JOÃO DONATO — A Bad Donato -João Donato's Psychedelic Funky Experience (1970-2004) RM | FLAC (tracks+.cue), lossless

João Donato, né en 1934, pianiste et compositeur, mais également arrangeur et chef d'orchestre. Dans les années 70, il vivait à Los Angeles. La Bossa Nova passée de mode, le label américain Blue Thumb Records lui offrit la possibilité de réaliser l'album de son choix tout en s'inspirant des sonorités électriques en vogue à l'époque. Il découvre les claviers électriques, en particulier le Fender Rhodes, véritable jouet entre ses mains qu'il va dompter et façonner pour en extraire la substantifique moelle qu'est A Bad Donato (1970). Aux frontières du Funk, de la Pop Psychédélique et du Jazz Fusion, A Bad Donato est une oeuvre expérimentale délicieusement groovie qui garde toujours sa fraîcheur et sa spontanéité 45 ans plus tard. Un album "déganté" réalisé "sérieusement" grâce à la participation de musiciens de Jazz exceptionnels comme Bud Shank, Dom Um Romao e Oscar Castro Neves et des arrangements en collaboration avec Eumir Deodato. "The Frog" entendu maintes fois comme générique d'émissions radio restera bien ancré dans mon inconscient comme un objet intemporel. A Bad Donato est au 76ème rang du classement Rolling Stone des 100 meilleurs albums de la musique brésilienne. Dominique Deret
Tracklist :
1.    The Frog 2:37
Written-By – João Donato
2.    Celestial Showers 2:36
Written-By – João Donato
3.    Bambu 2:20
Written-By – João Donato
4.    Lunar Tune 4:55
Written-By – João Donato
5.    Cadê Jodel? = The Beautiful One 2:07
Written-By – João Donato
6.    Debutante's Ball 3:00
Written-By – João Donato
7.    Straight Jacket 3:27
Written-By – João Donato
8.    Mosquito = Fly 2:59
Written-By – João Donato
9.    Almas Irmãs 1:53
Written-By – João Donato
10.    Malandro 2:31
Written-By – João Donato
Credits :
Acoustic Guitar – Oscar Castro-Neves
Arranged By – Eumir Deodato, João Donato
Bass – Chuck Domanico
Drums – Dom Um Romão, Mark Stevens, Paulinho Magalhães
Electric Guitar – Warren Klein
Flute – Bud Shank
Organ, Piano – João Donato
Percussion – Emil Richards, Joe Porcardo
Reeds – Bill Hood, Don Menza, Ernie Watts, Jack Nimitz
Trombone – Jimmy Cleveland, Ken Shroyer
Trumpet – Conti Candoli, Jimmy Zito, Pete Candoli

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 

JOHN TROPEA — Tropea (1975) Two Version (1996, Fusion Super 1800 Series) + (2014, RM | Blu-spec CD | FLAC (image+tracks+.cue), lossless

By the time guitarist John Tropea had recorded his solo debut on the tiny Marlin imprint in 1976, he had been a session guitarist for nearly a decade. His understated, decidedly non-show-off playing graced records by everyone from Laura Nyro to Deodato (including Prelude and Deodato 2), from Ashford & Simpson to Bo Diddley, from Billy Cobham to Peter Allen, from Roberta Flack and Donny Hathaway to Paul Simon, Van Morrison, Luiz Bonfá, and Ray Bryant. After this he played with everyone from Alice Cooper to Lalo Schifrin and Kurtis Blow and way, way beyond. Tropea's cast of studio players is a who's who of the '70s, '80s, and '90s. The core band on this funky, squeaky clean, keyboard, horn, and guitar driven set are bassist Will Lee, keyboardist Don Grolnick, percussionist Rubens Bassini, and drummers Steve Gadd and Rick Marotta -- one in each channel. Some of the guest appearances are stellar: David Sanborn's trademark emotionally rich saxophone is heard on "Muff," and Bob Mintzer's wonderful flute playing on his "Cisco Disco" (which is truly funk and not disco), and Deodato plays keyboards on the beautiful "Dreams." There is a heavyweight reed section with Mintzer, Sanborn, and Michael Brecker among its members and horns that include Randy Brecker, Sam Burtis, and Dave Taylor, to name a few. Yes, this was the 1970s: there are strings with Gene Orloff among them. The tunes? Hip, funky numbers like "Tambourine," with a restrained but toothy fuzz solo by Tropea, great congas by Bassini, and a well balanced but dynamic horn chart. "7th Heaven" is a smoother workout, with punchy actual and keyboard basslines, with great breakbeat work by both drummers. Despite its mid-tempo jaunt, the thing is deep with enough of an uptown soul chorus to make it a popular stepper with the club crowd. It's tunes like these, as well as Mintzer's and Tropea's "The Jingle," that place records like this more on the CTI side of things than in the hardcore Fuzak realm. These selections are songs, not collections of riffs, vamps, and solos. When solos occur in these tunes, they do so with respect to arrangement and groove. It also sounds more lifelike than a lot of what was coming out of L.A. at the time, because it has a decidedly East Coast sensibility. Tropea's production job is expert and tight, but it's his arrangements and orchestrations that are really impressive. The opportunities for excess here with all these superchopper players are many, but not once does any of this album lapse into mere glossy show and sheen. This is one of the truly great forgotten jazz-funk sets of the '70s.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
 1.  Tambourine - 4:40
Arranged By, Orchestrated By – John Tropea

Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Guitar [Guitars] – Tropea
Keyboards – Don Grolnick
Percussion – Rubens Bassini
Written-By – J. Tropea
2. 7th Heaven - 4:13
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Guitar [Guitars] – John Tropea
Keyboards, Arranged By, Orchestrated By – Don Grolnick
Percussion – Rubens Bassini
Written-By – Don Grolnick
3. The Jingle - 4:39
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Don Payne
Contrabass [Matracca] – C. Conrad
Drums – Alan Schwartzberg
Guitar [Guitars] – John Tropea
Keyboards – Kenny Ascher
Percussion – Nick Remo, Ron Tropea, Rubens Bassini
Written-By – John Tropea
4. Just Blue - 8:17
Alto Saxophone, Soloist – George Young
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Guitar [Guitars] – John Tropea
Keyboards – Don Grolnick
Written-By – John Tropea
5. Muff - 5:59
Arranged By – R. Marotta, W. Lee
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Keyboards – Don Grolnick
Percussion – Rubens Bassini
Saxophone, Soloist – Dave Sanborn
Written-By – Marotta, Lee
Written-By, Guitar [Guitars] – John Tropea
6. Cisco Disco (Bob Mintzer) - 4:35
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Flute [Flutes] – Bob Mintzer
Guitar [Guitars] – John Tropea
Keyboards – Don Grolnick
Percussion – Rubens Bassini
Written-By – Bob Mintzer
7. Tha Bratt (David Spinozza) - 5:07
Arranged By, Orchestrated By – John Tropea
Bass Guitar – Will Lee
Drums [Left Drums] – Rick Marotta
Drums [Right Drums] – Stephen Gadd
Keyboards – Don Grolnick
Lead Guitar – John Tropea
Rhythm Guitar, Arranged By, Orchestrated By – David Spinozza
Written-By – David Spinozza
8. Dreams - 4:46
Bass – Richard Davis
Drums – Rick Marotta
Keyboards, Arranged By, Orchestrated By – Eumir Deodato
Percussion – Rubens Bassini
Trombone, Soloist – Sam Burtis
Written-By, Guitar [Guitars] – John Tropea

DEODATO — Deodato 2 (1973-1988) RM | Bonus Tracks | Serie The Original CTI Recordings Digitally Remastered For Compact Disc | FLAC (tracks+.cue), lossless

