HOW TO OBTAIN THE NETOBAND’S LUA’S DANCE CD. This can now be obtained online fromCDBABY at cdbaby.com/cd/jnetoband

Jose Neto and The Netoband and Fourth World can also be downloaded from APPLE iTunes. Go to this link to find out what is available from the UK Apple site at www.apple.com/uk/itunes/

NETOBAND AT RONNIE SCOTT’S MONDAY 4TH JUNE ‘07

It’s been two years since The Netoband have played Ronnie Scott’s and since then the place has been revamped and looks very smart indeed. Thankfully they have kept the wonderful collection of photographs of performers who have played there over the years. 



Neto has played here for over 15 years. The familiar strains of Wild Horse kick in and you can really lose yourself in this music. Cafe chants away playing delicate percussion and from my vantage point I spy him playing castanets. Neto kicks in with some feisty guitar - there is an almost welcomed raggedness to the sound and tonight you realise what a fantastic rhythm section this band possesses. Gary Brown’s bass is melodic and heavy, but not gut wrenching, Alberti’s drumming and Cafe’s percussion link superbly, like a well oiled machine and to watch them interact is pure joy. Frank Martin is a damned fine keyboard player, equally at home on the house grand piano or his electronic keyboards



T h e material is mostly familiar, with much taken from their last album Lua’s Dance, but the arrangements have been nicely tinkered with and the lay-off from their last shows has refreshed their approach to the material as they relearn them themselves. There is one new tune Asa Branca, which slots well into the set, with its different sounds dovetailing with the overall flow. Every now and then Neto goes on one of those blistering, incendiary solos coaxing sounds of that guitar that seem impossible. It’s great to watch the body language of those in the audience unfamiliar with Neto’s playing, lulled into a false sense of calm on a number like Silvia, and then watching as their jaws drop as he takes up the pace, ripping up the guitar neck with hands all of a flurry, as eventually they become a frantic blur, then just as quickly Neto brings it all back safely to a renewed state of calm.

To round off the evening Neto introduces fellow Steve Winwood Band member Paul Booth on sax, so we now have 4 band members who have played on tour with Steve, and of course Gary Brown and Frank Martin both played on the Junction 7 album - a little bit of info for all you statto’s out there.



Neto performs a sadly truncated solo version of Bob Marley’s Redemption Song, before launching into FAX, which allows Paul Booth into the fray playing a nice solo to end up a great evening of music. (Later Paul would also guest with The Ronnie Scott’s All-stars).

One hour and 45 minutes of great music seemed like half an hour, and as Neto said himself he could have played for another hour.

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After the gig we were invited to join Jose and the band in their private room, down in the basement, where we chatted with Café about his various musical projects, Paul Booth about his band Ambulance, whose bass player was playing upstairs as we spoke, and Jose about playing with Eric Clapton at Highclere, an experience they both enjoyed, and how the rehearsals with Eric had only taken place the previous day.

Jose feels people would be surprised by Steve’s forthcoming album and he waxed lyrical about the quality of Steve’s vocals on the new album. Without giving the game away too much he summed it up by saying “great grooves throughout, and a major leap forward from “About Time”. I questioned that as I think it was amongst Steve’s finest; Neto implied that I should reserve judgment ‘til I’d heard the new album!

The other good news is that we may also get some UK shows towards the end of the year with a view to promoting the new album. Understanding is that 7 tracks are already finished. All the band members are featured with Tim Cansfield on one track, and Jose has been an integral part of the composing process.

SET LIST
WILD HORSE
PABLO
BAHIA
ASA BRANCA
FISH
CAIPARINA
LUA’S DANCE
SILVIA
REDMPTION SONG/FAX

REVIEW BY Paul Minkkinen

JOSE NETO & THE NETOBAND
AT

FRIDAY 9TH SEPTEMBER ‘05

We caught up with the Netoband the night before they finished their one week stint at the world famous jazz club. The band never fail to impress and this is now the 4th time I‘ve seen them perform.

Much of the set emanates from the latest album Lua’s Dance. I first saw the band play in Cheltenham in 2001 prior to Cafe’s arrival. His inclusion in recent years has certainly given the music more depth and his occasional singing which is in Portuguese I guess, adds a further dimension but language is not an issue, the vocalising just sounds like another instrument. On the opener , Neto chops in with energetic rhythm guitar prowling the stage, bobbing and weaving like a man possessed, the groove is established and all is well. During the course of the evening the groove control is regularly engaged, with the telepathy particularly between the rhythm section of Alberti / Brown and Da Silva a visual joy to watch and most importantly hear ! “Pablo” and the excellent “Wild Horses” exemplify these qualities.

