Eduardo and his Brazilian Aeroplane is a band with a multi-national history and fame. Piloted by Eduardo Domingues de Jesus in São Paulo, Brazil, many years ago it was test-driven in Milan, where Eduardo supplemented his Fine Arts studies by singing classic bossa nova and jazz grooves. When love for technology brought Eduardo to Finland, he kept the playing going anyway, singing and reshaping his projects, crew and ideas. The band assumed a special form when the Aeroplane hired Anthony Johnson as co-pilot, taking to the air many times: working with different crews of great musicians. Anthony (“Toninho”) brought his talents as an arranger, a violinist and as a guitar player to the band, merging his British background with a deep love of Brazilian rhythms in order to produce fresh-sounding arrangements of works by artists as diverse as J. Karjalainen, Anna Hanski, Heikki Sarmanto and Bo Kasper.
The current band complements Eduardo and Toninho with a core of top-class players.
Eduardo got a long list of great people that supported his Aeroplane to get shine for its start as it arrived in Finland, time to time we update it here. In the early times in Finland of course one of them was Jyrki Kangas from Pori Jazz. Another one is Lasse Norres, a genuine friend for life as a Finnish friend normally is.
Eduardo originally created his “Brazilian Aeroplane” as a small Brazilian popular music and chorinho style in a part of São Paulo called Bixiga. When he went to study in Italy, he brought the idea of “travelling with music”, forming and reforming his band with the same name in every country he visited.
In Finland, besides a top class team of local musicians and passionate Brazilian music players, Eduardo met his “right arm” Anthony Johnson, also called “Toninho”, a renaissance man with many artistic talents (as well as being a professor at Oulu University).
Eduardo and Toninho rapidly became famous as a duo at the city of Turku, melting the Finnish ice to the sound of classic bossa nova with a stylish British accent. Returning from one of his trips to England, Anthony brought back a series of books about Brazilian percussion, CDs of Gilberto Gil, Caetano Veloso, Djavan, Milton Nascimento, João Bosco, Lobão and Rita Lee, and loads of other Brazilians.
Toninho then started to play his violin with the shadings of Brazilian nordeste music, Bahian melodies, adding here and there a twist of Pat Matheny, Irish folk music, sweet waves of the Beatles: blending them all into his own wonderful style. For his birthday, Eduardo gave Toninho a cavaquinho, the Brazilian four-stringed guitar, in the confidence that, in this way, he would get closer to the chorinho (Brazilian blues) tunes. Indeed, that was what Toninho did, but from the right door: the Portuguese fado. Although, however, Eduardo’s and Toninho’s work is a mosaic of massive cultural research, their project is much more focused on entertainment, leaving aside its intellectual labels in order to concentrate on popular enjoyment and their own fun with music.