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'''Mayuto Correa''' (born 9 March 1943) is a Brazilian ]ist, guitarist, and composer.<ref name = "Feather1" />
Dear Mr. Jimmy Wales,


==Life and career==
My name is Mayuto Correa – Please se attached material below.
Correa was born in ] and began playing in local bands from the age of 12 when he became a member of the ] Rapazes da Alvorada. At age 16 he formed the ensemble Samba Show with musicians from ] and made several recordings for the CBS label with them. He also played for the under-17 squad of the ]. In the 1960s Correa was the artistic director of ] where he wrote and directed several plays. During this time, he also made several recordings in Brazil and worked as the musical director for the shows of ], ], and ] as well as playing in ]'s ensemble RC-7 and performing in ]'s television shows.<ref name = "DCAMPB">''Dicionário Cravo Albin da Música Popular Brasileira''. . Instituto Cultural Cravo Albi. Retrieved 28 July 2016 {{in lang|pt}}.</ref>
I think there is someone tempering with Misplaced Pages’s editing process. For several times I’ve tried to add information on
to my page and a person using the name of “Winner 42” every time deletes my additions. I hope this person is not part
of Misplaced Pages and this act of vandalism stops now, because, otherwise, neglecting to resolve this issue, will be obvious that
I have been discriminated by Misplaced Pages by exposing information that does not reflect my life; there are plenty references
to support the addition. I have properly identified myself, but this “Winner 42” is turning your creation into a dishonest game.
Now, I am an entertainer with a professional career which extends through over 60 years, as multi-instrumentalist, composer,
actor, playwright, director and my performing as soloist and as guest artist with many top stars such, Frank Sinatra, Sammy
Davis JR., Henry Mancini, Burt Bacharach, Carlos Santana, as indicated in many biographies published throughout the
Internet. The article published by Misplaced Pages about me is ridiculous, based on the fact that it reflects a fragment of my
career which does not represent the entire reality. My several attempts to correct that, by sending real biographic information
have been disregarded and rejected by incompetent personnel who uses a pseudo power to decide what is true or false about
my life.


In 1969 he left Brazil for Mexico where he worked with the Brazilian ] group Tamba 4 before moving to the United States. He established himself as a musician in ] in the early 1970s. According to jazz writer ], Correa had become "a vital figure in hundreds of major and minor albums taped in Los Angeles" by 1977.<ref name = "Feather2">Feather, Leonard (24 July 1977). . '']''. Retrieved 28 July 2016.</ref> During that period he also toured live with many of the artists with whom he recorded and became the record producer for the Argentine group ].<ref name = "Feather1">] (ed.) (2007). . ''The Biographical Encyclopedia of Jazz''. Oxford University Press. {{ISBN|0199729077}}</ref><ref>'']'' (1982). , p. 54</ref> He returned to Brazil in 1972 when he was touring with ] and again in 1979 when he appeared on the ] television show ''Sexta Super''.<ref name = "DCAMPB" />
It’s important to remind you that, without Misplaced Pages, my career stands as being recognized as one of the most quickly
successful in the music industry – that, based on my career status supported by the respect I have from the highest stars
in the world, I worked with. But since Misplaced Pages exists and its function involves publicizing factual information about
persons, any misrepresentation of the facts becomes a damaging outlet to the featured subject they refuse to trust. The
arrogance demonstrated by the persons who dared to distrust me as a contributor of my own factual information is not
acceptable. What I wrote and sent in is the truth and I carefully wrote it as the third person to facilitate the addition and
I was also careful by not including many other things I done because by being published in about 22 different functions
in the art, my multiple functions could create some confusion.


Among his compositions is the soundtrack for the 1979 documentary ''Homeboys'' depicting ] youth gang culture in ].<ref>{{OCLC|73994616}}</ref> In the later years of his career, Correa has performed with his bands Mayuto & Genuises 2000, Mayuto & The Dream Team Big Band, and Mayuto & Samba Pack.<ref>Eirado, Andrea (July 2006). . ''Brazil Explore'', p. 35. Retrieved 28 July 2016.</ref><ref>Tucker, Darla Martin (21 March 2015). , ]. Retrieved 28 July 2016.</ref> He has also had small acting roles in the film ''Redeemed'' (2014) and the television series '']'' (2015).<ref>{{IMDb title |3697954 | Redeemed }}</ref><ref>{{IMDb title |1439629 |title= Community}}</ref>
If what is happening is being caused by “Misplaced Pages’s rules” I say, those rules are jeopardizing my image, mainly when
persons whom are aware of my career make embarrassing comments like “it’s weird to see how your vast career is poorly
described by Misplaced Pages.” Most of the time I give no answer to that, but some times I just say, “that’s the internet – power
now belongs to computer experts.” Whatever happened throughout my life cannot be altered by me because I am a very
stubborn purist and protector of the truth and whoever knows me would testify to that, my students, colleagues, friends
and family, in fact, my obstinacy about defending the truth is what inspired me to send my corrections to Misplaced Pages and
what made me to get in touch with you through this letter. I believe that from this point we should have an understanding
in search of a solution – after all it’s my life and nobody know about that better than me and I would not dare to lie about it.


==Discography==
Here is my information - 626-345-9918 www.thejustbest.com


Correa's extensive discography as a percussionist includes:<ref>{{cite web|url=https://www.discogs.com/artist/211629-Mayuto-Correa|title=Mayuto Correa|website=Discogs|accessdate=14 July 2017}}</ref>
BIO
*]'s debut studio album '']'' (1969). Label: ]
He was born in Sao Goncalo, Rio de Janeiro, Brazil in 1943. His father, Simonides Correa was a business man and his mother was Maria Brito Correa, who's father was a prominent farmer in the city of Araruama. To avoid her relationship with Simonides her father sent her to be with relatives in the city of Rio but that didn't work because Simonides when to Rio and the courtship continued, it was accepted by her family and Maria became the mother of 22 children.
*]'s ''Pilantrocracia'' (1971). Label: Equipe
*]'s '']'' (1972). Label: ]
Mayuto was her last born, before she died in labor of the next baby, two years later. After Maria died Simonides secured the family with Maria's rother, Maurilho and his wife. It was then reduced to 7 children, due to infant deaths caused by epidemies of the time in many countries, throughout the world. Simonides went on to help the poor people of Rocinha da Gavea, the largest Favela of Brazil. Simonides became the leader and the advocate of all their problems and needs and Mayuto, during school vacations, spent time with him there.
*]'s '']'' (1972). Label: ]

*]'s '']'' (1972). Label: ]
Mayuto's interst for Psychology started much earlier than for performing arts. At seven he started researching on human behavior and, for that reason, his family called him “velho” (English translation: old man), since he was 12 years old. After he was 11 he spent his vacations teaching behavior to the children of Rocinha da Gavea.
*]'s '']'' (1972). Label: Capitol Records

*] and ]'s ''Tambu'' (1973). Label: ]<ref>{{OCLC|593831454}}</ref>
His performing life also started when he was a child and he explains “I heard special sounds in just about everything; I spent hours listening to trains go by, machines in printing shops, and workers in construction sites. If there is beauty in the involuntary sounds against the silence it's simple to feel how good a voluntary sound would be with music.” At 12 he became the percussionist of the adults' big band “Rapazes da Alvorada” and went on to perform with Brazilian superstars while he was still a teenager.
*]'s '']'' (1973). Label: ]

