Summer dates 2013!

Hello friends!
Just a quick note to let you know that we are working on some bookings for July 2013, so stay tuned…. we’ll announce the dates and details very soon.

In the meantime, we have a couple of shows already confirmed:
July 6th @ Metropolitan Room, in NYC

July 7th @ Twins Jazz, Washington DC

more to come…. check back soon!

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January 14 – Brazilian Explorative Music Showcase in NYC

MOZIK will participate on this great event that promotes some of the very best true creative forces in the new and modern Brazilian Music scene. Don’t miss it!!!

At: Le Poisson Rouge NYC
January 14th at 10pm
With: MOZIK, Gabriel Santiago, Pedro Moraes, Sergio Krakowski, Ivo Senra trio, Elissa Cassini
More info and tickets- click here.

Enthused with the drive to share with the world some of the most experimental, out of the beaten path, contemporary Brazilian artists, the Brazilian Explorative Music showcase gears up for its second edition, and brings to the underground Greenwich Village stage of the Le Poisson Rouge a lineup covering an even wider ground of fusion and vibrating investigation.

The Explorative concept, as put forth by curator and songwriter Pedro Moraes, draws from a centennial tradition of musical innovators, who have, both individually and as members of movements such as Choro, Bossa Nova, Tropicalia and Clube da Esquina, catalyzed innovation from canon, universal from indigenous, timeless from vanguardist. Although enjoying less publicity over the last couple of decades than other musical scenes bearing more radio-friendly beats and sociologically seductive leads, aesthetically explorative music in Brazil is thriving — and during this evening, from brazilian jazz to other forms of instrumental music, from modern songwriting to contemporary electro-acoustic music, some of this universe will reveal itself.

In between sets, music videos of other artists of this generation will be played, so that a wider variety within this scene can be experienced.

Mozik in Boise, ID

Mozik was performing and teaching classes at Boise State University in Boise, ID this past December, as part of their jazz series in partnership with the Boise Jazz Society. We had a blast playing a sold out concert to a very appreciative and enthusiastic crowd at the Esther Simplot Performing Arts Academy. Many thanks to all the folks at the BJS for bringing us to Boise. We are looking forward to seeing you soon again!

TOP PICKS of 2012

We are extremely honored to report that MOZIK has been selected as a TOP PICK of 2012 by the Jazz Inside Magazine, among many of the greatest artists of today. This is amazing for us, and we are very happy! Check the list, and again our deep thank you’s go to all of you for all the love and support.

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MOZIK review on Jazz Inside Magazine, November 2012

Here is a review of our record “MOZIK” by the prestigious Jazz Inside Magazine, November 2012. In English, with a Portuguese translation below. Thanks guys!

JAZZ INSIDE MAGAZINE- November 2012 – Review of CD “MOZIK” 
By Alex Henderson

One doesn’t have to travel to Rio de Janeiro, São Paulo or Belo Horizonte to find quality Brazilian jazz. Plenty of it has been recorded in the United States over the years. And while this self-titled CD from the quintet Mozik was recorded in 2011 in a studio at the Berklee College of Music in Boston (where it was financed by a Berklee grant), their approach to electric jazz is always mindful of Brazilian rhythms. Indeed, the rhythms of Brazil are by no means an afterthought for flutist Yulia Musayelyan, keyboardist Gilson Schachnik, guitarist Gustavo Assis-Brasil, bassist Fernando Huergo or drummer Mauricio Zottarelli, the five musicians who comprise Mozik.

Although Mozik include three pieces by Antonio Carlos Jobim on this album (“Desafinado,” “O Amore em Paz” and “A Felicidade”), the quintet doesn’t go out of its way to emulate 1960s bossa nova the way that many Brazilian jazz groups do. Instead, Mozik are more reminiscent of the 1970s and 1980s, some times recalling the L.A. Four (a group that included saxophonist/flutist Bud Shank and Brazilian guitarist Laurindo Almeida) and the Brazilian group Azymuth. Unlike the L.A. Four, Mozik don’t use any saxophone. But Musayelyan’s flute playing does bring to mind the flute playing that Shank brought to the L.A. Four. And unlike Azymuth, Mozik don’t include much singing. The only singing on this album comes on the final track, “Canto das Tres Racas,” which includes some wordless back- ground vocals. Other than that, this is very much an instrumental album—and those instrumentals range from two lively Schachnik originals (“Zelia” and “Web’s Samba”) to Thelonious Monk’s “Pannonica.”

Named for the Baroness Pannonica de Koenigswarter, “Pannonica” has been recorded by countless artists as a haunting ballad. That was how Monk wrote “Pannonica,” and that is how it has been approached by many other artists over the years. But Mozik take “Pannonica” in an unexpected direction, adding a Brazilian beat and playing the Monk standard at a fast tempo. Ordinarily, one doesn’t expect to hear “Pannonica” played fast, and one doesn’t expect to hear it with a Brazilian beat. But both of those things work well for Mozik, whose interpretation of “Pannonica” is a most pleasant surprise.

