PAUL DESMOND - Skylark (1973-2003) RM / FLAC (image+.cue), lossless

Moving over to the CTI label with Creed Taylor, Paul Desmond injects a bit of the 1970s into his sound, obtaining agreeable if not totally simpatico results. Here, the cool altoist is teamed with the progressive-slanted drumming of Jack DeJohnette (who might have been too busy a drummer for his taste), and Bob James' electric and acoustic pianos, with Ron Carter as the bass anchor, Gene Bertoncini on rhythm guitar, and, most interestingly, another individualist, Gabor Szabo, on solo electric guitar. For the first and only time, even taking into account the most inspired moments of Jim Hall, Desmond is not the most interesting soloist on his own record, for it is Szabo who most consistently draws you in with his mesmerizing incantations over vamps from the rhythm section. For those who missed it the first time, Desmond remakes "Take Ten" -- without the Middle Eastern elements -- "Romance de Amor" is eventually dominated by Szabo, and the inclusion of "Was a Sunny Day" proves that Desmond's involvement with the music of Paul Simon in 1970 was not a passing infatuation. Don Sebesky is credited with the "arrangements" but his orchestrating hand is not felt except for a single solo cello (George Ricci) in an adaptation of Purcell ("Music for a While"). It's a cautious change of pace for Desmond, although the fiercer context into which he was placed doesn't really fire his imagination. by Richard S. Ginell  
Tracklist:
1 Take Ten 6:08
Paul Desmond
2 Romance de Amor 9:40
Traditional
3 Was a Sunny Day 4:52
Paul Simon
4 Music for a While 6:45
Henry Purcell
5 Skylark 5:21
Hoagy Carmichael / Johnny Mercer
6 Indian Summer 4:00
Al Dubin / Victor Herbert
7 Music for a While 5:56
Henry Purcell
8 Skylark 5:39
Hoagy Carmichael / Johnny Mercer
9 Indian Summer 5:27
Al Dubin / Victor Herbert
Credits:
Alto Saxophone – Paul Desmond
Arranged By, Supervised By – Don Sebesky
Bass – Ron Carter
Cello – George Ricci
Drums – Jack DeJohnette
Engineer – Rudy Van Gelder
Guitar – Gene Bertoncini
Guitar, Soloist [All Solos] – Gabor Szabo
Percussion – Ralph MacDonald
Piano, Electric Piano – Bob James
Producer – Creed Taylor

CHICO PINHEIRO & ANTHONY WILSON - Nova (2007) Mp3

BADEN POWELL & VINÍCIUS DE MORAES - Os Afro-Sambas de Baden e Vinícius (1966) FLAC (image+.cue), lossless

DON SALVADOR TRIO - Don Salvador Trio (1965) Lp / FLAC (tracks), lossless

ROSA PASSOS - Pano Pra Manga (1996) FLAC (tracks+.cue), lossless

The fourth solo album by Rosa Passos, this release has her splendid little, delicate, and swinging voice joined on a track by Chico Buarque and on another by Ivan Lins ("Abajur lilás," written by Passos , Ivan, and Fernando de Oliveira). Almost all the tunes are sambas, ranging from the lyrical to mid-tempo. On this album, she covers mostly her own compositions, after having recorded Curare, where she interpreted great classics. The band is excellent, with some musicians from Chico Buarque's own supporting group. by Alvaro Neder
Tracklist:
1 Verão 4:18
Rosa Passos
2 Samba Com Pressa 2:32
Rosa Passos
3 Com Açúar, Com Afeto 04:14
Chico Buarque feat: Chico Buarque
4 Amorosa 3:28
Rosa Passos
5 Pano Pra Manga 4:09
Rosa Passos
6 Gesto 4:04
Rosa Passos
7 Abajur Lilás 4:14
Ivan Lins / Rosa Passos feat: Ivan Lins
8 Chovendo Na Roseira 3:34
Antônio Carlos Jobim
9 E Luxo Só 4:28
Rosa Passos
10 Espelhos 5:34
Rosa Passos
11 Barcos 3:30
Rosa Passos
12 Samba Sem Você 3:43
Rosa Passos
13 Minuano 4:08
Vitor Martins / Rosa Passos
Credits:
Acoustic Bass – Jorge Helder, Nema Antunes (tracks: 5,7,12)
Arranged By [Strings] – Leandro Braga (tracks: 3,9)
Drums – Erivelton Silva
Flute – Andréa Ernest Dias (tracks: 8), Carlos Malta (tracks: 8)
Guitar, Arranged By – Lula Galvão
Guitar, Vocals, Arranged By – Rosa Passos
Mandolin – Pedro Amorim (tracks: 11)
Percussion – Armando Marçal (tracks: 5,7,9,12)
Piano, Keyboards – Marco Brito
Soprano Saxophone – Sergio Galvão (tracks: 4,7)
Trumpet – Marcio Montarroyos (tracks: 10)
Viola – Eduardo Pereira (tracks: 3,9,10,13)
Violin – Glauco Fernandes (tracks: 3,9,10,13), Léo Ortiz (tracks: 3,9,10,13)
Violoncello – Iura Ranevsky (tracks: 3,9,10,13)

