Justo Almario and Marcos Ariel

justo-marcosJusto Almario

has a long list of distinguished accomplishments. His style is a fusion of Jazz, South American, and other world rhythms which are a reflection of his own elegant yet humble style. Mr. Almario’s mesmerizing sounds have been heard in Grammy-Award winning works such as Linda Ronstadt’s “Frenesi,” Placido Domingo’s “A Mi Alma Latina,” Luis Miguel’s “Romance,” Andrae Crouch’s “Mercy,” and Isreal Lopez Cachao’s “Master Sessions” & “Ahora Si;” as well as the Oscar-winning soundtracks from Happy Feet and Sideways.
A multitalented master saxophonist , flutist, clarinetist, composer, arranger and clinician, Mr. Almario’s playing has been featured on diverse projects, such as Queen Latifah’s “Living Outloud,” Jennifer Lopez’s hit HBO Special “Let’s Get Loud,” Andy Garcia’s “The Lost City,” and John Turturo’s “Romance and Cigarette” staring Susan Sarandon and James Gadolfini. Mr. Almario has also been featured on various Platinum and Gold records and soundtracks, including “More Dirty Dancing”, “Wow Worship,” and Ron Kenoly’s “Lift Him Up.”

In 2002, while joining the ranks of Cedar Walton, Terrence Blanchard and Joe Lovano, Mr. Almario became an integral part of the Newport Jazz Festival Tour, produced by George Wein. Additional performance credits include Patrice Rushen’s Grammy Award orchestra, Freddie Hubbard, Roy Ayers, Diane Reeves, George Duke, Sergio Mendes, Billy Higgins, Tito Puente, Machito, Dave Grusin, Ndugu Chancler, Kenny Burrell, Master P, Bebe Winans, Queen Latifah, Charles Mingus, Chaka Kahn, Herb Alpert, Bobby Shew, and many others.

He has also produced, co-lead and played on TOLU’s “Rumbero’s Poetry” as well as Grammy-nominated album, “El Bongo de Van Gogh”. Mr. Almario’s latest album, “Love Thy Neighbor”, features his quartet playing original compositions as well as rare standards.

Marcos Ariel

is in the forefront of contemporary Brazilian music. His musical style is purely “Carioca” (one who is a native of Rio de Janeiro) splashed with a passion for Classical and Jazz. His enthusiasm as a pianist, flutist and composer is inspiring. As a musician, he is swift and precise transcending genuine warmth that can only be Marcos Ariel.

In his home of Rio de Janeiro, music flourished. His father encouraged him to listen and absorb the masters: Bach, Beethoven, Mozart and Chopin. He later developed an admiration for fellow countryman, Hermeto Pascoal and American contemporary Jazzman Chick Corea.

At a tender age of seven he began studying piano and by 1971 he was studying the flute in the School of Music of the Brazilian Symphonic Orchestra. He was also a professional actor with the Guanabara Youth Theatre. He eventually returned to music performing with a group of musicians and singers playing a Brazilian music style called “Choro” or “Chorinho”.

In 1978 Marcos Ariel formed his own band, Grupo Usina, playing his compositions and performing live to various audiences in Brazil with great success. He recorded his first independent record Bambu which was simultaneously released in France, and again re-released in 2004 by www.whatmusic.com

In 1986 Marcos released another independent album called “Cenas Brasileiras” and was invited to perform at the FREE JAZZ FESTIVAL in São Paulo. Marcos Ariel opened up that evening for the world famous David Sanborn and Stanley Jordan.

Marcos took the standing room only audience by surprise, receiving one of the most enthusiastic ovations on that memorable Brazilian night.

With such incredible success he was invited to perform at the 1987 FREE JAZZ FESTIVAL, this time in Rio de Janeiro. His high energy group was among the most acclaimed attractions of the festival. This pleased Marcos immensely, being that Rio is his hometown.

In the next decade, Marcos began to develop his bi-coastal career (Rio de Janeiro/Los Angeles) releasing a series of albums that made his popularity even stronger in both Brazil and the U.S.

The first album released in the USA was Terra do Indio on WEA, and soon thereafter it broke national radio ground in 1989. Other releases followed; Zil (Polygram), Rhapsody in Rio and Hand Dance (Nova Records), Soul Song (Tonga Productions), My Only Passion and Magic Eyes (Paras Recordings).

Marcos Ariel’s history and discography have always shown a forward thinking and desire to blend the eclectic approach to the numerous indigenous rhythms of his homeland with American Jazz.

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