Ifelaya

07 696 by Ktyzinha

04 La Luz nos Une by Ktyzinha

01 Monk 2 Niyo by Ktyzinha

08 Se Fué el Tren by Ktyzinha

02 Louis by Ktyzinha

05 Evidence from el Cayo by Ktyzinha

03 Evidence by Ktyzinha

06 Nigeria by Ktyzinha

10 A Little Present by Ktyzinha

09 Gacardes Nabacu by Ktyzinha

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

L'album Conscience Collective, du nom de sa formation de l'époque, est paru chez Mikeli Music en 2000. Le titre 'Niani Lat Dior', choisi par ses concitoyens sénégalais pour célébrer le nouveau millénaire, est un hymne centenaire qui raconte l'histoire d'un homme et de son village en lutte pour sauver sa forêt et Mère Nature. Cet évènement a été mondialement retransmis par la BBC.

Aloisio Menezes é a incarnação do Soul afro-baiano, dotado de um talento e personalidade artística singular, motivados pelo seu vínculo extraordinariamente forte e fundamental com o Pelourinho. Não o do folclore, mas sim o da grande tradição afro-baiana. De voz marcante, ficou conhecido como cantor do Cortejo Afro, mas logo seguiu carreira solo. Tornou-se um dos artistas mais elogiados por Elza Soares no Brasil

Aloisio Menezes, incarnação do Soul afro-baiano, dotado de um talento e personalidade artística singular, motivados pelo seu vínculo extraordinariamente forte e fundamental com o Pelourinho. Não o do folclore, mas sim o da grande tradição afro-baiana. De voz marcante, ficou conhecido como cantor do Cortejo Afro, mas logo seguiu carreira solo. Tornou-se um dos artistas mais elogiados por Elza Soares no Brasil.

Aloisio Menezes é a incarnação do Soul afro-baiano, dotado de um talento e personalidade artística singular, motivados pelo seu vínculo extraordinariamente forte e fundamental com o Pelourinho. Não o do folclore, mas sim o da grande tradição afro-baiana. De voz marcante, ficou conhecido como cantor do Cortejo Afro, mas logo seguiu carreira solo. Tornou-se um dos artistas mais elogiados por Elza Soares no Brasil.

Aloisio Menezes é a incarnação do Soul afro-baiano, dotado de um talento e personalidade artística singular, motivados pelo seu vínculo extraordinariamente forte e fundamental com o Pelourinho. Não o do folclore, mas sim o da grande tradição afro-baiana. De voz marcante, ficou conhecido como cantor do Cortejo Afro, mas logo seguiu carreira solo. Tornou-se um dos artistas mais elogiados por Elza Soares no Brasil.

Aloisio Menezes é incarnação do Soul afro-baiano, dotado de um talento e personalidade artística singular, motivados pelo seu vínculo extraordinariamente forte e fundamental com o Pelourinho. Não o do folclore, mas sim o da grande tradição afro-baiana. De voz marcante, ficou conhecido como cantor do Cortejo Afro, mas logo seguiu carreira solo. Tornou-se um dos artistas mais elogiados por Elza Soares no Brasil.

Aloisio Menezes é a incarnação do Soul afro-baiano, dotado de um talento e personalidade artística singular, motivados pelo seu vínculo extraordinariamente forte e fundamental com o Pelourinho. Não o do folclore, mas sim o da grande tradição afro-baiana. De voz marcante, ficou conhecido como cantor do Cortejo Afro, mas logo seguiu carreira solo. Tornou-se um dos artistas mais elogiados por Elza Soares no Brasil. Direitos autorais: Believe Music (au nom de Fina Flor); - Warner Chappell, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, UMPG Publishing, ASCAP et 2 sociétés de gestion des droits musicaux "Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Aloisio Menezes é a incarnação do Soul afro-baiano, dotado de um talento e personalidade artística singular, motivados pelo seu vínculo extraordinariamente forte e fundamental com o Pelourinho. Não o do folclore, mas sim o da grande tradição afro-baiana. De voz marcante, ficou conhecido como cantor do Cortejo Afro, mas logo seguiu carreira solo. Tornou-se um dos artistas mais elogiados por Elza Soares no Brasil.