ROSA PASSOS - Pano Pra Manga

 (1996) Velas / FLAC (tracks+.cue), lossless

O Púbis da Rosa

BOSSA 3 + PERY RIBEIRO - Encontro (1966) ODEON / Mp3

Encontro is a date that matched the excellent group Bossa Três with the power-house bossa vocalist Pery Ribeiro, perhaps the most assured male voice of the '60s and a worthy companion to Elis Regina (who was in turn the best Brazilian vocalist of all). Bossa Três (Luís Carlos Vinhas, Edison Machado, Tião Neto) make a big difference on this record, their dynamic range and virtuosic playing taking nearly as much of the spotlight as Ribeiro himself. Their version of "O Canto de Ossanha" is intriguing, starting in a haunting fashion with only struck piano and Ribeiro's voice before the track blossoms one minute later. Machado especially stands out, often sounding like he's right behind the listener and the whole group playing with such splendid intuition and knowledge of the others that the songs wind their way around each other snake-like. Encontro is a splendid match of vocalist with instrumentalists. by John Bush
Tracklist:
1 Amanhã
Written-By – Tereza Souza, Walter Santos
2 A Mesma Canção
Written-By – Roberto Menescal, Ronaldo Boscoli
3 O Canto De Ossanha
Written-By – Baden Powell, Vinicius De Moraes
4 Samba Do Dom Natural
Written-By – Carlos Pingarilho, Marcos Vasconcellos
5 Olê Olá
Written-By – Chico Buarque
6 Tristeza
Written-By – Horaldo Lobo, Niltinho
7 João Do Trem
Written-By – Nelson Panicali, Silveira
8 Samba Da Pergunta
Written-By – Pingarrilho, Vasconcellos
9 Tempo Feliz
Written-By – Baden Powell, Vinicius De Moraes
10 Despedida De Mangueira
Written-By – Aldo Cabral, Benedicto Lacenda
11 Recado Ao Pé Do Berço
Written-By – Luiz Carlos Vinhas, Ronaldo Boscoli
12 Se O Carro Parar
Written-By – Roberto Menescal, Ronaldo Boscoli
Créditos
Bass – Octavio Bailly Jr
Drums – Edison Machado
Lead Vocals – Pery Ribeiro
Piano – Luiz Carlos Vinhas

BOSSA 3 + PERY RIBEIRO - Encontro (1966) 