Deodato's debut for CTI, Prelude, earned him a genuine reputation for funky fusion with its groove-tight cover of "Thus Spake Zarathustra," the theme from Stanley Kubrick's 2001: A Space Odyssey. The rest of the album isn't quite as memorable, but it fit the bill and got nice reviews for its innovative read of Borodin and Debussy's "Prelude to the Afternoon of a Faun." On 2, the Brazilian composer and arranger dips into the funked-up fusion tank once again, and comes out with a more consistent disc than its predecessor. Arranged, conducted, and keyboarded by Deodato himself instead of CTI house arrangers Don Sebesky or Bob James, the maestro enlisted a fusion who's who of sidemen including drummer Billy Cobham, bassist Stanley Clarke, and flutist Hubert Laws, as well as rockers like John Tropea on guitar. The larger ensemble that provides brass, woodwind, and string support includes trumpeter Jon Faddis and Jim Buffington. "Super Strut" kicks it off. Deep-grooved lines of accented angular riffing and rim-shot syncopation by Cobham turn this simply notated four-stepper into a burning ball of greasy rock and souled-out jazz. This is followed by a wildly campy but nonetheless wondrous read of "Rhapsody in Blue" done Stevie Wonder-style. Deodato's keyboard work never lets the groove drop; he pulls the rhythm section down around him and hunkers his phrasing to punch up the long, sweeping horns and string lines. Less successful is a read of "Nights in White Satin," with its overwrought strings, and a "Pavane for a Dead Princess" that's a snore. The album officially closes with "Skyscrapers," another jazz-rock rave-up that blasts holes in the sonic sky with its dueling keyboard and guitar lines.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1. Super Strut 9:29
2. Rhapsody In Blue 8:43
3. Nights In White Satin 6:01
4. Pavane For A Dead Princess 4:24
5. Skyscrapers 7:00
6. Latin Flute 4:19
– BONUS TRACKS –
7. Venus 3:28
8. Do It Again 5:30
Credits :
Eumir Deodato - keyboards
Stanley Clarke, John Giulino - Bass
Billy Cobham, Rick Marotta - Drums
Rubens Bassini, Gilmore Degap - Percussion, Congas
John Tropea - Guitar
Hubert Laws, Jerry Gordon, Romeo Penque, George Marge - Flute
Jon Faddis, Burt Collins, Victor Paz, Alan Rubin, Marvin Stamm - Trumpet, Flugelhorn
Garnet Brown, Wayne Andre - Trombone
Tony Studd - Bass Trombone
Jim Buffington - French Horn
Joe Temperley - Baritone Sax
String Section - Violins, Violas, Cellos

ANTONIO CARLOS JOBIM - Tilde (1970-2000) RM / APE (image+.cue), lossless

On Jobim's second A&M album, Eumir Deodato takes over the chart-making tasks, and the difference between him and Claus Ogerman is quite apparent in the remake of "The Girl From Ipanema": the charts are heavier, more dramatic, and structured. Sometimes the arrangements roll back so one can hear, say, the dancing multi-phonic flute of wildman Hermeto Pascoal on "Tema Jazz," and the rhythms often veer away from the familiar ticking of the bossa nova. Jobim is his usual understated self, adding very subtle electric piano to his arsenal of acoustic piano and guitar, but the material sometimes falls short of Jobim's tip-top level (dead giveaway: "Tide" is a clever rewrite on the chord changes of "Wave"). Still, it's beautifully made and very musical at all times. by Richard S. Ginell
Tracklist:
1    The Girl From Ipanema 4:50
Norman Gimbel / Antônio Carlos Jobim / Vinícius de Moraes
Antônio Carlos Jobim feat: Stan Getz           
2    Carinhoso 2:47
Joao Barro / João de Barro / Pedro Berrios / Carlos Braga / Antônio Carlos Jobim / Pixinguinha / Alfredo Vianna
3    Tema Jazz 4:34
Antônio Carlos Jobim
4    Sue Ann 3:02
Antônio Carlos Jobim
5    Remember 4:00
Irving Berlin / Antônio Carlos Jobim
6    Tide 4:03
Antônio Carlos Jobim
7    Takatanga 4:42
Antônio Carlos Jobim
8    Caribe 2:42
Antônio Carlos Jobim
9    Rockanalia 4:45
Antônio Carlos Jobim   
10    Tema Jazz 2:49
Antônio Carlos Jobim     
11    Tide 4:00
Antônio Carlos Jobim
12    Tema Jazz (alt. take) 5:43
Antônio Carlos Jobim
13    Tema Jazz [Master Take in Full] 8:11
Antônio Carlos Jobim
Credits:
Alto Saxophone, Soloist – Jerry Dodgion (faixas: 1)
Arranged By, Conductor – Eumir Deodato
Bass – Ron Carter
Bass Flute, Soloist – Joe Farrell (faixas: 2, 8)
Engineer – Rudy Van Gelder
Flute, Soloist – Hermeto Pascoal (faixa: 3)
Guitar, Electric Piano, Piano – Antonio Carlos Jobim
Soprano Saxophone, Soloist – Joe Farrell (faixa: 8) 

