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BIOGRAFIA<\/p>\n
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Joaquim Fernandes Pina Alves , Kim Alves, nasceu na Praia a 3 de Novembro de 1966, filho de Jo\u00e3o Alves (nho Djonsinho) e de Maria Eduarda Correia Fernandes Alves (nha Santinha).<\/p>\n
O pai era pedreiro de profiss\u00e3o e nas horas vagas exercia barbearia e m\u00fasica, destacando-se como excelente violinista.<\/p>\n
Essa veia musical paterna levou a que este se engajasse na forma\u00e7\u00e3o musical dos seus futuros acompanhantes no seu conjunto de baile, ensinando a todos os seus filhos (machos) as lides musicais, pelo que o Kim, poder-se-\u00e0 dizer, nasceu numa casa onde a m\u00fasica tocada ao vivo era uma presen\u00e7a constante.<\/p>\n
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Todos come\u00e7avam no chocalho (duplo) feito com latas de leite condensado contendo sementes de \u201cespinho preto\u201d, progredindo para o cavaquinho e posteriormente para a viola 12 cordas, e, por fim, o viol\u00e3o, tudo isto com o fito de poderem acompanhar o pai, que tocava em bailes, funerais e cerim\u00f3nias oficiais, juntamente com Ces\u00e1rio e Manel Clarinete.<\/p>\n
Quanto ao Kim, os seus primeiros brinquedos foram c\u00f3pias artesanais de instrumentos (fabricados pelo irm\u00e3o mais velho Jo\u00e3o) e as suas brincadeiras eram musicais (organizavam \u201cconjunto de latas\u201d no terra\u00e7o da sua casa, fazendo \u201crabulisu riba k\u00e1za, ki ka ta kab\u00e2\u201d como atesta nha Santinha).<\/p>\n
A sua precis\u00e0o auditiva se revelou muito precocemente, pois mesmo antes de tocar os instrumentos de corda no grupo do pai, ele j\u00e1 era preferencialmente escolhido para afinar os cavaquinhos e viol\u00f5es dos tocadores do grupo, pois estes achavam que os instrumentos por ele afinados ficavam \u201cm\u00e1s s\u00e1bi\u201d.<\/p>\n
Aos seis anos de idade, Kim j\u00e1 tocava chocalho em bailes inteiros que terminavam, n\u00e3o raras vezes, em l\u00e1grimas provocadas pelo sono e pelo cansa\u00e7o bra\u00e7al.<\/p>\n
\u00d3bviamente, a seguir chegou a vez do cavaquinho, que aos sete anos j\u00e1 dominava, tocando bailes inteiros com o pai, e, segundo este, o Kim tocava cavaquinho \u201c ku xintidu d\u00e9ntu violon\u201d , pois tocava de olhos fixos no executante do viol\u00e3o, fazendo-o, por vezes, perder o andamento na palheta, aten\u00e7\u00e3o que era recobrada por meio da famosa \u201carcada\u201d na cabe\u00e7a. \u00c9 de salientar que a sua faceta de solista come\u00e7ou a revelar-se ainda no cavaquinho, onde j\u00e1 ensaiava solos de melodias populares.<\/p>\n
Em casa, e \u00e0s escondidas do pai, tentava reproduzir as habilidades que observava no viol\u00e3o, pelo que aos oito anos j\u00e1 participava nos bailes ao viol\u00e3o, tocado \u201c\u00e1s avessas\u201d pois o menino era, e ainda \u00e9, canhoto, mas mesmo assim j\u00e1 conseguia transpor simetricamente as a\u00e7\u00f5es observadas em tocadores dextros para o seu tocar esquerdino, tendo tamb\u00e9m aprendido a tocar a viola de 12 cordas. E foi nessa altura que foi presenteado com um violino de pl\u00e1stico, o seu primeiro violino.<\/p>\n
Aos nove anos, e ap\u00f3s muitas experi\u00eancias \u00e0s escondidas, em casa, com o violino do pai (ausente a trabalhar), ele recebeu a sua primeira li\u00e7\u00e3o de violino, na qual, para o espanto de todos em casa, ele conseguiu fazer tudo o que o pai lhe ia mostrando no outro violino.<\/p>\n