*]'s '']'' (1974). Label: ]
His passion and dedication to Psychology research land him an invitation to become a faculty member of PUC University. That happened when professors from that prestigious institution came to one of his music shows and talked with him about his work on behavior. He became the artistic director and head of the theater department at PUC. That University was the main resisting force against the dictatorship of Brazil. The University was closed by the dictators during a rehearsal of Mayuto's play, “Puro Sang na Puc.” Mayuto moved to Los Angeles.
*]'s '']'' (1974). Label: ]

*]'s '']'' (1974). Label: ]
MAYUTO CORREA-MUSIC: lead vocal, all percussion instruments, guitar, composer (music and lyrics), arranger, conductor, musical director, producer. Mentioned in several encyclopedias around the world, including The Encyclopedia of Jazz in the Seventies By Leonard Feather & Ira Gitler and Dicionario da Musica Popular Brasileira by Ricardo Cravo Albim.
*]'s '']'' (1974). Label: ]

*]'s '']'' (1974). Label: Impulse! Records
Performed in thousands of recording sessions and concerts with world-class artists including Cannonball Adderley; John Williams; Oliver Nelson; Nat Adderley; Stevie Wonder; Henry Mancini; Frank Sinatra; Sammy Davis, Jr.; Harry Belafonte; Burt Bacharach; The Temptations; Santana; The Crusaders; George Benson; Herbie Hancock; Harvey Mason; Ron Carter; Freddie Hubbard; Patrice Rushen; N’dugo Chancler; Ernie Watts; Joe Sample; Wilton Felder; Wayne Henderson; Nathan East; Lawrence Welk; Sonora Matansera; Oscar Brown, Jr.; George Duke; Gerald Albright; Ronnie Laws; Dave Grussin; Joe Pass; Herb Alpert; Tony Williams; US3; Branford Marsalis; Donald Byrd; Charles Lloyd; Gene Herris; Lamont Johnson; Gato Barbieri; Kirk Whalum; Kenny Rankin; Jonny “Hammond” Smith; Della Reese; Minnie Ripperton; Sarah Vaughan; Trini Lopez; Mirian Makeba; Hugh Mazekela; Don Ellis; Gerald Wilson; Nancy Wilson; Cal Tjader; Kenny Burrell; Lee Ritenour; Gabor Szabo; Carmen McRae; Syreeta; Leta N’bulo; Joe Williams; Neil Sedaka; Joao Gilberto; Tamba Four; Ahmad Jamal; Ray Brown; Marvin Gaye, Milton Nascimento, Roberto Carlos, Cauby Peixoto, Elza Soares; Moacyr Santos and Carlos Lyra, among many others.
*]'s '']'' (1974). Label: Fantasy Records

*]'s '']'' (1974). Label: ]
International Festivals: Playboy Jazz Festival, Concord Jazz Festival, Monterrey Jazz Festival, Newport Jazz Festival, Kool Jazz Festival, Jazz At Drew, Mexico Jazz Festival, Long Beach Jazz Festival, Berlin Jazz Festival, Festival Internacional da Canção, among others.
*] 's '']'' (1974). Label: ]

*]'s '']'' (1974). Label: Blue Note Records
His new band, CIDADE SANTA” was formed with the premises of reflecting a combination of Mayuto’s diverse careers, as percussionist, guitarist, singer, composer, arranger, playwright, director and actor. His high energy shows have the power to bring audiences to frantic participation and delirious applauses, which can be heard on his track “Bla,Bla,Bla” from upcoming CD, “Time After Time.”
*]'s ''Inside'' (1975). Label: ]

*] & His Concert Orchestra's '']'' (1975). Label: ]
Mayuto’s symphonic Work: SPECIAL SOLOIST AND FEATURED ARTIST on the record “Woman” by Burt Bacharach, performing as the percussionist on master pieces such as “Summer of ‘77’, “New York Lady”, “Dancing Fool”, “I Live In The Woods”, among other songs. SPECIAL SOLOIST AND FEATURED ARTIST on Henry Mancini’s record, “Symphonic Soul”, performing as the percussionist on Classic songs such as “Butterfly”, “Satin Soul”, “Peter Gunn” “Slow Hot Wind (Lujon)”, “Pick Up The Pieces”, “Sun Goddess”, “ Soul Saga” and “Symphonic Soul”
*]'s '']'' (1975). Label: ]

*]'s '']'' (1975). Label: ]

*]'s '']'' (1975). Label: ]
• MAYUTO CORREA ENTERTAINMENT CURRICULUM
*]'s '']'' (1975). Label: ]

*]'s '']'' (1975). Label: ]
The Brazilian born artist started playing percussion at 12, in the big band,Rapazes da Alvorada. It was necessary a motion from the court, since the basic stage for the band was at the Cabaret Boite Cuba, where in 1955 was a popular night spot. His talent was soon noticed and he was considered a catalyst when he was still a teenager. He revolutionized Brazilian conga drums by introducing 16 new ways of playing the instrument and veteran conga masters, including Jorge Arena, Rubens Bassini and Laudir de Oliveira approached him to learn his style. He performed with the top Brazilian artists during his adolescence and at 25, he left Brazil on top of his profession, but under the pressure of the military dictatorship.
*]'s '']'' (1975). Label: ]

*]'s '']'' (1975). Label: ]
His rising as a percussionist, in America, was overnight. He recorded with Joao Donato's recordings in Abade, four days after his arrival in Los Angeles, on December of 1969. That recording session was loaded with the best studio musicians of the time, including Emil Richards, Joe Porcaro,Larry Banker,Paulo
*Donald Byrd's '']'' (1975). Label: Blue Note Records
Magalhaes, among others. They became his friends and he became a studio musician in America. His name entered The Encyclopedia of Jazz in the
*]'s '']'' (1975). Label: ]
Seventies, By Leonard Feather and Ira Gittler, Introduced By Quincy Jones. His style with polyrhythm was loved by the experts. Drummers called him the only conga player to perform without incompatible pattern. That was the birth of his conga drum school, which established conga drum back beat patterns for R&B, Pop and Rock styles. He also created jazz patterns for conga drums that were compatible with drum set playing, beyond the usual shuffle.
*]'s '']'' (1975). Label: Blue Note Records

*]'s '']'' (1976). Label: Blue Note Records
Mayuto Correa has been known as a man of many trades. The professions and positions listed, here, are evident throughout his career.
*]'s '']'' (1976). Label: Blue Note Records

*]'s debut solo album '']'' (1976). Label: ]
1)Percussion Teacher;2)Guitar Teacher;3)Vocal Teacher 4)Music Teacher;5)Drama Teacher;6)Behavior Teacher;7)Musician;8)Composer;9)Arranger;10)Lyricist;11)Music Producer;12)Music A&R;13)Director;14)Playwright; 15)Screenwriter;16)Music Critic;17)Film Critic;18)TV Critic;19)Actor;20)Singer;21)Set designer; 22)wardrobe designer; 23)visual artist.
*James Vincent's ''Space Traveler'' (1976). Label: ]

