Bassist, percussionist, author, composer
Photo credit: ©Adrien Quevauviller
Marat da Conceiçao Araujo was born in 1951 in Rio de Janeiro. He learned the guitar purely self-taught, one day coming across a newspaper article which published a French song "Le bruit des vagues" with lyrics and written chords, he was 13-14 years old and this score was a trigger for him. So he learned the guitar at the age of 15, singing with a group of friends. He started listening to songs on the radio, picking up the harmonies and getting more and more interested in the bass lines. A drummer friend invited him to join his band as a bass player, and Marat inherited a home-made bass left in the club, an instrument he didn't know existed. He played in this club in the port area, which is not very well known, with experienced musicians. These will be his classes, undoubtedly the best he coud have because he will be nicknamed "the leaf" (after the “ear”) after his listening ability.
In 1974, he was part of the filming of Pierre Richard's film, Le retour du Grand Blond, in which he played percussion in the orchestra in the swimming pool scene... He left Brazil in 1977 for a tour in Asia (Thailand, Singapore, Malaysia, Indonesia, Taiwan, Formosa, via Hong Kong) where he played in hotels. Marat then went on to perform European tours in France, Switzerland, Austria, Germany, Finland and Monaco, arriving in Brussels in 1979, the capital's millennium year. He joined Steve Kalenga's Black Blood in 1980 (with the success of the song Ayê Amwana) with whom he toured extensively. Marat has formed several bands such as Novo Tempo, Bye Bye Brasil with Yvan Paduart, Sjoerd Mentens, Thierry Gutman, Jenny Opazo, Zebra Pad, Jôgo de Cintura Kescekecekeça !?) and played with Paulo Rocha's Quarteto Som Brasil with Nivaldo Puppo and Ferial Karamat Ali, then Batukeria, Batukeaki.... He has also participated in several album recordings, including the CD Verde Mais by Flávio Dell'Isola and e DVD by Osman Martins Samba da Candeia at the Molière Theatre. He accompanied Belgian musicians such as Stéphane Martini, Yvan Paduart, Anne Wolf... In 1990, he took part in album recordings, including Natacha l'hôtesse de l'air, Waltery's Mambo in Buenos Aires, with Toots Thielemans, Charles Loos, Stephane Martini, Michel Her, Michel Hadzigiorgiou, Steve Houben, and all the cream of Belgian jazz, as well as concerts with Raúl de Souza, Flavio Dell'Isola and Bruno Castelucci. Marat also took part in tours of Brasil Tropical and Copa Rio in the 1990s.
In the 2000s, Marat continues to play in various groups such as the Goiabada Jazz Quartet with Victor da Costa (guitar), Claudio Rocha (saxophone) and Augusto Rêgo (percussion), the Nordeste music group, Pau Xêroso, with Dioni Costa (vocals), Augusto Rêgo (percussion) and Maurice Blanchy (accordion), Pedro Moura's Soul do Rio Band. He recorded his second album with a French song he wrote and composed.
In 2010-2015, he continued to play in the bands of the 2000s and joins Cintia Rodriguez's quartet, with Sergio Valente (piano) and Toni Reina (drums), the Onda 7 Group, with Martin de Marnefffe and Berny Hoste, and the blues band The Dudes with Stephane Dutillieu. These groups perform in particular on various stages in Brussels and, at the occasions of encounters, Philippe Quevauviller invited some of them to participate in the Bossa For programme in the years 2011-2014. Marat joined the Bossa Flor project in 2013, participating in all the Sextet's concerts since then, and in the group's two albums, "Rencontres en bossa - De Jobim à Barouh" (2018) and "Feminino" (2019).