(2002) EMI / ODEON / Mp3 / CBR320k / scans

O Púbis da Rosa

CAMERATA BRASIL - Bach in Brazil (2000) FLAC (image+.cue), lossless

Tracklist:
1 Allegro - Italienisches Konzert F-Dur BWV 971 4:40
Arranged By – Leandro Braga
Written-By – Johann Sebastian Bach
2 Remexendo - Inventionen (2-stimmig) und Sinfonien (3-stimmig) BWV 772-801 (Auszug) 2:54
Arranged By – Henrique Cazes
Written-By – Radamés Gnattali
3 2-stimmige Invention Nr. 13 Konzert Für Violine, Streicher Und Basso Continuo Nr. 1 A-moll BWV 1041 2:06
Arranged By – Marcílio Lopes
Written-By – Johann Sebastian Bach
4 Vivace -Doppelkonzert in d-moll für Violine und Orchester, BWV 1041 3:23
Arranged By – Henrique Cazes
Written-By – Johann Sebastian Bach
5 Chorando Baixinho - Suite Für Laute C-moll BWV 997 (Partita) 4:15
Arranged By – Henrique Cazes
Written-By – Abel Ferreira
6 Preludium - Suite C-Dur Für Cembalo, BWV 997 3:06
Arranged By – Henrique Cazes
Written-By – Johann Sebastian Bach
7 Vou Vivendo 2:49
Arranged By – Radamés Gnattali
Written-By – Pixinguinha
8 Variações Sobre O Samba Do Urubú 2:36
Arranged By – Henrique Cazes
Written-By – Radamés Gnattali
9 Aria - Bachianas Brazileiras Nr 5 5:55
Arranged By – Henrique Cazes
Written-By – Heitor Villa-Lobos
10 Allegro - Brandenburgisches Konzert Nr 6 BWV 1051 4:14
Arranged By – Henrique Cazes
Written-By – Johann Sebastian Bach
11 Um A Zero 3:11
Arranged By – Leandro Braga
Written-By – Pixinguinha
12 Ele E Eu / Badinerie - Suite Nr 2 H-Moll Für Flöte Und Streicher, BWV 1067 3:00
Arranged By – Henrique Cazes
Written-By – Johann Sebastian Bach, Pixinguinha
13 Gigue - Partita Nr 4 D-Dur Für Cembalo 4:41
Arranged By – Marcílio Lopes
Written-By – Johann Sebastian Bach
14 2-stimmige Invention Nr 8 2:12
Arranged By – Leandro Braga
Written-By – Johann Sebastian Bach
Credits:
Camerata Brasil, conducted by Henrique Cazes
Henrique Cazes (Cavaquinho)
Marcilio Lopes (Mandolin)
Paulo Sa (Mandolin)
Marcus Ferrer (Guitar)
Joao Paulo Becker (Guitar)
Marcello Goncalves (Guitar)
Omar Cavalheiro (Double Bass)
Beto Cazes (Pandeiro)
Leandro Braga (Piano)
Paulo Sergio Santos (Soprano Saxophone)
Ricardo Amado (Violin)

CAMERATA BRASIL - Bach in Brazil 

(2000) EMI / FLAC (image+.cue), lossless

O Púbis da Rosa

ROSA PASSOS - Rosa (2006) TELARC / FLAC (image+.cue), lossless

Brazilian singer, songwriter, and guitarist Rosa Passos is known worldwide for her stunning voice and her interpretations of classics as well as her own originals. Her last two records reflect this: 2004's Amorosa was a tribute to João Gilberto, while 2005's Rosa por Rosa was a collection of Passos' own songs. So it's nice, then, that her subsequent effort, Rosa, contains some of both. The album is, in short, reflective of what she is, a combination of the past and present. It's simple, too, in that perfect way: just her and her guitar and 15 tracks to show them off. The sound throughout the record is very consistent, with Passos' smooth, sensuous voice coupled with the warm tones of her guitar. It produces a very welcoming effect, and the two instruments complement each other so well that there almost seems to be something missing during the opener, an a cappella version of Garoto's "Duas Contas." It's a lovely piece, but everything sounds better, and more natural, when her guitar enters into the next song, Antonio Carlos Jobim's "Eu Não Existo sem Você," to accompany her. The timbres of the two voices blend together sweetly, bringing the listener into the lush harmonies of a Brazilian winter. The first half of Rosa consists mostly of covers, including a stunning Portuguese version of Henri Salvador's "Jardin D'Hiver" (called simply "Jardim" here) and an equally good interpretation of "Sentado à Beira do Caminho," while in the second part of the album she moves into originals. There are two previously unreleased songs from the 1960s co-written with her first lyricist, Fernando de Oliveira ("Demasiado Blue" and "Detahle") as well as two songs in Spanish, "Desilisión" and "Fusión." It's a compelling, unadorned, thoughtful mix, a beautiful representation of an important and talented contemporary Brazilian musician. by Marisa Brown   
Tracklist  
1 Duas Contas 1:11
Written-By – Garoto
2 Eu Nao Existo Sem Voce 2:31
Written-By – Antonio Carlos Jobim, Vinicius De Moraes
3 Sutilezas 4:58
Written-By – Rosa Passos, Sergio Natureza
4 Ate Quem Sabe 4:31
Written-By – João Donato, Lysias Enio Oliveira
5 Olhos Nos Olhos 4:18
Written-By – Chico Buarque
6 Sentado A Beira So Caminho 7:06
Written-By – Erasmo Carlos, Roberto Carlos
7 Molambo 3:25
Written-By – Augusto Mesquita, Jaime Florence
8 Jardim 4:57
Written-By – Benjamin Biolay, Keren Ann Zeidel
9 Demasiado Blue 3:41
Written-By – Fernando De Oliveira, Rosa Passos
10 Desilusion 3:57
Written-By – Rosa Passos, Santiago Auseron
11 Edredon De Seda 3:58
Written-By – Arnoldo Medeiros, Rosa Passos
12 Nao Sei O Que Acontece 4:04
Written-By – Alexandre Leão
13 Detalhe 5:36
Written-By – Fernando De Oliveira, Rosa Passos
14 Fusion 5:07
Written-By – Jorge Drexler
15 Inverno 2:06
Written By – Walmir Palma
Written-By – Rosa Passos

