GATO BARBIERI with LONNIE LISTON SMITH — Bolivia (1973-2001) JAZZ! Series | FLAC (tracks+.cue), lossless

In 1973, Argentinean saxophonist Gato Barbieri contemplated a move to a more commercially viable, accessible sound, one that appealed to both North and South American audiences. He moved from the jazz vanguard toward it's exotic center (and finally into the commercial world altogether) with a number of records, including this one, which explored the various rhythms, melodies, and textures of Afro-Cuban and Latin American sounds. Bolivia features Barbieri immediately prior to his Impulse recordings that resulted in the celebrated four-chapter Latin America series. Utilizing the talents of musicians as diverse as guitarist John Abercrombie, pianist Lonnie Liston Smith, drummer and percussionists Airto Moreira, M'tume, Bernard "Pretty" Purdie, Gene Golden, and Moulay Ali Hafid, as well as bassists Stanley and J.F. Jenny Clark. Barbieri's musical reach is everywhere here. There's the bolero-like romp of "Merceditas," where his normally raw-toned, feeling-centered playing is kicked up a couple notches into a frenetic, emotional tidal wave, and the haunting "Bolivia," full of shimmering percussion and pianistic glissandi courtesy of Smith. Barbieri's loping, spare playing is reminiscent of Coltrane stating of the melodic frames in "India." There is also the melody of the traditional "Eclypse" wedded to a gorgeous, sensual Cuban son-like melody "Michellina" (for Barbieri's Italian born wife). The final two of the album's five tracks are based in Argentinean folk forms associated with the tango, but are less formal, more open, and modally charged. Setting both "Ninos" and "Vidala Triste" in minor keys with open modal themes, improvisation happens -- á la Ornette Coleman -- in the heart of the melody, despite the intricate nature and complex time and key changes inherent in both tunes. Ultimately, Bolivia is a sensual, musically adept, and groundbreaking recording, which offered Barbieri a chance to come in from the avant-garde before heading back to the fringes with the Latin America series. A fine effort that is finally getting the notoriety it deserves.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1 Merceditas 9:04
Composed By – Gato Barbieri
2 Eclypse / Michellina 6:21
 – Traditional
Composed By [Michellina] – Gato Barbieri
3 Bolivia 7:43
Composed By – Gato Barbieri
4 Ninos 7:11
Composed By – Gato Barbieri
5 Vidala Triste 5:30
Composed By – Gato Barbieri, Michelle Barbieri
Credits :
Acoustic Guitar – John Abercrombie (tracks: 4 to 6)
Bass – J.-F. Jenny-Clark (tracks: 1 to 3), Stanley Clarke (tracks: 2 to 4, 5, 6)
Drums – Pretty Purdie (tracks: 1)
Electric Guitar – John Abercrombie (tracks: 1)
Percussion – Airto Moreira, Gene Golden (tracks: 2), James M'tume (tracks: 1, 3 to 6), Moulay "Ali" Hafid (tracks: 5)
Piano, Electric Piano [Rhodes] – Lonnie Liston Smith
Tenor Saxophone, Flute, Vocals – Gato Barbieri

JOE FARRELL — Outback (1971) Three Version | RM | CTI Best Selection Series | CTI Records 40th Anniversary Edition Series | FLAC (tracks+.cue), lossless

Outback is the second and finest of Joe Farrell's dates for Creed Taylor's CTI label. Recorded in a quartet setting in 1970, with Elvin Jones, Chick Corea, and Brazilian percussionist Airto Moreira, Farrell pushes the envelope not only of his own previous jazz conceptualism, but CTI's envelope, as well. Outback is not a commercially oriented funk or fusion date, but an adventurous, spacy, tightrope-walking exercise between open-ended composition and improvisation. That said, there is plenty of soul in the playing. Four compositions, all arranged by Farrell, make up the album. The mysterious title track by John Scott opens the set. Staged in a series of minor-key signatures, Farrell primarily uses winds -- flutes and piccolos -- to weave a spellbinding series of ascending melodies over the extended, contrasting chord voicings by Corea. Jones skitters on his cymbals while playing the snare and tom-toms far more softly than his signature style usually attests. Airto rubs and shimmers on hand drums, going through the beat, climbing on top of it, and playing accents in tandem with Farrell in the solo sections. "Sound Down" is a bit more uptempo and features Farrell playing wonderfully on the soprano. Buster Williams lays down a short staccato bassline that keeps Jones' bass drum pumping. As Farrell moves from theme/variation/melody to improvisation, he brings in Corea, who vamps off the melody before offering a series of ostinati responses. Corea's "Bleeding Orchid" is a ballad played with augmented modes and continually shifting intervals, mapped beautifully by Williams' adherence to the changes, with a series of contrasting pizzicato fills. Farrell's trills and arpeggiatic exercises combine both jazz classicism and Middle Eastern folk music. On Farrell's "November 68th," he invokes John Coltrane's version of "My Favorite Things" as he digs deep into the tenor's middle register for a song-like voicing, played with a gorgeously bluesy sophistication. The other players rally around him and push his sonic flight to near manic intensity. Outback is a stunner, as inspired as anything -- and perhaps more so -- that Farrell ever recorded.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Canned Funk 7:20
Written-By [Uncredited] – Joe Farrell

2    Animal 9:55
Written-By [Uncredited] – Joe Farrell
3    Suite Martinique 9:03
Written-By [Uncredited] – Joe Farrell
4    Spoken Silence 7:43
Written-By [Uncredited] – Joe Farrell
Credits :
Bass – Herb Bushler
Congas, Percussion – Ray Mantilla
Drums – Jim Madison
Engineer – Rudy Van Gelder
Guitar – Joe Beck
Producer – Creed Taylor
Tenor Saxophone, Soprano Saxophone, Baritone Saxophone, Flute – Joe Farrell

