Trincadeira is a Portuguese variety of grape, which is grown all across the country. The significance of wine is linked to concepts such as the gathering of friends, socialisation, emotions, music, or art.
The album “Trincadeira” was born from the desire of Luiz Avellar and Paula Oliveira, who were already sharing the stage, to create a consistent and serious original project. It comprises Luiz Avellar’s compositions sung by Paula Oliveira, who accepted the added challenge of writing poems for these pieces. All choices and creations made for each song in “Trincadeira” were the fruit of many discussions and mutual compromise.
If it were possible to describe “Trincadeira”, one might say that it is made up of songs. Love songs, which are explored, in each track, in its various forms. The Portuguese race, culture and origins take shape in the poems sung in Paula Oliveira’s unique, richly textured timber, musical sensitivity and refined vocal technique, spiced with the unique melodies and rhythms created by Luiz Avellar. Avellar’s pieces are now reinvented, with new arrangements and new purposes, revealing his endless creativity and habitual quality, in terms of composition, arrangements and piano performance.
Paula Oliveira began her musical studies at the Coimbra Conservatory, having completed her course in classical singing at the National Conservatory, in Lisbon. She participated in various seminars on classical music and jazz, in which she worked with Paulo Brandão, René Jacobs, Rufus Reid and Reggie Workman, took Jazz Interpretation at the “Taller de Musics” school, in Barcelona, and participated in a jazz seminar, as part of the JVC Jazz Festival, at the Manhattan School of Music, in New York, under the direction of saxophone player Phil Woods. She takes part in the First and Second Jazz Seminars held by the Casa de Mateus Foundation, with singer Norma Winston.
In 1995, in New York, she studies vocal techniques with Taína Urrey (teacher at Rutgers University), hearing training, with pianist Armen Donelien (teacher at the Manhattan School of Music and at the New School) and showcases her work at several clubs, accompanied by the North-American trio, Armen Donelian (piano), Portinho (drums), David Fink (double bass).
In 1998, as part of a Brazilian music cycle promoted by the Calouste Gulbenkian Foundation, she records an album with musicians Paulinho Braga (drums), David Fink (double bass) and Cliff Korman (piano). In 2003, she records “Quase Então”, in a duet with João Paulo Esteves da Silva (piano), which included original songs and traditional Portuguese music. Accompanied by bassist Bernardo Moreira, she releases her third album, “Lisboa que Adormece”, featuring songs from the 1970s and 1980s, written by famous composers and poets, such as Ary dos Santos, Manuel Alegre, and Sérgio Godinho, among others. In 2007, Paula Oliveira once again revisits Portuguese poets, in the album “Fado Roubado”, recorded under the musical direction of Bernardo Moreira, which includes poems by Fernando Pessoa, Ary dos Santos, Zeca Afonso and Sophia de Mello Breyner Andresen, among others. In 2014, she invites António José Veloso, Bernardo Moreira and Manuel Jorge Veloso – the two founders of the Hot Club Quartet, in 1960 -, and fundamental figures in the national Jazz scene throughout the 1950s and 1960s, to record a double album of standards. “Just in Time” was released as a double CD, which also included a DVD, featuring 16 pieces, including jazz classics and standards from the 1950s. Paula Oliveira is currently one of the teaching musicians of the Luís Vilas Boas Jazz School, at Hot Club Portugal, in Lisbon.
She performed at various jazz festivals in the country, as well as in several venues abroad, including in Spain, Germany, Italy, Switzerland, Denmark, United States, Thailand, Indonesia, Angola, Mozambique and Guinea-Bissau.