Convention

The Great Escape Convention takes place under one roof in The Brighton Dome. The program runs daily between 10am and 5pm and consists of panels and debates for experienced music industry delegates, new music entrepreneur presentations, high end key note interviews, short Q&A sessions, case studies and educational workshops for new entrants to the industry. This runs alongside the festival and is attended by over 3000 delegates annually from across the globe. Targeted networking sessions, parties and sponsored lunches are run every day giving delegates plenty of opportunities to form new business relationships and to catch up with established partners.

This year, Brazilian music will be represented by a Keynote about our national music market and the recent opportunities. Named “PRS for Music presents ‘See you at the Copacabana!’ with Will Page”, the talk approaches an overall about the Brazilian current economic status, and how that influences all kinds of businesses, including music. As the official description says, “In March 2012 Brazil became the world’s sixth largest economy, pushing the UK into seventh place – and as hosts of the World Cup in 2014 and Olympics in 2016, the country’s profile is only going to grow.

As London passes the Olympic torch to Rio, a ‘UK Season In Brazil’ will seek to raise the profile of British culture and business there, and strengthen political relations between the two nations. How can the British music industry benefit from this, and is Brazil an opportunity or threat to artists and rights owners? PRS for Music’s Chief Economist Will Page will throw the spotlight on music in Brazil, presenting and discussing the numbers, successes and misconceptions”.

Source: The Great Escape Official Website

The World Music Charts Europe is a monthly top-20 compiled by radio programmers from Europe. We started it in 1991 at the annual EBU World Music Workshop, of which I was the chairman at that time (the EBU is the European Broadcasting Union, the umbrella of public radios in Europe). Johannes Theurer from Berlin organised the World Music Charts Europe and has run them since then. Currently Johannes is also the chairman of the Workshop. Over the years the World Music Charts Europe became a useful tool for both musicians / records companies on one side and radio editors / programme makers on the other side. The particularity is that they are an airplay and taste charts, not a sales charts, which is an advantage for musicians who are not backed by a major record company. With only about 45 CD’s they can reach all the relevant radio broadcasts in Europe. Some Brazilian artists, record companies and institutions already use the World Music Charts Europe as a distribution and promotion tool, with good results: The New Brazilian Music 4 was on number 8 in April; CéU enters the May charts with Caravana Sereia Bloom. All you have to do is to send a parcel with 45 CD’s to Johannes Theurer. For more information have a look at www.wmce.de

The annual event is “focused on the zeitgeist and looking forward, intent on bringing the best new music, film, art and more from all over the world to Liverpool. While the primary convention focus is on bringing together a vast array of creative and digital industries business professionals, artists, music, film and art fans to enjoy today’s best new music and chart the future course of the music, digital and creative industries”. Considered an international event,  Sound City features speakers and delegates from 23 countries. Those represented include: Australia, Brazil, Canada, China, Denmark, Finland, France, Germany, India, Ireland, Israel, Italy, Japan, Lebanon, New Zealand, Norway, Poland, South Korea, Spain, Sweden, Switzerland, Taiwan and the USA.

Expo

“Taking inspiration from the golden age of Expos, where the new, the innovative and the exciting were brought together under one roof to delight and amaze, Sound City Expo brings the newest and most forward-thinking exhibitors to the Echo Arena in Liverpool – providing access for both consumers and music/digital professionals to the people, tools and services they will need as we move ever onwards in the digital age. As a reaction to the traditional, staid music trade-shows that have proliferated the calendar, Sound City Expo will focus on the current and future intersection of music, art, business and technology – giving a real insight into what is possible in the modern age. SCE will be fully integrated into both the convention and festival offerings of Liverpool Sound City,  manifest in live demos, masterclasses, discussions and more – all of the same high standard as LSC itself and featuring many performers and speakers”.

Brazilian participation

As part of BrasilMusicExchange’s effort, during the 2012 edition of Liverpool Sound City the country and it’s interests will be represented both during the conference and the music festival.  BMA’s project will be participating through one of the heads of BME, Irish producer based in Sao Paulo David McLoughlin, who will be talking about the Brazilian music market, opportunities and further information about the country’ dynamic during a scheduled Roundtable. Musically speaking, Brazil will also be on stage during the festival. National groups such as Anna-Anna (Rio de Janeiro) and Some Community (São Paulo) have confirmed there shows and are officially included on the program.