SAMBALANÇO TRIO — Sambalanço Trio (1964-2000) FLAC (tracks) 24-32Hz

As the bossa nova style exited seven nascent years of development and entered into a post-pubescent stage full of confidence, the Sambalanço Trio hit the Brazilian music scene with a splash. Comprised of Cesar Camargo Mariano on piano, Humberto Clayber on bass, and future percussion superstar Airto Moreira on traps, the Sambalanço Trio had a sophisticated and multi-faceted sound, one that melded an aggressive, samba-school-on-parade sound with a subtler air, redolent of Antonio Carlos Jobim, João Gilberto, and even the Bill Evans Trio. For example, "Samblues" -- the opening track on the Sambalanço Trio's self-titled re-release -- combines Moreira's samba-derived partido alto rhythms with Mariano and Clayber's cool, blues-based melodies. On "Berimbau," traditional elements -- such as a Brazilian bagpipe intro and syncopated Capoeira rhythms -- are fused with a five-four melodic passage that sounds like a section from David Brubek's "Take Five." These two songs, along with the album as a whole, deftly illustrate how the Sambalanço Trio infused the soporific bossa nova scene of 1964 with much-needed doses of energetic rhythms, cutting-edge jazz voicings, and spontaneity. One of the only drawbacks to this release is its short length, but whatever the CD lacks in quantity of songs, the Sambalanço Trio more than makes up for it in their quality. John Vallier   
Tracklist :
1 – Samblues (César Camargo Mariano) 2:16
2 – Balanço Zona Sul (Tito Madi) 2:33
3 – O Morro não tem vez (Tom Jobim – Vinicius de Moraes) 3:45
4 – Nos e o Mar (Roberto Menescal – Ronaldo Boscoli) 2:19
5 – Homenagem a Clifford Brown (Dorimar) 2:44
6 – Berimbau (Baden Powell – Vinicius de Moraes) 3:57
7 – Jacqueline K (Heraldo Correia) 2:49
8 – Consolação (Baden Powell – Vinicius de Moraes) 2:38
9 – O Amor que Acabou (Chico Feitosa – Luiz F. Freire) 3:13
10 – Pra que Chorar (Baden Powell – Vinicius de Moraes) 2:30
11 – Marisa (Cesar Camargo Mariano) 3:04
12 – Sambinha (Humberto Clayber – Cesar Camargo Mariano) 2:12
Credits :
Contrabass – Humberto Clayber
Drums – Airto Moreira
Piano – Cesar Camargo Mariano

QUARTETO NOVO - Quarteto Novo (1967-2008) RM | Celebrate 50 Years Bossa Nova Series | Two Version | FLAC (image+.tracks+.cue), lossless

The sole album by the legendary Quarteto Novo was released by the Odeon label in 1967 and was accorded various coveted Brazilian artistic prizes, including the Troféu Roquette Pinto and the Troféu Imprensa. The band was made up of four now legendary Brazilian musicians: percussionist Airto Moreira; bassist, guitarist, and violinist Theo de Barros; guitarist, violinist, violist, and sometimes banjo player Heraldo do Monte (these three musicians all being members of the previous Trio Novo); and later arrival Hermeto Pascoal. Coming from the northeastern part of the nation, all of these men were intimately familiar with baião music, the danceable rhythmic style comprised of a syncopated 2/4 time signature that could be played on the double-skinned zabumba drum and harmonic and melodic structures written around a Lydian flat seventh scale; it is derived from the tuning of the pífano flute, which has a raised fourth and flattened seventh. The chord structure is based on a dominant seventh. And while the style is not well-known outside Brazil, it nonetheless influenced a host of popular songwriters in America, England, and Europe, who scored hits with tunes utilizing the style's elements. (A couple of examples are the Burt Bacharach tune "Do You Know the Way to San Jose?" and "Save the Last Dance for Me," written by Doc Pomus and Mort Schulman and recorded by the Drifters.) Quarteto Novo -- and their patron and songwriting collaborator Geraldo Vandré -- had a deep, some would say obsessional, interest in American bebop; combine them and you have something very special indeed. Though in many ways, these eight songs sound somewhat quaint to undisciplined in the 21st century, the opposite is actually quite true. This meld of styles and the deep interest in subtle yet innovative rhythmic interplay, counterpoint, and taut song structures are to this day quite revolutionary.
The soulfulness at the heart of this music is a far cry from the breeziness of bossa nova, and there are no lyrics. Instead, on tunes like "Fica Mal com Deus," a 12-string guitar, a nylon-string guitar, and the pífano flute of Pascoal all enter in a head line like a bop composition. Within a chorus, the flute moves to a different melody, guitars accent two different parts of the rhythm, and Airto allows timekeeping and rhythmic invention to flow toward the melody instead of framing its outside. The listener is completely caught up in the joy and drama of the tune -- this also goes for the much more intricate and haunting "Canto Geral," which begins much more slowly but quickly weaves a pair of melodic intricacies together and frames them with a samba feel, which is stretched and cast off as three voices wordlessly create a third melody in the middle as a bridge, followed by a minor seventh interlude that is utterly forlorn before the pastoral open country feel returns. Amazing! The set closes with the popping "Vim de Sant'Ana," where piano, double bass, nylon-string guitars, and Airto's percussion magic are woven inseparably with a contrapuntal Wes Montgomery swinging soul-styled melody. Over its five minutes the track changes considerably, moving from one mode to another with seamless transitions until the listener is left breathless by its end. This record is difficult to find at times, and keeps getting reissued on CD in small batches. Look for it. One can hear so many things in this music that deserve a place on the sacred shelf. One can think of producers like Creed Taylor and his original idea for CTI and know he heard this music; one can hear the very foundation of Egberto Gismonti's music inside this record; and it can also be credited with much of the killer '70s jazz and Brazilian fusions that occurred on records by everyone from Joe Farrell and Chick Corea to Gary Burton and Freddie Hubbard. And then there are those brilliant albums by Airto, Dom Um Romão, Flora Purim, and so many others that came directly from the sounds displayed here so generously and ingeniously. 
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <- 
Tracklist :
1.    O Ôvo 2:17
 Geraldo Vandré / Hermeto Pascoal 
2.    Fica Mal Com Deus 3:26
Geraldo Vandré 
3.    Canto Geral 3:45
 Geraldo Vandré / Hermeto Pascoal 
4.    Algodão 7:19
 Luiz Gonzaga / Zê Dantas
5.    Canta Maria 2:45
Geraldo Vandré 
6.    Síntese 2:37
Heraldo Do Monte
7.    Misturada 4:15
 Geraldo Vandré / Airto Moreira 
8.    Vim De Sant'Ana 5:09
 Theo de Barros 
Credits :
Acoustic Guitar – Heraldo Do Monte
Bass, Violão – Théo De Barros
Drums, Percussão – Airto Moreira
Flute – Hermeto Pascoal 

DEODATO — Prelude (1972) Four Version | Vinyl LP 24-48Hz | The Master Series | Blu-spec CD | CTI Supreme Collection – 1 Series | CTI Records 40th Anniversary | FLAC (tracks+.cue), lossless

Eumir Deodato de Almeida, also known as Eumir Deodato, is a Brazilian pianist, composer, record producer and arranger, primarily based in the jazz realm but who historically has been known for eclectic melding of big band and combo jazz with varied elements of rock/pop, R&B/funk, Brazilian/Latin, and symphonic or orchestral music.
Prior to Prelude, Eumir Deodato was primarily known, if at all, as a tasteful, lyrical, bossa nova-based sometime arranger for the likes of Antonio Carlos Jobim, Frank Sinatra, Wes Montgomery, and others. Enter Creed Taylor, who gave Deodato a chance to step out on his own as a pianist/leader, doing a few tunes of his own plus a healthy quota of CTI-patented jazz interpretations of classical pieces by Richard Strauss ("Also Sprach Zarathustra (2001)"), Debussy ("Prelude to the Afternoon of a Faun"), and bowdlerized Borodin ("Baubles, Bangles and Beads"). Well, "2001" -- a clever, up-tempo Latin-groove takeoff on the opening measures of Strauss' tone poem suddenly exploded and became an improbable hit single. In its wake, Prelude soared to number three on the pop LP charts, and Deodato was propelled out of the arranger-for-hire business. Though overshadowed by "2001," the other tracks also hold up well today, being mostly medium-tempo, sometimes lushly orchestrated, conga-accented affairs that provide velvety showcases for Deodato's lyrical electric piano solos. The record also made a temporary star out of John Tropea, whose electric guitar has a lot of rock & rolling zip and fire, and Hubert Laws, Stanley Clarke, and Marvin Stamm each get a little solo room too. This would be the biggest hit Deodato and CTI ever had, and though short on playing time (32 minutes), it still makes enjoyable listening. Richard S. Ginell
Tracklist :
1 Also Sprach Zarathustra 9:01
Arranged By, Adapted By – Eumir Deodato

