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 

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

MILES DAVIS - Live Evil (1971-1987) 2CD | FLAC (tracks+.cue), lossless

Live-Evil is one of Miles Davis' most confusing and illuminating documents. As a double album, it features very different settings of his band -- and indeed two very different bands. The double-LP CD package is an amalgam of a December 19, 1970, gig at the Cellar Door, which featured a band comprised of Miles, bassist Michael Henderson, drummer Jack DeJohnette, guitarist John McLaughlin, saxophonist Gary Bartz, Keith Jarrett on organ, and percussionist Airto. These tunes show a septet that grooved hard and fast, touching on the great funkiness that would come on later. But they are also misleading in that McLaughlin only joined the band for this night of a four-night stand; he wasn't really a member of the band at this time. Therefore, as fine and deeply lyrically grooved-out as these tracks are, they feel just a bit stiff -- check any edition of this band without him and hear the difference. The other band on these discs was recorded in Columbia's Studio B and subbed Ron Carter or Dave Holland on bass, added Chick Corea and Herbie Hancock on electric pianos, dropped the guitar on "Selim" and "Nem Um Talvez," and subbed Steve Grossman over Gary Bartz while adding Hermeto Pascoal on percussion and drums in one place ("Selim"). In fact, these sessions were recorded earlier than the live dates, the previous June in fact, when the three-keyboard band was beginning to fall apart. Why the discs were not issued separately or as a live disc and a studio disc has more to do with Miles' mind than anything else. As for the performances, the live material is wonderfully immediate and fiery: "Sivad," "Funky Tonk," and "What I Say" all cream with enthusiasm, even if they are a tad unsure of how to accommodate McLaughlin. Of the studio tracks, only "Little Red Church" comes up to that level of excitement, but the other tracks, particularly "Gemini/Double Image," have a winding, whirring kind of dynamic to them that seems to turn them back in on themselves, as if the band was really pushing in a free direction that Miles was trying to rein in. It's an awesome record, but it's because of its flaws rather than in spite of them. This is the sound of transition and complexity, and somehow it still grooves wonderfully. Thom Jurek 
Tracklist 1 :
1 Sivad 15:17
Written-By – M. Davis
2 Little Church 3:16
Written-By – M. Davis
3 Medley: Gemini ~ Double Image 5:55
Written-By [Double Image] – J. Zawinul
Written-By [Gemini] – M. Davis
4 What I Say 21:11
Written-By – M. Davis
5 Nem Um Talvez 4:06
Written-By – H. Pascoal
Tracklist 2 :
1 Selim 2:15
Written-By – M. Davis
2 Funky Tonk 23:29
Written-By – M. Davis
3 Inamorata And Narration By Conrad Roberts 26:32
Written-By – M. Davis
Credits:
Artwork [Cover Art] – Abdul Mall, Design [Cover] – John Berg
Bass –  Dave Holland (tracks: 1-2, 1-3), Jack Henderson (tracks: 1-5, 2-1), Ron Carter (tracks: 1-2)
Drums – William Cobham (tracks: 1-3), Jack DeJohnette (tracks: 1-2, 1-5, 2-1)
Electric Piano – Hermeto Pascoal (tracks: 1-2)
Guitar – John McLaughlin (tracks: 1-2, 1-3, 1-5, 2-1)
Keyboards – Chick Corea (tracks: 1-2, 1-3), Herbie Hancock (tracks: 1-2), Joe Zawinul (tracks: 1-3), Keith Jarrett (tracks: 1-2)
Percussion – Airto Moreira
Photography By [Inside Cover] – Don Hunstein
Piano – Keith Jarrett (tracks: 1-1, 1-4, 2-2, 2-3)
Saxophone – Gary Bartz (tracks: 1-5, 2-1), Steve Grossman (tracks: 1-1, 1-2, 1-4, 2-2, 2-3), Wayne Shorter (tracks: 1-3)
Sitar – Khalil Balakrishna (tracks: 1-3)
Trumpet – Miles Davis
Voice – Hermeto Pascoal (tracks: 1-2, 1-5, 2-1)
Whistling – Hermeto Pascoal (tracks: 1-2)

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

FLORA PURIM - Open Your Eyes You Can Fly (1976-2000) RM / FLAC (tracks+.cue), lossless