Aos dez anos come\u00e7ou a compor solos para viol\u00e3o, inspirado pelos solos de Lu\u00eds Rendall, Tazinho e Humbertona, tendo, por essa altura ganho o pr\u00e9mio de melhor instrumentista de cordas num concurso realizado na Praia, com os melhores m\u00fasicos de todo o Cabo-Verde\u00a0 na \u00e9poca. E isso, aos onze anos de idade.<\/p>\n
Diz o pai : \u201c ele tinha apet\u00eancia para o violino ou qualquer outro instrumento de corda, mas ele era do viol\u00e3o, era um solista nato e isto estava claro\u201d.<\/p>\n
Por tocar cavaquinho no conjunto da igreja, estreitou os la\u00e7os de amizade com o padre Constantino, e assim passou a \u201cfugir\u201d de casa (desaparecia de casa por algumas horas e voltava) para ir ter aulas de teoria musical e de teclados no semin\u00e1rio de S\u00e3o Jos\u00e9 com o mesmo.<\/p>\n
E foi assim o alicerce formativo musical do Kim Alves, um dos multi-instrumentistas mais completo e virtuoso que Cabo Verde j\u00e1 viu nascer.<\/p>\n
.\u201d<\/p>\n
A sua adolesc\u00eancia foi dividida entre os estudos e a m\u00fasica. Segundo os pais \u201cele n\u00e3o deu trabalho, chegava com boas notas e estudava s\u00f3zinho sem qualquer press\u00e3o externa\u201d, e houve at\u00e9 um certo atrito com o pai por n\u00e3o ter querido continuar os estudos acad\u00e9micos (\u201ccursar\u201d) e ter preferido abra\u00e7ar a m\u00fasica como modo de vida, facto que, a bem da verdade, j\u00e1 estava tra\u00e7ado pelos Deuses.<\/p>\n
Passava horas estudando os instrumentos em casa, e assim foi progredindo para al\u00e9m das fronteiras musicais dadas a conhecer em casa, pelo pai.<\/p>\n
Aos doze anos come\u00e7ou a musicar algumas poesias que escrevia, mas que tinha uma terr\u00edvel vergonha de mostrar aos outros e, incentivado por Antero Simas, que ficou muito agradado com uma composi\u00e7\u00e3o que o Kim lhe havia mostrado, o aconselhou vivamente a compor tamb\u00e9m l\u00edricamente.<\/p>\n
Aos treze anos come\u00e7aram as experi\u00eancias fora do grupo Pai & Filhos, fundando o grupo SODADE, juntamente com David Braz\u00e3o, Nhelas, Dany Carvalho e Z\u00e9 Rui de Pina.<\/p>\n
Aos quinze anos foi a segunda experi\u00eancia com a funda\u00e7\u00e3o do grupo VOZ D\u2019\u00c0FRICA, juntamente com Djedje de Mimizinha, Daniel Lobo, Manuel Lobo e Djodjo Alves (seu irm\u00e3o).<\/p>\n
Aos dezasseis anos foi convidado para tocar no conjunto ZECA SANTOS, onde s\u00f3 permaneceu por seis meses.<\/p>\n
Consolidado o dom\u00ednio das t\u00e9cnicas tradicionais, o Kim come\u00e7ou a explorar as m\u00fasicas do mundo, que ouvia e tentava reproduzir fielmente \u201ccom todos os pontos e v\u00edrgulas\u201d, como atesta o pr\u00f3prio.<\/p>\n
Ele ia \u00e0 casa do Tony Lima, que tinha o maior e mais diversificado acervo musical da Praia na \u00e9poca, para sentar, ouvir e gravar no gravadorzinho as m\u00fasicas que depois iria \u201ctirar\u201d calmamente em casa. E foi assim que o Kim \u201cconsumiu\u201d de tudo, desde m\u00fasica africana, sul-americana, norte-americana, \u00e1rabe, oriental, europeia, indo desde m\u00fasicas \u00e9tnicas at\u00e9 \u00e0 m\u00fasica moderna urbana, o que propiciou a sua multifacete\u00e7\u00e3o e versatilidade musicais.<\/p>\n
Tentava tirar \u201ctudo o que lhe aparecia pela frente, desde que fosse algo diferente e n\u00e3o dominado ainda\u201d, principalmente na guitarra e no violino, onde tamb\u00e9m tentava obter os efeitos sonoros e harm\u00f3nicos de outros instrumentos que ouvia, mas n\u00e3o conhecia, e mais tarde nos sintetizadores.<\/p>\n
