MOACIR SANTOS - Coisas (2004) FLAC (tracks+.cue), lossless

Though Brazilian composer, arranger, and multi-instrumentalist Moacir Santos was born in 1926, he didn't release Coisas, his debut album, until 1965 for Universal Music in his home country. (He is best known -- if at all -- to Americans and Europeans for his three Blue Note recordings from the 1970s.) He led a colorful and -- at the beginning at least -- tragic life. Born in abject poverty and abandoned as a child, his mother died and his father abandoned him. As an orphan he was raised in an atmosphere of physical and psychological abuse. He began to learn music by tapping the various rhythms he heard around him with bare feet in the dirt, and later, as a runaway, from the sounds of ocean tides. The story would make a hell of a film: from learning with his first teacher, Paixão, to this record, all that experience -- and more -- is in these grooves, including his long-held fear of playing any instrument in front of others because he was ashamed he didn't play "right." But there is nothing raw or tragic about Coisas. It melds the various tonalities and flavors of creative jazz to the heart of Brazil's folkloric and emergent musical traditions. Colors, textures, spaces, and luxuriant rhythms and melodies all come to bear gently, strikingly, and subtly on these ten pieces. This was issued on the other side of the bossa nova revolution, when it had already been absorbed by the world. Santos took it a step further, melding it seamlessly into a lush harmonic system. Producer Roberto Quartin was essential to the task, hiring a slew of killer younger and veteran players including Baden Powell, Airto Moreira, Dori Caymmi, João Donato, Carlos Lyra, Roberto Menescal, Wilson DasNeves, Gabriel Bezerra, Geraldo Medeiros, and more, as strings, winds, and other horns are all wound around gorgeous melodies. Nothing is overblown. For Santos, bossa nova and samba had become folk music because of their popularity, expressions of previous history that needed to be transferred outward. But to do this so elegantly on a first recording is not only remarkable, it is profound. Go no further than the first track, "Coisa No. 4," followed by the brilliant and lyrical bossa in "Coisa No. 10." The blues feeling in "Coisa No. 2" is dressed with an Ellingtonian sense of harmony. "Coisa No. 6," with its samba rhythms meeting post-bop jazz, is gorgeous. The choro drama drawn out by the presence of cellos and rounded brass is simply exquisite. Hardcore aficionados of Brazilian music and fans of its lighter side (so prominent in the mid-'60s) as well as fans of sophisticated jazz will all find this gem -- overlooked by most outside of its native country, where it is hailed (rightly) as Santos' masterpiece -- to be completely irresistible. by Thom Jurek   
Tracklist :
1 Coisa N.4 4:01
Written-By – Moacir Santos
2 Coisa N. 10 3:06
Written-By – Moacir Santos
3 Coisa N. 5 2:45
Written-By – Moacir Santos
4 Coisa N. 3 3:00
Written-By – Moacir Santos
5 Coisa N. 2 4:55
Written-By – Moacir Santos
6 Coisa N. 9 3:08
Written-By – Moacir Santos, Regina Werneck
7 Coisa N. 6 3:22
Written-By – Moacir Santos
8 Coisa N. 7 (Quem É Que Não Chora?) 2:25
Written-By – Moacir Santos
9 Coisa N. 1 2:41
Written-By – Clovis Carmello De Mello, Moacir Santos
10 Coisa N. 8 (Navegação) 2:19
Written-By – Moacir Santos, Nei Lopes, Regina Werneck
Credits:
Alto Saxophone – Dulcilando Pereira (tracks: 1, 3, 4, 5, 7, 9), – Jorge Ferreira Da Silva (tracks: 2, 6, 8, 10)
Baritone Saxophone – Geraldo Medeiros (tracks: 1, 3, 4, 5, 7, 9), –  Moacir Santos (tracks: 2, 6, 8, 10)
Bass – Gabriel Bezerra
Bass Trombone – Armando Pallas (tracks: 1, 3, 4, 5, 7, 9)
Cello – Giorgio Bariola (tracks: 2, 6, 8, 10), Peter Dautsberg (tracks: 2, 6, 8, 10),  – Watson Clis (tracks: 2, 6, 8, 10)
Drums – Wilson das Neves
Flute – Nicolino Cópia (tracks: 1, 3, 4, 5, 7, 9)
Guitar – Geraldo Vespar
Percussion – Elias Ferreira
Piano, Organ – Chaim Lewak (tracks: 2, 6, 8, 10)
Tenor Saxophone – Luiz Bezerra (tracks: 1, 3, 4, 5, 7, 9)
Trombone – Edmundo Maciel (tracks: 1, 3, 4, 5, 7, 9)
Trumpet – João Gerônimo Menezes (tracks: 1, 3, 4, 5, 7, 9), Júlio Barbosa
Vibraphone – Claudio Das Neves (tracks: 1, 3, 4, 5, 7, 9)