On “Savannah” this is particularly evident, Neto’s versatile Paradis now sounding like an acoustic , new twists, new turns, familiar melodies but different. From the latest album, the title track and the wonderful “Bahia” which sees Frank Martin stepping away from his electronic keyboards and playing the house grand piano, it’s a warmer more welcoming sound, that flows beautifully. As time goes by I seem to be appreciating the purer keyboard sounds more and more, give me a grand piano or a Hammond and I’m happy, I have no objection to synths etc. but there are occasions when they can infuriate no less so than on Silvia where Frank’s synth on the tunes melody is incredibly shrill, and spoils what is a firm favourite of mine. A minor gripe in an otherwise fine performance.

4 black coffees are needed to see us through the final stages of the second set, it’s nearly 2AM and Neto treats us to a wonderful rendition of Bob Marley's redemption song which never fails to captivate the audience, in my scribbled candlelit notes I have written “simplicity out of complexity” in my description  of that song, did I write that before or after the black coffee and can I explain it’s meaning ? Give me time, and I’ll get back to you on that one, will 1000 words be enough Mr Gibbs ?

As is always the case at these wonderfully intimate gigs I sat and chatted with Neto, between him signing shedloads of copies of Lua’s Dance. The try before you buy thing works; people listened, liked what they heard, and bought the album. !



Talking (Neto) to another fan he expected to be back at Ronnie’s next year, and talked of the prospect of maybe bringing in a horn player. I gave him a copy of Coloured Rain and spoke of my article on Picolin the children's book and musical project he had been involved in. He said that there was the possibility of the Netoband staging a special live performance in connection with the publication. I’ve only heard one song from the project but it does sound good, a very happy summery feel is how I conveyed my thoughts to Jose.

Talking of Jose’s continued working relationship with Steve Winwood, I asked whether Steve would be playing other instruments on the new album rather than just the trusty Hammond. He said there was a good chance that Steve would play some guitar and indeed mandolin, with a direction perhaps leaning a little more away from rock music, hopefully from my point of view perhaps continuing on a rootsy world music journey. He then spoke with some passion about the arrangement for “Back In the High Life” they had been rehearsing for what was to be their forthcoming Autumn / Fall tour leg in the USA, and the wonderful guitar / mandolin interplay they had been working on. ( as evidenced on some of those illicit audience recordings we somehow get our hands on, raga like musical telepathy was one comment I’ve heard regarding that arrangement of the tune, and I for one would not argue with that viewpoint.)

As you know from recent shows there were changes in the set and  he did comment that there had been a concerted effort to include more Traffic material in the set, as was later to be confirmed, Light up , and Medicated Goo and 40000 Headmen. (...and Waking In The Wind on TV).

The Meters cover on “Just Kissed My Baby” and an impromptu session with old friend Remi Kebaka in L.A. also came in as surprises.

So there we have it, new directions for Neto with a possible new addition to the Netoband, a new Steve album which promises to look forward musically but at the same time enhance the qualities of ‘About Time’. 2006 could be a very good year.

Paul Minkkinen

LUA’S DANCE ALBUM REVIEW

May 7^th 2001. A trip to Cheltenham for the Jazz Festival. Our main reason for going, to see Steve Winwood guesting with Jose Neto’s Netoband. I was in two minds about going when I first heard about it because it would be a long trip (approx 4 hours) for me. But I went, collecting Paul in Slough along the way. I was a “virgin” as far as the music of Jose Neto was concerned. I knew of his playing on Steve’s Junction 7 album but that was all. Paul had recently acquired an album via the internet which I’d not heard and he’d done a little research beforehand. I didn’t know quite what to expect and wondered whether it would be worth the journey, being such a long drive. But it was, as we listened and watched transfixed as Jose and the Netoband performed some incredible songs with great musicianship. And so a new journey began that day. A journey of enjoyment and appreciation of the music, musicianship and talent of Jose Neto and the Netoband. Since that day Paul and I have backtracked through his and their music catalogue. Jose’s work with Fourth World and Airto Moreira and Flora Purim. Seeing the Netoband at Ronnie Scott’s over the last 2 years. Jose’s collaboration with Steve for his “About Time” and touring subsequently. Much enjoyment along the way. That musical “virginity” gone, I’m more experienced now and that new journey which started back in May 2001 as one of those “I remember the first time I...…” moments now brings me to review a new album by the Netoband entitled:

“Lua’s Dance” was recorded at Wincraft Studios this year and produced by Steve Winwood. The album features 11 songs; 6 of which have been heard on previous Jose Neto related albums whether they be live or in the studio, but get a reworking here. The majority of the songs are instrumental with Café taking lead vocal on 2 songs. The album begins with “Pablo” a medium paced song with a tub thumping percussive intro which merges with Jose’s nylon stringed acoustic guitar sound. This builds then the rhythm slows as the song settles into a nice instrumental groove with Frank Martin’s organ swelling the sound as the song moves through its changes. The guitar sound changes to electric as Jose takes a solo which builds to frenzy then slows back down as the song resettles into its groove. Steve Winwood adds a background synth sound to the song. “Bahia” almost reminds you of being on the beach on a sunny day. Starts acoustically with Jose and Café and then Frank comes in on electric piano mirroring Jose’s notes on guitar. In the background an organ adds swell, Gary’s bass the feel and Celso and Café’s percussion drive the song on. Johnson Somerset adds synth. The song ends with a percussion duel between Celso and Café which is such a great feature of their stage act. “Wild Horse” starts with a chant led by Café and featuring the rest of the band and Steve adding his unique vocal sound as part of the chants. Café takes the lead as the band come in on a jazz like groove, the Paradis guitar and funky electric piano in sync leading the way. Johnson Somerset adds synth. A real move and groove type song. A nice middle 8, Brazilian like and a soaring guitar solo follows as Jose does so well. Frank takes an electric piano solo and the song moves on to its conclusion. “Marta” is next. An up tempo song with a strong percussive backbone. Jose takes the theme on, on what is such a memorable riff which has both subtlety in his playing and aggression in his solo. This also features some nice organ from Frank. “Swamp” starts with a Keith Richards like guitar chunky sound and moves into a full on funky up tempo groove. Perhaps one of the rockier type cuts on the album. A great vehicle for Jose’s guitar playing. Gary’s bass gives it that oomph aided and abetted by Celso and Café’s percussion.

Bob Marley’s “Redemption Song” follows, solo guitar with a low synth by Johnson Somerset just about audible in the background. This is a beautiful song, done acoustically by Jose with no vocal. Just the feeling of passion that he puts into his playing of a beautiful melody that in turn flows into you. You can feel it. “Climb the mountain” has a samba like feel, bongo and shaker percussion to the fore, Frank’s organ mimicking Jose’s notes along the way and adding swell in between. Johnson Somerset adds synth. “Caipirinha” a rocky like jazz intro to start settling into a mid paced groover. Funky bass bounces this song along and has a lovely organ sound together with electric piano. A nice solo by Jose playing mainly at the high end of the scale. “Lua’s Dance”, the title track is perhaps the most Brazilian feeling song on the album. Percussive, acoustic it has a swaying like feel with a soft vocal chant and what I can only describe as an intriguing ‘squeaky’ percussive instrument within that’s really nice. A kind of uplifting song which perhaps reflects something of the personality of Jose’s daughter Lua Flora to whom this album is so lovingly dedicated. “Leaving the body” is almost like a march. The song starts low with military like snare drumming and nylon string guitar as it moves onwards and upwards like a spirit rising until it reaches a crashing heavy crescendo which marches forward at higher volume. The Guitar chunks and wails as it goes onwards and upwards eventually slowing and settling as if it reaches the end of its journey. The closing cut is “My favourite” and features just Jose on nylon Paradis and Café on Bongo’s which is a really nice happy sounding song with a “song of hope” feel. A lovely song to close the album with.

In conclusion, this is a very strong album in terms of material and musicianship. Steve Winwood’s production is just right in giving the Netoband both depth and subtlety. We very much hope that this album gives Jose and the Netoband the wider recognition that their talents so richly deserve.

JOSE NETO AND THE NETO BAND AT RONNIE SCOTT’S 2nd DECEMBER 2004.

On Thursday the Netoband were in the middle of a weeks residency at the legendary Ronnie Scott’s; the previous night they had been victims of a power failure, but being true professionals, treated the audience to an acoustic set. To quote Jose Neto “Last night was a bit special”. Oh to have been there for that one as well !
As well as the gig review at the end are the main points of a discussion Eddie and myself had with Neto after the gig.

The format at Ronnie Scott’s is that the support act and the headliner play a first set, then both play a second set of different material later on. We were treated to a fine vocal set from Sheena Davis and her band. Met up briefly with Neto before his set and we talked about how he’d enjoyed guesting with Michael Franti and Spearhead playing at a reggae festival in front of 20,000 people during the Summer.

The Netoband wandered on stage at 11pm for their first set. Be warned, if you go there it is a long night !

Opening number from the new album was “Wild Horses”. Neto strums rhythmically on the Paradis guitar, Frank Martin’s keyboard provides atmospherics and depth, Gary Brown’s bass rumbles and Celso Alberti and Cafe keep it tight in the engine room, grinding out an infectious groove. Neto picks out sparing notes and robust solo runs. It’s a very, very good start to the evening.

Having no set list to identify with and only a few song introductions you’ll have to bear with me on titles but having now played the new album I’m getting there on the new stuff. “Lua’s Dance” kicks in with rousing percussion and whistles. Neto’s guitar now sounding more like an acoustic, the number quietens down, with genteel vocal harmonizing perhaps best described as a more traditional Brazilian arrangement .