Electric Bass [Solo] – Stanley Clarke
Electric Guitar [Solo] – John Tropea
Written-By – Richard Strauss
2 Spirit Of Summer 4:14
Guitar [Solo] – Jay Berliner
Written-By – E. Deodato 
3 Carly & Carole 3:41
Written-By – E. Deodato 
4 Baubles, Bangles And Beads 5:20
Electric Bass – Ron Carter
Electric Guitar [Solo] – John Tropea
Written-By – A. Borodin, G .Forrest, R. Wright 
5 Prelude To The Afternoon Of A Faun 5:13
Arranged By, Adapted By – Eumir Deodato
Flute [Solo] – Hubert Laws
Trumpet [Solo] – Marvin Stamm
Written-By – C. Debussy 
6 September 13 5:56
Electric Guitar [Solo] – John Tropea
Written-By – B. Cobham, E. Deodato
Credits :
Arranged By, Conductor,  Electric Piano, Piano – Eumir Deodato
Bass – Ron Carter
Cello – Charles McCracken, Harvey Shapiro, Seymour Barab
Congas – Ray Barretto
Drums – Billy Cobham
Electric Bass – Stanley Clarke
Electric Guitar – John Tropea
Engineer – Rudy Van Gelder
Flute – George Marge, Hubert Laws, Phil Bodner, Romeo Penque
French Horn – Jim Buffington, Peter Gordon
Guitar – Jay Berliner
Percussion – Airto
Producer – Creed Taylor
Trombone – Bill Watrous, Garnett Brown, George Strakey, Paul Faulise, Wayne Andre
Trumpet – Joe Shepley, John Frosk, Marky Markowitz, Marvin Stamm
Viola – Al Brown, Emanuel Vardi
Violin – David Nadien, Elliot Rosoff, Emanuel Green, Gene Orloff, Harry Lookofsky, Max Ellen, Paul Gershman 

AIRTO — Virgin Land (1974) Two Version | RM | I Love Kudu Series + Vynil LP 24-96Hz | FLAC (tracks+.cue), lossless

An all-star cast accompanies Brazilian percussion master Airto Moreira on this percolating collection of jazz fusion pieces. Produced by drummer extraordinaire Billy Cobham, the album locks into a steamy groove on Stanley Clarke's "Stanley's Tune" and never lets up. The Middle Eastern flavor of some of the melodies, Moreira and wife Flora Purim's unique vocalizations, and the use of unusual instrumentation on several cuts help make this recording a unique highlight of the electric fusion era. Standout soloists include Eddie Daniels on clarinet and guitarists David Amaro and Gabriel DeLorme, while bassist Clarke provides his usual stellar performance. Jim Newsom
Tracklist :
1    Stanley's Tune 4:31
Arranged, Written-By – Stanley Clarke
2    Musikana 7:03
Written-By – Gabriel DeLorme
3    Virgin Land 8:15
Written-By – Airto Moreira
4    Peasant Dance 3:30
Arranged, Written-By – Milcho Leviev
5    Lydian Riff 7:15
Arranged, Written-By – Milcho Leviev
6    Hot Sand 5:30
Written-By – Airto Moreira
7    I Don't Have To Do What I Don't Want To Do 3:16
Written-By – Airto Moreira, Gabriel DeLorme
Credits :
Airto Moreira - Vocals, Drums & Percussion 
Flora Purim - Vocals, Vocal special effects (2, 4, 5), Vocals, Percussion (6)
David Amaro - Guitar (1, 3), 12-String Guitar (2)
Gabriel DeLorme - Guitar (5-7) 
George Duke - Keyboards (1, 3)  Piano & Arp Synthesizer (6) 
Milcho Leviev - Keyboards (4, 5)
Stanley Clarke - Bass (1-3, 6), Alex Blake (4, 5, 7) 
George Marge - Oboe (4, 5), Piccolo Flute (4) 
Eddie Daniels - Clarinet (4, 5) 
Jane Taylor - Bassoon  (5) 
Kenny Ascher - Piano & Mellotron (7) 
Billy Cobham - Producer 

CHICK COREA — The Ultimate Adventure (2007) Two Version | APE (image+.cue), lossless + FLAC (tracks+.cue), lossless

For the second time in two years, Chick Corea has assembled a band to give aural illustration to the fantasy writings of L. Ron Hubbard. For those who have trouble with Hubbard and his teachings, this may be a red flag to avoid the record altogether. The Ultimate Adventure is a tale that draws on characters from the Arabian Nights -- there is an ad for the book in the back of the CD booklet. With that out of the way, one has to deal with the music entirely on its own terms. Corea has spent decades playing both electric and acoustic jazz. This is the first time since 1976's My Spanish Heart that he has woven his love of both so completely into a single album. There are more than a few echoes here that call upon the ghosts of the earliest Return to Forever band -- primarily in the gorgeous flute playing of Hubert Laws and Jorge Pardo, in the saxophone artistry of Tim Garland, the drumming of Steve Gadd, and the percussion wizardry of not only Airto Moreira, but also of Hossam Ramzy -- just to name a few of this album's players. But as always, it's Corea's compositions and playing that make or break any of his outings. This one is complex, knotty, and contains nuevo flamenco sketches and exotic melodic grooves and rhythms from "North Africa" and the Middle East. The second part of the opening suite "Three Ghouls" -- which makes it ghoul number two, apparently -- showcases Corea on the electric piano and electronic percussion with Laws playing soulful and slightly funky. His flute gets double-tracked as it floats above Moreira and bassist Carles Benavent. It's spacey, airy groove is intoxicating. It morphs into the knotty percussive and slightly "out" part three, where palmas -- handclapped rhythms -- by Corea, Gadd, and Benavent are contrasted to the dissonant acoustic piano and funky Rhodes woven side by side in counterpoint. This stands in contrast to the electric, short, fused-out, three-part suite entitled "Moseb the Executioner." The first part is a tangled mix up of Garland and Corea's Rhodes. It ends in a percussion orgy by Moreira and Ruben Dantas with palmas by the entire band. There are gorgeous melodic interludes in "North Africa" courtesy of Pardo and Corea. "Flight from Karoof" is simply a fusion gem. Ultimately, Ultimate Adventure works extremely well; it's inspired, takes chances, and is compositionally a small wonder. Above all, it sounds like Corea and his band had a ball making it. Recommended for fusion-heads.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
Three Ghouls    
1    Part 1    1:38
2    Part 2    4:01
3    Part 3    3:11
4    City Of Brass    6:39
5    Queen Tedmur    5:15
El Stephen    
6    Part 1    6:39
7    Part 2    1:47
8    King & Queen    6:06
Moseb The Executioner    
9    Part 1    1:39
10    Part 2    2:20
11    Part 3    1:55
12    North Africa    6:24
Flight From Karoof    
13    Part 1    6:12
14    Part 2    1:36
15    Planes Of Existence, Part 1    5:26
Arabian Nights    
16    Part 1    4:31
17    Part 2    2:38
18    Gods & Devils    2:16
19    Planes Of Existence, Part 2    2:50
Credits :
Acoustic Guitar, Guitar – Frank Gambale
Bass Clarinet, Tenor Saxophone – Tim Garland
Bass, Handclaps [Palmas] – Carlos Benavent
Drums – Tom Brechtlein, Vinnie Colaiuta
Drums, Handclaps [Palmas] – Steve Gadd
Flute – Hubert Laws
Flute [C-Flute], Soprano Saxophone, Handclaps [Palmas], Alto Flute – Jorge Pardo
Percussion – Hossam Ramzy
Percussion, Shaker, Voice – Airto Moreira
Percussion, Tambourine, Pandeiro, Handclaps [Palmas] – Rubem Dantas
Synthesizer, Percussion, Piano, Producer, Electric Piano [Fender Rhodes], Percussion [Electronic], Handclaps [Palmas] – Chick Corea