*]'s ''City Music'' (1976). Label: ]
Wrote - screenplay Zarina, this work was called master piece by Carlos Augusto Kalil, president of Embrafilme, The Brazilian Film Institute and,soon after, it was accepted by Caca Diniz, the best film producer of Brazil,Luiz Carlos Barreto, number one film maker of Brazil and Haskel Wexler, American, multiple Oscar winner photography director.
*]'s ''The Best Of John Prine'' (1976). Label: ]

*]'s '']'' (1976). Label: ]
Other Works Drama -Actor:Teatrinho; TV Globo's Fantastico; Opera do Malandro(TV Globo); Negra Elza (Teatro Carlos Gomes) and (Theatro Municipal).Artistic Director (P.U.C. University). Instructor(Teatro Niteroitenta). Music Percussion Boite Cuba);(Samba Show);(Boite Drink);(Cauby);(Grupo Ed Lincoln);(Elza Soares);(Jair Rodrigues);Jorge Benjor);(Os Mutantes); (Grupo Pilantragem);(Maisa Matarazo);(Monsueto);Carlos Imperial). Musical Director/Percussion(Maria Bethania) - Rio de Janeiro.
*]'s '']'' (1977). Label: ]

*]'s debut solo album '']'' (1977). Label: ]
Original Unpublished Work: Wrote - TV series: Ella, Lodo; TV Variety:INTERROGACAO; Plays: O Bom o Mau e o Feio Brazilamerica;Behavior: Quebra Cabeca and Alem das Regras, among many others.
*]'s '']'' (1977). Label: ]

*]'s ''Woman'' (1978). Label: ]
Actor/Director, Sortilege (I.C.C.C.); Dream of Light, Ekbalem); Director/Producer/ Set designer, MARTIANS INCORPORATED, (Wiltern Theater ); Director,Judah Box (Hermosa Beach Hall); Harder Than Casaba Sweeter Than Guava (Assistance League); Coach (The Talent Clean-ic); Musician, Joao Donato; Bola Sete; Musical Dir./Composer, film Home Boys ( Focal Point Production); Producer/Composer, (ABC Records); Producer/Director,he Produced Herb Alpert at (A&M Records, in Los Angeles).
*]'s '']'' (1979). Label: ]

*]'s ''Mr. Nice Guy'' (1983). Label: ]
INTERNATIONAL HILIGHTS: played Percussion/Guitar/vocal with (Carlos Santana Group); Featured in Encyclopedia of Jazz in the 70s (United States)- Featured in the Dicionario da Musica Popular Brasileira de Ricardo Cravo Albim (Brazil).
*Various '']'' (1996). Label: ]

*]'s '']'' (1997). Label: ]
Musical Directo, actor: ORPHEUS (Shubert Theatre) Philadelphia - Director, Writer, Actor, Singer: NEGA (Algarve Casinos),Portugal - Writer/Director: BATUQUE (Discofage), Paris - Percussion/Guitar/vocal: CARLOS LYRA SHOW,Mexico - Percussion: LENY ANDRADE, Mexico - Percussion:TAMBA - Percussion: JOSE JOSE,
*Various '']'' (1999). Label: ]
Mexico - Percussion: JOAO DONATO, United States.
*Various '']'' (1999). Label: ]

*]'s '']'' (1999). Label: ]
He played as special guest with: Henry Mancini, Frank Sinatra, Burt Bacharach, George Benson,Harry Belafonte, The Crusaders, Nancy Wilson, The Temptations, Steve Wonder, Herbie Hancock, Ronnie Laws, Sarah Vaughan, Marvin Gaye, Neil Sedaka, Quincy Jones, Sammy Davis Jr., Billy Paul, Among many others. His Solo Career includes Many concerts starring on his own groups Mayuto and Samba Pack, Mayuto and Geniuses 2000,"Mayuto and The Dream Team Big Band,Mayuto and Sounds of Brazil and other All Star groups.
*]'s '']'' (2000). Label: ]

*Various '']'' (2000). Label: ]
He was awarded a certificate for outstanding performer when featured at The Blue Note Jazz Clubs of Osaka, Fukuoka and Tokyo - Japan. Also wrote articles for The L. A. Times and Bird Magazine; Hosted show for Public Radio Network and Continental Cable Television. He was special Soloist on symphonic works such as the record Woman by Burt Bacharach; the record Symphonic Soul by Henry Mancini and in Many Theaters and International arenas, including The Carnegie Hall, Copacabana Palace, Municipal of Rio de Janeiro, Dorothy Chandler Pavilion, Shrine Auditorium, Lincoln Center, L.A. Coliseum, Filmore, Apollo Theater, Maracananzinho, Canecao, among many others.
*Various '']'' (2001). Label: ]

*Various '']'' (2002). Label: ]
Played on film sound tracks including M.A.S.H, Baretta, Chips, Cinderella Liberty, Shaft, Death Squad, Trouble Man, Lost In the Stars, Out to Sea,among many others and on television shows, including The Tonight Show (Jonny Carson ), Midnight Special, Merv Griffin Show, Nancy Wilson Show, Harry Belafonte Show, Fantastico, Show do mes, Sexta Super, Silvio Santos,Cidade Aberta, Aqui e Agora, Jaci Campos, Estes Musicos Notaveis e Seus
*Various '']'' (2004). Label: ]
Instrumentos Maravilhosos, among many others.
*]'s '']'' (2011). Label: ]

*Various '']'' (2014). Label: ]
Made special appearances at international festivals including The Playboy Jazz Festival, Concord Jazz Festival, Monterrey Jazz Festival, Newport Jazz Festival, Kool Jazz Festival, Jazz At Drew, Mexico Jazz Festival, Long Beach Jazz Festival, Berlin Jazz Festival,Festival Internacional da Cancao and he is mentioned in several encyclopedias around the world,including The Encyclopedia of Jazz in the Seventies by Leonard Feather, introduced by Quincy Jones; Dicionario da Musica Popular Brasileira by Ricardo Cravo Albin.





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MAYUTO CORREA - BIO IN PORTUGUESE
Mayuto Correa é um músico cuja carreira deve ser descrita cuidadosamente para não omitir detalhes importantes, pois até agora (de 2014) esta enciclopédia só tem
registro de um pequeno fragmento da carreira do artista. Para uma justa descrição da carreira de Mayuto Correa temos que começar desde quando o seu nome era Mailto
Rodrigues e ele um dos artistas mais versáteis do Brasil. O artista iniciou sua carreira artística no Teatro, quando aos onze anos de idade criou e atuou como o personagem, “Velho Enferrujado”, num show que ele e a jovem atriz, Chuchu, apresentavam em clubes e escolas na sua cidade natal, São Gonçalo.

Desde adolescente o artista trabalhou com Cauby Peixoto, Carlos Imperial, Monsueto, Paulo Moura, Elza Soares, Cipó, Egberto Gismonti, Maria Bethania, Eliana Pitman, George Benjor, Zezé Motta, Roberto Carlos, Jair Rodrigues, Cínara & Cibele, Os Mutantes, Milton Nascimento, Vatuzi, Pilantragem e como músico das orquestras da TV Tupi, TV Excelsior, além de ter sido diretor artístico da PUC. Esta vasta carreira do artista ocorreu antes dele completar 24 anos de idade, portanto isto é evidência de uma omissão biográfica se considerarmos a versão anterior da biografia do artista.