Source: Liverpool Sound City Official website

Taubkin has lingered around the music business since, as he says, he was a teenager, and has worked as a producer, programmer, musician and composer – always pushing himself towards the kind of music that values, first, the content and creation, from traditional styles to more contemporary rhythms. In 1996 he created, with a select group of artists, the project Núcleo Contemporâneo – an alternative label and agency that since 2011 also took the market as a small but significant cultural center dedicated exclusively to music.

Benjamin is also related to projects and programs about both traditional and modern, urban, Brazilian music around the globe, working together with musicians and composers from places like Morocco, Korea, Israel, South Africa, India, and South America.
In 2011, he played with the Jazz Sinfonica Orchestra in Sao Paulo – an experience that he considers repeating.

This year, he is involved in three CD projects – one focused on Brazilian and Moroccan music, the second mixing traditional Brazilian rhythms from the northeast with more modern, urban beats and the third, a duo between him and percussionist Adriano Adewale. As a programmer, he is responsible for choosing artists and art for Casa do Nucleo and Mercado Cultural da Bahia – that is scheduled to happen in december.

- What is the Europalia?

Europalia is a Belgian institution that, every two years, organizes a festival dedicated to the arts of a specific country or region of the world. In 2011 Brazil was the focus; in 2013 will be India. In 2009 it was China. They seem to be dealing with the BRICs.

- What exactly was your participation on the festival?

I was invited to be the music programmer of the event.

- How was being curator of a project like this?

It was not a simple process – it was complex, a lot of hard work.
First I was in Belgium to meet many different programmers, and get to know the different cultural spaces available. Europalia works in partnership with Belgian cultural centers, theaters, concert halls. In these first meetings I presented my ideas, and got to know the expectations of each space. From these initial contacts, a first draft of the proposed schedule was then made.

My intention was to embrace the widest possible universe – that represented music from various regions and trends. But for each proposal, I needed to find a space that showed interest in what was being proposed.

Taking classical music as an example, I would’ve liked to have included important composers of the twentieth Century, such as Camargo Guarnieri, Claudio Santoro, Radames Gnattalli and others. But it was not possible. On the other hand it was possible to include in the program Camerata Aberta, devoted to contemporary classical Brazilian music.

I also wanted to take to Europe a musical universes that hadn’t had much exposure in that region yet, such as the viola, the accordion, instrumental music, choro.

- And how did the European audience react to the Brazilian art?

They received it very well, actually. On our final evaluation, it was proved that theatre, dance and music were the highlights of the festival in terms of response, both by audience, and local media. Of course, not all events had a full house, but that is because we chose to bet on new and/or unknown artists in Europe. Many had the opportunity to play for the first time in that continent. I believe that it is one of the main responsibilities of government initiatives, take these risks to promote the new cultural productions.

I would like to make a consideration: When i was invited to do the program by the Ministry of Culture of Brazil, they said me that the Belgian institution had made the same invitation to a local professional – so we would work in partnership. But in the process, we can not align our views – and he ended up off the event. I tried to consider  some of the initiatives he had proposed, possibly adapting something. But it wasn’t a job done together.

- How would you, now, evaluate the event? What did the event accomplish?

I think that in Belgium, and Holland (where several presentations also took place) the results were very positive. I was in Brussels for the closing ceremony in January, and I heard from several developers that their best expectations had been met.
I was surprised, on the other hand, with the total lack of interest from the Brazilian press, throughout the event. The few content that was published in the mainstream media were focused on the difficulties we’ve been through –  which are natural in events of this size, and will always occur in such initiatives. But the project was very successful. We have a press report from the European press with over 200 pages, only music. All with positive reviews. Brazil was highlighted positively throughout the year of 2011 in these countries. The symbol of Brazil in Belgium were the Volpi flags – it was very nice to see them spread out in squares, and streets, an anti-cliche… and no one mentioned it in the Brazilian press, it’s sad.

- What, in your opinion, needs to be done to increase the participation of Brazilian artists in the international market?

Well Europe is, today, dealing with a crisis that already affects investments on cultural projects .. but I think there is still room for what is produced here. Constancy is important. We already see a greater Brazilian presence in events like Womex, Jazz Ahead, it is part of the process. Inviting European producers and programmers to experience the country has also given results. It’s the kind of work that will payoff with time. Brazil has a big advantage, it does not produce music for external consumption, and that means that what leaves the country is authentic, genuine, and is being constantly renewed. And that keeps the crowd interested in what is happening, curious.