JIM HALL — ...Where Would I Be? (1971-1999) RM | FLAC (tracks+.cue), lossless

Although the rhythm section was more "modern" than he usually used (keyboardist Benny Aronov, bassist Malcolm Cecil, and Airto Moreira on drums and percussion), guitarist Jim Hall (who always had a harmonically advanced style anyway) has little difficulty adapting to the fresh setting. Highlights of the well-rounded CD reissue include Hall's "Simple Samba," "Baubles, Bangles and Beads," an unaccompanied "I Should Care," and Milton Nascimento's "Vera Cruz." Scott Yanow
Tracklist :
1 Simple Samba 4:18
Jim Hall
2 Where Would I Be? 5:11
Jane Herbert
3 Careful 4:54  
Jim Hall
4 Baubles, Bangles and Beads 3:26
Alexander Borodin / George Forrest / Robert Wright
5 Minotaur 8:08
Jim Hall
6 I Should Care 3:50
Sammy Cahn / Axel Stordahl / Paul Weston
7 Vera Cruz 3:55
Márcio Borges / Milton Nascimento
8 Goodbye, My Love 5:37  
Jane Herbert
Credits :
Bass – Malcolm Cecil
Drums – Airto Moreira
Guitar – Jim Hall
Piano – Benny Aronov

NILS LANDGREN FUNK UNIT — Paint It Blue 'A Tribute To Cannonball Adderley (1996) FLAC (image+.cue), lossless

One of trombonist Nils Landgren's early inspirations was Cannonball Adderley's group. Paint It Blue is dedicated to Adderley with Landgren performing five songs associated with the altoist plus seven originals that pay tribute to Cannonball's bands. Some of the music is in the soul-jazz vein while other tunes (particularly the originals) are more modern, even incorporating a little bit of rap in a couple places. Landgren is a fine trombonist (sometimes a little reminiscent of Wayne Henderson) and he manages to keep up with Michael and Randy Brecker, who in this situation are superior supportive soloists. Without merely copying the past, Landgren expands on the legacy of Adderley quite successfully. Scott Yanow
Tracklist :
1    Walk Tall 5:17
Written-By – Nat Adderley
2    You Dig 6:13
Written-By – Janson, Price, Landgren
3    Why Am I Treated So Bad 5:24
Written-By – R. Staples
4    Brother Nat 4:18
Written-By – Nils Landgren
5    Inside Straight 3:55
Written-By – Nat Adderley
6    Cannonball 6:08
Written-By – Svensson, Landgren
7    Mercy Mercy Mercy 4:16
Written-By – Joe Zawinul
8    Mother Fonk 4:16
Written-By – Nils Landgren
9    Primitivo 7:06
Written-By – Julian Adderley
10    After The Party 4:53
Written-By – Nils Landgren
11    Love All, Serve All 4:08
Written-By – Price, Landgren
12    Julian 5:49
Written-By – Nils Landgren
Credits :
Guest [Plus], Bass Clarinet, Arranged By – Steffen Schorn
Guest [Plus], Drums, Arranged By – Bernard Purdie (tracks: 2)
Guest [Plus], Percussion, Arranged By – Airto Moreira (tracks: 6, 8, 9, 11), Marcio Doctor
Guest [Plus], Tenor Saxophone, Arranged By – Michael Brecker (tracks: 2)
Guest [Plus], Trumpet, Arranged By – Till Brönner (tracks: 9)
Guest [Plus], Trumpet, Flugelhorn, Arranged By – Randy Brecker (tracks: 2, 5)
Painting – Rolf Rose
Performer [The Funk Unit], Electric Bass [Fender Bass], Arranged By – Lars Danielsson
Performer [The Funk Unit], Guitar, Arranged By – Henrik Janson
Performer [The Funk Unit], Keyboards, Arranged By – Esbjörn Svensson
Performer [The Funk Unit], Saxophone [Saxophones], Arranged By – Per "Ruskträsk" Johansson
Performer [The Funk Unit], Trombone, Trumpet, Arranged By – Nils Landgren
Performer [The Funk Unit], Vocals, Synthesizer, Arranged By – Magnum Coltrane Price
Voice [Sample] – Rev. Jesse Jackson (tracks: 1)
Voice [Samples] – Cannonball Adderley (tracks: 3, 5, 7)