É Nós! is a laboratory project at the request of Gabriel Rosário, a young bandolim, the Brazilian mandoline, virtuoso who wants to play and have fun with DJ's. When Deejay Nodjock came from Paris to spend some time in Salvador in August 2015, the idea came back to be realized with a first class DJs Trio, with DJs Jerônimo Sodré and Gug Pinheiro from Salvador, Bahia and Deejay Nodjock from Paris. The meeting between Gabriel and the 3 DJs happens as relay in between each DJ set and at the end.

É Nós! is a laboratory project at the request of Gabriel Rosário, a young bandolim, the Brazilian mandoline, virtuoso who wants to play and have fun with DJ's. When Deejay Nodjock came from Paris to spend some time in Salvador in August 2015, the idea came back to be realized with a first class DJs Trio, with DJs Jerônimo Sodré and Gug Pinheiro from Salvador, Bahia and Deejay Nodjock from Paris. The meeting between Gabriel and the 3 DJs happens as relay in between each DJ set and at the end.

É Nós! is a laboratory project at the request of Gabriel Rosário, a young bandolim, the Brazilian mandoline, virtuoso who wants to play and have fun with DJ's. When Deejay Nodjock came from Paris to spend some time in Salvador in August 2015, the idea came back to be realized with a first class DJs Trio, with DJs Jerônimo Sodré and Gug Pinheiro from Salvador, Bahia and Deejay Nodjock from Paris. The meeting between Gabriel and the 3 DJs happens as relay in between each DJ set and at the end.

É Nós! is a laboratory project at the request of Gabriel Rosário, a young bandolim, the Brazilian mandoline, virtuoso who wants to play and have fun with DJ's. When Deejay Nodjock came from Paris to spend some time in Salvador in August 2015, the idea came back to be realized with a first class DJs Trio, with DJs Jerônimo Sodré and Gug Pinheiro from Salvador, Bahia and Deejay Nodjock from Paris. The meeting between Gabriel and the 3 DJs happens as relay in between each DJ set and at the end.

Grupo Licuri - Flor De Lótus - 02 Pagodelia by Ktyzinha

Montreux Jazz Festival website review of Pedro Martins, winner of the 2015 Montreux Jazz Festival Electric Guitar Competition: "Pedro Martins has arrived. Just like that the young guitarist has simply exploded on the musical stage, continuing the line of Brazilian guitarists who have taken a leap of faith from the tradition they serve so brilliantly; adhering to it and creating within its rich environs when necessary, and making a run for it as they push out of its boundaries when the need arises. On Sonhando Alto (Dreaming High), Mr. Martins displays remarkable musical intellect and displays unbridled creativity as he appears to expand both the language and the literature of his instrument. He plays a guitar in voluptuous and radiant notes, which sound as if they were hammered as by the soft felts of a piano and sometimes as if they were a mix of piano and a glittering roll-out from a horn. His lines are wonderfully elastic and feature single notes and gorgeous sixteenth note triplets, picked by seemingly elongating the fingers of both hands almost magically. These weave in and out of Brazilian rhythms reminiscent of the lines of a choro that wail and leap like excited impalas. His colours are verdant and azure as if he might be reflecting earth and sky as he reaches impossible heights in complex melodies and harmonies that feature an embarrassment of riche." About Daniel Santiago on latinjazznet.com by Raul da Gama: "Daniel Santiago comes from a long and continuing line of renowned Brasilian guitarists. He has a lively and probing mind and the language of his guitar resonates with sparkling phrases, unusual syntax and an almost full-formed musical ideology. On Metropole, a thoughtful, questioning record, Santiago employs the distinct nature of being “Brasileiro” to explore his environment from a unique perspective: an urbane, worldly vision with a truly pastoral sensibility."