”Pablo” is a familiar tune from past shows and recordings, now reworked with Cafe leading in on timbales and Celso in perfect unison on drums. The sound is harder, more robust than the original and is well worth checking out on the new album. It has to be said that since seeing the band as a 4 piece in 2001 the addition of Cafe has really given the music a new zest, more depth, and more detail in the sound.

Next Neto relates to his birth place of Sao Paulo, and performs a duet with Cafe, “Her Favourite” which sees Neto in acoustic mode playing simultaneous lead and rhythm, accompanied by Cafe on congas . My notes written in the dark say melodic and relaxed; bloody good is now added to that observation.

Neto introduces “Bahia” from the new album and says that the tune will briefly bring us some hot weather. I cue the imagination chip in my head and visualise looking down on the mist rising from a rainforest below. The music is textured, and atmospheric, Frank Martin playing some nice stuff on the venues grand piano. My moment’s of escapism from the onset of an English winter are disturbed as another pint of Tetley’s beer arrives at our table; excuse me while I take a quick slurp before continuing.

Now somewhere amongst this wonderful music there was a short break and an even better set from Sheena Davis including some of her own material. Neto signed copies of his new album and chatted with fans in the process.

As I don’t have the benefit of a full set list I can’t recall when the first set finished and the second set started,(just after midnight and 1.00AM respectively Paul. I remember even though I had my Beer goggles on. Eddie) so I’ve not mentioned all the tunes, but I do know now that “Caipirinha” is the name of a drink in Brazil, is also the name of a track on the new album, and apparently at the age of 12 Neto was impressed with the quality of Uncle Wals Caipirinha’s. Now I’ve never tasted one but I will purely for research purposes seek one out, alas without the direction of Uncle Wal. If the drink is as good as the musical version I should be just fine. Special credit to Frank Martin on keyboards for a fine solo on this tune. Neto taking a back seat on guitar with Frank’s solo sometimes sounding like a wah wah guitar solo resulting in sometimes having to do a double take to see who was playing what !

Homage to Bob Marley next, with Neto playing an unaccompanied solo version of ‘Redemption Song’, which on the new album just raises the hair on the back of your neck with the feel and beauty that Neto applies to this song.

Cafe and Frank Martin sit behind their instruments, heads bowed as if in reflection. The audience is quiet and reverently respectful to this quiet musical moment, which was just as well because there were a few loud mouths in the audience who were to be frank very annoying. Then the band are back and it’s straight into “Silvia”, on which he never ceases to amaze me. Oh and that bit on the solo where his hand becomes a total blur still astounds me.

Somewhere in the set was “London 2004”. Last year Neto performed a tune called “London 2003”, next year well you guessed it ! The set finishes to rapturous applause with a number called “Swamp”.

It was a highly enjoyable gig. The Netoband as a unit are a wonderful set of musicians and nice bunch of blokes to talk to. The major names they have played with as individuals is like a who’s who of music. It’s planned to feature more on the band on the web and in the mag in the near future. When they return next year they should be top of your “must see” gig list. So there we have it, a show of 2 halves, the second of which Neto thought was better than the first.

(Cafe, Jose, Frank Martin, Celso Alberti and Gary Brown - The NetoBand)

After the gig, we spoke to Jose. Here are the main points:

• The new Netoband album “Lua’s Dance” is out now, but as yet has no distribution deal. Neto is selling copies only at his gigs for the time being. Once something is established regarding distribution, we will through the web-site and magazine, be doing our utmost to promote the album and let people know how to get hold of it. Hoping to hear from Neto soon, so bear with us ! The new album was, as many of you know, produced by Steve Winwood with Johnson Somerset and James Towler who worked on “About Time”. Steve Winwood plays synth on “Pablo” and sings backing vocals on “Wild Horse”. The Netoband (including Cafe also from Steve’s band) play on the album, with Johnson Somerset playing synth on 4 songs.
   
•  Neto has also written and recorded 3 tunes with the Netoband for a Spanish speaking schools project called Picolin. The CD ties in with the release of an accompanying book. The songs are sung in Spanish by 4 kids from the Bay Area, and a kid from Argentina called Pepa. We will be contacting the publishers and will bring more news soon.
   
•  Neto has been recording with Flora Purim for her new solo album for release on the Narada label. They have recorded a new version of “Silvia” which she sings in Portuguese.
   
•  Last but not least but highly exciting is that Neto will be visiting Steve Winwood in the course of the next few days with a view to them mapping out ideas for new solo material. As part of this process they will be listening to jams etc., recorded from on the road soundchecks over the last few years.
  
  Paul and Eddie. - December 2004