ANNETTE PEACOCK — I'm the One (1972-2012) RM | FLAC (tracks+.cue), lossless

Tracklist :
1    I'm The One    8:45
 Written-By – Annette Peacock / Bob Ringe
2    7 Days    3:54
 Written-By – Annette Peacock / Bob Ringe
3    Pony    6:15
 Written-By – Annette Peacock
4    Been & Gone    2:20
 Written-By – Annette Peacock / Bob Ringe
5    Blood    2:00
 Written-By – Annette Peacock / Bob Ringe
6    One Way    6:12
 Written-By – Annette Peacock / Bob Ringe
7    Love Me Tender    3:45
 Written-By – Elvis Presley / Vera Matson
8    Gesture Without Plot    3:29
 Written-By – Annette Peacock / Bob Ringe
9    Did You Hear Me Mommy?    1:44
 Written-By – Annette Peacock / Bob Ringe
Credits :
Performer [Players, "The Team"], Bass – Glen Moore (tracks: 5), Stu Woods
Performer [Players, "The Team"], Composed By [Music & Words], Arranged By [Arranger], Vocals [Singer, Electric Vocals], Piano, Electric Piano, Synthesizer [Synthesizers], Vibraphone [Electric], Directed By [Direction], Liner Notes – Annette Peacock
Performer [Players, "The Team"], Drums – Laurence Cook (tracks: 8), Rick Morotta
Performer [Players, "The Team"], Guitar – Tom Cosgrove
Performer [Players, "The Team"], Organ – Michael Garson (tracks: 1, 6)
Performer [Players, "The Team"], Percussion – Airto Moreira, Barry Altschul, Dom Um Romão, Orestes Vilato
Performer [Players, "The Team"], Piano – Apache Bley (tracks: 9), Michael Garson (tracks: 1)
Performer [Players, "The Team"], Synthesizer, Piano – Paul Bley (tracks: 5, 8)
Performer [Players, "The Team"], Tenor Saxophone [Tenor] – Michael Moss

STEVE KUHN — The Early 70's (1971-2007) FLAC (tracks+.cue), lossless

This is the almost more about the other Jazz side of Steve Khun the vocalist, not the Pianist. When he plays piano, it is within the language of avant garde classical, and the presence of a string quartet affirms that soundscape, yet the Jeckyll to the Hyde of that is the singing is mellifluous, accompanied by gentle Electric piano. It is in the spirit of Michael Franks, and a delight in being so. In a long and distinguished career with some of jazz' s greats, this is his oddity. Yet for the most part, the unusual experiment works, I think for the most part that there is a nostalgia for early fusion, and this is the sleeper in that format. The best instrumental tracks on the lp are comparable with the Return to Forever tracks with no guitarist on them. The later Kuhn ECM albums embrace that early hard to post bop language and have him back in the piano seat without the vocal mike. Mark Harrington
Tracklist :
1    The Zoo (a.k.a. Pearlie's Swine)    5:29
Written-By – Steve Kuhn
2    Silver    4:38
Written-By – Steve Kuhn
3    Tomorrow's Son (a.k.a. Time To Go)    3:23
Written-By – Steve Kuhn
4    The Heat Of The Moment    1:56
Written-By – Steve Kuhn
5    Saharan (a.k.a. The Baby)    4:46
Written-By – Steve Kuhn
6    The Drinking Song (a.k.a. Hold Out Your Hand)    3:12
Written-By – Steve Kuhn
7    The Meaning Of Love    2:54
Written-By – Steve Kuhn
8    Remembering Tomorrow (a.k.a. Ulla)    4:22
Written-By – Steve Kuhn
9    A Change Of Face    3:34
Written-By – Steve Kuhn
10    Day Dreaming 2:59
Written-By – Aretha Franklin
11    Something Everywhere    4:47
Written-By – Steve Kuhn
12    Trance    4:41
Written-By – Steve Kuhn
13    Last Tango In Paris 2:37
Written-By – Gato Barbieri
14    Life's Backward Glance    3:06
Written-By – Steve Kuhn
Credits :
Acoustic Bass, Electric Bass – Ron Carter (tracks: 1 to 8)
Arranged By – Gary McFarland (tracks: 1 to 8), Steve Kuhn (tracks: 1 to 8)
Conductor – Gary McFarland (tracks: 1 to 8)
Drums – Billy Cobham (tracks: 1 to 8), Bruce Ditmas (tracks: 9 to 14)
Electric Bass – Steve Swallow (tracks: 9 to 14)
Electric Piano – Steve Kuhn
Percussion – Susan Evans (tracks: 9 to 14)
Percussion [Latin] – Airto Moreira (tracks: 1 to 8)
Piano – Steve Kuhn (tracks: 1 to 8)
Vocals – Steve Kuhn (tracks: 1 to 8, 14)

GROVER WASHINGTON , Jr. — All the King's Horses (1972) Two Version (1993, MCA Records – MCD 10930) + (2008, RM | Serie Verve Originals) FLAC (tracks+image+.cue), lossless

Grover Washington, Jr.'s sophomore date for Creed Taylor's Kud imprint was released in late 1972. Like its predecessor Inner City Blues, this session was produced by the label boss himself and was arranged and conducted by Bob James. Assembled for the date were large horn and string sections. The former contained stalwart talents like Detroit's Pepper Adams on baritone saxophone, and trumpeters Marvin Stamm and Ernie Royal. Other players on the session included what would become the heart of the CTI session crew: guitarists Cornell Dupree and Eric Gale, bassists Ron Carter and Gordon Edwards (who only appears on the opening cut), drummer Idris Muhammad (though Billy Cobham is also here), and percussionists like Airto Moreira and Ralph MacDonald. The real star of course is the soloist. Washington's debut, Inner City Blues, had done surprisingly well -- especially since it was a date originally intended for Hank Crawford who couldn't make the scene. This time out, both Taylor and James played to Washington's tremendous strengths as an emotional player whose melodic improvising referenced everything from Motown to Stax and Volt, from Ray Charles to early James Brown and the Fabulous Flames, to Donny Hathaway, who had an uncanny knack with current pop hits. James too was discovering his own strengths in this field as a pianist and really shines behind Washington on tracks like "Where Is the Love," (written by MacDonald, actually), and Bill Withers' "Lean on Me." Washington was equally versed on both tenor and alto, and possesses two very different tones on the horns. This gave James the opportunity to color the tunes with a rather startling array of colors, shades, and textures, making the two a wonderful team. Along with the aforementioned winners are the title track by Aretha Franklin with the slow, deep blue saxophone lines accompanied by hand percussion, a tight snare and hi-hat kit rhythm, and James ghostly chords on the Fender Rhodes. But the large backdrop of horns lends so much weight to the tune it almost breaks wide open. Then there's the gorgeous -- and radical-re-envisioning of "Body and Soul," as a montage illustrated wonderfully by James impressionistic strings and woodwinds underneath Washington's bluesy take on the melody. The standard "Lover Man" is reintroduced here and includes a new interlude written by James. Washington's playing on the tune is actually reminiscent of Crawford's in feel (during his time with Ray Charles), but Washington also evokes Ben Webster in the chances he takes improvising on his solo. As if all this weren't adventurous enough, the set closes with "Love Song 1700," an adaptation from a song by classical composer Henry Purcell. Here is the genius of James at work. His love for Purcell and classical composition of this era shows up throughout his career, but the way he orchestrates strings and winds behind Washington -- who could inject pure soul into even the dullest music of Lawrence Welk -- is provocative, lovely, and haunting, even in its more overblown moments. When All the King's Horses was originally released, it wasn't received as well as Inner City Blues had been the previous year. In retrospect, however, this set has assumed its proper place in Washington's catalog: as one of his more ambitious and expertly performed sessions.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist
1 No Tears, In The End 3:50
Ralph MacDonald / William Salter
2 All The King's Horses 3:49
Aretha Franklin
3 Where Is The Love 5:07
Ralph MacDonald / William Salter
4 Body And Soul (Montage) 3:05
Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
5 Lean On Me 4:25
Bill Withers
6 Lover Man 7:03
Jimmy Davis / Roger "Ram" Ramirez / Jimmy Sherman
7 Love Song 1700 4:50
Adapted By, Arranged By – Bob James
Drums – Billy Cobham
Written-By [Adapted From A Song By] – Henry Purcell
Credits :
Alto Saxophone, Flute, English Horn, Oboe, Recorder – George Marge
Electric Piano, Harpsichord, Arranged By, Conductor – Bob James
Baritone Saxophone – Arthur Clarke, Pepper Adams
Bass – Ron Carter
Cello – Charles McCracken, George Ricci
Congas – Ralph MacDonald
Drums – Bernard Purdie
Engineer – Rudy Van Gelder
Flute – Arthur Clarke
French Horn – Brooks Tillotson, Donald Corrado, Fred Klein, Ray Alonge
Guitar – Cornell Dupree, David Spinozza, Eric Gale, Gene Bertoncini
Harp – Margaret Ross
Organ – Richard Tee
Percussion – Airto Moreira
Producer – Creed Taylor
Tenor Saxophone, Alto Saxophone – Grover Washington, Jr.
Trombone – Paul Faulise, Tony Studd, Wayne Andre
Trumpet, Flugelhorn – Alan Rubin, Ernie Royal, John Frosk, Marky Markowitz, Marvin Stamm, Snooky Young
Viola – Emanuel Vardi, Richard Dickler
Violin – Alexander Cores, Bernard Eichen, David Nadien, Emanuel Green, Gene Orloff, Harold Kohon, Harry Lookofsky, Irving Spice, Joe Malin, John Pintaualle, Max Ellen, Paul Gershman