Aos dezassete anos entrou, finalmente, naquela que seria a sua banda de refer\u00eancia e uma das maiores escolas de pr\u00e1tica de conjunto e de evolu\u00e7\u00e3o t\u00e9cnica musical jamais havida em Cabo Verde, o conjunto ABEL DJASSI, com o qual j\u00e1 colaborava clandestinamente, por proibi\u00e7\u00e3o do pai que n\u00e3o via com bons olhos os conjuntos, pois estes constitu\u00edam, na sua opini\u00e3o, um abrir das portas para a \u201c bandid\u00e9za ku m\u00e1u v\u00edcio\u201d.<\/p>\n
A sua capacidade musical fez dele o l\u00edder natural da banda, que se propunha (\u00e0 sua semelhan\u00e7a) a tocar de tudo e a executar com obsessiva perfei\u00e7\u00e3o todas as t\u00e9cnicas instrumentais escutadas nas cassetes e discos de vinil.<\/p>\n
A sua obsess\u00e3o pelo dom\u00ednio da sonoridade dos instrumentos que tocava (principalmente a guitarra e o violino) revelou-se desde cedo, pelo que passava horas a fio experimentando maneiras de produzir efeitos sonoros diferentes (tradutores fi\u00e9is da inten\u00e7\u00e0o emocional de uma frase mel\u00f3dica) com a mesma frase mel\u00f3dica, sem o recurso \u00e0 utiliza\u00e7\u00e0o de efeitos extra-instrumentais, sem se importar com as aprecia\u00e7\u00f5es dos colegas que o consideravam \u201cexagerado\u201d neste aspecto.<\/p>\n
O Abel Djassi, sob a lideran\u00e7a do Kim, constituiu-se no grupo musical com mais horas de ensaio e toque jamais havido em Cabo Verde, com as consequ\u00eancias da\u00ed decorrentes na forma\u00e7\u00e3o dos m\u00fasicos que dele faziam parte, sendo hoje todos eles nomes consagrados da m\u00fasica de Cabo Verde, tendo exercido influ\u00eancia musical determinante sobre v\u00e1rios conjuntos caboverdeanos, especialmente na di\u00e1spora, isto devido \u00e0s v\u00e1rias actua\u00e7\u00f5es realizadas no estrangeiro (URSS, Su\u00ed\u00e7a, Fran\u00e7a, Portugal, EUA, Senegal, Angola, S\u00e3o Tom\u00e9, etc), tendo tamb\u00e9m suportado pontualmente (com os seus m\u00fasicos) os mais importantes conjuntos nacionais da \u00e9poca, por ocasi\u00e3o de falta de elementos.<\/p>\n
Para al\u00e9m disso, o Abel Djassi, atrav\u00e9s do concurso \u201cTodo o mundo canta\u201d, propiciou o lan\u00e7amento de v\u00e1rios artistas solo de renome, tais como Jorge Neto, Jos\u00e9 Silva, S\u00e3ozinha Fonseca, Toni Marques, Pulonga Bita, Cal\u00fa Bana, M\u00e1rio L\u00facio etc.<\/p>\n
Mas o maior feito do Abel Djassi foi ter revolucionado o conceito harm\u00f3nico da m\u00fasica de Cabo verde, bem como o uso de timbres sonoros. Al\u00e9m disso, ainda hoje os seus ex-integrantes est\u00e3o espalhados pelas bandas mais significativas do pa\u00eds e s\u00e3o altamente requisitados para trabalhos de est\u00fadio, em virtude de suas qualidades t\u00e9cnicas.<\/p>\n
E \u00e9 nessa altura que, por conting\u00eancia cirtunstancial, o Kim come\u00e7ou a tocar teclados no conjunto, sendo que a sua coordena\u00e7\u00e3o motora e consequente proefici\u00eancia fizeram com que assumisse definitivamente os teclados do conjunto (pois ningu\u00e9m tocava como ele, executando v\u00e1rias fun\u00e7\u00f5es orquestrais simult\u00e2neamente), pelo que desde ent\u00e3o ele tem tocado teclados nos agrupamentos pelos\u00a0 quais tem passado, o que justifica o facto do grande p\u00fablico, principalmente os mais novos, o associar exclusivamente aos teclados,\u00a0 desconhecendo a sua verdadeira origem e paix\u00e3o instrumental- o viol\u00e3o e seus afins.<\/p>\n
Ap\u00f3s a extin\u00e7\u00e3o do Abel Djassi, Kim ingressa nos TUBAR\u00d5ES e mais tarde no FINA\u00c7ON, grupo no qual ele dirigiu musicalmente a feitura dos tr\u00eas \u00faltimos \u00e1lbuns.<\/p>\n