As an original member of Chick Corea's group Return to Forever, Purim subsequently drew praise as a solo act. Recording for the jazz label Milestone since 1973, Purim's sensual and strong voice was singular enough to withstand the pitfalls that hampered the work of many Latin jazz fusion artists. Open Your Eyes You Can Fly represents a commercial breakthrough, and has the artist again supplemented by adventurous players and top-notch songwriting. The best of the three Chick Corea tracks is the title song. With it's emotive and stinging guitar solo from David Amaro, it features Purim at her most accessible and charming. The remake of "Sometime Ago" has one of Corea's more accessible melodies, as Purim turns in one of her more sweet and fulfilling vocals. The melodic and soothing "San Francisco River" has the artist writing solely with frequent Corea collaborator Neville Potter on the evocative track. Despite the great work here, Open Your Eyes You Can Fly, lacks consistency. But with the great talents assembled and great voice, it's easy to overlook that fact. Hermeto Pascoal's "Andei (I Walked)" has a great synthesizer solo from George Duke and a flute solo from Pascoal. "Ina's Song (Trip to Bahia)" features Purim singing in Portuguese, starting off slow but then enlivened by her passion filled vocalizations. Produced by jazz producer Orrin Keepnews, this features the artist more lucid and joyful than some of her other work. For the reason it is recommended. by Jason Elias  
Tracklist
1 Open Your Eyes You Can Fly 4:29
Backing Vocals – David Amaro, Flora, George Duke, Hermeto Pascoal
Drums – Ndugu (Leon Chancler)
Electric Bass – Alphonso Johnson
Electric Guitar – David Amaro
Electric Piano – George Duke
Percussion – Airto Moreira
Soloist – Amaro
Written-By – Corea, Potter
2 Time's Lie 5:09
Drums – Ndugu (Leon Chancler)
Electric Bass, Acoustic Bass – Alphonso Johnson
Electric Guitar, Acoustic Guitar – David Amaro
Electric Piano, Synthesizer [ARP String Ensemble] – George Duke
Flute – Hermeto Pascoal
Percussion – Airto Moreira
Soloist – Pascoal, Ndugu
Written-By – Corea, Potter
3 Sometime Ago 4:44
Congas – Laudir De Oliveira
Drums – Ndugu (Leon Chancler)
Electric Bass – Alphonso Johnson
Electric Piano, Synthesizer [ARP String Ensemble] – George Duke
Flute – Hermeto Pascoal
Percussion – Airto Moreira
Soloist – Amaro, Pascoal
Written-By – Corea, Potter
4 San Francisco River 4:06
Acoustic Bass – Ron Carter
Acoustic Guitar – Egberto Gismonti
Arranged By – Egberto Gismonti, Hermeto
Drums – Robertinho Silva
Electric Bass – Alphonso Johnson
Electric Guitar – David Amaro
Flute [Duet] – Pascoal
Flute, Electric Piano – Hermeto Pascoal
Percussion – Airto Moreira
Synthesizer [Duet], Synthesizer [Moog] – Duke
Written-By – Purim, Potter
5 Andei (I Walked) 6:11
Arranged By – Hermeto
Clavinet, Synthesizer [Moog] – George Duke
Drums, Berimbau – Robertinho Silva
Electric Bass – Alphonso Johnson
Electric Guitar – David Amaro
Flute, Electric Piano – Hermeto Pascoal
Percussion – Airto Moreira
Soloist, Flute – Amaro, Pascoal
Soloist, Synthesizer – Duke
Vocals [Duet, Uncredited] – Airto, Flora
Written-By – Hermeto Pascoal
6.1 Ina's Song (Trip To Bahia) 3:40
Arranged By – Flora Purim
Congas – Airto Moreira, Laudir De Oliveira
Drums – Robertinho Silva
Electric Bass, Acoustic Bass – Alphonso Johnson
Electric Guitar – David Amaro
Percussion – Airto Moreira, Robertinho Silva
Soloist, Synthesizer [ARP Odyssey] – Duke
Synthesizer [Moog, ARP Odyssey, ARP String Ensemble] – George Duke
Written-By – Flora Purim
6.2 Transition 0:34
Arranged By – Flora Purim
Electric Piano, Synthesizer [String Ensemble] – George Duke
Percussion – Airto Moreira, Robertinho Silva
Soloist, Synthesizer [ARP Odyssey] – Duke
Written-By – Moreira, Duke
7 Conversation 2:34
Acoustic Bass – Alphonso Johnson
Arranged By – Hermeto
Drums, Percussion – Airto Moreira, Airto Moreira
Electric Guitar – David Amaro
Electric Piano – Hermeto Pascoal
Synthesizer [ARP String Ensemble, Moog] – George Duke
Written-By – Hermeto Pascoal
Medley
8.1 White Wing (aka Asa Branca) 1:40
Electric Piano – Hermeto Pascoal
Written-By – Teixeira, Gonzaga
8.2 Black Wing 4:09
Acoustic Bass – Ron Carter
Acoustic Guitar – Egberto Gismonti
Acoustic Guitar [12-String] – David Amaro
Arranged By – Hermeto
Drums, Berimbau, Percussion – Airto Moreira
Electric Bass – Alphonso Johnson, Alphonso Johnson
Electric Piano, Flute, Harpsichord, Whistling, Percussion [7-UP Bottles] – Hermeto Pascoal
Percussion, Berimbau – Robertinho Silva
Soloist, Harpsichord, Whistling – Pascoal
Vocals [Duet] – Airto, Flora
Written-By – Purim, Pascoal