AL DI MEOLA — Cielo e Terra (1985) APE (image+.cue), lossless

Having grown a bit weary of playing loud fusion, Al DiMeola recorded a largely acoustic set on his debut for Manhattan. DiMeola, who augments his acoustic guitar with the orchestral Synclavier guitar, plays five unaccompanied solos and is joined on the other four numbers by percussionist Airto Moreira. Other than Keith Jarrett's "Coral," all of the moody selections are by the guitarist. An interesting, if not overly memorable, atmospheric set. Scott Yanow
 Tracklist :
1 Traces Of A Tear 7:57
2 Vertigo Shadow 3:16
3 Cielo E Terra 10:41
4 Enigma Of Desire 2:45
5 Atavism Of Twilight 5:16
6 Coral 3:23
Composed By – Keith Jarrett
7 When Your Gone 4:31
8 Etude 7:05
9 Solace 4:42
Credits :
Composed By, Producer, Acoustic Guitar, Guitar [Synclavier] – Al Di Meola
Percussion – Airto Moreira (tracks: 1, 3, 7, 9, 10)

FLORA PURIM — Stories to Tell (1974-1991) RM | FLAC (tracks+.cue), lossless

Though her recordings for Chick Corea's Return to Forever provide a better introduction to her vocal talents, Stories to Tell is an excellent outing by Flora Purim and friends. Assisted by a cast of jazz/fusion all-stars led by husband Airto Moreira, Purim shows off the wide range of her abilities: from wordless vocal soaring to songs with lyrics in English and Portuguese, from uptempo percussion-driven workouts to beautiful ballads. In addition to Airto, the assembled cast includes bassists Miroslav Vitous and Ron Carter, keyboard wunderkind George Duke, guitarists Earl Klugh and Oscar Castro-Neves, and trombonist Raul de Souza. Also, Carlos Santana turns in one of his patented sizzling guitar solos on "Silver Sword." With material from Antonio Carlos Jobim, Vitous, Milton Nascimento, McCoy Tyner, and Purim herself, this is an album worth savoring. Jim Newsom
Tracklist :
1    Stories To Tell 3:41
Bass, Synthesizer, Composed By, Arranged By – Miroslav Vitous
Composed By – Flora Purim
2    Search For Peace 5:53
Composed By – Flora Purim, McCoy Tyner
3    Casa Forte 3:55
Composed By – Edu Lobo
Trombone, Soloist – Raul De Souza
4    Insensatez 2:46
Composed By – Antonio Carlos Jobim, Vinicius De Moraes
5    Mountain Train 3:14
Composed By – Ernie Hood, Flora Purim
6    To Say Goodbye 4:03
Composed By – Edu Lobo, Lani Hall
Trombone, Soloist – Raul De Souza
7    Silver Sword 5:40
Lead Guitar – Carlos Santana
Synthesizer, Composed By, Arranged By – Miroslav Vitous
8    Vera Cruz (Empty Faces) 4:12
Composed By – Marcio Borges, Milton Nascimento
Trombone, Soloist – Raul De Souza
9    O Cantador / I Just Want To Be Here 6:45
Bass – Miroslav Vitous
Composed By [I Just Want To Be Here] – Airto, Flora Purim, George Duke, King Errisson, Miroslav Vitous
Composed By [O Cantador] – Dorival Caymmi, Nelson Motta
Credits :
Acoustic Guitar – Oscar Neves (pistas: 5, 8)
Arranged By – George Duke (pistas: 3, 8)
Arranged By [Flute] – Oscar Neves (pistas: 4, 6)
Arranged By [Strings] – Oscar Neves (pistas: 6)
Bass – Ron Carter (pistas: 2, 3, 8)
Congas – King Errisson
Drums, Percussion – Airto
Flugelhorn – Oscar Brashear (pistas: 3, 8)
Flute, Flute [Alto] – Hadley Caliman (pistas: 3, 8)
Guitar – Earl Klugh (pistas: 1 to 6, 8, 9), Oscar Neves (pistas: 4)
Keyboards, Synthesizer – George Duke
Lead Vocals – Flora Purim
Piano – Larry Dunlap (pistas: 5)
Trombone – George Bohanon (pistas: 3, 8)
Zither – Ernie Hood (pistas: 5)

HUBERT LAWS — Afro-Classic (1970-1988) RM | The Original CTI Recordings Digitally Remastered For Compact Disc | FLAC (image+.cue), lossless