Em 1994 fixa resid\u00eancia nos EUA, onde \u00e9 imediatamente contratado para trabalhar como m\u00fasico de est\u00fadio -no PERFECT SOUND- (atestando o n\u00edvel musical que j\u00e1 tinha alcan\u00e7ado), come\u00e7ando a aprofundar os seus conhecimentos em engenharia sonora, ao mesmo tempo que se dedica \u00e0 aprendizagem do manejo de instrumentos musicais indispon\u00edveis em Cabo Verde (contrabaixo, violoncelo, flauta transversal, etc).<\/p>\n
E \u00e9 nesta fase que, ap\u00f3s um ac\u00famulo altamente significativo de experi\u00eancias em direc\u00e7\u00e0o musical, ele se lan\u00e7a definitivamente na carreira de produtor musical, produzindo m\u00fasicos Haitianos e Jamaicanos.<\/p>\n
Ap\u00f3s essa primeira experi\u00eancia de trabalho em est\u00fadio, junta-se a um Haitiano \u2013 Frantz Rolles- para montarem um est\u00fadio pr\u00f3prio de grava\u00e7\u00e0o ( o ROLL-IN-STUDIO) onde produziu v\u00e1rios artistas caboverdeanos, tais como Chandinho Ded\u00e9, Pulonga Bita, Zeca nha Reinalda, Z\u00e9 Rui de Pina, Pai&Filhos (Tributo), Heavy H, entre outros.<\/p>\n
Regressa a Cabo Verde em 1997, onde no per\u00edodo de um ano produziu Rabenta, X\u00e9ma L\u00f3pi, Cod\u00e9 di D\u00f3na e Min\u00f3 di mam\u00e1.<\/p>\n
Em 1998 passa a residir em Portugal onde, at\u00e9 2003, realizou 30 produ\u00e7\u00f5es musicais, destacando-se o Batatoon (1 e 2), Augusto Cego, Z\u00e9 Casimiro, Dj Bel\u00e9za, Carlos Burity, Justino Delgado, Rui Sangar\u00e1, Nanutu, Bana, Jorge Neto, Manel di Candinho, ATA Djudja, Bale Pena vol.1, entre outros.<\/p>\n
<\/p>\n
Em 2003 regressa definitivamente a Cabo Verde, montando o seu pr\u00f3prio est\u00fadio de grava\u00e7\u00e3o- o KMAGIC DIGITAL STUDIO-, com o prop\u00f3sito de franquear as portas da produ\u00e7\u00e3o musical aos talentos musicais nacionais que n\u00e3o t\u00eam a possibilidade (a grande maioria) de mobilizar os avultados recursos financeiros necess\u00e1rios para a grava\u00e7\u00e3o no exterior, tendo, at\u00e9 esta data, realizado 34 produ\u00e7\u00f5es musicais, destacando-se Pai&Filhos (Mim\u00f3ria), Meno Pexa, Chando Graciosa, M\u00e1rio L\u00facio, Z\u00e9 Rui de Pina, Crian\u00e7as di T\u00e9rra, P\u00f3 di T\u00e9rra, Heavy H, Djinho Barbosa, OB\u00c1, Nanutu, Mil\u00fa di Funan\u00e1, Aga Salobra (Boa Vista), Jo\u00e3o e Carlos (Nos Sintanton) ,entre outros,e, por fim, o seu pr\u00f3prio trabalho discogr\u00e1fico \u2013 DAN\u00c7A DAS ILHAS, realizado ap\u00f3s 36 anos de carreira musical.<\/p>\n
A 14 de Outubro de 2005 foi condecorado com o primeiro grau da medalha de m\u00e9rito, pelo primeiro ministro, Dr. Jos\u00e9 Maria Neves.<\/p>\n
A 24 de Mar\u00e7o de 2006 foi homenageado pelo Ministro da Cultura, Dr. Manuel Veiga, passando a fazer parte da galeria de honra dos homens de cultura de Cabo Verde, no pal\u00e1cio da cultura Ildo Lobo.<\/p>\n
A 05 de Julho de 2006 foi condecorado com a primeira classe da ordem do Vulc\u00e3o, pelo presidente da Rep\u00fablica, comandante Pedro Pires.<\/p>\n
Todas as condetra\u00e7\u00f5es foram por m\u00e9rito cultural no dom\u00ednio da m\u00fasica.<\/p>\n
\u00c9 de salientar que, desde a \u00e9poca do Abel Djassi, o Kim Alves foi o primeiro m\u00fasico caboverdeano a \u201cousar\u201d mexer (com propriedade) nos par\u00e2metros sonoros dos sintetizadores, a domin\u00e1-los e a configur\u00e1-los ao seu bel-prazer, criando novos timbres.<\/p>\n