VINICIUS CANTUÁRIA & BILL FRISELL - Lágrimas Mexicanas (2011) FLAC (tracks+.cue), lossless

Lágrimas Mexicana is a completely unique collection of songs that draws heavily from traditional Latin and Brazilian rhythms, and weds them to 21st century jazz improvisation and sonic effects in a luxuriant braid of colors, textures, styles, and languages. Having known one another for 25 years, Brazilian guitarist, songwriter, and percussionist Vinicius Cantuaria and American guitarist Bill Frisell have occasionally played on one another's albums. They have long sought the opportunity to collaborate on an album-length project. After Cantuaria moved to Brooklyn from Brazil, it presented itself. Arriving in New York, Cantuaria was deeply taken with the sheer diversity of the Spanish-speaking people and sounds he encountered on the streets, from Cubans, Dominicans, Puerto Ricans, Colombians, Venezuelans, and Mexicans; they drew him in, and his songwriter's instincts began to address what he'd heard. Here he plays acoustic guitar, percussion, and sings in his beautiful airy baritone. Frisell, who understood and orchestrated Cantuaria's vision, plays electric guitar and employs loops and efx that meld provocatively yet seamlessly with these songs. The various languages -- Spanish, Portuguese, and English -- concern themselves with the various manifestations of love, from spiritual to carnal to platonic. The opener, "Mi Declaracion," begins with organic and synthetic percussion; Frisell plays a nocturnal, breezy wah-wah funk line before the tune asserts itself as a present-to-future Mexican sonidero. Cantuaria's and Frisell's guitars meet and play off one another on the utterly haunting and lovely "Calle 7," that touches on both ranchera and norteño but is its own sleek, sexy (post-)modern animal. Afro-Colombian rhythms meet samba in the lilting ballad "Lágrimas de Amor," where Frisell's guitar loops itself to create a counter rhythm and elongate the elegant textural elements at work in the structure. The lyric is tender, the melody is heartbreakingly beautiful. "Aquela Mulher" brings together a nuevo cancion melody with Afro-Brazilian rhythms. The only tune that deviates from the Latin and Brazilian tapestry is the brief closing number "Forinfas," which melds early jazz and pop, but from Cantuaria's voice, it becomes something wholly other. Lágrimas Mexicana is an ambitious yet utterly accessible album that would have been just as at home on David Byrne's Luaka Bop label. It is at once warm, sexy, and visionary. It presents two different yet very complementary artists in a collaboration that borders on brilliant.  by Thom Jurek 
Tracklist
1 Mi Declaración 7:03
Vinicius Cantuária / Bill Frisell
2 Calle 7 5:03
Vinicius Cantuária / Bill Frisell
3 La Curva 2:34
Vinicius Cantuária / Bill Frisell
4 Lágrimas Mexicanas 4:35
Vinicius Cantuária / Bill Frisell
5 Lágrimas de Amor 5:00
Vinicius Cantuária / Bill Frisell
6 Cafezinho 1:37
Vinicius Cantuária / Bill Frisell
7 El Camino 3:31
Vinicius Cantuária / Bill Frisell
8 Aquela Mulher 5:10
Vinicius Cantuária / Bill Frisell
9 Briga de Namorados 4:40
Vinicius Cantuária / Bill Frisell
10 Forinfas 1:55
Vinicius Cantuária / Bill Frisell
Credits
Electric Guitar, Acoustic Guitar, Loops, Written-By – Bill Frisell
Vocals, Percussion, Acoustic Guitar, Written-By – Vinicius Cantuária

VINICIUS CANTUÁRIA & BILL FRISELL - Lágrimas Mexicanas

 (2011) eOne Music / FLAC (tracks+.cue), lossless

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