Rosa Passos is among the few performers currently in Brazil focused on a genuine advancement of Brazilian music, without fashionable development and commercialism. She’s established herself solidly within the country’s creative scenery, recognized by many such as for example João Gilberto, Maria Schneider, Clare Fisher, Paquito d’Rivera, Johnny Alf, Nana Caymmi (who documented two of her compositions), and also the main foe of bossa nova, the essential music researcher J.R. Tinhorão, even when she hasn’t acquired her deserved mass media exposure. Her father was extremely affectionate about music, and he previously all his six kids began on some device. Her ideal pitch features helped her to strategy effectively the piano at age group three. At 11, she paid attention to João Gilberto’s Orfeu perform Carnaval, which transformed radically her lifestyle. She empty the piano research and made a decision to be a vocalist. She begun to pay attention to Gilberto compulsively, and discovered the violão through his playing within the information. Her other affects had been Ella Fitzgerald, Nina Simone, Etta Adam, Billie Vacation, Dinah Washington, Shirley Horn (that has declared to become her enthusiast), Cole Porter, and George Gershwin, but her primary influences continued to be Dorival Caymmi and João Gilberto. In 1968 Passos performed in it Tupi from Salvador present Poder Jovem. In 1969 she begun to take part in music celebrations. In 1972, she inscribed her melody “Mutilados” within the Globo Network’s Celebration Universitário, under pseudonym, and got the initial place. As she couldn’t discover any curiosity about the media on her behalf sensitive, swinging, truthful creation clear of abusive commercial charm, she continued to try out and compose in the home, participating in college for the time being. In 1978, currently surviving in Brasília, where she’s settled completely, she documented her debut recording, Recriação, with her compositions together with the poet Fernando de Oliveira. Eight years later on she documented Amorosa, an explicit tribute to her idol João Gilberto’ Amoroso. In 1994 she documented Curare, with strikes by Tom Jobim (“Fotografia,” “Dindi,” “A Felicidade,” “Só Danço Samba,” “O Nosso Amor”), Johnny Alf (“Ilusão ? Toa”), Carlos Lyra/Vinicius de Moraes (“Coisa Mais Linda”), Ary Barroso, Djavan, along with other essential composers. In 1996 she documented Pano pra Manga, for Velas, getting mostly her personal compositions, alongside some classic strikes by Jobim, Chico Buarque, and Ary Barroso. For label Lumiar, she documented an album focused on Ary Barroso, within the label series Letra e Música. Within the next yr, she recorded, once again for Lumiar, Rosa Passos Canta Antonio Carlos Jobim: 40 Anos de Bossa Nova with 14 Jobim classics. In 1999 she was associated with top-class jazz performer Paquito d’Rivera on the Western jazz circuit. In 2000 she released Morada perform Samba (Lumiar), resuming her composing work. The recording brought eight of her compositions, as well as “Beiral” (Djavan), “Lá Vem a Baiana” (Dorival Caymmi), “Calmaria” (Walmir Palma), “Saudade da Bahia” (Dorival Caymmi), and “Retiro” (Paulinho da Viola). For the entire year 2000, she booked a tour through ten Europe, one presentation in the U.S. Hollywood Dish, along with a tour through Japan. Under no circumstances resting, Passos continuing to make information into the fresh millennium, including 2003’s Entre Amigos/Among Close friends with bassist Ron Carter, a 2004 re-release of her pivotal Amorosa on Sony Traditional, 2006’s Rosa on Telarc and 2008’s Love, also on Telarc.