E dessas experi\u00eancias nasceu o engenheiro de som, que nos EUA complementou seus estudos (como autodidata), tornando-se no mais experiente e ousado engenheiro de som caboverdeano da actualidade, que ousa introduzir m\u00e9todos pr\u00f3prios de capta\u00e7\u00e3o e mistura e \u00e9 o \u00fanico engenheiro caboverdeano a realizar masteriza\u00e7\u00f2es, apesar de n\u00e0o ser \u201cdiplomado\u201d oficialmente por uma escola.\u00a0 E como se isso n\u00e3o bastasse, ele tornou-se tamb\u00e9m, ap\u00f3s estas andan\u00e7as, num multi-instrumentista de n\u00edvel internacional, tocando com refinado virtuosismo os viol\u00f5es de 6, 10 e 12 cordas, o cavaquinho, o violino, o violoncelo, o contrabaixo, o baixo el\u00e9ctrico, a guitarra el\u00e9ctrica, a guitarra Portuguesa, a guitarra Havaiana, o bandolim, o banjo, o piano, os sintetizadores, a flauta transversal, o acorde\u00e3o, a harm\u00f3nica, o balafon, o kor\u00e1, a kalimba, o shimen (\u00cdndia), o koto (Jap\u00e3o), a bateria e percurss\u00f5es diversas, entre outros.<\/p>\n
E \u00e9 claro que estes atributos, aliados \u00e0 sua extrema sensibilidade musical interpessoal e ao seu \u00e0 vontade nas diversas linguagens musicais do mundo, fazem dele um produtor e director musical de rara qualidade, um orgulho para os caboverdeanos. Apesar da m\u00e1xima que afirma que \u201csanto de casa n\u00e3o faz milagres\u201d, seria caso para ripostar dizendo que este santo faz milagres em casa, sim senhor, ficando s\u00f3mente a casa por reconhecer os milagres do seu santo.<\/p>\n
KWAME GAMAL<\/p>\n
Joaquim Fernandes Pina Alves, Kim Alves, was born in Praia on November 3, 1966, the son of Jo\u00e3o Alves (known as Nho Djonsinho) and Maria Eduarda Correia Fernandes Alves (known as Nha Santinha).<\/p>\n
His father was a mason by profession and, in his spare time, practiced barbering and music, standing out as an excellent violinist. This paternal musical vein led him to engage in the musical training of his future accompanists in his dance group, teaching all his sons (males) the musical arts. Therefore, it can be said that Kim was born into a home where live music was a constant presence.<\/p>\n
Everyone began with a homemade double shaker, made from condensed milk cans containing \u201cblack thorn\u201d seeds, progressing to the cavaquinho (a small string instrument similar to a ukulele) and later to the twelve-string guitar, and finally the regular guitar, all with the aim of accompanying their father, who played at dances, funerals, and official ceremonies, along with Ces\u00e1rio and Manel Clarinete.<\/p>\n
As for Kim, his first toys were handmade copies of instruments (made by his older brother Jo\u00e3o), and his playtime involved music (organizing a “can band” on their terrace, making “racket on the house that never ended,” as Nha Santinha testifies). His auditory precision was revealed very early on, as even before playing string instruments in his father’s group, he was already preferred for tuning the cavaquinhos and guitars of the group’s players, who believed that instruments tuned by him sounded \u201csweeter.\u201dAt six years old, Kim was already playing the shaker at entire dances, which often ended with him in tears from sleep and arm fatigue. Naturally, the next step was the cavaquinho, which he mastered by age seven, playing entire dances with his father. According to his father, Kim played the cavaquinho “with a sense inside the guitar,” as he would play with his eyes fixed on the guitar player, occasionally causing him to lose rhythm, only to be refocused by a famous “tap” on the head. Notably, his talent as a soloist began to show on the cavaquinho, where he was already practicing solos of popular melodies.At home, and in secret from his father, he tried to reproduce the skills