Mayuto’s envolvimento com a PUC (Pontifícia Universidade Católica) ocorreu durante uma de suas apresentações na boate Porão, no Rio de Janeiro, quando aos 22 anos era
reconhecido como excelente musico de jazz. Professores da PUC estavam na audiência, e um deles havia tido conhecimento das pesquisas e trabalhos de Mayuto no ramo da Psicologia. Após o show, tiveram um encontro com o artista e o convidaram a ser professor da Universidade, na área de comportamento. Mayuto tornou-se Diretor Artístico e professor de teatro da PUC.

Seus trabalhos como compositor e escritor eram intensos mas durante a ditadura militar não podiam ser publicados por causa da restrição intelectual no país. Uma de suas peças teatrais estava sendo ensaiada na PUC no momento em que a universidade foi interditada e fechada pelos militares. O artista decidiu sair do Brasil após o termino da super produção do show da Maria Bethania no Teatro Sergio Porto, sob sua diretor musical - Ele casou-se com Sonia Tavares em 1968 e partiu para o México em busca de auto-exílio.

Isto ocorreu logo após a visita do astronauta, John Glen, ‘a Lua. Mayuto compôs a musica, “Pêndulo” no momento em que o astronauta deu os primeiros passos na Lua: a letra descreve a lua como a bola e a fumaça da espaçonave como a linha do pêndulo. Isto ocorreu no dia da festa de sua despedida do Brasil, quando a TV estava ligada no evento da NASA ele pediu licença aos convidados e disse, “tenho que ir lá fora olhar para a Lua.” Saiu com o violão e os que saíram com ele viram quando ele compunha a musica.
Durante sua curta estada no México, onde trabalhou com Carlos Lyra, Tamba 4, Leny Andrade e Jose Jose, o cantor e violonista, João Gilberto tornou-se seu amigo e os
dois tinham vários encontros musicais por semana, em geral, na cozinha do grande apartamento onde o artista vivia com Sonia, a qual muitas vezes ia dormir ao som da voz e do violão do gênio Gilberto, o qual inventou a Bossa Nova. Um peculiar fato desses encontros é que, por um período de quase um ano, João Gilberto batia na porta do apartamento de Mayuto, pela madrugada, quase que diariamente, e falava a mesma frase “espero que você não esteja ocupado.” Ele entrava e tocavam até de manhã, e o som era nada menos que a voz e o violão do maravilhoso João Gilberto.

O outro encontro memorável da época foi entre Mayuto e Carlos Lyra (outro gigante da Bossa Nova); a dupla fez turnês por várias cidades mexicanas com show de abertura com Mayuto ao violão e voz e show principal com Lyra ao violão e voz e Mayuto na percussão. Após uma memorável turnê, Lyra disse que ia voltar para o Brasil e, sabendo da intenção de Mayuto de ir para USA, disse, “não se preocupe quanto a trabalhar em USA, basta você armar as suas congas em qualquer calçada, em qualquer esquina que alguém vai lhe ver e lhe contratar.” Após isto, Lyra telefonou para João Donato, em Los Angeles, e pediu para ele receber Mayuto na rodoviária.

João Donato, também gigante da Bossa Nova, levou Mayuto para sua residência, mesmo após Mayuto insistir em ir para um Hotel, como havia planejado. Foi quando Mayuto descobriu que Donato estava gravando um disco importante “Abade” e isto ocorreu também com a peculiaridade já famosa desses gigantes da Bossa Nova – Durante a primeira noite na casa do Donato, Mayuto dormia e despertava com o incessante som do piano que repetia 8 compassos de uma musica vibrante – por diversas horas. Sem agüentar mais a tortura Mayuto pôs sua cara na brecha da porta do quarto e perguntou o que estava ocorrendo. A resposta foi “não consigo encontrar a segunda parte desta composição para gravar no disco depois de amanhã.” Mayuto respondeu cantando uma frase musical, então Donato respondeu, “Malandro! Esta é a segunda parte perfeita, já esta na musica” – tocou a musica toda e parou com o som do piano e Mayuto dormiu.

No dia seguinte, Donato levou Mayuto a gravadora Blue Thamb e disse a Bob Krasnov
que Mayuto ia participar do disco; Mayuto cobrou mil dólares e documento de trabalho e foi aceito. Foi quando as férias de uma semana em USA tornaram-se em mais de 40 anos. Muitos contratos surgiram através da gravação de Abade, o Shubert Theater de Philadelphia, com o show “Orpheus”, como diretor musical, em 1973; o Theater ICCC, em Los Angeles, com o show “Sortilege”, em 1974, como diretor musical, compositor e assistente de direção, e lá ficou por 5 anos, onde dirigiu e ensinou drama a convite de seu amigo, C. Bernard Jackson, Diretor Geral. O auge de sua carreira nos Estados Unidos foi durante estes 5 anos, quando se tornou num dos músicos de estúdio mais bem pagos do mundo, quando recebia por 1 hora de gravação mil dólares.

Em Novembro de1969, ao chegar nos Estados Unidos, o nome Mailto mudou para Mayuto porque seu agente, Tony Newman, percebeu que o nome brasileiro na língua inglesa é idêntico a combinação do verbo (enviar) e da preposição (para); isto com o sobrenome, Correa, significava “enviar para Coréia” porque o nome do país asiático,
em Inglês, era iniciado com “C” ao invés de “K”, como hoje.
Com o novo nome, em 1970 ele foi incluído entre os melhores músicos do jazz e foi mencionado num verbete da “The Encyclopedia of Jazz in the Seventies”, de Leonard Feather e Ira Gittler, introduzida por Quincy Jones e tornou-se num dos mais ocupados Músico dos Estados Unidos. Participou de milhares de gravações com artistas famosos do jazz. Em 1971, com Charles Lloyd: “Waves”; com Cannonball Adderley: “happy People” e “Soul of The Bible”; em 1973, com Cal Tjader: “Last Bolero in Berkeley”; em 1974, com Ray Manzarek: “The Gold Scarab” com; com Moacir Santos: “Saudade”; com Kenny Burrell: “Round The Corner, Down The Block”; com Etta James: “Come A Little Closer”; com Cal Tjader: “Tambu”; com Gato Barbieri: “Hasta Siempre”; com Miriam
Makeba: “A Promise”; com Charles Loyd: “Live With Charles Loyd”; com Goldie Zelkowitz: “Goldy Zelkowitz”; em 1975, com Howard Roberts: “Equinox Express Elevator”; com com Kenny Rankin: “Inside”; com Bobbi Humphrey: “Fancy Dancer”; com David Axelrod: “Seriously Deep”; com Henry Mancini & His Concert Orchestra: “Symphonic Soul”; com Jon Lucien: “Song For My Lady”; com Waters: “Waters”; com Yvonne Elliman: “Rising Sun”; com Donald Byrd: “Places And Spaces” e “Stepping Into Tomorrow”; com Shelly Manne: “Hot Coles”; em 1976, com James Vincent: “Space Traveler”; com Donald Byrd: “Caricatures”; com Jorge Calderon: “City Music”; com Jonny Hammond: “Forever Taurus”; em 1977, com Burt Bacharach and The Symphonic Orchestra of Huston: “Woman”; com Syreeta: “One To One”; com Keni Burke: “Keni Burke”; com David Axelrod: “Strange Ladies”; em 1979, com Jerry Williams: “Gone”; em 1983, com Ronnie Laws: “ Mr. Nice Guy”; em 1997, com Gato Barbieri: “Latino America”; em 1999, com Jon Lucien: “Motherland”.

