It is as bewildering as it is unfair to consider only some of the regions of a country as immense and culturally diverse as Brazil when we think about its immense musical heritage. A common trend that ends up distancing us from a vast universe that lies far beyond the usual southeastern soundscapes and deprives us of delicious surprises like the ones a scene as lively as Belém do Pará's has in store for us. The same that shaped Bernardo Pinheiro's talents and made him one of the most daring and versatile artists of his generation.
Growing up in a home filled with the essential stimuli to the maturing process that turns art lovers into makers, his talents ended up taking shape through practically all the aspects that make up the creation and dissemination of our rich musicality: selector, producer, promoter, protector, or whatever else was needed to fulfill those tasks. And each one of the expressions of his artistic will and vision are manifested in some way all over a career that extends itself for more than two decades, across Brazil and throughout the world.
From Baile Tropical, a project he created alongside Patricktør4 to promote the same Brazilian aural plurality that feeds his repertoire, to his interventions in classics by fellow countrymen such as Fafá de Belém, Leila Pinheiro and other renowned interpreters of Brazilian music such as Djavan, Emílio Santiago, Marcos Valle and Gonzaguinha, the main urge remains is the same: to work this opulent raw material in every possible way. This is what orients him through the rhythmic and geographic immensity of the country to transcend its borders, in an itinerancy that is guided by the mining of musical gems and driven by the desire to share his findings with the public.
This trajectory not only includes visits to the booths of Brasilian venues that are renowned bastions of revelry such as D-Edge, Trackers and Heavy House, as well as Santa Catarina's Don't Tell Mama, it also counts memorable performances at the stages of festivals as diverse as Se Rasgum and Vai Tapajós back in his homeland, Rec Beat in Recife, Mareh Music and Marisco in São Paulo, all the to Virada dos Lençóis in Maranhão and Rio, relentlessly criss-crossing the country. Moreover, this itinerary includes a variety of spaces such as legendary studios and record stores or any other of those special locations where our communion with music takes place, under any pretext or format.
This same drive is transferred unbroken to exquisite musical pieces that comprise a solid collection of authorial releases, gracing the catalog of labels such as Barefoot Beats, Cocada Music, Bongo Synth, Kampana Records, Too Slow to Disco, All About Disco and Midnight Riot. Each of these show his inventiveness shining brightly as he transposes from one universe to another, with both precision and devotion, the full notion of the dance floor and the vivid experience of dance ingrained in a career that has traveled the world while mutating through a range of genres that encompasses Drum & Bass to Disco and House and pretty much everything in between.
A journey that is quite eclectic , never erratic, for its steered by the type of artistic personality and maturity forged along a route that is itself punctuated by expressive moments including all kinds of creative intervention and festive invention: reenergizing classics and reinvigorating traditions, moving bodies and conjuring emotions, all done on and for the dancefloor.

Kendra Morris recalls singers who straddled soul and rock during the early '70s, such as Ruth Copeland and Chaka Khan, while her contemporaries include the likes of Mayer Hawthorne, Alice Russell, and Leela James. Morris's musical taste was developed through her parents' record collection, a library heavy on late-60s and early-70s soul and funk. During her childhood Morris's main companion was her karaoke machine, which she also used for the sake of recording. While enrolled in college in Tampa, FL, she became so involved in performing with bands that she decided to leave behind her studies and take on music full time. She took up the guitar, as well as songwriting, and eventually involved herself with a band, Pinktricity, which moved to New York in 2003 and split shortly thereafter. Morris took to recording songs on her own, and self-released a pair of EPs: This Won't Hurt a Bit (2007) and Milk and Cookies Never Lie (2008). Her first proper recording, a self-titled EP (2010), was recorded with producer and multi-instrumentalist Jeremy Page (of That Handsome Devil). After touring with legendary guitarist Dennis Coffey and releasing a series of singles which included "Concrete Waves," whose b-side was remixed by DJ Premier, Morris released the album Banshee (2012) on Wax Poetics. In 2013, Morris returned with the covers album Mockingbird.

Both Banshee and Mockingbird received critical acclaim and a cult following, with several film + tv placements. The title track "Banshee" was used prominently in the Showtime hit series Ray Donovan, while her cover of Pink Floyd's "Shine On You Crazy Diamond" found itself in the trailer for major motion picture Dead Man Down. 

In between extensive international touring and promotion for Banshee throughout 2013 and 2014, Morris worked on a small side project band with friends Scarlett Johansson, Julia Haltigan and Holly Miranda, releasing one single called "Candy."  After taking some time to write and record her follow up EP titled Babble, Kendra Morris returned with its release June of 2016 to great reviews. 2017 she has been releasing brand new tracks on a consistent basis and playing often. Keep your eyes peeled for new exciting things!

Extra Medium is a Bristol born producer that has been taking on the influences of the city’s underground music scene and fusing it with Jazz music. 

His love for Jazz and obscure sampling has led him to fuse the rolling sounds of drum and bass and the big shuffling energy of UK Garage. Creating a unique and big take on bass driven dance music. 


His take on dance music has led him to create his own record label Thick Boy Records. A record label dedicated to the sounds of UK Garage, House and Drum and bass whilst keeping thick, fresh and funky.

BOOKINGS: 
Mista Trick (DJ Set)
Mista Trick Collective (6 piece)
Swing & Bass Label Manager 
Mr.Fitz and Mista Trick (Cinematic Show)

Grab my discography here: https://www.mistatrick.com/shop

Create Music is a music tuition company based in Manchester UK. All tracks featured on this page are from our music syllabus.

JAM PIONEER
Maverick Producer, Arranger, DJ, Songwriter, Composer, Drummer, Percussionist, Audio Engineer, Remixer, Editor, Multi-Instrumentalist
(Jamming circa. 1983)
(DEEP HOUSE, HOUSE, NU-JAZZ, NU-FUNK, NU-DISCO)

Production & Remixing project enquires: 
deejaypiedpiper@gmail.com

An English judge had said so after the Jacobites’ great defeat at Culloden in 1746; a piper was a fighter like the rest, and his music was his weapon.

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