Issued in 1970 as his second album for Creed Taylor's CTI label, Hubert Laws' Afro-Classic is a classic for the manner in which Laws, with brilliant assistance from arranger Don Sebesky, melded the jazz and classical worlds -- not to mention pop -- into a seamless whole. Laws was the first artist signed to Taylor's imprint. His debut for the label, Crying Song, won critical notice, but it was Afro-Classic that established a new role for the flute in contemporary jazz. Herbie Mann may have been the first, but Laws explored jazz and all the sound worlds that informed it -- especially in the electric domain -- with the kind of grace and innovative vision that made him a mainstay. Sebesky was deeply enamored of Laws' classical training, and his ability to swing -- check out his playing on Quincy Jones' "Killer Joe" for early evidence. The players assembled for the session included Bob James (himself classically trained and a graduate of the University of Michigan's music school) on electric piano, bassist Ron Carter, guitarist Gene Bertoncini, drummer Fred Waits, vibraphonist David Friedman, bassoonist Fred Alston, Jr., and percussionists Airto Moreira and Pablo Landrum. The program included James Taylor's hit "Fire and Rain," "Theme from Love Story" by Francis Lai, a pair of Bach pieces, including the stunning Passacaglia in C Minor, and Mozart's Flute Sonata in F. While the gentle version of "Fire and Rain" proves moving and subtle, and engages the ensemble as a chamber jazz group, it is with Bach's Allegro from Concerto No. 3 in D that the true revelation takes place. Sebesky arranges in a painterly manner, illustrating the tune with bassoon and vibes with Laws' flute floating through the melody. This is a chamber reading for the piece that not only maintains its integrity but showcases a different side that is revelatory. The liberties taken with the Passacaglia, however, are revolutionary, beginning with Carter's bass, slowly and purposefully illustrating the theme as James' Fender Rhodes enters in double "p." When Laws enters with the haunting, mournful melody, he does so with Bertoncini's guitar playing in muted tones followed by the electrified vibes of Friedman and then Alston's bassoon. Near the three-minute mark, Sebesky opens the arrangement for a vibes solo underscored by guitar and Rhodes, and at the five-minute mark the theme is restated. But it is no longer simply a classical tune; it begins to swing with Latin, blues, and jazz undertones. When Laws finally takes his solo, the tune simply grooves its way through to the end -- with subtle sound effects that Brian Eno would be envious of because he hadn't thought of them yet. It's stunning. The Mozart piece is pretty, but compared to what preceded it, it feels just a tad quaint. This album has been reissued on CD in Japan and from Mosaic Records, and in both cases its sound is warm and immediate.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1 Fire and Rain  7:58
James Taylor
2 Allegro  3:47  
Johann Sebastian Bach
3 Theme  7:32  
Francis Lai
4 Passacaglia  15:14
Johann Sebastian Bach
Cello [Electric] – Ron Carter
Flute [Electric] – Hubert Laws
5 Movement 1  3:17
Wolfgang Amadeus Mozart
Credits
Arranged By – Don Sebesky
Bass – Ron Carter
Bassoon – Fred Alston, Jr.
Drums – Fred Waits
Electric Piano – Bob James
Flute – Hubert Laws
Guitar – Gene Bertoncini
Percussion – Airto, Richie "Pablo" Landrum
Vibraphone – David Friedman

HUBERT LAWS - The Rite of Spring (1971-1987) RM / FLAC (tracks+.cue), lossless

Long before Wynton decided he could play classical chops as well as the real long-haired interpreters, even though he was a jazz musician, Hubert Laws and his partners at CTI gave it a run with a jazz twist, and for the most part with a far more adventurous repertoire. Unfortunately, the results were just about as thrilling as Wynton's, with a few notable exceptions. For whatever reason, flutist Hubert Laws, known for his soul-jazz deftness, decided to take on handful of classical texts with the help of Bob James on piano, harpsichord, and electric piano; bassist Ron Carter, who doubles on cello; and drummer Jack DeJohnette, along with percussionists Airto and David Friedman, a pair of classical guitarists, and a trio of bassoonists. The program ranges from Debussy's lovely "Syrinx" and Faure's "Pavane," to Stravinsky on the title cut and two movements of the third Brandberg Concerto by Bach. The problem with so much variation and ambition is that it's bound to get caught up somewhere. That catching place is in the articulation of the actual transcriptions. They are stiff, rigid, oddly intoned, and lackluster -- except in Debussy's "Syrinx," which is gorgeous throughout with its strange meter and lilting cadence. On the rest, the only place the tunes work is in the sections where the players engage in jazz improvisation upon the score, which is a swirling, engaging free-for-all of color, texture, and nuance. But since this happens so irregularly, the pieces just seem to grate on the listener. This is a brave but ultimately failed experiment.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1     Pavane 7:43
Gabriel Fauré
2     Rite of Spring 9:03
Igor Stravinsky
3     Syrinx 3:34
Claude Debussy
4     Brandenburg Concerto No. 3, First Movement 6:01
Johann Sebastian Bach
Guitar – Stuart Scharf
Bassoon – Jane Taylor
5     Brandenburg Concerto No. 3, Second Movement 4:27
Johann Sebastian Bach
Guitar – Stuart Scharf
Bassoon – Jane Taylor
Credits :
Bass – Ron Carter
Bassoon – Wally Kane
Drums – Jack DeJohnette
Flute – Hubert Laws
Guitar – Gene Bertoncini
Percussion – Airto Moreira
Piano, Electric Piano, Harpsichord [Electric] – Bob James
Producer – Creed Taylor
Vibraphone, Percussion – David Friedman

AIRTO ‎MOREIRA - Seeds On The Ground - The Natural Sound Of Airto (1971-1990) FLAC (tracks+.cue), lossless

Seeds On The Ground (1971) est le deuxième album solo du jazzman brésilien Airto Moreira, juste avant sa participation au Return To Forever de Chick Corea. On baigne typiquement dans l'atmosphère Jazz fin des années 60 / début 70 : Jazz Fusion, Free Jazz, Jazz teinté de rythmes exotiques. Le plus est apporté par les racines brésiliennes d'Arto Moreira via la Samba et les musiques Folkloriques Brésiliennes style Forro. Airto Moreira est accompagné par sa compagne, Flora Purim, au chant, et les excellents musiciens Hermeto Pascoal aux claviers e Ron Carter à la contrebasse. On note la présence de Sivuca. Mes plages préférées correspondent aux temps de l'album où le Jazz Fusion rencontre avec magie la Samba ("Juntos (We Love)"). Cet album "solo" et "débridé" d'Airto Moreira est souvent présenté comme une "récréation entre deux périodes, celle "Weather Report" et celle "Return to Forever". Seeds On The Ground est un très intéressant album de Jazz Fusion créatif et aventureux fortement teinté de musique latine sauce brésilienne, donc à découvrir. by Dominique Deret
Tracklist  
1 Andei (I Walked) 2:40
Bass – Ron Carter
Vocals, Percussion, Berimbau – Airto
Written-By, Harpsichord, Flute – Hermeto Pascoal
2 O Sonho (Moon Dreams) 7:45
Bass – Ron Carter
Drums, Percussion – Airto
Keyboards – Hermeto Pascoal
Vocals – Flora Purim
Written By – J. Livingston & R. Evans
3 Uri (Wind) 6:10
Accordion – Sivuca
Bass, Cello – Ron Carter
Flute [Bass], Acoustic Guitar [Violão], Voice, Written-By – Hermeto Pascoal
Viola – Severino De Oliveira
Vocals, Drums, Percussion, Voice – Airto
Vocals, Voice – Flora Purim
Voice, Written-By – Googie
4 Papo Furado (Jive Talking) 3:29
Acoustic Guitar [Caipira], Voice – Severino De Oliveira
Acoustic Guitar [Violão], Voice, Written-By – Hermeto Pascoal
Bass, Voice – Ron Carter
Percussion, Voice – Dom Um Romão
Vocals, Percussion, Voice – Airto
5 Juntos (We Love) 3:22
Bass – Ron Carter
Drums, Percussion – Airto
Flute [Bass], Piano, Written-By – Hermeto Pascoal
Organ – Severino De Oliveira
Percussion – Dom Um Romão
Written-By, Vocals – Flora Purim
6 O Galho Da Roseira (The Branches Of The Rose Tree) 7:54
Acoustic Guitar [Violão], Accordion – Severino De Oliveira
Bass – Ron Carter
Keyboards, Other [Japanese Sapho], Written-By – Hermeto Pascoal
Percussion – Dom Um Romão
Vocals – Flora Purim
7 O Galho Da Roseira (The Branches Of The Rose Tree) Part II 8:21
Acoustic Guitar [Violão], Accordion – Severino De Oliveira
Bass – Ron Carter
Keyboards, Other [Japanese Sapho], Written-By – Hermeto Pascoal
Percussion – Dom Um Romão
Vocals – Flora Purim