Como músico de primeira linha ele participou de mais de 8.000 gravações, na America. Esta estatística veio de um cientista especializado em estatística que telefonou durante uma entrevista de Mayuto com um reporter da Radio KPFK de Los Angeles. Alem de participar em discos ele também participou de trilhas para “MASH”, “Baretta”, Ciderella Liberty”, “Trouble Man”, “Chips”, “The Fall Guy”, “Out to Sea”, “Savana”, “Lost in The Stars”, “The Super Cops”, “ The Death Squad”, “Shaft” e filme “Homeboys”, no qual foi diretor musical, maestro, condutor, compositor de todas as músicas.

Em 1979, quando o General Figueiredo, anunciou a chamada “abertura”, o artista viajou para o Brasil no dia seguinte. Este foi um período incerto que não proporcionou ao artista
confiança para para permanecer no Brasil, mesmo assim ele escreveu e dirigiu o show Negra Elza (Soares) no teatro Carlos Gomes do Rio de Janeiro, estrelou nos programas Fantástico, Sexta Super e Esses Músicos Notáveis e Seus Instrumentos Maravilhosos da Rede Globo, mas durante sua apresentação no programa Jaci Campos da TV Educativa um General brasileiro telefonou para a emissora e exigiu a interrupção da musica que estava sendo executada Por considerar-la subversiva. Em 1982, Mayuto regressou aos Estados Unidos após se desculpar com a direção da Rede Globo por ter sido forçado a rejeitar a oferta para escrever e dirigir a serie “Aplauso.”
A America estava em recessão; após a turnê com o grupo Jazz Crusaders ele foi para a Europa e nos Cassinos de Algarve, em Portugal escreveu e estrelou o show “Nêga”, em na Discofage de Paris escreveu e dirigiu o show “Batuque”. Voltou para a America em 1983 e no Dorothy Chandler Pavillium, em Los Angeles dos Estados Unidos, estrelou com o seu show “Samba Pack”. Suas atividades dramáticas são vistas também nas telas, como a serie para TV, “Classic Interviews”, produzida por Continental Cable Television; “Fantástico” da Rede Globo; “Sexta Super” da Rede Globo; o Filme “Questão de Escolha” da Graça e “Redeemed” da PureFlix, em 2014 e a comedia “Community” da CBS nos Estados Unidos, em 2015. My name is Zac Rod. zacrodpropr@gmail.com

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References

Referências

DISCOG -
http://www.discogs.com/artist/211629-Mayuto-Correa

IMDB RESUME –
http://www.imdb.com/name/nm3322822/resume

WORLD NEWS –
http://wn.com/mayuto_correa

BARNES & NOBLE –
http://www.barnesandnoble.com/c/mayuto-correa/55204817

ZOOM INFO –
http://www.zoominfo.com/p/Mayuto-Correa/58674699

GIANNINI GUITARS –
http://www.giannini.com.br/novo_eng/endorser-perfil.asp?cod_endorser=314

ALL ABOUT JAZZ –
http://musicians.allaboutjazz.com/mayuto

DOWN BEAT MAGAZINE –
http://www.goantiques.com/down-beat-magazine-1581176


M A Y U T O C O R R E A' S C U R R I C U L U M/ B I O
http://losmovies.ch/actor/306122/mayuto-correa-filmography

REDEEMED 2014 -
MAYUTO CORREA'S FEATURING ROLE, "MR. COSTA"
C A S T (PICTURES)
http://www.bing.com/search?q=redeemed+movie+cast&filters=ufn%3a%22redeemed+movie%22+sid%3a%22676a68d6-7ce0-161f-73ac-f2033bfd6656%22+catguid%3a%22676a68d6-7ce0-161f-73ac-f2033bfd6656_8ad9c011%22&FORM=SNAPST

http://solarmovie-movies.com/watch_movie/redeemed-5/ - REVIEW

http://free-moviez.biz/watch_movie/redeemed-3/ - REVIEW

http://www.christianfilmdatabase.com/review/redeemed/

http://www.christianfilmdatabase.com/christian-movie-news/redeemed-cfdb-movie-review-highest-recommendation/

http://fr.fulltv.tv/films-avec-mayuto-correa.html FRENCH REVIEW

http://www.cinemarx.ro/persoane/Mayuto-Correa-2038346.html French

http://letmewatchthismovies.info/watch-redeemed-2014-letmewatchthis/

LA WEEKLY
http://www.laweekly.com/music/bricks-picks-beautiful-scenes-2152485

LA TIMES
http://articles.latimes.com/1992-10-18/news/ci-1248_1_reality-fancy-flights

http://articles.latimes.com/1994-01-28/entertainment/ca-16192_1_vine-street

DOWN BEAT MAGAZINE
http://www.goantiques.com/down-beat-magazine-1581176

ARCO IRIS
http://www.rock.com.ar/historia/1975.shtml

JAZZ MUSICIANS' PHOTO OF THE CENTURY
http://www.bobbyrodriguez.com/AGreatDay.html

VIDEO ENCYCLOPEDIA - MAYUTO CORRREA
http://www.mashpedia.com/Mayuto_Correa

MAYUTO'S VIDEOS
http://www.bing.com/videos/search?q=mayuto+correa&qpvt=mayuto+correa&FORM=VDRE

LA SIERRA UNIVERSITY MAYUTO'S CONCER
http://www.pe.com/articles/jazz-763593-correa-university.html

CONCERT'S PICTURES FROM GLBERTO VERA (La Sierra)
https://www.flickr.com/…/photosbyfry/sets/72157651312902839/

http://www.ksgn.com/events/all/event/3186-pierce-street-jazz-to-feature-world-renowned-percussionist

http://www.meetup.com/Live-Jazz-Listening-Party-for-the-Greater-Inland-Empire/events/221346708/
http://www.performingartslive.com/Events/La-Sierra-University-Troesh-Conference-Center-Pierce-Street-Jazz-with-Mayuto-Correa-412015

http://lasierra.edu/article/world-renowned-percussionist-mayuto-correa-to-play-pierce-street-jazz-series/

http://eventful.com/riverside/events/pierce-street-jazz-feature-percussionist-mayuto-c-/E0-001-081550228-8

http://www.riversideartscouncil.com/15-favorite-things-to-do.html

http://lasierra.edu/news/2015/ (PERFORMERS CALENDAR)

Pierce Street Jazz to feature percussionist Correa | La Sierra University | Zapara School of Business, Troesh Conference Center | MUSIC | InlandArts.com
Pierce Street Jazz to feature percussionist Correa | La ...
MUSIC Home > MUSIC > Pierce Street Jazz to feature percussionist Correa Tweet Outlook ICAL PRINT Email Feedback RSS Official Website Add to My Favorites
View on www.inlandarts.com
Preview by Yahoo

TSUYOSHI ICHIKAWA
https://tedgreenearchive.wordpress.com/links/teds-students-to-take-note-of/meet-tsuyoshi-ichikawa/

