GRUPO MEDUSA — Grupo Medusa (1981) Vinyl LP | FLAC (tracks), lossless

The Grupo Medusa was formed in São Paulo, congregating some of the best musicians of the Brazilian jazz scene. The group lasted a little time and had two records released.
Apresentação do grupoThe first one, "Grupo Medusa", released in 1981, inaugurated the record company Som da Gente, specialized in Brazilian instrumental music. The line-up in this record, was: Amilson Godoy (piano), Cláudio Bertrami (bass), Heraldo do Monte (electric and acoustic guitar, mandolin) and Chico Medori (drums), with guest appearence of Theo da Cuíca and Jorginho Cebion on percussion. An innovative and authorial album, with lots of spaces for improvisation of all the musicians, and highly rich in the exploration of the Brazilian rhythms.
Tracklist :
1 - Baiana (Cláudio Bertrami)
2 - Zeby (Cláudio Bertrami)
3 - Caminhos (Cláudio Bertrami)
4 - Medusa (Chico Medori)
5 - Pé no chão (Chico Medori)
6 - Asa delta  (Cláudio Bertrami-Chico Medori)
7 - Uma viagem (Cláudio Bertrami-Chico Medori)
8 - Ponto de fusão (Cláudio Bertrami)
Credits :
Drums, Percussion – Chico Medori
Electric Bass, Fretless Bass, Acoustic Bass, Surdo – Cláudio Bertrami
Electric Guitar, Mandolin, Acoustic Guitar – Heraldo Do Monte
Percussion – Jorginho Cebion, Theo Da Cuíca
Piano, Electric Piano, Clavinet – Amilson Godoy
Producer, Arranged By – Grupo Medusa
Recorded By, Mixed By – Carlos Duttweller
Vocalese [Gemido Da Seca] – Heraldo Do Monte (tracks: 1)

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 

HERALDO DO MONTE - Heraldo do Monte (1980) Lp / Mp3

Heraldo nasceu no Recife e começou na música tocando clarineta no colégio. A clarineta era o único instrumento disponível e com ele Heraldo lutou por uma semana sem conseguir tirar qualquer som. Até que seu professor, ligeiramente irritado, empunhou o instrumento para lhe mostrar como tocar e percebesse que havia algo errado. Um colega, pregando uma peça, havia enfiado uma flanela no tubo da clarineta.
Heraldo seguiu seus estudos no instrumento e logo sentiu a necessidade de um instrumento harmônico. Usando os métodos para clarineta aprendeu sozinho a tocar o violão, intuindo os acordes.
Aprendeu também a tocar cavaquinho e viola caipira e comprou uma guitarra para começar a ganhar a vida tocando nas casas noturnas de Recife. Pouco tempo depois partiu para São Paulo onde foi se empregou na TV Tupi acompanhando os músicos que se apresentavam na emissora. No ano de 1966 entrou para o então Trio Novo, que veio a se tornar um Quarteto Novo. Nesse quarteto tocavam outros brilhantes músicos. web
Tracklist:
1. Forrozin
(Heraldo do Monte)
Heraldo do Monte: guitarra
Hermeto Pascoal: flauta
Edson José Alves: violão
Cláudio Bertrami: baixo
Dirceu: bateria
Ubiraci: percussão

2. Lamentos
(Pixinguinha / Vinicius de Moraes)
Heraldo do Monte: bandolim solo e quarteto de bandolins
Edson José Alves: violão
Gabriel: baixo
Dirceu: bateria
Pirituba: percussão
Theo: percussão
Ubiraci: percussão
Severino Gomes da Silva: trombone
Walter Batista Azevedo: trombone

3. Serenata
(Hermeto Pascoal)
Heraldo do Monte: bandolim e cavaquinho
Edson José Alves: violão

4. Pau de Arara
(Luiz Gonzaga / Guio de Moraes)
Heraldo do Monte: guitarra solo e viola
Hermeto Pascoal: flauta
Dominguinhos: acordeon
Cláudio Bertrami: baixo
Dirceu: bateria
Ubiraci: percussão

5. Chuva Morna
(Heraldo do Monte)
Heraldo do Monte: guitarra solo e voz
Edson José Alves: violão
Gabriel: baixo
Dirceu: bateria
Sebastião José Gilberto: trompete
Dorival Auriani: trompete
Geraldo Auriani: trompete
Severino Gomes da Silva: trombone
Walter Batista Azevedo: trombone
Hermeto Pascoal: voz
Dominguinhos: voz

6. Bebê
(Hermeto Pascoal)
Heraldo do Monte: guitarra solo
Cláudio Bertrami: baixo solo
Dirceu: bateria
Hermeto Pascoal: órgão
Edson José Alves: violão, ovation e quarteto de flautas
Ubiraci: percussão

7. Alienadinho
(Heraldo do Monte)
Heraldo do Monte: guitarra solo
Hermeto Pascoal: flauta
Edson José Alves: violão
Cláudio Bertrami: baixo
Dirceu: bateria
Ubiraci: percussão

ELOMAR - Parcelada Malunga (1980) MPL / LP / Mp3

Elomar is one of the most personal Brazilian composers. He expresses in music the culture of his region, a part of the northeast that has developed through the centuries a spoken dialect and a musical folklore based in medieval modal influences received by successive waves of European invaders. His production has an ambivalent quality, at the same time unpolished and sophisticated. His violão playing is very authoritative (in his style), as he had classical formation. The album was recorded live in 1979 at the Teatro Pixinguinha in São Paulo, and he was joined at that show by internationally awarded classical Brazilian pianist Arthur Moreira Lima (piano/clavichord). The unusual setting was devised by both under the same concept: breaking the barriers between classical and popular music. Also present are the master of the violão Heraldo do Monte (former Quarteto Novo member), violinist José Gomes, and singer/composer/violonista Xangai  by Alvaro Neder

Tracklist
1 O Violeiro  4:13
Elomar
2 As Curvas Do Rio  4:53
Elomar feat: Xangai
3 Louvação  1:56
Elomar
Elomar feat: Heraldo do Monte / Arthur Moreira-Lima
4 Cantiga de Amigo  2:58
Elomar
Elomar feat: Heraldo do Monte / Arthur Moreira-Lima
5 Chula No Terreiro  6:48
Elomar
6 Peão Na Amarração  4:43
Elomar
Elomar feat: Xangai
7 Cantada  4:42
Elomar
Elomar feat: Arthur Moreira-Lima
8 Estrela Maga Dos Ciganos  4:02
Elomar
Elomar feat: Heraldo do Monte / Arthur Moreira-Lima
9 Puluxias  2:47
Elomar
10 Clariô  5:36
Elomar
Elomar feat: Heraldo do Monte / Arthur Moreira-Lima
Credits
Heraldo do Monte - Primary Artist
Elomar - Composer, Primary Artist
Ze Gomes - Performer
Arthur Moreira-Lima Primary Artist
Marcus Pereira - Producer
Xangai - Primary Artist