Another pleasant surprise is Mozik’s version of Herbie Hancock’s “The Eye of the Hurricane,” one of the definitive modal post-bop pieces that Hancock composed early in his career when he was on Blue Note and had yet to play fusion. “The Eye of the Hurricane,” like “Pannonica,” is not a tune that one ordinarily identifies with Brazilian jazz, but Mozik have no problem putting a Brazilian spin on the Hancock standard.

It should be noted that MOZIK’s members come from different parts of the world.

Zottarelli and Schachnik (who teaches at Berklee) are both natives of Brazil, while Moscow-born Musayelyan grew up in Russia. But one doesn’t have to be from Brazil to play Brazilian jazz effectively, and Musayelyan’s lyrical flute demonstrates that she has no problem being surrounded by Brazilian rhythms.

Mozik’s contribution to instrumental Brazilian jazz is consistently engaging on this disc.

(Translation)

Crítica do CD MOZIK – Jazz Inside Magazine NY – November 2012
por Alex Henderson

Não há mais a necessidade de se viajar até o Rio de Janeiro, são Paulo ou Belo Horizonte à procura de Jazz brasileiro de qualidade.  Muitas gravações foram feitas nos Estados Unidos ao longo dos anos.  E mesmo nesse CD do quinteto MOZIK, que foi gravado em 2011 num estúdio na Berklee College of Music em Boston (e financiado através de um incentivo da própria Berklee) a abordagem do quinteto no que se refere ao jazz elétrico está sempre conectada com os ritmos brasileiros. De fato, os ritmos do Brasil não são somente detalhes para a flautista Yulia Musayelyan, o tecladista Gilson Schachnik, o guitarrista Gustavo Assis Brasil, o baixista Fernando Huergo e o baterista Mauricio Zottarelli, músicos que compõem o MOZIK.

Apesar do MOZIK incluir três músicas de Antonio Carlos Jobim (“Desafinado”, “O Amor em Paz” e “A Felicidade”) o quinteto não se interessa em copiar a bossa nova dos anos 60 como muitos outros grupos de brazilian jazz fazem.  Em vez disso, MOZIK é mais uma reminiscência dos anos 70 e 80, às vezes se assemelhando ao LA Four (grupo que incluiu o saxofonista/flautista Bud Shank e o guitarrista brasileiro Laurindo de Almeida)  e o grupo brasileiro Azymuth. Ao contrário do LA Four, MOZIK não usa saxofone. Mas a flauta de Musayelyan lembra a flauta de Shank naquele grupo. E ao contrário do Azymuth, MOZIK não inclui muitos vocais. O único momento do disco que inclui vocais é a última faixa, “Canto das Três Raças”, que contém vocais de fundo sem letras. Alem disso, o disco é essencialmente instrumental, e as faixas variam de duas composições originais de Schachnik (“Zélia” e “Webs Samba”) até “Pannonica” de Thelonious Monk.

Chamada de “Pannonica” em homenagem à Baronesa Pannonica de Koenigswater, a  música já foi gravada por inúmeros artistas como uma balada lenta. Foi assim que Monk a compôs, e assim foi abordada por muitos outros artistas ao longo dos anos. Mas MOZIK leva a composição para um outro lado, adicionando uma batida brasileira e tocando o standard de Monk num adamento mais rápido. Normalmente não se espera ouvir esse standard tocado rápido, nem com uma batida brasileira , mas ambas mudanças funcionam muito bem para o MOZIK, e sua interpretação de “Pannonica” é uma surpresa extremamente agradável.

Outra grata surpresa é a versão da música de Herbie Hancock  “Eye of the Hurricane, uma das definitivas composições modais de post-bop, que Hancock compôs cedo em sua carreira quando estava no selo Blue Note e ainda não tinha se aventurado no fusion. Da mesma maneira que em “Pannonica”,  “Eye of the Hurricane” não é uma música que normalmente identificamos com o jazz brasileiro, mas o MOZIK não tem problema algum em colocar um sabor brasileiro no standard de Hancock.

Deve se chamar ateção para o fato de que os membros do MOZIK vêm de diferentes partes do mundo. Zottarelli e Schachnik (que dá aulas na Berklee) são ambos do Brasil, enquanto Musayelyan nasceu em Moscow e cresceu na Rússia. Mas não é necessário nascer no Brasil para se tocar música Brasileira com autoridade, e o liricismo da flauta de Musayelyan comprova que ela está bem à vontade no meio dos ritmos brasileiros.

A contribuição de MOZIK ao jazz brasileiro instrumental é envolvente durante todo o disco.

MOZIK on Tour – Fall 2012

Come by and see MOZIK Live!!!!!

MOZIK!

Welcome to MOZIK music!

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