BRIAN GARI - HERE I COME BRAZIL
http://www.cdbaby.com/cd/briangari9

MAYUTO WITH JOSE JOSE
http://www.emusic.com/artist/-/12272357/


COMMUNITY 2015 - MAYUTO CORREA'S CO-STARRING ROLE, "OLD SHOP OWNER"
http://www.bing.com/videos/search?q=lawn+mower+maintenance+and+postnatal+care+episode&FORM=VIRE1#view=detail&mid=6489E2C9A3C7A2B939D66489E2C9A3C7A2B939D6
IMDB
http://www.imdb.com/name/nm3322822/
http://pro.imdb.com/video/demo_reel/vi3618088985/
IMDB - (FILM LIST WITH POSTERS)
http://www.imdb.com/search/title?roles=nm3322822,&title_type=feature,tv_episode,video,tv_movie,tv_special,mini_series,documentary,game,short,unknown

http://www.mashpedia.com/Mayuto_Correa

HENRY MANCINI SNPHONI SOUL
http://hardtofindbeats.blogspot.com/2009/11/henry-mancini-symphonic-soul-1975.html

MAYUTO CORREA TOP VIDEOS
http://www.mashpedia.com/Mayuto_Correa

PERCUSSION SOLO AT NAMM
https://www.youtube.com/watch?v=NfLByJ9WYHU

CELEBRITIES' PHOTOS & BIOGRAPHIES
http://www.celbcelb.com/bio/Mayuto-Correa.html
ENDONSEMENT: GIANNINI GUITARS:
http://www.youtube.com/watch?v=c_vOBE014Ck

http://giannini.guitar.product.info/?page=2&orderby=rating&src=youtube
ABC CHURCH
http://www.altadenabaptist.org/miniature-un/

http://www.altadenablog.com/2012/12/altadena-baptist-church-celebrates-the-season-through-the-arts-dec-15.html


Link of
ENDORSEMENT: Resulution Drums:
please, see Baio and percussion video)
http://resolutiondrums.com/mayuto.asp
Mayuto's Bio at All About Jazz Site
http://www.allaboutjazz.com/php/musician.php?id=12915
PHOTOS: on MySpace
http://www.myspace.com/mayuto/photos
MAYUTO’S MUSIC (ON MYSPACE)
ALL SONGS: MAYUTO IS THE COMPOSER, SINGER,
ARRANGER, GUITARRIST, PERCUSSIONIST, LYRICIST
AND PRODUCER (also drums in "Drums of Time",
VIDEOS:
Estrelando no FANTASTICO
http://pro.imdb.com/video/demo_reel/vi2748425497/
MAYUTO, THE H O S T OF HIS SHOW CLASSIC INTERVIEWS
http://www.youtube.com/watch?v=ttWBYeYNKJ4&feature=relmfu
MAYUTO PLAYING CONGAS:
Mayuto Correa Video
MAYUTOS MUSIC:
COMPOSITION, ORCHESTRATION, VOCAL, GUITAR,
PRCUSSION, PRODUCTION.
SONG #1
"BLA, BLA, BLA"
http://www.thejustbest.com/bla2.htm
SONG #2
"IF YOU KNOW HOW TO GIVE LOVE GIVE ME"
http://www.thejustbest.com/you.htm
SONG #3
"MAGIC DANCE"
http://www.thejustbest.com/magic.htm
SONG #4
"OASIS"
http://www.thejustbest.com/oasi.mp3mp3
SONG #5
"WINGS OVER NEW YORK" +
http://www.thejustbest.com/wing.mp3mp3
MAYUTO AS JOURNALIST:
thejustbest.com
PLEASE, SEE ATTACHMENTS ON TOP OF THE E-MAIL,
THANK YOU AND GOD BLESS YOU.
MAYUTO CORREA
mayuto@sbcglobal.net
626-345-9918

MMMMMMMMMAYUTO'S V I D E O S
http://wn.com/mayuto_correa

DETAILS,

http://wn.com/mayuto_correa/video-details

LIST OF THE BEST 100 FILMS OF 2014 (INCLUDIN "REDEEMED" IN 7TH
http://www.gracafilmes.com.br/noticia/questao-de-escolha-e-deus-nao-esta-morto-estao-entre-os-melhores-filmes-de-2014/