he observed on the guitar. By the age of eight, he was participating in dances on the guitar, playing “backwards” since he was, and still is, left-handed, but still managed to transpose observed actions of right-handed players into his left-handed play style. He also learned to play the twelve-string guitar. At this time, he received a plastic violin, his first violin.At nine, after many secret experiments at home with his father\u2019s violin (in his father\u2019s absence), he received his first violin lesson, in which, to everyone\u2019s amazement, he could perform everything his father showed him on the other violin.At ten, he began composing guitar solos inspired by the solos of Lu\u00eds Rendall, Tazinho, and Humbertona. Around this time, he won the prize for best string instrumentalist in a competition held in Praia with the best musicians from all over Cape Verde at the time. This was at the age of eleven.His father said, \u201cHe had a knack for the violin or any other string instrument, but he belonged to the guitar; he was a born soloist, and this was clear.\u201d<\/p>\n
Playing cavaquinho in the church group strengthened his friendship with Father Constantino, leading him to “sneak away” from home (disappearing for hours and then returning) to take music theory and keyboard lessons with Father Constantino at the S\u00e3o Jos\u00e9 Seminary. And so was the formative musical foundation of Kim Alves, one of the most complete and virtuosic multi-instrumentalists Cape Verde has ever seen.In his adolescence, he balanced his studies with music. According to his parents, \u201che didn\u2019t cause trouble; he came home with good grades and studied on his own without any external pressure.\u201d There was even some tension with his father because he didn\u2019t want to continue his academic studies and instead chose to embrace music as his way of life, a destiny that, in truth, was already ordained by the gods.He spent hours studying instruments at home, progressing beyond the musical boundaries introduced by his father. At twelve, he began setting some of his own poetry to music, although he was terribly shy about showing it to others. Encouraged by Antero Simas, who was pleased with a composition Kim showed him, he was advised to also compose lyrics.At thirteen, he started exploring outside his family\u2019s group, forming the group SODADE with David Braz\u00e3o, Nhelas, Dany Carvalho, and Z\u00e9 Rui de Pina. At fifteen, he founded his second group, VOZ D’\u00c0FRICA, with Djedje de Mimizinha, Daniel Lobo, Manuel Lobo, and Djodjo Alves (his brother). At sixteen, he was invited to play with the ZECA SANTOS group, where he stayed for only six months.Having mastered traditional techniques, Kim began exploring world music, listening to and trying to reproduce it faithfully “with all the dots and commas,” as he himself testifies. He would go to Tony Lima\u2019s house, which had the largest and most diverse music collection in Praia at the time, to listen and record the music on his small recorder, which he would later transcribe slowly at home. This is how Kim absorbed everything, from African, South American, North American, Arabic, Oriental, and European music, ranging from ethnic music to modern urban music, enhancing his multifaceted and versatile musical abilities.He tried to learn \u201ceverything that appeared before him as long as it was something different and not yet mastered,\u201d especially on guitar and violin, where he also attempted to reproduce the sound and harmonic effects of other instruments he heard but