AIRTO MOREIRA - Free (1972-2003) RM / APE (image+.cue), lossless

The 1970s were banner years for Airto Moreira -- not only because of his association with Chick Corea's Return to Forever and his work on wife Flora Purim's Milestone dates, but also, because of the generally superb work he did under Creed Taylor's supervision at CTI from 1972-74. One of the five-star gems that the Brazilian percussionist recorded for CTI was Fingers, which employs Purim on percussion and vocals, David Amaro on guitar, Hugo Fattoruso on keyboards and harmonica, Jorge Fattoruso on drums and Ringo Thielmann on electric bass. Produced by Taylor and recorded at Rudy Van Gelder's famous New Jersey studio, this LP demonstrates just how exciting and creative 1970s fusion could be. When Moreira and his colleagues blend jazz with Brazilian music, rock and funk on such cuts as "Wind Chant," "Tombo in 7/4" and "Romance of Death," the results are consistently enriching. Fingers is an album to savor. by Alex Henderson
Tracklist :
1  Return to Forever - 10:17
(Chick Corea)
2 Flora's Song - 8:30
(Flora Purim)
3 Free - 11:50
(Airto Moreira)
4 Lucky Southern - 2:36
(Keith Jarrett)
5 Creek (Arroio) - 6:12
(Victor Brazil)
- Bonus Track -
6 So Tender - 5:01
(Keith Jarrett)
7 Jequié - 2:57
(Moacir Santos)
8 Creek (Arroio) (Altenate Version) - 9:23  
Personnel :
Airto - Percussion, Vocals
Hubert Laws - Flute
Joe Farrell - Soprano Saxophone, Alto Flute, Bass Flute, Piccolo
Chick Corea - Piano, Electric Piano
Keith Jarrett - Piano
Nelson Ayres - Electric Piano
George Benson - Guitar
Jay Berliner - Guitar
Ron Carter - Bass
Stanley Clarke - Electric Bass
Flora Purim - vocals
Burt Collins, Mel Davis, Alan Rubin - Trumpet, Flugelhorn
Wayne Andre, Garnett Brown, Joe Wallace - Trombone
Don Sebesky - Arranger

AIRTO MOREIRA - Fingers (1973-2002) RM / FLAC (tracks+.cue), lossless

The 1970s were banner years for Airto Moreira -- not only because of his association with Chick Corea's Return to Forever and his work on wife Flora Purim's Milestone dates, but also, because of the generally superb work he did under Creed Taylor's supervision at CTI from 1972-74. One of the five-star gems that the Brazilian percussionist recorded for CTI was Fingers, which employs Purim on percussion and vocals, David Amaro on guitar, Hugo Fattoruso on keyboards and harmonica, Jorge Fattoruso on drums and Ringo Thielmann on electric bass. Produced by Taylor and recorded at Rudy Van Gelder's famous New Jersey studio, this LP demonstrates just how exciting and creative 1970s fusion could be. When Moreira and his colleagues blend jazz with Brazilian music, rock and funk on such cuts as "Wind Chant," "Tombo in 7/4" and "Romance of Death," the results are consistently enriching. Fingers is an album to savor.  by Alex Henderson
Tracklist
1    Fingers (El Rada)    4:30
Ruben Rada / Eduardo Uzeta
2    Romanca Of Death    5:35
Hugo Fattoruso
3    Merry-Go-Round    2:40
Airto Moreira / Flora Purim
4    Wind Chant    5:45
Hugo Fattoruso
5    Parana    6:00
Hugo Fattoruso
6    San Francisco River    4:05
Flora Purim
7    Tombo In 7/4    6:20
Airto Moreira
Credits
Acoustic Guitar, Guitar [Electric], Guitar [12 String] – David Amaro
Bass, Vocals – Ringo Thielmann
Drums, Vocals – Jorge Fattoruso
Keyboards, Harmonica, Vocals – Hugo Fattoruso
Percussion, Drums, Vocals – Airto
Percussion, Vocals – Flora Purim

AIRTO MOREIRA - I'm Fine, How Are You? (1977-2002) RM / FLAC (tracks), lossless

Tracklist :
1    I'm Fine, How Are You? 5:14
Written-By – Moreira
2    Meni Devol 5:11
Written-By – Fattoruso, Rada
3    La Tumbadora 3:39
Written-By – Fattoruso, Rada
4    The Happy People 3:48
Written-By – Moreira
5    The Road Is Hard (But We're Going To Make It) 5:32
Written-By – Purim
6    La Cumbia De Anders 4:30
Written-By – Fattoruso, Rada
7    Celebration Suite 4:16
Written-By – Moreira
8    Nativity 6:57
Written-By – Moreira, Pastorius, McNabb
Credits :
Arranged By – Airto (faixas: 1, 4, 7), Flora (faixas: 5), Hugo Fattoruso
Backing Vocals – Airto (faixas: 4, 7), Aluizio (faixas: 4, 7), Ciruela (faixas: 4, 7), Diana (faixas: 4, 7), Flora (faixas: 4, 7), Hugo, Maria, Shirley (faixas: 4, 7), Sybil
Bass – Abraham Laboriel (faixas: 5), Byron Miller (faixas: 1 to 4, 6 to 8), Jaco Pastorius (faixas: 8)
Guitar – Charles (Icarus) Johnson, Oscar C Neves (faixas: 4, 7)
Keyboards – Hugo Fattoruso
Percussion – Airto, Laudir de Oliveira (faixas: 4, 7), Manolo Badrena (faixas: 3)
Saxophone, Flute – Tom Scott (faixas: 1, 5)
Trombone – Raul De Souza (faixas: 4, 7)
Vocals – Flora Purim (faixas: 5), Ruben Rada (faixas: 2, 3)