 ROSA PASSOS - Rosa 

(2006) TELARC / FLAC (image+.cue), lossless

O Púbis da Rosa

JOÃO DONATO - The New Sound of Brazil : Piano of João Donato (1965) FLAC (tracks), lossless

This very evocative 1965 recording session was a cause for celebration not only among critics but among the bossa nova-crazed audiences of Brazil and the U.S, and it sold quite well. Donato is a jazz pianist first, and his allegiances in harmony and melody come from there first and foremost. But rhythmically and in his phrasing, he comes from the generation of Brazilian musicians who developed the bossa nova as an art form. His touch is light, his settings are lush and laid-back, and his playing is as much or more from his left hand as his right. Solos on these records are wonderfully improvised, but they reflect the sweet, gorgeous melodies on the front line of these tunes. As such, Donato comes across as an elegant pianist and ensemble player, establishing his individual touch as a leader in that left hand rhythmic bent where he loves those shaded keys. His finest compositions here are his own: the sensual "Amazon," the slightly sassy and savvy "It Didn't End," and his reading of Luiz Bonfá's "Samba de Orfeu," which rivals the original for its ambience and texture with a gorgeous string arrangement courtesy of conductor Claus Ogerman. This is one of Brazil's more moving and beautiful bossa albums, and should not be overlooked by recent fans of the genre or by jazz fans interested in the exotic side of the music. by Thom Jurek  
Tracklist
1 Amazon (Amazonas) 2:31
João Donato
2 Forgotten Places (Coisas Disantes) 2:13
João Donato / João Gilberto
3 Little Boat (O Barquinho) 2:27
Ronaldo Bôscoli / Roberto Menescal
4 Manhã de Carnaval 3:08
Luiz Bonfá / Antônio Maria
5 Lost Hope (Esperança Perdida) 2:07
João Donato
6 And Roses and Roses 2:32
Dorival Caymmi
7 Jungle Flower (Flor Do Mato) 2:41
João Donato
8 Sugarcane Breeze (Vento Do Canavial) 2:29
João Donato
9 How Insensitive (Insensatez) 2:51
Antônio Carlos Jobim / Vinícius de Moraes
10 Samba de Orfeu 2:41
Luiz Bonfá
11 Glass Beads (No Coréto) 2:00
João Donato / João Gilberto
12 It Didn't End (Nao Se Acabou) 2:21
João Donato
 Credits
Acoustic Bass – Richard Davis 
Acoustic Guitar – Carlos Lyra, Luiz Bonfá (tracks: 4, 10)
Arranged By, Conductor – Claus Ogerman
Drums – Bill Goodwin
Drums, Percussion – Dom Um Romao
Flute – Jerome Richardson
Piano – João Donato
Trombone – Jimmy Cleveland

