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Marcio Local



Last Updated: 12/3/2009

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Status: Single
City: Santa Teresa
State: Rio de Janeiro
Country: BR
Signup Date: 6/14/2007

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November 9, 2009 - Monday 
9:43 PM 
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November 4, 2009 - Wednesday 
Hey everyone, Márcio is going to be playing two shows in Europe and two in the Canary Islands. You can catch him at Bizzart Club in Paris or Guanabara in London next week, then at WOMAD in Las Palmas on the island of Gran Canaria over the weekend. The only cost for WOMAD is getting there. Beautiful music in beautiful places: what could be better?

http://www.womad.org/festivals/canarias/
9:41 PM 
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October 21, 2009 - Wednesday 



Márcio Local's first memory of samba is as an eight-year-old when an uncle took him to witness the thundering Mocidade Independente de Padre Miguel samba school, one of Rio de Janeiro's most famous samba stalwarts. Growing up in the north side of the city a long way from the upper-class beach neighborhoods of Ipanema and Copacabana, a young Márcio was alive to witness, though maybe too young to remember, the thriving indigenous soul and funk scene that dominated the city's poorer and Blacker northern suburbs during the late '70s. Black Rio, as the movement was called, was simultaneously a rejection and reinterpretation of mainstream samba, which was losing its young, Black, and urban base to imported soul music. Oberdan Magalháes, a family friend and the founder of Banda Black Rio, used to take Márcio to the neighborhood community center in Realengo to hear his seminal samba soul group do their thing.

    A young Márcio marinated in the intersection of samba and soul music, but like any young musician, his first forays strayed from home–as an MC in a hip-hop group called Real Engenho and then later a singer with the reggae outfit Lion Juda. Thankfully, he returned to the samba fold and brought with him some tricks as he effortlessly slips into a lyrical flow on a number of tracks from his debut solo album. Says Don Day Don Dree Don Don: Adventures in Samba Soul on Luaka Bop. The album's eleven tracks are as consistently swinging as Jorge Ben's entire catalog, and while they have Ben's early producer, Armando Pittigliani, in common, Márcio's phrasing and playful style owes more to 1960s samba-pop crooner Wilson Simonal in his nimble vocal delivery, and samba-rock soldier Bebeto in his casual yet confident samba-funk groove.

    If the album sounds a bit like Seu Jorge's debut, Carolina, it's because Brazilian-born Mario Caldato Jr. of Beasties notoriety produced both albums. Pittigliani made the introductions, and Mario C. recalls that Márcio "recorded the record himself with some help from a few good friends, and it already had a good sound and great vibe. I heard a few tracks and was sold." The album flows naturally like a group of friends jamming on some sparing injections of modern production flourishes just to remind the listener that this is not a throwback album.

    That being said, it's nearly impossible to make a retro samba recording, because samba adapts to its contemporary influences, be it hip-hop, baile funk, or soul music. It always remains samba at its core. When asked if Brazilian youth still care about samba with the popularity of hip-hop and baile funk, Márcio confidently asserts, "Today, the kids are connected with the media, so samba will never cease to exist. It's our country's most important culture"

    Brazilians don't question samba; they take it as a fact of life, but they also allow it to evolve/devolve, and split off into innumerable side genres as new influences are subsumed into the greater samba family tree. João Gilberto recreated samba in his own Zen-ed out and subdued image, deceptively simple and melodic. Jorge Ben injected his samba with a rhythmic dose of R&B and blues. Márcio Local's samba chops may be only one album deep, but he's been training for duty his entire life as you can hear in his sweet falsetto and raspy baritone. Serving side by side with contemporoaries like Seu Jorge, the Brazilians of the current generation are doing time in Uncle Samba's army, shaking butts and moving feet in the name of the great Brazilian nation.

- Allen Thayer
8:46 PM 
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June 9, 2009 - Tuesday 
http://www.nytimes.com/2009/05/31/arts/music/31play.html

Márcio Local
Samba soul isn’t a new hybrid in Brazil. It has been around since the late 1960s, when Jorge Ben and others merged ideas from up north with the sounds of Rio de Janeiro. Márcio Local was born in 1976, and his album, “Márcio Local Says ‘Don Day Don Dree Don Don’: Adventures in Samba Soul” (Luaka Bop), is mostly a happy throwback. The instruments are hand-played: horn sections, twinkling electric piano and wah-wah guitars alongside Brazilian percussion and cavaquinho, the small samba guitar. Mr. Local sings in a roomy, long-breathed baritone that always sounds relaxed, sloshing over the beat or gliding into a nonchalant falsetto. The album was produced by Mario Caldato Jr., who has worked with the Beastie Boys. And every now and then Mr. Local raps, as he does in “Represento” — which, like many of the songs, is a manifesto of respect for homegrown Brazilian culture, for samba and for the joys of art that makes people want to dance.
7:40 PM 
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