRO-NEVES (1940-2013)
Tropical Heart CD
Playful Heart CD
All One CD
Brazilian Scandals  CD
Oscar!  CD
Sergio Mendes & Brasil '66 "Fool on the Hill"   CD
Big Band Bossa Nova  CD
Live at Blue Note Tokyo  CD
(1940-2013)