JOÃO DONATO - The New Sound of Brazil : Piano of João Donato

 (1965 / 2001) RCA / FLAC (tracks), lossless 

O Púbis da Rosa

CARMEN CUESTA - Mi Bossa Nova [2010] APE (image+.cue), lossless

The Spanish singer Carmen Cuesta has long had a love for the music of Antonio Carlos Jobim and other bossa nova composers, though her earlier CDs have focused more on originals co-written with her husband, guitarist Chuck Loeb. But bossa nova reigns supreme on this 2011 release, with Loeb contributing well-produced backgrounds for Cuesta's fresh, pleasing alto voice. Initially she worked on translating the Portuguese lyrics into Spanish, only to be stymied by legal issues after she was well underway with her work. In any case, Cuesta is able to convey the elegance of these timeless melodies. Her vocals capture the longing of the lyric to "Retrato em Branco e Preto" in a heartfelt performance. Cuesta is equally sensual in her interpretation of "Meditaçao." Her flawless rendition of Luis Bonfá's "Manha de Carnaval" could easily be used in a film soundtrack. Cuesta and Loeb's daughters Christina and Lizzy are added on flutes for their mother's "Jobim," her warm tribute to her inspiration for this CD. Throughout the date, Chuck Loeb's orchestrations and acoustic guitar solos add to the beauty of Carmen Cuesta's performances. It's easy to understand why they enjoy making music together as documented in Mi Bossa Nova.  by Ken Dryden   
Tracklist 
1 Triste
Written-By – Antonio Carlos Jobim
2 Fotografia
Written-By – Antonio Carlos Jobim
3 Retrarto Em Branco E Preto
Written-By – Antonio Carlos Jobim, Francisco Buarque De Hollanda
4 O Barquinho
Written-By – Menescal Batalha, Boscoli
5 Pois É
Written-By – Jobim, Buarque
6 Jobim
Written-By – Carmen Cuesta
7 Modinha
Written-By – Jobim, De Moraes
8 Tormenta
Written-By – Carmen Cuesta
9 Manha De Carnaval
Written-By – Weiss, Pereti, Creatore, Bonfa, De Moraes
10 Chega De Saudade
Written-By – Jobim, De Moraes
11 Meditaçao
Written-By – Jobim, Mendonca, Gimbel
Credits
Bass – Christian Diener (tracks: 2,3,5,7,9)
Drums – Brian Dunne
Flute – Christina Loeb (tracks: 6), Lizzy Loeb (tracks: 6)
Flute [Solo] – David Mann (tracks: 6)
Guitar, Keyboards, Bass – Chuck Loeb (tracks: 1,4,6,8,10,11)
Harmonica – Howard Levy (tracks: 8)
Percussion – David Charles
Piano – Matt King
Producer – Carmen Cuesta-Loeb, Chuck Loeb

CARMEN CUESTA - Mi Bossa Nova 

[2010] C.A.R.E. / APE (image+.cue), lossless

O Púbis da Rosa

JON HENDRICKS - ¡Salud! João Gilberto [1963] FLAC (image+.cue), lossless

 Jon Hendricks idolizes João Gilberto -- he has spoken fondly of their first meeting where they scatted to each other before ever speaking a word -- and he wasted little time putting together a tribute album at the height of the first bossa nova wave. It ought to come as no surprise that he would display total sympathy with the bossa nova manner here, singing softly and smoothly -- and Hendricks' English wordplay is quite faithful to the original tunes and meanings of the Portuguese lyrics, in contrast to his usual whimsical work with jazz improvisations. Hendricks is particularly winning, and irresistibly swinging on the rare occasions ("Voce E Eu," "Samba Da Minha Terra") when he scats to the Brazilian rhythm; he should have done more of that here. But then, his versions of Gilberto's repertoire are carefully based on Gilberto's early EMI/Odeon recordings (now available on The Legendary João Gilberto); even Antonio Carlos Jobim's string and wind charts for the originals are preserved by adapter Johnny Mandel. Alas, the only Hendricks lyric that has become a universal standard is Jobim's "Chega de Saudade" ("No More Blues"). As Hendricks' only album-length encounter with bossa nova, Salud! João Gilberto Originator of the Bossa Nova is essential. by Richard S. Ginell   
Tracklist:
1     The Duck (O Pato)    1:55
Jon Hendricks / Jayme Silva / Neuza Teixeira
2     Quiet Nights (Corcovado)    2:06
Antônio Carlos Jobim / Gene Lees
3     You and I (Voce E Eu)    3:06
Jon Hendricks / Carlos Lyra
4     Love in Peace (O Amor Em Paz)    2:34
Jon Hendricks / Antônio Carlos Jobim
5     Little Paper Ball    1:16
Jon Hendricks
6     Longing for Bahia    2:26
Dorival Caymmi / Jon Hendricks
7     Little Train of Iron (Trem de Ferro)        1:55
Jon Hendricks
8     No More Blues (Chega de Saudade)    2:06
Jesse Cavanaugh / Jon Hendricks / Antônio Carlos Jobim / Vinícius de Moraes
9     Rosa Morena    2:11
Dorival Caymmi / Jon Hendricks
10     The Most Beautiful Thing (Coisa Mais Linda)    3:06
Jon Hendricks / Carlos Lyra / Jimmy Eat World
11     Samba of My Land (Samba da Minha Terra)    2:29
Dorival Caymmi / Jon Hendricks
12     Once Again (Outra Vez)    1:57
Jon Hendricks / Antônio Carlos Jobim
13    Jive Samba      2:18
Nat Adderley / Jon Hendricks
 Credits:
Milt Bernhart     Trombone
Pete Candoli     Trumpet
Buddy Collette     Flute
Conte     Trumpet
Jon Hendricks     Vocals
Antônio Carlos Jobim     String Arrangements
Gildo Mahones     Piano
Frank Messina     Accordion
Ray Sherman     Organ
Jimmie Smith     Drums  