Montreux Jazz Festival website review of Pedro Martins, winner of the 2015 Montreux Jazz Festival Electric Guitar Competition: "Pedro Martins has arrived. Just like that the young guitarist has simply exploded on the musical stage, continuing the line of Brazilian guitarists who have taken a leap of faith from the tradition they serve so brilliantly; adhering to it and creating within its rich environs when necessary, and making a run for it as they push out of its boundaries when the need arises. On Sonhando Alto (Dreaming High), Mr. Martins displays remarkable musical intellect and displays unbridled creativity as he appears to expand both the language and the literature of his instrument. He plays a guitar in voluptuous and radiant notes, which sound as if they were hammered as by the soft felts of a piano and sometimes as if they were a mix of piano and a glittering roll-out from a horn. His lines are wonderfully elastic and feature single notes and gorgeous sixteenth note triplets, picked by seemingly elongating the fingers of both hands almost magically. These weave in and out of Brazilian rhythms reminiscent of the lines of a choro that wail and leap like excited impalas. His colours are verdant and azure as if he might be reflecting earth and sky as he reaches impossible heights in complex melodies and harmonies that feature an embarrassment of riche." About Daniel Santiago on latinjazznet.com by Raul da Gama: "Daniel Santiago comes from a long and continuing line of renowned Brasilian guitarists. He has a lively and probing mind and the language of his guitar resonates with sparkling phrases, unusual syntax and an almost full-formed musical ideology. On Metropole, a thoughtful, questioning record, Santiago employs the distinct nature of being “Brasileiro” to explore his environment from a unique perspective: an urbane, worldly vision with a truly pastoral sensibility."

Montreux Jazz Festival website review of Pedro Martins, winner of the 2015 Montreux Jazz Festival Electric Guitar Competition: "Pedro Martins has arrived. Just like that the young guitarist has simply exploded on the musical stage, continuing the line of Brazilian guitarists who have taken a leap of faith from the tradition they serve so brilliantly; adhering to it and creating within its rich environs when necessary, and making a run for it as they push out of its boundaries when the need arises. On Sonhando Alto (Dreaming High), Mr. Martins displays remarkable musical intellect and displays unbridled creativity as he appears to expand both the language and the literature of his instrument. He plays a guitar in voluptuous and radiant notes, which sound as if they were hammered as by the soft felts of a piano and sometimes as if they were a mix of piano and a glittering roll-out from a horn. His lines are wonderfully elastic and feature single notes and gorgeous sixteenth note triplets, picked by seemingly elongating the fingers of both hands almost magically. These weave in and out of Brazilian rhythms reminiscent of the lines of a choro that wail and leap like excited impalas. His colours are verdant and azure as if he might be reflecting earth and sky as he reaches impossible heights in complex melodies and harmonies that feature an embarrassment of riche." About Daniel Santiago on latinjazznet.com by Raul da Gama: "Daniel Santiago comes from a long and continuing line of renowned Brasilian guitarists. He has a lively and probing mind and the language of his guitar resonates with sparkling phrases, unusual syntax and an almost full-formed musical ideology. On Metropole, a thoughtful, questioning record, Santiago employs the distinct nature of being “Brasileiro” to explore his environment from a unique perspective: an urbane, worldly vision with a truly pastoral sensibility."

Montreux Jazz Festival website review of Pedro Martins, winner of the 2015 Montreux Jazz Festival Electric Guitar Competition: "Pedro Martins has arrived. Just like that the young guitarist has simply exploded on the musical stage, continuing the line of Brazilian guitarists who have taken a leap of faith from the tradition they serve so brilliantly; adhering to it and creating within its rich environs when necessary, and making a run for it as they push out of its boundaries when the need arises. On Sonhando Alto (Dreaming High), Mr. Martins displays remarkable musical intellect and displays unbridled creativity as he appears to expand both the language and the literature of his instrument. He plays a guitar in voluptuous and radiant notes, which sound as if they were hammered as by the soft felts of a piano and sometimes as if they were a mix of piano and a glittering roll-out from a horn. His lines are wonderfully elastic and feature single notes and gorgeous sixteenth note triplets, picked by seemingly elongating the fingers of both hands almost magically. These weave in and out of Brazilian rhythms reminiscent of the lines of a choro that wail and leap like excited impalas. His colours are verdant and azure as if he might be reflecting earth and sky as he reaches impossible heights in complex melodies and harmonies that feature an embarrassment of riche." About Daniel Santiago on latinjazznet.com by Raul da Gama: "Daniel Santiago comes from a long and continuing line of renowned Brasilian guitarists. He has a lively and probing mind and the language of his guitar resonates with sparkling phrases, unusual syntax and an almost full-formed musical ideology. On Metropole, a thoughtful, questioning record, Santiago employs the distinct nature of being “Brasileiro” to explore his environment from a unique perspective: an urbane, worldly vision with a truly pastoral sensibility."