HERMETO PASCOAL - Slave Mass (1977) FLAC (tracks+.cue), lossless

Not strictly a jazz album in the strict sense (it was originally issued as part of the Masters of MPB on LP in 1977), Slaves Mass has strong compositional themes among its seven tracks. The maestro Hermeto Pascoal plays everything from flutes, soprano saxophone, guitar, Fender Rhodes, acoustic piano and clavinet on this set, and enlists help from Ron Carter, Airto, Flora Purim, Raul DeSouza, David Maro and others. "Mixing Pot," is the opener and an anomaly in that it is a vanguard fusion tune where Pascoal really digs in and improvises. It also features the only appearance on this set of Alphonso Johnson on electric bass. In "Missa Dos Escravos," the title track, Pascoal's emblematic pig gives his first growls in a song dominated by Brazilian Indian references. Wonderfully and intricately composed, it centers around folk tropes. "Chorinho Para Ele" is a beautiful and modern choro with a somewhat challenging glissando bridge that really proposed new directions for the traditional genre. "Aquela Valsa" is a beautiful six/eight theme that turns into a samba with a beautiful trombone solo by DeSouza. "Cannon" is an utterly improvisational piece that meanders and winds around Pascoal's flute solo. Atonalism dominates the piano solo in "Escuta Meu Piano," which also presents bits and pieces of different styles (like baião) and folk songs. Hot samba improvisation is found in "Geléia de Cereja," that slips and slides through a variety of schema and dynamic changes without much internal focus, but it is a compelling bit of creative anarchy nonetheless in that it displays Pascoal's full range of restless musical and textural impulses -- as well as a beautiful soprano solo. Slaves Mass was finally issued on CD by Collectables in the United States in 2005. by Alvaro Neder   
Tracklist
1 Mixing Pot [Tacho] 9:18
Hermeto Pascoal
2 Slave Mass [Missa Dos Escravos] 4:19
 Hermeto Pascoal
3 Little Cry for Him [Chorinho Pra Ele] 2:11
 Hermeto Pascoal
4 Cannon [Dedicated to Cannonball Adderley] 5:20
 Hermeto Pascoal
5 Just Listen [Escuta Meu Piano] 7:08
 Hermeto Pascoal
6 That Waltz [Aquela Valsa] 2:46
 Hermeto Pascoal
7 Cherry Jam [Geleia De Cereja] 11:45
 Hermeto Pascoal
Bonus Tracks
8 Open Field [Campo Aberto] 4:25
 Hermeto Pascoal
9 Pica Pau [Take 1] 14:20
 Hermeto Pascoal
10 Star Trap (Part 2) 15:45
 Hermeto Pascoal
Credits
Acoustic Bass – Ron Carter
Drums – Airto Moreira, Chester Thompson (tracks: 1)
Electric Bass – Alphonso Johnson (tracks: 1)
Flute – Hermeto Pascoal
Guitar – David Amaro
Keyboards – Hermeto Pascoal
Percussion – Airto Moreira (tracks: 2)
Producer – Airto Moreira, Flora Purim
Soprano Saxophone, Acoustic Guitar – Hermeto Pascoal
Trombone – Raul De Souza
Vocals – Flora Purim

 HERMETO PASCOAL - Slave Mass (1977) 

(2006, Warner-Japan) FLAC (tracks+.cue), lossless

O Púbis da Rosa