ANTONIO CARLOS JOBIM — Stone Flower (1970-2006) RM | Serie CTI Timeless Collection | FLAC (tracks+.cue), lossless

Recorded in 1970 at Rudy Van Gelder's studio in New Jersey under the production auspices of Creed Taylor, the arrangement and conducting skills of Deodato, and the engineering expertise of Van Gelder himself, Jobim's Stone Flower is quite simply one of his most quietly stunning works -- and certainly the high point of his time at Columbia. Nearly a decade after the paint peeled from the shine of bossa nova's domination of both the pop and jazz charts in the early '60s, Creed Taylor brought Jobim's tender hush of the bossa sound back into the limelight. With a band that included both Jobim and Deodato on guitars (Jobim also plays piano and sings in a couple of spots), Ron Carter on bass, João Palma on drums, Airto Moreira and Everaldo Ferreira on percussion, Urbie Green on trombone, Joe Farrell on soprano saxophone, and Harry Lookofsky laying down a soulful violin solo on the title track, Jobim created his own version of Kind of Blue. The set opens with the low, simmering "Tereza My Love," with its hushed, elongated trombone lines and shifting acoustic guitars floating on the evening breeze. It begins intimate and ends with a closeness that is almost uncomfortably sensual, even for bossa nova. And then there are the slippery piano melodies Jobim lets roll off his fingers against a backdrop of gauzy strings and syncopated rhythms in both "Choro" and "Brazil." The latter is a samba tune with a sprightly tempo brought to the fore by Jobim's sandy, smoky vocal hovering ghost-like about the instrumental shimmer in the mix. Take, for instance, the title track with its stuttered, near imperceptible percussion laid under a Jobim piano melody of such simplicity, it's harmonically deceptive. It isn't until Lookofsky enters for his solo that you realize just how sophisticated and dense both rhythm and the chromatic lyricism are. The album closes with a reprise of "Brazil," restating a theme that has, surprisingly been touched upon in every track since the original inception, making most of the disc a suite that is a lush, sense-altering mediation, not only on Jobim's music and the portraits it paints, but ON the sounds employed by Taylor to achieve this effect. Stone Flower is simply brilliant, a velvety, late-night snapshot of Jobim at his peak.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist:
1. Tereza My Love – 4:20
Antônio Carlos Jobim
2. Children's Games – 3:25
Antônio Carlos Jobim
3. Choro – 2:06
Antônio Carlos Jobim
4. Brazil – 7:20
Ary Barroso
5. Stone Flower – 3:16
Antônio Carlos Jobim
6. Amparo – 3:38
Antônio Carlos Jobim
7. Andorinha – 3:29
Antônio Carlos Jobim
8. God And The Devil In The Land Of The Sun – 2:19
Antônio Carlos Jobim
9. Sabia – 3:56
C.Hollanda/A.C.Jobim
Personnel:
Antonio Carlos Jobim – piano, electric piano, guitar
Eumir Deodato – guitar, arranged
Joe Farrell – soprano saxophone
Hubert Laws – flute
Urbie Green – trombone
Ron Carter – double bass
Airto Moreira - percussion
Everaldo Ferriera – percussion
João Palma – drums, percussion
Harry Lookofsky – violin