did not know, and later on synthesizers.At seventeen, he joined the band that would become his main reference and one of the greatest schools of ensemble practice and technical musical evolution ever seen in Cape Verde, the ABEL DJASSI ensemble, with whom he already collaborated clandestinely, against his father\u2019s wishes, who disapproved of bands, viewing them as a gateway to “bad company and vice.”His musical ability made him the natural leader of the band, which aimed (like him) to play everything and execute all instrumental techniques heard on cassettes and vinyl records with obsessive perfection.His obsession with mastering the sound of the instruments he played (mainly guitar and violin) manifested early, as he would spend hours experimenting with ways to produce different sound effects (true translations of the emotional intention of a melodic phrase) using the same phrase, without resorting to extra-instrumental effects, disregarding his colleagues’ opinions, who found him \u201cexcessive\u201d in this regard.<\/p>\n
Abel Djassi, under Kim’s leadership, became the musical group with the most hours of rehearsal and performance ever in Cape Verde, with significant impacts on the development of its musicians, who are now all prominent names in Cape Verdean music. It has also influenced many Cape Verdean bands, particularly in the diaspora, due to various performances abroad (USSR, Switzerland, France, Portugal, USA, Senegal, Angola, S\u00e3o Tom\u00e9, etc.), and its members occasionally supported prominent national ensembles.Furthermore, Abel Djassi launched several renowned solo artists, such as Jorge Neto, Jos\u00e9 Silva, S\u00e3ozinha Fonseca, Toni Marques, Pulonga Bita, Cal\u00fa Bana, M\u00e1rio L\u00facio, etc., through the \u201cEveryone Sings\u201d contest.One of Abel Djassi\u2019s greatest achievements was revolutionizing Cape Verdean music’s harmonic concept and sound timbres. Today, its former members are spread across significant bands in the country and are highly sought after for studio work due to their technical qualities.Due to circumstance, Kim began playing keyboards in the band, where his motor coordination and proficiency led him to permanently take on the keyboard role, as no one played like him, executing multiple orchestral functions simultaneously. Since then, he has played keyboards in all the groups he has joined, which explains why the public, especially younger people, associate him primarily with keyboards, unaware of his true origin and passion \u2013 the guitar and its variations.After Abel Djassi dissolved, Kim joined the TUBAR\u00d5ES and later FINA\u00c7ON, where he directed the musical creation of the last three albums.In 1994, he moved to the USA, where he was immediately hired as a studio musician at PERFECT SOUND, marking his musical level. Here, he began expanding his knowledge in sound engineering and learning to play musical instruments unavailable in Cape Verde (double bass, cello, flute, etc.).<\/p>\n
It was at this stage, after significant experience in musical direction, that he launched his career as a music producer, producing Haitian and Jamaican musicians.After this first studio experience, he partnered with a Haitian, Frantz Rolles, to open their own recording studio \u2013 the ROLL-IN-STUDIO \u2013 where he produced several Cape Verdean artists, such as Chandinho Ded\u00e9, Pulonga Bita, Zeca Nha Reinalda, Z\u00e9 Rui de Pina, Pai & Filhos (Tribute), Heavy H, among others.He returned to Cape Verde in 1997, producing Rabenta, X\u00e9ma L\u00f3pi, Cod\u00e9 di D\u00f3na, and Min\u00f3 di Mam\u00e1 over the course of a year.<\/p>\n