Combining showcase festival, conference, exhibition and “clubnight”, the event is known as a “must-go” to all those interested on improving their network towards the topic. Last year’s edition brought together 357 exhibitors from 30 different countries, 2000 professional participants, 3600 visitors and around 65 concerts.

The festival is particularly interesting for Brazilian musicians, as many Brazilian music styles are running under the flag of Jazz in Europe. In this years event Dirk Schade, PR of BM&A in Germany, will be at the event. Brasil Music Exchange will represent national business and musical interests, having its own stand, that will work basicaly as headquarters for Brazilian artists and music companies attending.

Brazilian highlights

Musician Hamilton de Holanda, opened up the path for other Brazilian artists during last year’s edition of the festival. He was the first national artist to play at Jazzhead – and it was considered a huge success.

This year, the country will be represented by Trio Corrente, chose by the festival’s programmers due to the group’s background, clearly focused on the international market.

“Designed to stimulate the exchange of market intelligence, increase dialogue and provide networking opportunities”, Canadian Music Week serves more than 2,000 national and international delegates. Participants can expect an intense experience during the 5 days of events, counting with more than 900 artists, from over 40 countries. According to the official numbers, during Canadian Music Week around 4500 musicians and 100,000 music fans are drawn to Toronto. This year’s edition will be held from March 21st to 25th, in different spots all over the city.

Indie Awards and Comedy Fest

Closing the week of activities, The Indie Awards features appearances and performances by some of Canada’s – and the world’s – most talented emerging artists fused with the presentation of awards to the past year’s fan favorites.

As part of the entertainment lineup, Slacker Canadian Music Week also showcases an eclectic mix of music-oriented films, special screenings, documentaries and movie premieres along with special appearances and Q&As with some of the film star, directors and more. 2012 will also see the launch of the Canadian International Comedy Fest. Featuring five days of the best stand-up, with performances from some of Canada’s emerging talents and headline artists from around the world.

Spotlight on Latin America

From 22-23, CMW will host the Spotlight on Latin America. With presentations, seminars, business meetings and networking sessions, the event will explore recent developments within the Latin America music industry,  with Brazil highlighted.

David McLoughlin, Manager of the Brasil Music Exchange project, will moderate the Featured Session, on 22nd. Together with him at the event will be many Brazilian and Latin American promoters, music executives and managers, as well as various Brazilian artists who will perform in showcases. There will also be a specula forus on music from Minas Gerais, presented by Musica Minas.

See the full schedule by clicking here: http://www.cmw.net/international/2012-spotlight-on-latin-america/

Keep yourself updated and follow them on Twitter: @cmw2012

Taynah Reis was the creator of the winner project of this year’s Midem Hack Day, part of Midem Festival’s official program, that happened last January, in Cannes, France.

All be tuned

All be tuned is an app created by Taynah Reis, a project that preaches the union between composers all over the world, using the internet as a tool so all can create together.

Using the same concept as websites like Myspace, the main idea of All be tuned consists on eliminating the immediate need of a record label in the process of music making. According to Taynah, the technology available online today facilitates the production of quality content at an extreme low cost – and that belief is what motivates the project.

But what is it, exactly? How does it work?

The composer posts a video or an audio file of his new song on the website, specifying the kind of collaboration he is looking for. Drums, base, lyrics, whatever he thinks is necessary to complete his work. With that description also posted, interested artists then send in their suggestions, and it is up to the main composer, the one responsible for the project, to then “hire” the artists he believes are the best for what he wants.

When finished, the song is then posted online at a pre-established price set by the author. The profits are then shared between all the musicians involved – to be fair, a bigger amount of it stays with the main author of the project, the one who posted the idea. If the project is an online success, labels and managers have the opportunity to participate on an online auction of the song, or it’s main author can choose selling it directly to one of the partner labels of the website.

The project is now being developed by Taynah’s crew of programmers and is scheduled to be officially launched in a couple of months.

Musical career

Taynah grew up in a family of musicians, and  couldn’t avoid the influence that those loved ones had in her life. Since young she started to study ballet, making here way through the piano, the guitar and, finally, singing.

Today, together with friend and musical producer DJ Atha, she travels around Brazil with a live electronic project, called House Music Live – 4SUN, where she performs covers of great names of international pop music, besides some of her own creations.