JON HENDRICKS - ¡Salud! João Gilberto [1963] 

[2002] Collectables / FLAC (image+.cue), lossless

O Púbis da Rosa

ASTRUD GILBERTO - The Shadow of Your Smile [1965] VERVE / FLAC

 For her second Verve LP, Astrud Gilberto expanded her range from a raft of Gilberto/Jobim standards to embrace the large and obviously daunting catalogue of classic American pop. With arrangements by Don Sebesky and Claus Ogerman (as well as two by country-mate João Donato), The Shadow of Your Smile can't help but shine a bright spotlight on Gilberto's weak voice, especially when she's singing material previously enlightened by singers with the weight of Frank Sinatra or Sarah Vaughan. Even the intimate, understated arrangements on songs like "Day by Day," the title track, and "Fly Me to the Moon" overshadow the chanteuse's limited range. Brazilian material like the five songs by Luiz Bonfá make for better listening, though the preponderance of flutes, strings, and muted trumpet in the arrangements is very mid-'60s, for better and worse. (And the notes' description of "O Ganso" as an "exercise in vocalise based on bah and dah sounds" is being more than generous.) Certainly, no American vocalist could hope to equal the tortured syntax and somehow endearing performances on these songs; still, Verve did much better by Gilberto later on when they gave her good-time Brazilian songs to sing and didn't attempt to force comparison with standard jazz/pop vocalists.  by John Bush   
Tracklist
1 The Shadow of Your Smile 2:31
Johnny Mandel / Paul Francis Webster
2 Aruanda (Take Me to Aruanda) 2:30
Norman Gimbel
3 Manhã de Carnival 1:57
Antônio Maria
4 Fly Me to the Moon 2:22
Bart Howard
5 The Gentle Rain 2:26
Luiz Bonfá
6 Non-Stop to Brazil 2:27
Luiz Bonfá / Norman Gimbel
7 O Ganso 2:09
Luiz Bonfá
8 Who Can I Turn To (When Nobody Needs Me) 2:10
Leslie Bricusse / Anthony Newley
9 Day by Day 2:09
Sammy Cahn / Axel Stordahl / Paul Weston
10 Tristeza (Goodbye Sadness) 2:23
Luiz Bonfá / Maria Toledo
11    Funny World 2:24
Alan Brandt
Credits
Arranged By, Conductor – Claus Ogerman (tracks: 4, 8, 9, 11), Don Sebesky (tracks: 1 to 3, 5, 6), João Donato (tracks: 7)
Engineer – Bob Simpson, Phil Ramone, Rudy Van Gelder
Producer – Creed Taylor
Trombone – Kai Winding (tracks: 1 to 3, 5, 6), Urbie Green (tracks: 4, 8, 9, 11)
Valve Trombone – Bob Brookmeyer (tracks: 1 to 3, 5, 6, 10)
Vocals – Astrud Gilberto