Montreux Jazz Festival website review of Pedro Martins, winner of the 2015 Montreux Jazz Festival Electric Guitar Competition: "Pedro Martins has arrived. Just like that the young guitarist has simply exploded on the musical stage, continuing the line of Brazilian guitarists who have taken a leap of faith from the tradition they serve so brilliantly; adhering to it and creating within its rich environs when necessary, and making a run for it as they push out of its boundaries when the need arises. On Sonhando Alto (Dreaming High), Mr. Martins displays remarkable musical intellect and displays unbridled creativity as he appears to expand both the language and the literature of his instrument. He plays a guitar in voluptuous and radiant notes, which sound as if they were hammered as by the soft felts of a piano and sometimes as if they were a mix of piano and a glittering roll-out from a horn. His lines are wonderfully elastic and feature single notes and gorgeous sixteenth note triplets, picked by seemingly elongating the fingers of both hands almost magically. These weave in and out of Brazilian rhythms reminiscent of the lines of a choro that wail and leap like excited impalas. His colours are verdant and azure as if he might be reflecting earth and sky as he reaches impossible heights in complex melodies and harmonies that feature an embarrassment of riche." About Daniel Santiago on latinjazznet.com by Raul da Gama: "Daniel Santiago comes from a long and continuing line of renowned Brasilian guitarists. He has a lively and probing mind and the language of his guitar resonates with sparkling phrases, unusual syntax and an almost full-formed musical ideology. On Metropole, a thoughtful, questioning record, Santiago employs the distinct nature of being “Brasileiro” to explore his environment from a unique perspective: an urbane, worldly vision with a truly pastoral sensibility."

Montreux Jazz Festival website review of Pedro Martins, winner of the 2015 Montreux Jazz Festival Electric Guitar Competition: "Pedro Martins has arrived. Just like that the young guitarist has simply exploded on the musical stage, continuing the line of Brazilian guitarists who have taken a leap of faith from the tradition they serve so brilliantly; adhering to it and creating within its rich environs when necessary, and making a run for it as they push out of its boundaries when the need arises. On Sonhando Alto (Dreaming High), Mr. Martins displays remarkable musical intellect and displays unbridled creativity as he appears to expand both the language and the literature of his instrument. He plays a guitar in voluptuous and radiant notes, which sound as if they were hammered as by the soft felts of a piano and sometimes as if they were a mix of piano and a glittering roll-out from a horn. His lines are wonderfully elastic and feature single notes and gorgeous sixteenth note triplets, picked by seemingly elongating the fingers of both hands almost magically. These weave in and out of Brazilian rhythms reminiscent of the lines of a choro that wail and leap like excited impalas. His colours are verdant and azure as if he might be reflecting earth and sky as he reaches impossible heights in complex melodies and harmonies that feature an embarrassment of riche." About Daniel Santiago on latinjazznet.com by Raul da Gama: "Daniel Santiago comes from a long and continuing line of renowned Brasilian guitarists. He has a lively and probing mind and the language of his guitar resonates with sparkling phrases, unusual syntax and an almost full-formed musical ideology. On Metropole, a thoughtful, questioning record, Santiago employs the distinct nature of being “Brasileiro” to explore his environment from a unique perspective: an urbane, worldly vision with a truly pastoral sensibility."

Montreux Jazz Festival website review of Pedro Martins, winner of the 2015 Montreux Jazz Festival Electric Guitar Competition: "Pedro Martins has arrived. Just like that the young guitarist has simply exploded on the musical stage, continuing the line of Brazilian guitarists who have taken a leap of faith from the tradition they serve so brilliantly; adhering to it and creating within its rich environs when necessary, and making a run for it as they push out of its boundaries when the need arises. On Sonhando Alto (Dreaming High), Mr. Martins displays remarkable musical intellect and displays unbridled creativity as he appears to expand both the language and the literature of his instrument. He plays a guitar in voluptuous and radiant notes, which sound as if they were hammered as by the soft felts of a piano and sometimes as if they were a mix of piano and a glittering roll-out from a horn. His lines are wonderfully elastic and feature single notes and gorgeous sixteenth note triplets, picked by seemingly elongating the fingers of both hands almost magically. These weave in and out of Brazilian rhythms reminiscent of the lines of a choro that wail and leap like excited impalas. His colours are verdant and azure as if he might be reflecting earth and sky as he reaches impossible heights in complex melodies and harmonies that feature an embarrassment of riche." About Daniel Santiago on latinjazznet.com by Raul da Gama: "Daniel Santiago comes from a long and continuing line of renowned Brasilian guitarists. He has a lively and probing mind and the language of his guitar resonates with sparkling phrases, unusual syntax and an almost full-formed musical ideology. On Metropole, a thoughtful, questioning record, Santiago employs the distinct nature of being “Brasileiro” to explore his environment from a unique perspective: an urbane, worldly vision with a truly pastoral sensibility."

