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restaurants. Perera paid his dues in New York for a couple of years before he was recruited by a talent scout to entertain at an exclusive private club in
Florida. There he finally was allowed to perform his own compositions and further develop his distinctive style, having applied the musical influences of Weather Report and
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About the time Perera started playing the harp, the
Beatles were in their heyday. The young musician absorbed their music as well as other pop music influences into his musical muse, which included Brazilian music, folk and tango from South America, and the folk music from Paraguay. Unable to find an
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styles. Born in 1952 in
Montevideo, the capital city of Uruguay, Perera was barely 12 years old when his mother enrolled him in a music conservatory where he selected the rare 36-string Paraguayan harp. Perera's complex technique includes precisely bending the strings to create sharps and flats while
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In 1973, after completing ten years of harp studies in
Montevideo, Perera moved to New York City with hopes of pursuing a top-notch music career. At first, his experience was not the American dream he had imagined, as his performances were limited primarily to playing folk tunes at clubs and
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Folk harp journal 1982 36-39 - Page 27 "Roberto Perera was born in 1952 in
Montevideo, Uruguay. As a growing boy, he enjoyed listening to many of the American popular songs, as well as the ever-popular Beatles. At age twelve, his mother, noting his keen interest in music,
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in 1990, Perera had earned a reputation as one of the pioneers in electro-acoustic harp performance. His five albums for Heads Up infused the jazz-pop idiom with a wide range of multicultural flavorings, punctuated with guest performances by
Trinidadian steel drummer
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instructor who could teach him how to perform a pop music repertoire on the harp, he experimented until he was able to overcome the instrument's technical hurdles and develop his own form of expression.
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include "Joia" and "Six A.M." A different approach is taken on "Coming Home," written by Perera in the style
Paraguayan folk music but adapted to the contemporary jazz idiom for In the Mood.
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gliding across the harp in a seemingly effortless fashion, which bespeaks the tremendous amount of skill and discipline required.
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magazine reader's poll. He guested on numerous recordings including D'Rivera's
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Contemporary Latin Jazz Album of the Year award for his second Heads Up album,
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