Currently he is making “Closing Time World” for Radio 1 in Belgium and Brazilian mixtapes for Multicult.fm in Berlin. He was the Belgian music curator (for rock, traditional music and encontros) for the Europalia Brasil festival (2011-2012).

Read below his impressions about europalia.brasil:

europalia.brasil is over… It lasted from 4 October 2011 till 15 January 2012 and attracted thousands of people. The biggest share of them went to one of the exhibitions: Brazil.Brasil, Art in Brazil (1950 -2011), Paulo Mendes da Rocha, Extremes, Indios no Brasil, Terra Brasilis, A Rua, Pearls of freedom – Afro-Brazilian jewelry, Incorporations, Gravura extrema, Bispo do Rosário, Copacabana, Rio in Panorama, Design Brasil, Lina Bo Bardi, Sérgio Bernardes, Brasília, Of gold and feathers, Samba etc. Brazilian carnival, Circuito dos Diamantes, Travelogues, Tintin et Milou chez les Arumbayas, Rua na Rua, Retratos Brasileiros, Repórter Sem Beiras and Faixas aqui. Undoubtedly most exhibitions were a success, as well for their artistic content as for the numbers of visitors they attracted. But, remarkably, the main exhibition, Brazil.Brasil, only attracted 50.000 visitors, which is not much compared with the previous editions of Europalia (China, Russia etc.). On the other hand Indios no Brasil has been prolonged till April 15^th because it was such a big success.

So europalia.brasil was a success? Yes and no. Most exhibitions were a success, as I wrote, but Brazilian culture is also music! And for the music part of the festival the results are very mixed. The good thing is that there have been many Brazilian concerts and that the media paid more attention to Brazilian music. The bad thing is that the music programme of europalia.brasil didn’t give a complete view of the Brazilian music scene. There was no bossa nova, no hip-hop, no aparelhagem, no maracatu, no funk carioca, … Moreover several concerts have been cancelled: Nação Zumbi, Banda Eddie, Marcelo D2, Renata Rosa… Take for instance Nação Zumbi: they were part of a night of Recife Beat scheduled in three main venues: Handelsbeurs in Gent, Warande in Turnhout and Melkweg in Amsterdam. The line-up of these nights included Banda Eddie, DJ Dolores & band and Nação Zumbi. Everything was confirmed and the Warande even started selling tickets. Then came the news that Recife Beat was cancelled “because there was too much of Recife”. Cancelations are not good signals towards music professionals and consequently this can have a negative impact on future Brazilian concerts in Belgium and the Netherlands.

What about the artistic level and the attendance of the concerts? I haven’t seen a bad concert; on the contrary, I have seen many good and even excellent concerts. The attendance though was not always good. I was very satisfied with the sold-out or nearly sold-out concerts of CéU, Samba Chula de São Braz, Tom Zé etcetera. And of course with the tremendous success of Brazilian Underground. On the other hand some concerts have been poorly attended, mainly because of a lack of knowledge of the Belgian music scene, resulting in programming good bands in the wrong places or in a wrong combination. Take for instance the concert of Siba in the Brussels Palace of Fine Arts: it was fantastic, but it not even attracted 150 people in a hall with 470 seats. The evening before Renato Borghetti, Olivinho and Lulinha Alencar attracted less than 500 people in a hall with 2000 seats. It’s a pity; all those artists deserved a more professional programming.
What about Brazilian music in Belgium and the Netherlands now that europalia.brasil is over? Hundreds of people discovered Brazilian artists that they didn’t know, clichés about Brazilian music have been broken down and concert organizers who had a positive experience became more open to Brazilian music. All that is very positive. But europalia.brasil could have been a good opportunity for building structures for more Brazilian concerts in the future. In that sense it failed. For instance the Botanique, one of the main concert halls in Belgium, wanted to start a series of Brazilian nights. The first night would have been a Europalia event: a Noite São Paulo with Hurtmold, Lurdez da Luz and Soukast. Like Recife Beat it was confirmed and then cancelled.

Something will remain of europalia.brasil though: the Retratos Brasileiros. It is a project of ten portrait pictures and ten videos on the theme: “What is Brazilian culture?”. Retratos Brasileiros is also part of a social and artistic project by the Belgian filmmaker John Erbuer, in collaboration with CCJ Recife, a centre for youngsters from the favelas, who produce themselves the films and pictures in workshops. Have a look at the Retratos Brasileiros here.

Zjakki Willems