Montreux Jazz Festival website review of Pedro Martins, winner of the 2015 Montreux Jazz Festival Electric Guitar Competition: "Pedro Martins has arrived. Just like that the young guitarist has simply exploded on the musical stage, continuing the line of Brazilian guitarists who have taken a leap of faith from the tradition they serve so brilliantly; adhering to it and creating within its rich environs when necessary, and making a run for it as they push out of its boundaries when the need arises. On Sonhando Alto (Dreaming High), Mr. Martins displays remarkable musical intellect and displays unbridled creativity as he appears to expand both the language and the literature of his instrument. He plays a guitar in voluptuous and radiant notes, which sound as if they were hammered as by the soft felts of a piano and sometimes as if they were a mix of piano and a glittering roll-out from a horn. His lines are wonderfully elastic and feature single notes and gorgeous sixteenth note triplets, picked by seemingly elongating the fingers of both hands almost magically. These weave in and out of Brazilian rhythms reminiscent of the lines of a choro that wail and leap like excited impalas. His colours are verdant and azure as if he might be reflecting earth and sky as he reaches impossible heights in complex melodies and harmonies that feature an embarrassment of riche." About Daniel Santiago on latinjazznet.com by Raul da Gama: "Daniel Santiago comes from a long and continuing line of renowned Brasilian guitarists. He has a lively and probing mind and the language of his guitar resonates with sparkling phrases, unusual syntax and an almost full-formed musical ideology. On Metropole, a thoughtful, questioning record, Santiago employs the distinct nature of being “Brasileiro” to explore his environment from a unique perspective: an urbane, worldly vision with a truly pastoral sensibility."

Montreux Jazz Festival website review of Pedro Martins, winner of the 2015 Montreux Jazz Festival Electric Guitar Competition: "Pedro Martins has arrived. Just like that the young guitarist has simply exploded on the musical stage, continuing the line of Brazilian guitarists who have taken a leap of faith from the tradition they serve so brilliantly; adhering to it and creating within its rich environs when necessary, and making a run for it as they push out of its boundaries when the need arises. On Sonhando Alto (Dreaming High), Mr. Martins displays remarkable musical intellect and displays unbridled creativity as he appears to expand both the language and the literature of his instrument. He plays a guitar in voluptuous and radiant notes, which sound as if they were hammered as by the soft felts of a piano and sometimes as if they were a mix of piano and a glittering roll-out from a horn. His lines are wonderfully elastic and feature single notes and gorgeous sixteenth note triplets, picked by seemingly elongating the fingers of both hands almost magically. These weave in and out of Brazilian rhythms reminiscent of the lines of a choro that wail and leap like excited impalas. His colours are verdant and azure as if he might be reflecting earth and sky as he reaches impossible heights in complex melodies and harmonies that feature an embarrassment of riche." About Daniel Santiago on latinjazznet.com by Raul da Gama: "Daniel Santiago comes from a long and continuing line of renowned Brasilian guitarists. He has a lively and probing mind and the language of his guitar resonates with sparkling phrases, unusual syntax and an almost full-formed musical ideology. On Metropole, a thoughtful, questioning record, Santiago employs the distinct nature of being “Brasileiro” to explore his environment from a unique perspective: an urbane, worldly vision with a truly pastoral sensibility."

Photo © Nelson Oliveira

Grupo Bongar - Festa de Terreiro - 06 Samba Rasteiro by Ktyzinha

Grupo Licuri - Flor de Lótus - 01 Licuri by Ktyzinha

Feat. Zé Luis Nascimento on percussion

Grupo Licuri - Flor de Lótus - 03 Sao Cristovao 1 by Ktyzinha

Grupo Licuri - Flor de Lótus - 04 Um Axe Pra Nicolau by Ktyzinha