ASTRUD GILBERTO - The Shadow of Your Smile 

[1965] VERVE / FLAC / scans

O Púbis da Rosa

NARA LEÃO - O Canto Livre de Nara [1965] Philips

 
L'album O Canto Livre De Nara (1965) de Nara Leão fait suite à un Opinião de Nara (1964) en demie teinte. Avec ce O Canto Livre De Nara, la chanteuse semble avoir retrouvé une nouvelle énergie à la fois grâce à un matériel plus équilibré qui propose un peu de "noirceur" et beaucoup de "clarté". La voix est plus maîtrisée, plus légère, moins solennelle. Je ne suis pas un fan de la voix de Nara Leão, mais il y a un je ne sais quoi de sensible et de fragile, elle semble souvent au bord de la rupture vocale. O Canto Livre De Nara propose un très bel enchaînement de Bossa Nova avec "Samba da Legalidade" (Carlos Lyra e Zé Ketti) e "Nao Me Diga Adeus", la petite perle de cet album avec le mythique "Suite dos Pescadores" de Dorival Caymmi que Nara Leão parvient à transcender. Savourez toute la rage de Nara Leão sur "Carcara" qui poursuit avec le très joyeux "Malvadeza Durao" (Zé Ketti). Dans cette aventure musicale, elle est épaulée avec beaucoup d'intelligence par Luiz Eça e son Tamba Trio plus Dori Caymmi à la guitare. O Canto Livre De Nara est un album très varié, fortement créatif et vraiment envoutant. Multiplier les écoutes pour le savourer pleinement.  by Dominique Deret
Tracklist  
1 Corisco 2:43
Written-By – Glauber Rocha, Sérgio Ricardo
2 Samba Da Legalidade 2:08
Written-By – Carlos Lyra, Zé Keti
3 Não Me Diga Adeus 2:36
Written-By – João Correia Da Silva, Luiz Soberano, Paquito
4 Segredo Do Sertanejo (Uricuri) 2:32
Written-By – José Candido, João Do Vale
5 Canto Livre 2:16
Written-By – Bené Nunes, Dulce Nunes
6 Suite Dos Pescadores 6:19
Written-By – Dorival Caymmi
7 Carcará 2:17
Written-By – José Candido, João Do Vale
8 Malvadeza Durão 2:17
Written-By – Zé Keti
9 Aleluia 2:16
Written-By – Edu Lobo, Ruy Guerra
10 Nêga Dina 1:36
Written-By – Zé Keti
11 Minha Namorada 4:14
Written-By – Carlos Lyra, Vinicius De Moraes
12 Incelença 3:59
Written-By – D.P.
13 Carcará (Espanhol) 1:33
Written-By – José Candido, João Do Vale
14 Não Me Diga Adeus (Espanhol) 2:16
Written-By – João Correia Da Silva, Luiz Soberano, Paquito
Credits
Art Direction – Dorival Caymmi Filho
Drums – Ohana
Flute, Contrabass – Bebeto
Guitar – Dorival Caymmi Filho
Piano, Conductor – Luiz Eça
Strings – Peter E Seu Naipe De Cordas
Vocals – Nara Leão

NARA LEÃO - O Canto Livre de Nara

 [1965] Philips / CBR320 / scans

O Púbis da Rosa

VINICIUS DE MORAES & ODETTE LARA - Vinicius & Odette Lara [1963] ELENCO

The poet/performer Vinicius de Moraes and the vocalist Odette Lara make a wonderful team, and though their voices aren't heard together as much as they should be here, Vinicius & Odette Lara is a warm, inviting collection. The dozen songs are all originals -- by de Moraes and old friend Baden Powell, who also appears as a musician -- and usually present Lara and de Moraes trading lines, or Lara taking the verses while de Moraes handles choruses. The breathtaking "Samba Preludio" is one of the few actual duets; after a preface featuring a mournful de Moraes over a sawing cello, Lara sings a few lines alone as well before the pair's voices intertwine (even while they sing different lines). Moacyr Santos' arrangements range from Brazilian bossa to string orchestra pop to anthemic soul-jazz, with plenty of trumpet and flute as well as a warm cocktail piano and the usual sewing machine bossa percussion. On "Deve se Amor," playful reeds and high-note trumpet accent a smooth, powerful vocal by Lara. It's a bit disconcerting to hear a Brazilian vocal album without recognizing at least one standard, but Vinicius & Odette Lara is a challenging, entertaining work of jazzy Brazilian pop.  by John Bush  
Tracklist
1 Berimbau 3:08
2 Só Por Amor 3:53
3 Deixa 2:57
4 Seja Feliz 2:59
5 Mulher Carioca 3:11
6 Samba Em Prelúdio 3:31
7 Labareda 2:45
8 É Hoje Só 1:53
9 O Astronauta 3:01
10 Deve Ser Amor 3:07
11 Samba Da Bênção 6:54
12 Além Do Amor 3:08
Credits
Arranged By, Conductor – Moacir Santos
Cover – Cesar G. Villela
Cover [Original] – Caetano Rodriguez
Cover [Restored & Adapted From Original LPs 2003] – Cilene Affonso
Liner Notes [2003] – Ruy Castro
Producer [Production Director] – Aloysio De Oliveira
Vocals – Odette Lara (tracks: 2 to 8, 10 to 12), Vinicius De Moraes (tracks: 1, 3, 5 to 7, 9 to 11)
Written-By – Baden Powell, Vinicius De Moraes