SYLVIA TELLES, LÚCIO ALVES, ROBERTO MENESCAL E SEU CONJUNTO - Bossa Session (1964-1998) Mp3

This 1964 mono release is a lovely snapshot of the latter-day bossa nova market in Brazil. Sylvia Telles and Lucio Alves had been popular for several years and still had great voices. Roberto Menescal and his band provide a younger-sounding instrumental muscle.
There are three Jobim originals and the rest from other upcoming Brazilian songwriters. Released on the legendary Elenco label. Produced by Aloysio de Oliveira. by Fran Coombs
Tracklist:
1    Sylvia Telles, Lúcio Alves – Baiãozinho 1:42
Written-By – Eumir Deodato
2    Lúcio Alves – Ela É Carioca 2:44
Written-By – Tom Jobim, Vinicius De Moraes
3    Sylvia Telles – Vivo Sonhando 2:25
Written-By – Tom Jobim
4    Roberto Menescal E Seu Conjunto – Amanhecendo 2:10
Written-By – Luiz Fernando Freire, Roberto Menescal
5    Lúcio Alves – Ainda Mais Lindo 2:17
Written-By – Marcos Valle, Paulo Sérgio Valle
6    Roberto Menescal E Seu Conjunto – Cinco Por Oito 1:33
Written-By – Ugo Marotta
7    Sylvia Telles, Lúcio Alves – Telefone 1:44
Written-By – Roberto Menescal, Ronaldo Bôscoli
8    Sylvia Telles – Definitivamente 2:07
Written-By – Eduardo Lôbo
9    Lúcio Alves – Moça Da Praia 2:25
Written-By – Luiz Fernando Freire, Roberto Menescal
10    Roberto Menescal – Tempinho Bom 2:52
Written-By – Eumir Deodato
11    Sylvia Telles – Primavera 4:03
Written-By – Carlos Lyra, Vinicius De Moraes
12    Sylvia Telles, Lúcio Alves – Êsse Seu Olhar - Só Em Teus Braços 2:30
Written-By – Tom Jobim
Créditos
Bass – Sergio Barroso
Drums – João Palma
Flute – Henri Ackselrud
Guitar – Roberto Menescal
Piano, Arranged By – Eumir Deodato
Producer, Directed By – Aloysio De Oliveira
Vibraphone, Arranged By – Ugo Marotta
Vocals – Lúcio Alves, Sylvia Telles 

Love, Strings & Jobim / The Eloquence Of Antônio Carlos Jobim [1966] FLAC

Post of a unusual album recorded in 1966 by Elenco with the original title as “Antonio Carlos Jobim Apresenta” and reissued in 1975 as “Love, Strings and Jobim | The Eloquence of Antonio Carlos Jobim”, a lust and cheat title with Antonio Carlos Jobim holding his violao at the beach.

 I said cheat title? Sure! Let’s know why!

This is Eumir Deodato & Lindolpho Gaya – Love, Strings and Jobim | The Eloquence of Antonio Carlos Jobim (1966), for Elenco, featuring a constellation of Brazilian musicians with a single and important exception, which is Antonio Carlos Jobim that did not take part of this recording session. I’ve been wondering how many friends took this album as Antonio Carlos Jobim career record across four decades. Aloysio de Oliveira and Ray Gilbert’s idea was to introduce new artists to the American audience through Antonio Carlos Jobim popularity in US. Maestro Lindolpho Gaya and Eumir Deodato were invited to write the arrangements and to be credited as main performers, which is something that never happened...

Track List

1 – Berimbau (Baden Powell / Vinicius de Moraes)

2 – Razão de Viver (Tears) (Eumir Deodato / Paulo Sergio Valle)

3 – Você (You) (Roberto Menescal / Ronaldo Bôscoli)

4 – Seu Encanto (The Face I Love) (Marcos Valle / Paulo Sergio Valle)

5 – Samba Torto (Pardon My English) (Tom Jobim / Aloysio de Oliveira)

6 – Imagem (Image) (Luis Eça / Aloysio de Oliveira)

7 – Chuva (Rain) (Durval Ferreira / Camargo)

8 – Preciso de Você (Hurry Up And Love) (Aloysio de Oliveira / Tom Jobim)

9 – Morte de Um Deus de Sal (Neptune’s Heptune) (Roberto Menescal / Ronaldo Bôscoli)

10 – Morrer de Amor (I Live To Love You) (Luvercy Fiorini / Oscar Castro Neves / Vrs. Gilbert)

11 – Tristeza de Nós Dois (The Sight Of You) (Durval Ferreira / Maurício Einhorn / Bebeto / Vrs. Gilbert)

12 – Preciso Aprender a Ser Só (If You Went Away) (Marcos Valle / Paulo Sergio Valle / Vrs. Gilbert)

Personnel

Eumir Deodato

(piano, arrangements on tracks 6, 10, 11)

Lindolpho Gaya (arrangements)

Sergio Barroso (bass)

Edison Machado (drums)

Oscar Castro Neves (violão)

Mauricio Einhorn (harmônica)

Jorge Ferreira da Silva (sax, flute)

O Púbis da Rosa