This choro was composed by Yamandu Costa as a tribute to one of his great friends : the guitarist and composer ALESSANDRO PENEZZI .
Yamandu recounts that "When the melody started to come together I felt like it reminded me of a guitarist that I love and have been a partner of for many years, Alessandro Penezzi ... This possibility that music gives us to try to compose within the language of another musician is very interesting "....And Yamandu continues saying ….
"The references of the honoree are clear but at the same time it is still my own composition. It would be a mix between my own personality and the one of my friend Alessandro “ .
In short, music may show us important things like the power of generosity and empathy.
I leave you with this hug to this incredible musician who leads our musical language to a very high level.
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Biographical notes: Alessandro Penezzi (1974) was raised in Bairro Alto in Piracicaba, a city in the interior of the State of São Paulo, in the midst of circles of samba singers, criers and serenaders.
Influenced by his maternal grandfather, Francisco Ernesto dos Santos, known as Chico Puvi, whose nickname is the name of a bird, due to his prowess on the mandolin and guitar, and also by his mother Vera, and his aunt Rosa, who always liked to play the guitar at family parties. family.
Alessandro Penezzi is the son of Walkir Pereira Penezzi (musician), and consequently grandson of Benedita Pereira Penezzi (Ditinha Penezzi - in memoriam), a historical figure from the city of Piracicaba.
At the age of 7, Alessandro Penezzi began studying guitar accompaniment near his home, with Dona Sílvia, and at the age of 9 he began studying the guitar using tablature with Carlos Coimbra and his son Coimbrinha. After some time, Coimbra, realizing that there was nothing more to teach the boy, appointed Classical Guitar teacher Sergio Napoleão Belluco. Alessandro, accompanied by his mother, omitted his age of 10, saying that he had turned 12, so he could study with the master who stipulated this age as the minimum for learning the instrument, as the previous year the master had already refused him.
His master Belluco, seeing his potential and ease, placed him as a member of his regional choro group Conjunto Som Brasileiro, as a soloist. Now, in addition to the Classical guitar, Alessandro was seriously studying the cavaquinho, the mandolin, of which he already had some knowledge, the tenor guitar and later the wind instruments. At that time, he memorized more than 400 choros.