Oscar Castro-Neves Explained

Oscar Castro-Neves
Background:non_vocal_instrumentalist
Birth Name:Carlos Oscar de Castro-Neves
Birth Date:15 May 1940
Birth Place:Rio de Janeiro, Brazil
Death Place:Los Angeles, California
Genre:Bossa nova, Latin jazz, new age
Occupation:Musician
Instrument:Guitar
Years Active:1955–2013
Past Member Of:Paul Winter Consort, Sérgio Mendes

Oscar Castro-Neves (May 15, 1940 – September 27, 2013[1]), was a Brazilian guitarist, arranger, and composer who is considered a founding figure in bossa nova.

Biography

He was born in Rio de Janeiro as one of triplets and formed a band with his brothers in his youth. At 16 he had a national hit with Chora Tua Tristeza. In 1962 he was in a bossa nova concert at Carnegie Hall, and later he toured with Stan Getz and Sérgio Mendes. He went on to work with musicians from different genres, including Billy Eckstine, Yo Yo Ma, Michael Jackson, Barbra Streisand, Stevie Wonder, João Gilberto, Eliane Elias, Lee Ritenour, Airto Moreira, Toots Thielemans, John Klemmer, Carol Welsman, Stephen Bishop, and Diane Schuur. During the 1970s and early 1980s he was member of the Paul Winter Consort. With Mendes, Castro-Neves, was a key guitarist in the A&M release "Fool on the Hill" and continued with the classic "Stillness" which was to see the last Brasil '66 grouping. Castro-Neves re-appeared with Sergio Mendes & Brasil 77 on the Vintage '74 album.

He lived in Los Angeles, California where he worked as an orchestrator for several films including Blame it on Rio and .[2] He died of cancer in Los Angeles on September 27, 2013.

Discography

As leader

As sideman

With Eliane Elias

With Antônio Carlos Jobim

With John Klemmer

With Sergio Mendes

With Airto Moreira

With Flora Purim

With Lee Ritenour

With Diane Schuur

With Paul Winter

With others

External links

Notes and References

  1. http://oglobo.globo.com/cultura/morre-oscar-castro-neves-um-dos-precursores-da-bossa-nova-10191472 Morre Oscar Castro Neves (in Portuguese)
  2. http://www.jazzreview.com/spotlight/review-1754.html Jazz Review