VINICIUS DE MORAES & ODETTE LARA 

 Vinicius & Odette [1963] ELENCO / Remastered 2004

 CBR320 / scans

O Púbis da Rosa

NARA LEÃO - Nara [1964] ELENCO

Dieu que le chant de Nara Leão est triste et mélancolique. Si vous n'avez pas le moral en ce moment, ce superbe album vous est déconseillé. Nara (1964), le premier album de Nara Leão, s'ouvre sur le superbe et solennel "Marcha De Quarta-Feira De Cinzas" de Carlos Lyra e Vinicius de Moraes. Une des grandes forces de ce "somptueux" album est de mixer la toute jeune Bossa Nova, "O Morro (Feio Nao E Bonito)" de Carlos Lyra ou "Canção Da Terra" d'Edu Lobo, avec du matériel plus classique, mais chanté de façon assez moderne pour l'époque, "O Sol Nascerá (A Sorrir)" de Cartola ou "Luz Negra" de Nélson Cavaquinho. La voix de Nara Leão, vraiment typique, est très saudade, et distille une mélancolie empreinte de nostalgie à l'image des superbes "Berimbau" (Vinicius de Moraes e Baden Powell) e "Réquiem Por Um Amor" d'Edu Lobo e Ruy Guerra. Les arrangements, simples sobres, soulignent avec finesse le chant de Nara Leão. A noter la participation au chant de Carlos Lyra sur les deux derniers titres. Nara est un album dépouillé, triste et beau. A découvrir (bossa-normandie) by Dominique Deret

Tracklist  

1 Marcha Da Quarta - Feira De Cinzas 2:56

Written-By – Carlos Lyra, Vinicius De Morais

2 Diz Que Vou Por Aí 2:04

Featuring – Geraldo Wesper

Written-By – H. Rocha, Zé Keti

3 O Môrro (Feio, Não É Bonito) 3:04

Written-By – Carlos Lyira, Gianfrancesco Guarnieri

4 Canção Da Terra 3:06

Written-By – Eduardo Lôbo, Ruy Guerra

5 O Sol Nascerá 2:56

Written-By – Cartóla (Agenor De Oliveira), Elton Medeiros

6 Luz Negra 2:30

Written-By – Hirrai Barros, Nelson Cavaquinho

7 Berimbau 2:32

Written-By – Baden Powell, Vinicius De Morais

8 Vou Por Aí 2:02

Featuring, Written-By – Baden Powell

Written-By – Aloysio De Oliveira

9 Maria Moita 2:40

Written-By – Carlos Lyra, Vinicius De Morais

10 Réquiem Para Um Amor 3:27

Written-By – Eduardo Lôbo, Ruy Guerra

11 Consolação 2:41

Written-By – Baden Powell, Vinicius De Morais

12 Nanã 2:03

Written-By – Moacyr Santos, Vinicius De Morais

Credits

Arranged By – Gaya (tracks: 01-11), Moacyr Santos (tracks: 12)

Artwork – Cesar G. Villela

Engineer – Norman Keller 

Photography By – Francisco Pereira

Producer – Aloysio De Oliveira

NARA LEÃO - Nara [1964] ELENCO

REM UNIVERSAL 2004 / CBR320 / scan

O Púbis da Rosa

SIVUCA - Sivuca (Adeus Maria Fulo) (1973) FLAC (tracks), lossless

 On the cover photograph, Sivuca may resemble an elf whose voice one would expect to be a high falsetto chirp, accompanied by the thrummed acoustic he has in hand. With white locks and a full beard, staring delightfully into the skin of his own eyelids, Sivuca has an ecstatic smile that is only half an indication of the joy this album contains. That is to say it is somewhat aesthetically deceptive. Additionally, given the fact that the album originally appeared on Vanguard, it would be predictable that it could be a folk exploration similar to those of the late John Fahey, who also recorded for the label periodically. However, the label also specialized in diversity, and Sivuca is a composer with one of the most far-reaching and exotic repertoires that the legendary label released. With Latin jazz, folk, and bossa nova of the highest order, as well as arrangements that touch on Sergio Mendes, this album should hold great appeal for fans of the Jorge Ben, Caetano Veloso, andGilberto Gil axis of Brazilian music. by Dean McFarlane