BEVERLY HILLS' DOCTORS DARK SPOT REMOVER

http://beverlyhills-md.com/dark-spot-corrector/video_c5_14.php





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It seems lucky: a Brazilian comes to America and the
first week gets a record deal and a lawyer. Ahhh, the
land of opportunity. It's Mayuto Correa's mettle rather
than luck that resulted in success though.
"I'm a jazz militant activist," he confesses.
Melinda Wong
Mayuto Correa. I met him in Laguna Beach, California, at a concert he and his twelve piece Samba Pack were giving in benefit of Rio Films. It's all a blur in my memory now. I remember him playing the conga, guitar, and all his little percussion toys. It was dark. Frantic sounds were coming from everywhere, as if Carnaval had hit, making it was easy to lose oneself in the splendor of it all. The backup singers in his Pack were dancing the samba, when several Brazilians from the audience arose, as if being called, and began to samba in front of the stage. Conga lines started to form. It was like an underground Brazilian cult, a tight stupor. Everywhere people were moving while sounds were flying and Mayuto sang; did somebody say PARTY!!?!?? At the end of the song, Mayuto triumphantly brought the Brazilian sambistas up from the audience and proclaimed, "Brazilians—hot stuff!"
Six months later, I arrive at his new home on the outskirts of Los Angeles. It's white, with a white picket fence. Mayuto ushers me in, apologizing for the mess, since he hasn't had a chance to unpack everything, as I can see from the boxes piled up against the bare white walls. I sense his ambitious nature as he reveals his plans to cover the walls with murals and convert the extra room into a recording studio once he is settled.
His demeanor is relaxed, and already I can tell from his glasses that he's of the intellectual sort. Even more enchanting is his voice. It's thick, with a charming Portuguese accent and the allure of a storyteller. Offsetting his personality is his attire. He's wearing a Drew University Jazz Fest hat, a festival he will attend later today. He wears it like an Angel's fan would wear a baseball hat. It's almost funny. I like it. He's really great. We find a place to sit among the stray microphones, boxes, and chairs.
OK, OK. Now the story of his life. Mayuto was born in São Gonçalo, Rio de Janeiro state. From the time he was a young boy, he was not just good, but very good at many covetable talents.
As a teenager, there was a time when he could have become a star futebol (soccer) player. He "wasn't really going to school," when his father took him to see a head futebol coach. He made it into the divisão infanto-juvenil de futebol do Flamengo, or in plain English, the young division of the professional soccer team Flamengo. "I was so busy deciding what I was going to do, and it took my life apart." He explains that to be in soccer, a player must go into a three-day period of nothing, called concentration, before each game.
It was impossible to be fully devoted to soccer while trying to do music at the same time. So he quit. "It was a nightmare for twenty years. In my sleep I would dream I was playing." Things did fall into place though, and now the beaming musician is at peace with this decision. "Now I joke with Pelé," he says laughing, because "now he's an entertainer too."
With soccer crossed off the list, he only had psychology, medical school, music, and acting remaining. "Psychology was my real passion," he says. He was not a regular student, yet he was "totally dedicated." Spending many a day following people on the street to observe their behavior was not uncommon. As a teenager, he had already read Freud and the major psychology books, and even authored his own stack. He even had his own theories. He entered medical school, but again, it conflicted with his music. An X through medical school.
Doing It All
The list now concisely read: music, acting, and psychology. He would do them all. By this time you've probably figured out that he's a prodigy.
"Salgueiro—that was my samba school," he says, going on to talk about his musical origins. At this point we'll skip the "David Copperfield" stuff—you know, the typical musician's story: talented as a kid, performs here and there in nightclubs, joins bands, rises like a new star on the horizon, etcetera, etcetera. In a nutshell: he becomes a percussionist.
In the mid 60's he became the artistic director of Human Behavior at the renowned Sao Paulo and Rio university, PUC (Pontifícia Universidade Católica). At this time revolution was brewing: the military staged a coup, oppression was rampant, and militant student movements formed a resistance. "The military took over and PUC was closed for two years. Students were killed," he admits sadly. "It was very hard for an artist in that period. Any writer in Brazil if not for the government went to jail. And I said, `I'm not gonna write for this government!' " As it is widely known, Gilberto Gil and many other artists were jailed. "When I saw those people go to jail, I said `I'm not going to jail!' "
So off to Mexico he went to join the other prominent Brazilian musicians of the time: João Gilberto, Carlos Lyra, Vinicius de Moraes, and Leny Andrade to name a few. He hung out for a year in Mexico City where he performed as percussionist with the Tamba 4, João Gilberto, and the rest.
When I ask about the Joãos, he smiles. "João Donato is very similar to João Gilberto," which has often been said. "They are both very elevated in terms of the arts," and with a chuckle he adds, "and a little bit off the walls. I would not let that happen to me." Mayuto then starts acting out what went on in Mexico for the entire year of his residence. "Every night João Gilberto would knock on my door at 2 a.m." Mayuto is playfully illustrating, knocking the air as João would knock on the door, "and I knew he was coming. He'd ask, `What are you doing?' " Mayuto roars with laughter. "We would stay up till 6 in the morning singing." When João and Mayuto's wife would sing together, "I would leave them for a couple hours, and when I came back, they would be singing the same song." Mayuto laughs, and then softening he says, "You never know what you're going to do with Joao Gilberto. His repertoire is beautiful and a song is each time different."
Mexico was a lark, but after a year he left for what he thought would be a one-week vacation in Los Angeles, California. At the airport, the first person he called was João Donato, who had already left Mexico. "I was going to go by bus—a uh, what do you call it? Greyhound?" I nod. "Greyhound." The two had never met before, but finding Donato in the crowd wasn't hard. "He's very tall. I saw this tall guy looking around, and then he turned and pointed at me," raising his voice Mayuto mimics him, "Ohhhhh MAYUTO!!!" He had planned to stay in a hotel, but since "Brazilian people are very hospitable," Donato insisted Mayuto "no go to hotel."
Mayuto remembers Donato "bangin' the piano" at his L.A. house. "I said `What are ya doin' man?' and said, `I have a record to record this Saturday and I'm composin' the tunes now.' " Mayuto lets out a big laugh, and its evident that, like everyone else, he can't help loving the Joãos. "In three to four days he had seven songs. Two days before Saturday, he had nine. And the last one, he took so long." Mayuto helped him, "I gave him the bridge," and Donato was so impressed, that he told producer Tommy LiPuma, "I want to perform with me." When asked by LiPuma what he needed, Mayuto responded, "$1000 and a contract."
Obtaining a green card was no problem because big-time lawyer Tony N. (representing Cantinflas) offered to represent Mayuto for free after seeing one of his enchanting performances.
It seems lucky, doesn't it: a Brazilian comes to America and the first week gets a record deal and a lawyer. Ahhh, the land of opportunity. Mayuto admits humbly, "my life has been very easy," and gives credit to God. But let's consider, was it really easy? Easy for him; but to any other it wouldn't have been. It's his mettle rather than luck that resulted in success. In all his endeavors, he put in 110 percent. Choosing integrity and shunning moral relativism from the beginning set him up to get everything he wanted the right way, "without stepping on anybody's toes."
"Everything I do has a purpose. Everything comes from my view of behavior and the arts. I'm a jazz militant activist." Nonconformity, he explains, means being true to yourself, "you've got to be the best of you to show you." This meant being selective in using his talents, and if necessary, turning down lucrative deals when they violate his values.
When a big shot from industry asked Mayuto to do disco, he replied, "I don't do disco music," and wiping off his look of disgust he adds, "I can make anybody dance, but not to disco." I am of course cracking up—Mayuto's a clencher. Another time, Mayuto declined doing the percussion for the production of The Lion King in L.A. because it required him to play by the book. "I will not play because I'm a percussionist. I don't go to replace anybody," he says resolutely.
The line must be drawn, you see, to protect the true spirit of music—something so beautiful and sacred that every time you think of it, you can't help but stop and sigh.
Fed Up With Rock
Mayuto mentions again that he's a "jazz militant." Jazz had become low key in the 70's due to the fusion and rock n' roll invasion. "I was fed up with rock n' roll invading jazz." And with a grimace, he mutters, "Smooth jazz was damaging jazz." You're probably imagining elevator music and Kenny G. "Musicians were dying; killing themselves. A lot of jazz clubs were in trouble." Like a respectable jazz junky, Mayuto verdantly worked to preserve clubs, arranging bookings and helping them get back on their feet. During these years, he also wrote for the Los Angeles Times, publishing articles on the importance of preserving jazz to combat the ever-impinging pop culture.
When he wasn't going to "all the places" with Donato, Mayuto drifted around the jazz scene in the 70's, playing with numerous jazz greats and making his mark. Leonard Feather would list him in his Encyclopedia of Jazz in the 70's.
He played with them all: touring with Gabor Szabo (later joining Szabo's Perfect Circle), Freddie Hubbard, and sharing the stage with numerous others itoncluding Sinatra, Milton Nascimento, Kenny Burrell, etcetera.
Mayuto lights up when he remembers being a band with Herbie Hancock, Ron Carter, and Ben Carson. He would cook the band a mean fish Brazilian style, and they loved it. "Herbie would always say, `Mayuto, when are we going to Brazil?!'"
When it comes to his legendary performances with Cannonball Adderley at the Troubadour Club in L.A., Mayuto gets especially sentimental. He reminisces softly, "When Adderley died, there was a hole in the wall of music." Mayuto tenderly displays the program of a UCLA tribute to his friend Adderley, in which he participated with fellow musicians Kenny Burrell, Freddie Hubbard, Joe Sample, and Billy Higgins.
On a three year hiatus in Brazil, Mayuto, still on the multi-task mode, produced and directed many plays, including Zarina, Skid Row, Brazilian Wave, and Negra Elza. He told his actors to act from within the subconscious, that they had to "dig inside" deeper. "The press asked me, `Don't you think it's dangerous?' and I said `No, she still followed the script.' Improvisation goes absolutely deeper."
Improvisation, like in acting, is the jewel of his spontaneous ability to create sound as beauty upon beauty. Mayuto is music; simply is.
He brings out some old records he has appeared on. Over the years he has lost track of all his credits, and even he doesn't have all his recordings. He relies on friends to find them. "These are my treasures," he says holding his records close. He pulls out Moacir Santos' Saudade. Showing me his name next to percussion, he says, "Moacir Santos is the maestro (teacher). And Oscar Castro Neves—he's also the maestro."
Mayuto's somewhat a maestro himself. His wisdom is simply contagious. Over the course of time, he has adopted many protégés. Occasionally he would give lectures to UCLA students. "The first thing I would tell them is, `This is a place of many lies.' " He quickly adds that this applies to any university. "In university you learn how the universe is. You follow procedures, books, and traditions—this does not reflect what really is." Mayuto then justifies himself, admitting that college is a wonderful thing, but warns that students should not depend on fact alone. He emphasizes getting out of the classroom and into the real world, which is exactly what he did. He is very active in the community. In L.A. he founded the Rainforest Theater. "I would take in the homeless and teach them how to act."
Currently Mayuto leads his twelve piece Samba Pack, which includes himself on percussion, and a wide variety of musical talent and even a few samba dancers. You might catch him and the Pack at venues in L.A. every now and then. In addition to unpacking, one of his current projects is composing the musical score for a documentary on the California sea lion, which he was commissioned to do by his producer friend, Alan de Herrera of Rio Films.
People down at Jazz at Drew keep calling Mayuto on their cell phones, and he realizes he's lost track of time. It seems I will have to catch him at his next concert for the former.
"No problems about me is the best compensation to have. I go to sleep happy." Happy with being dissatisfied with actuality; happy knowing he did right. "Actuality is whatever people made outside," he says motioning to the window where outside lurks mankind—yuppy cell phone addicts, recklessly driving SUVs. "Reality exists in the minds of some people. It is what's supposed to be." I cannot deny it's true. Mayuto knows. He is so down to earth; undeniably the realest person you'll ever meet. There's a knowing look in his eyes, one that embodies that genuine quality of old that I admire so much. "You've got to sharpen yourself," he declares; and at 59, he is still plenty sharp, because after all, he's Brazilian—"hot stuff."
________________________________________
Talked about:
other people on Mayuto
Gabor Szabo (musician): "A fiery percussionist, full of lyricism and romantic beauty."
Astrud Gilberto (musician): "A wonderful musician." And in reference to performing with Mayuto in the group put together by Oscar C. Neves for Jobim's tribute in New York, she recalls the group was "top notch!"
John Dants (critic): "The Coltrane of the Congas."
Earl Palmer, Sandra Oei, John Levy: "The best conga player in the world."
Carmenmara Bravo-Hernandez: (professor): "His music moves even the souls of people."
Francesco Crosara (musician): "Mayuto is the ray of sun that breaks through after a dark storm. Wherever he shows up with his thousand percussions and toys the room "lights up" and suddenly comes alive. I have never met a more exceptional musician and friend."
Ara Tokatlian of Arco Iris (musician): "Apasionado e increíble…Mayuto era un visionario." (Passionate and incredible….Mayuto was a visionary.)
________________________________________
Check out Mayuto's sounds!
Selected discography.
CDs:
Gato Barbieri's Finest Hour, Gato Barbieri. Verve. '00.
Brazilian Horizons, Vol. 2. Various. Fantasy/Milestone. '99.
Blue Break Beats, Vol. 3. Various. '97.
Groovy, Vol. 2: A Collection of Rare Jazzy Club Tracks. Various. Irma. '97.
Waves, Charles Lloyd. A & M. '89.
Stepping into Tomorrow, Donald Byrd. Blue Note. '76.
Places and Spaces, Donald Byrd. Blue Note. '75.
Saudade, Moacir Santos. Blue Note (Jpn.). '74.
Tambu, Cal Tjader & Charlie Byrd. Fantasy. '73.
Latino America, Gato Barbieri. Impulse. '73.
LPs:
Symphonic Soul, Henry Mancini. RCA. '88.
Caricatures, Donald Byrd. '76.
Live with Charles Lloyd, Gabor Szabo. Blue Thumb. '74.
The Happy People, Cannonball Adderley. Capitol. Unknown.
________________________________________
Mayuto Correa can be reached at Mayuto@netunes.com
Melinda Wong is a California jazz junky and college bum. Email her at pumpkin362@yahoo.com
________________________________________
Send your
comments to
Brazzil










