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Emmanuel Alves Moreno (Salvador, October 30, 1947), artistic name Tutty Moreno, is a Brazilian Popular Music (MPB) drummer.

Tutty manifested an aptitude for music in his childhood, when he started playing the trumpet and then the alto sax, until he found his definitive instrument: the drums. He was 16 years old and began a career there, in which performances on historical MPB records and shows stand out; the production of six albums, including Nonada, nominated for the 2008 Latin Grammy in the Best Jazz Album category; and the partnership with Joyce Mor[1 ]eno in all albums and concerts made by the artist since they met and started to live together, in 1977. [2 ] [3 ]

Although he studied at the Music Seminar at the Federal University of Bahia (UFBA), he is self-taught on his instrument, which is why he abandoned the woodwind after discovering the work of Edison Machado, the inventor of samba on the drum plate. His first job as a professional took place in the 60s, when he was hired by TV Itapoã (BA) to join the Carlos Lacerda Trio, a period in which he also participated in Perna's Trio, with Perna Fróes and Moacir Albuquerque, and in Orquestra Avanço.

-- Tropicália and MPB --

In 1970, he went to London and started playing in the bands of Caetano Veloso and Gilberto Gil, signing the drums on the albums Transa (album), by Caetano, and Live in London '71, a concert by Gil and Gal Costa recorded live. Back in Brazil two years later, Tutty Moreno performed on other albums considered to be Tropicália milestones, such as Expresso 2222, by Gil; Araçá Azul, by Caetano; Sing, by Gal; and Jards Macalé (1972 album), by Jards Macalé with Lanny Gordin; and MPB, such as Sinal Fechado, by Chico Buarque; Caetano and Chico Together and Live; and Drama, Alibi, Mel and Nosso Momentos, all by Maria Bethânia, to name a few examples.[1]

In 1973, when her first daughter, Kadi, was born, she moved to São Paulo and joined the Lanny Gordin Trio, which performed in nightclubs. The following year he began a new stage, now in the United States, working in Los Angeles and in the jazz circuit of New York with musicians such as pianists Guilherme Vergueiro and Larry Willis, and bass players Walter Booker and Frank Clayton. [1] In 1977, upon meeting Joyce, who was doing a season of shows in New York, he returned with her to Rio de Janeiro.[3]

With Joyce Moreno, he had his second daughter, and imprinted his drumming style on the dozens of albums and concerts that she would do from the release of Feminina (album), in 1980. In addition to the presentations in Brazil, this schedule includes annual tours in Europe, Japan, the United States and Canada.

At the same time, Tutty Moreno continued to participate in presentations and recordings by other artists, including Milton Nascimento, Elizeth Cardoso, Alcione (singer) and Maria Bethânia; and instrumental records with different musicians, including clarinetist Paulo Sergio Santos, flutist and saxophonist Teco Cardoso and pianist, arranger and composer Mozar Terra.

-- Instrumental production --

In the 1990s, he also joined the band Quarteto Livre, which produced, in 1996, the album Pra Que Mentir? In the same year, the drummer released, through the English label Far Out Recordings, Tocando, Sentindo, Suando - Tutty Moreno & Friends, in which he included his own composition Piancó. The work has the participation and co-production of Joyce and was re-released ten years later, renamed with the name of one of the artist's songs, called Mágica. [3]

In 1998, the artist presented the album Forças D'Alma, with the Tutty Moreno Quarteto, composed by the then young pianist André Mehmari; saxophonist, clarinetist and arranger Nailor Proveta and bassist and music producer Rodolfo Stroeter. The disc stood out for its new drumming, melodic and harmonic language, and was hailed by specialized critics as one of the most important instrumental releases of the year.

In the United States, JazzTimes magazine highlighted in the opening of its review of the disc: “If you weren't informed that this is a Brazilian jazz album, played by a Brazilian drummer, you would never guess. No free bossa nova to-tap-tap-tap beats, no screeching percussion. Rather, it is a collection of profound jazz reworkings, in the best late 20th century sense, of a handful of tunes representing some of Brazil's most interesting and complex composers. [1]

-- 2000's --

The next CD would come almost ten years later. Although the partnership was permanent since they met, Tutty and Joyce only released their first work together in 2007, through Far Out Recordings. Samba Jazz & Outra Bossas was conceived to commemorate the couple's 30 years of marriage and honor the idols who, in their youth, were decisive in their musical development. In the booklet for the album, released in Brazil in 2011 through Biscoito Fino, they declare their love for bossa nova, jazz, samba and "all creative music". [5]

A year later, the Forças D'Alma quartet got together again, called Teco Cardoso, and produced Nonada, whose repertoire brings together compositions by big names in MPB. Nominated for Best Jazz Album at the 2008 Latin Grammy, "Nonada represents the quality of the instrumentalists who build Brazilian music at the present time, with their feet planted in our matrices, but extrapolating with total freedom the new possibilities", points out the presentation text of the work on the Museu da Imagem e do Som website. [2]