In 1998, he moved to Portugal, where he produced 30 musical projects until 2003, including Batatoon (1 and 2), Augusto Cego, Z\u00e9 Casimiro, DJ Bel\u00e9za, Carlos Burity, Justino Delgado, Rui Sangar\u00e1, Nanutu, Bana, Jorge Neto, Manel di Candinho, ATA Djudja, Bale Pena Vol.1, and more.In 2003, he returned permanently to Cape Verde, setting up his own recording studio \u2013 KMAGIC DIGITAL STUDIO \u2013 with the purpose of opening the doors of music production to local talents who, in most cases, do not have the financial means to record abroad. To date, he has completed 34 music productions, including works for Pai&Filhos (Mim\u00f3ria), Meno Pexa, Chando Graciosa, M\u00e1rio L\u00facio, Z\u00e9 Rui de Pina, Crian\u00e7as di T\u00e9rra, P\u00f3 di T\u00e9rra, Heavy H, Djinho Barbosa, OB\u00c1, Nanutu, Mil\u00fa di Funan\u00e1, Aga Salobra (Boa Vista), Jo\u00e3o e Carlos (Nos Sintanton), among others, and, finally, his own discographic work \u2013 DAN\u00c7A DAS ILHAS, completed after a 36-year musical career.On October 14, 2005, he was awarded the first degree of the merit medal by the Prime Minister, Dr. Jos\u00e9 Maria Neves.On March 24, 2006, he was honored by the Minister of Culture, Dr. Manuel Veiga, and was included in the hall of honor of the cultural figures of Cape Verde at the Ildo Lobo Cultural Palace.On July 5, 2006, he was awarded the first class of the Order of the Volcano by the President of the Republic, Commander Pedro Pires.All these honors were in recognition of his cultural merit in the field of music.It should be noted that, since the era of Abel Djassi, Kim Alves was the first Cape Verdean musician to \u201cdare\u201d to experiment with (skillfully) the sound parameters of synthesizers, mastering and configuring them as he pleased, creating new tones.From these experiments, the sound engineer emerged, who furthered his studies in the USA (as a self-taught learner), becoming the most experienced and daring Cape Verdean sound engineer of today, who dares to introduce his own recording and mixing methods and is the only Cape Verdean engineer to carry out mastering, despite not being \u201cofficially\u201d certified by any school.And as if that weren’t enough, he also became, through these ventures, an international-level multi-instrumentalist, playing with refined virtuosity the 6, 10, and 12-string guitars, the cavaquinho, violin, cello, double bass, electric bass, electric guitar, Portuguese guitar, Hawaiian guitar, mandolin, banjo, piano, synthesizers, transverse flute, accordion, harmonica, balafon, kor\u00e1, kalimba, shimen (India), koto (Japan), drums, and various percussion instruments, among others.These attributes, combined with his profound musical sensitivity and his ease with various musical languages worldwide, make him a rare quality producer and musical director, a pride for Cape Verdeans. Despite the saying that \u201ca prophet is not without honor except in his own country,\u201d it would be fitting to respond that this prophet indeed performs wonders at home, with only his homeland yet to fully acknowledge his miracles.<\/p>\n","protected":false},"excerpt":{"rendered":"
BIOGRAFIA Joaquim Fernandes Pina Alves , Kim Alves, nasceu na Praia a 3 de Novembro de 1966, filho de Jo\u00e3o Alves (nho Djonsinho) e de Maria Eduarda Correia Fernandes Alves (nha Santinha). O pai era pedreiro de profiss\u00e3o e nas horas vagas exercia barbearia e m\u00fasica, destacando-se como excelente violinista. Essa veia musical paterna … <\/p>\n