Luíz Eça was an excellent asset to Brazilian music, specifically for the bossa nova motion. An experienced, classically qualified piano participant, he could just like easily proceed from hard and swinging to calm and introspective, having created a genuine musical vocabulary combining Brazilian rhythmic custom and erudite advanced harmonies. He was also highly affected by jazz, and may perform within the design of any jazz pianist large, which he i did so, but limited to friends, because skillfully, he always acquired a highly distinct voice. He begun to find out traditional piano at age group five. In his teenagers, he had been used by jazz and was a normal at Cantina perform César, the club owned by well-known radio web host César de Alencar, of which Johnny Alf was breaking brand-new surface and influencing every one of the bossa nova era. Shortly, in 1953, Eça was playing on the focal point from the nascent bossa nova, the Plaza nightclub. Being successful a Brazilian federal government scholarship to review traditional music, he transferred to Vienna, Austria, in 1958. Time for Brazil, he became a member of the group which was support vocalist Maysa and toured together. This group also acquired pianist Luís Carlos Vinhas and violonista Roberto Menescal plus they also supported vocalist Leny Andrade. In those instances, he became a member of the band of musicians who have been the present day proponents of Brazilian music that could become referred to as the bossa nova motion. Eça was a significant inspiration and impact to the motion, because of his amazing piano playing and organizing skills. Looking for fresh venues of manifestation, the bossa nova people, in bossa’s 1st amount of popularization, appeared for places such as for example college or university auditoriums for displays entitled Event de Samba Moderno or Samba Classes, and Eça was constantly there along with his piano. In 1962, he shaped the historical Tamba Trio, which really is a fundamental piece within the Brazilian music -panel. Rejecting the simple support role from the rhythmic section at those instances, the Tamba Trio would inspire countless fresh trios searching for musical manifestation and artistry. The Trio generally got three-part vocal harmonies supported with highly empathic instrumental support. He asked drummer Hélcio Milito, also a vocalist and percussionist, and bassist Otávio Bailly, quickly changed by Bebeto Castilho, also a flutist/saxophonist/vocalist, and on March 19, 1962, the Tamba Trio opened up using its definitive development at Bottle’s nightclub in the Beco das Garrafas (Rio’s 52nd Road). Within the same calendar year, they toured with the U.S. and Argentina and implemented their extensive worldwide discography and touring timetable. In 1969, coming back from an extended season within the U.S., Eça became a member of the group Sagrada Família and visited Mexico. In Brazil, Eça acquired an extensive profession, recording with support singers, documenting and executing with Tamba Trio, or in single serves. He was energetic, playing every evening at Rio and São Paulo’s greatest nightclubs. A few of his extraordinary recordings consist of O Prestigio de Luis Eça(Philips), Tamba Trio (BMG), Tamba Trio (Philips), We and the ocean (using the trio transformed quartet Tamba 4) (A&M), and Nueva Onda perform Brasil (with Cláudio Roditi, documented by a personal label in Mexico, 1978). An excellent compilation obtainable in the U.S. may be the increase Compact disc Tamba Trio Classics, Polygram. Eça’s organizing skills could be greatest explored in ten-minute cult renditions of such classics as “O Morro não tem Vez” (Tom Jobim/Vinícius de Morais) or “Consolação” (Baden Powell/Vinícius de Morais). He also voyaged through even more abstract traditional treatment, looking into the group’s opportunities on some information, between them Tamba Trio e Cordas and Tamba Trio e Quinteto Villa-Lobos. Within this mood, it had been performed in 1992 as some nationally provided string concerts along with his orchestrations.