==References== ==References==
{{reflist}} {{reflist|30em}}


==External links== ==External links==
*{{IMDb name |3322822}}
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Latest revision as of 17:39, 28 July 2024

Mayuto Correa (born 9 March 1943) is a Brazilian percussionist, guitarist, and composer.

Life and career

Correa was born in São Gonçalo, Rio de Janeiro and began playing in local bands from the age of 12 when he became a member of the big band Rapazes da Alvorada. At age 16 he formed the ensemble Samba Show with musicians from Niterói and made several recordings for the CBS label with them. He also played for the under-17 squad of the Brazil national football team. In the 1960s Correa was the artistic director of Pontifical Catholic University of Rio de Janeiro where he wrote and directed several plays. During this time, he also made several recordings in Brazil and worked as the musical director for the shows of Maria Bethânia, Elza Soares, and Eliana Pittman as well as playing in Roberto Carlos's ensemble RC-7 and performing in Chacrinha's television shows.

In 1969 he left Brazil for Mexico where he worked with the Brazilian bossa nova group Tamba 4 before moving to the United States. He established himself as a musician in Los Angeles in the early 1970s. According to jazz writer Leonard Feather, Correa had become "a vital figure in hundreds of major and minor albums taped in Los Angeles" by 1977. During that period he also toured live with many of the artists with whom he recorded and became the record producer for the Argentine group Arco Iris. He returned to Brazil in 1972 when he was touring with Carlos Santana and again in 1979 when he appeared on the Rede Globo television show Sexta Super.

Among his compositions is the soundtrack for the 1979 documentary Homeboys depicting Chicano youth gang culture in East Los Angeles. In the later years of his career, Correa has performed with his bands Mayuto & Genuises 2000, Mayuto & The Dream Team Big Band, and Mayuto & Samba Pack. He has also had small acting roles in the film Redeemed (2014) and the television series Community (2015).

Discography

Correa's extensive discography as a percussionist includes:

References

  1. ^ Feather, Leonard (ed.) (2007). "Correa, Mayuto (Mailto)". The Biographical Encyclopedia of Jazz. Oxford University Press. ISBN 0199729077
  2. ^ Dicionário Cravo Albin da Música Popular Brasileira. "Mayuto Correa". Instituto Cultural Cravo Albi. Retrieved 28 July 2016 (in Portuguese).
  3. Feather, Leonard (24 July 1977). "Mayuto Blows the Whistle on Big Bucks". Los Angeles Times. Retrieved 28 July 2016.
  4. Down Beat (1982). Volume 49, p. 54
  5. OCLC 73994616
  6. Eirado, Andrea (July 2006). "Mayuto Correa, Talented and Creative". Brazil Explore, p. 35. Retrieved 28 July 2016.
  7. Tucker, Darla Martin (21 March 2015). "World-renowned percussionist Mayuto Correa to play Pierce Street Jazz series", La Sierra University. Retrieved 28 July 2016.
  8. Redeemed at IMDb
  9. Community at IMDb
  10. "Mayuto Correa". Discogs. Retrieved 14 July 2017.
  11. OCLC 593831454

External links

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