IRAKERE - Misa Negra (1987-1991) FLAC (tracks+.cue), lossless

Irakere has been heralded as one of the best big bands in the world. Propelled by a driving rhythm section and potent horn section, this Cuban band won the Latin Grammy Awards in 1979 and 1980. On this 1986 recording, the band sinks its collective teeth into a few originals, including the 17-minute, four-part title track, as well as a cover of Dave Brubeck's "El Duke." In his liner notes, Luis Tamargo states: "The vigor of Irakere lies within each individual performer, and there are no weak loops in the band's musical chain." by Roundup Newsletter
Tracklist:
1 Concierto para Metales 8:47
2 Misa Negra 17:05
3 Samba para Enrique 6:08
4 El Duke 8:54
Credits:
Bass – Carlos del Puerto
Congas – Jorge Alfonso
Drums – Enrique Plá
Guitar – Carlos Emilio Morales
Percussion – Oscar Valdes
Piano, Keyboards – Chucho Valdés
Saxophone, Flute – Carlos Averhoff, Germán Velazco, José Luis Cortés
Strings – Stuttgarter Symphoniker (tracks: 2)
Trumpet – Jorge Varona, Juan Mungula

CHICO O' FARRILL - Cuban Blues : The Chico O' Farrill Sessions (1996) 2CD / FLAC (tracks+.cue), lossless

For any and all Latin jazz collectors, casual or serious, this is a fabulous deal, for it gathers together no less than six exceedingly rare Chico O'Farrill Clef and Norgran 10" albums, plus one under Machito's name, onto a slimline two-CD set. It will also come as a revelation to anyone who might scoff at anything associated with the 1950s mambo craze, for these discs reveal O'Farrill as a sophisticated, even daring arranger/composer who reached beyond merely providing a beat for dancers. Many of these charts -- whether for the brief, dance-oriented Latin numbers; ultra-familiar standards like "Malaguena" and "The Peanut Vendor"; or jazz tunes -- are loaded with intricate figures and striking harmonies obviously gleaned from classical study, all crisply executed with a brash, shiny edge by his Afro-Cuban groups and bands staffed by American jazzmen. Occasionally, he even conjures a delicate, classical ambience from a number like "Angels' Flight" (named after Los Angeles' legendary downtown funicular). The apotheosis of O'Farrill's experiments are his two full-blown, groundbreaking Afro-Cuban jazz suites. The first features Flip Phillips and the redoubtable Charlie Parker as soloists within the Machito band, and the second is even bolder in its zigzag journey through the classical, Latin, and jazz camps. Yet for all of his erudition, O'Farrill never forgets to ask for madly percolating Afro-Cuban grooves from his rhythm teams -- which clinches the deal for any Latin music fan. by Richard S. Ginell 
Tracklist 1:

1 Avocadoes 2:43

Composed By – Marco Rosales, Sylvia Rosales
2 Taboo 2:52
Composed By – Margarita Lecuona
3 JATP Mambo 2:46
4 Duerme 2:45
Composed By – Gabriel Luna de la Fuente, Miguel Prado
5 Almendra 2:38
Composed By – Abelardo Valdés
6 The Disappearance 2:56
7 Cuban Blues 3:05
8 Sin Titulo 2:27
Composed By – Pepi del Río, Rojas Berríos, Valencia Castro
9 Dance One 3:14
10 Bright One 2:34
11 Flamingo 3:36
Composed By – Edmund Anderson, Theodor Grouya
12 Last One 2:54
13 Tierra Va Temblá 3:01
Composed By – Mariano Merceron
14 Vamos Pa La Rumba 2:39
Composed By – Delgrado
15 Mambo Korula 3:07
Composed By – Bobby Escoto, Chico O'Farrill
16 Frizilandia 2:27
Composed By – Beque
17 Peanut Vendor (El Manisero) 2:33
Composed By – Moises Simons
18 Ill Wind (You're Blowin' Me No Good) 2:48
Composed By – Harold Arlen, Ted Koehler
19 Malagueña 3:14
Composed By – Ernesto Lecuona
20 Castígala 3:12
Composed By – Bobby Escoto
21 The Second Afro-Cuban Jazz Suite 16:46

Tracklist 2:

1 Havana Special 3:03

2 Carioca 3:05
Composed By – Edward Eliscu, Gus Kahn, Vincent Youmans
3 Fiesta Time 3:16
4 Heat Wave 3:35
Composed By – Irving Berlin
5 It Ain't Necessarily So 3:14
Composed By – DuBose Heyward, George & Ira Gershwin
6 Guess What 2:57
7 Cry Baby Blues 2:49
8 Lamento 2:39
Composed By – Antonio Carlos Jobim
9 You Stepped Out Of A Dream 2:35
Composed By – Gus Kahn, Nacio Herb Brown
10 Cachita 2:34
Composed By – Rafael Hernández
11 Rumbonsito 2:18
12 Te Quiero Dijiste 2:21
Composed By – Maria Grever
13 Siboney (Orig. Canto Siboney) 2:48
Composed By – Ernesto Lecuona
14 Angel's Flight 2:27
15 Tres Palabras 2:26
Composed By – Osvaldo Farrés
16 No Te Importe Saber 2:18
Composed By – René Touzet
17 Vaya Con Dios 2:57
Composed By – Buddy Pepper, Inez James, Larry Russell
18 Pianarabatibiri 2:20
19 L.A. Mambo 2:11
20 Quiéreme Mucho 2:28
Composed By – Gonzalo Roig
21 More Mambo 2:50
22 Mambo For Bunto 2:13
23 Botellero 2:39
Composed By – Gilberto Valdés
24 Afro-Cuban Jazz Suite 17:14
Performer, Featuring – Machito & His Afro-Cubans
Credits:
Arranged By, Conductor – Chico O'Farrill
Performer – Chico O'Farrill And His Orchestra

BEBO VALDÉS & JAVIER COLINA - Live at the Village Vanguard (2007) FLAC (image+.cue), lossless

Bebo Valdés has been one of the giants of Cuban music since the 1950s, though he has lived in Stockholm since the early '60s. This live recording, his very first, was made in 2005 over several nights at the Village Vanguard, with Valdés at the age of 86. The pianist's powerful left hand makes it superfluous for him to have a percussionist; his sole accompanist is bassist Javier Colina, a gifted partner who weaves intricate lines with Valdés. Though the music is dominated by Cuban rhythms, this live CD is hardly one-dimensional in scope. Valdés' rhythmic composition "Con Poco Coco" works in quotes from "Old Devil Moon" and "Salt Peanuts." His dramatic rendition of the standard "Yesterdays" is pure mainstream, with a few flourishes added, while his lovely setting of Bill Evans' "Waltz for Debby" is very playful. Of course, the bulk of the disc focuses on Latin gems, including a lighthearted take of Ernesto Lecouna's "Andalucía" and a sauntering version of Lecouna's "Siboney." If there had been room in the packed nightclub, the audience would have likely been up dancing to the lively "Bilongo," though they do chant the lyrics along with the musicians. Highly recommended. by Ken Dryden

Tracklist:

1 Con Poco Coco 6:29

2 Sabor A Mi 3:34

3 Ritmando El Cha-Cha-Cha 5:50

4 Rosa Mustia 6:28

5 Andalucia 2:29

6 Siboney 4:11

7 Tres Palabras 2:41

8 Aquellos Ojos Verdes 3:54

9 Bilongo 5:48

10 Si Te Contara 4:30

11 Bebo's Blues 4:44

12 Yesterdays 4:15

13 El Manisero 5:26

14 Waltz For Debby 4:48

Credits:

Double Bass – Javier Colina

Piano – Bebo Valdés

BEBO VALDÉS - Bebo Ride Again (1994-2004) FLAC (tracks+.cue), lossless

This CD is both historic and quite exciting. Bebo Valdes (father of Chucho, the leader of Irakere) was one of the giants of Cuban jazz and popular music until he fled the country in 1960. Amazingly enough, he had not recorded since, despite living peacefully in Sweden. This recording is also significant in that it is one of the first times that Cuban exiles had recorded with Cubans still living under Castro (guitarist Carlos Emilio Morales and percussionist Amadito Valdes). Paquito D'Rivera (who organized this set) deserves a lot of credit for its success, but Valdes is the real star. He composed eight new selections in the 36 hours before the recordings began, although he was 76 years old at the time. Although Valdes claimed that, with the lack of sleep and excess of writing (he also arranged ten of the 11 songs), his fingers felt a bit stiff, he plays quite well throughout the very enjoyable music. The final results are full of strong melodies, stirring rhythms, exciting ensembles, and lots of variety. The instrumentation differs on each track, with plenty of solo space for D'Rivera (on both alto and clarinet), trombonist Juan-Pablo Torres (who takes "Veinte Anos" as a duet with Valdes), trumpeter Diego Urcola, and the pianist. The percussionists work together quite well behind the lead voices, and every selection is well worth hearing. This is one of the finest Afro-Cuban jazz recordings of recent times. Highly recommended. Scott Yanow 
Tracklist:
1 Al Dizzy Gillespie 5:00
2 Anda 4:54
3 Pa' Goza 4:25
4 Felicia 5:20
5 La Comparsa 4:55
6 A La Marcheré 3:42
7 Pan Com Timba 7:00
8 Veinte Años 3:37
9 Pierre Jamballah 5:31
10 To Mario Bauza 6:05
11 Oleaje 2:00
Credits:
Alto Saxophone, Clarinet, Producer – Paquito D'Rivera
Bass – Joe Santiago
Congas, Bongos – Carlos "Patato" Valdés, Gabriel Machado
Guiro, Maracas, Congas – Gerardo Rosales
Guitar – Carlos Emilio Morales
Piano – Bebo Valdés
Timbales – Amadito Valdés
Trombone – Juan Pablo Torres
Trumpet, Flugelhorn – Diego Urcola

JESUS CHUCHO VALDÉS - Lucumi (1988-2006) FLAC (tracks+.cue), lossless

Lecumi is an often-thoughtful solo recital by pianist Chucho Valdes. Part of the time he comes across as a Latin Ray Bryant, displaying his two-handed style and a tie to the swing tradition; at other times the pianist recalls McCoy Tyner. Valdes' nine originals are full of rich melodies, are often wistful, and are explored with taste and subtle creativity. A tasteful effort. by Scott Yanow
Tracklist:
1 Jica 5:22
2 Dembo 6:21
3 Moane 5:12
4 Mambo Influenciado 6:16
5 Jessica 1:49
6 Osun 7:43
7 Adiva 3:20
8 Oyambo 7:47
9 Amanecer 3:29
Written-By – Chucho Valdés

BUENA VISTA SOCIAL CLUB PRESENTS (1997-2004) 4CD / APE / FLAC (image+tracks+.cue), lossless

Buena Vista Social Club Less a band than an assemblage of some of Cuba's most renowned musical forces, Buena Vista Social Club's origins lie with noted American guitarist Ry Cooder, who in 1996 traveled to Havana to seek out a number of legendary local musicians whose performing careers had largely ended decades earlier with the rise of Fidel Castro. Recruiting the long-forgotten likes of singer Ibrahim Ferrer, guitarists/singers Compay Segundo and Eliades Ochoa, and pianist Rubén González, Cooder entered Havana's Egrem Studios to record the album Buena Vista Social Club; the project was an unexpected commercial and critical smash, earning a Grammy and becoming the best-selling release of Cooder's long career. In 1998 he returned to Havana with his son, percussionist Joachim, to record a solo LP with Ferrer; the sessions were captured on film by director Wim Wenders, who also documented sell-out Buena Vista Social Club live performances in Amsterdam and New York City. (Wenders' film, also titled Buena Vista Social Club, earned an Academy Award nomination in 2000.) The public's continued interest in Cuban music subsequently generated solo efforts from Segundo and González, as well as a series of international live performances promoted under the Buena Vista Social Club aegis. A concert CD, At Carnegie Hall, drawn from the same triumphant show that Wenders featured in his documentary, was released in 2008 -- a few years after the deaths of Segundo, Ferrer, and González. In the spring of 2015, Nonesuch/World Circuit released Lost and Found, a collection of unreleased tracks from the 1996 Egrem and 2000 recording sessions, as well as live tracks. A group containing some of the original members called Orquesta Buena Vista Social Club continued to tour, and their farewell tour took place that year.   by Jason Ankeny

 Buena Vista Social Club (1997)

This album is named after a members-only club that was opened in Havana in pre-Castro times, a period of unbelievable musical activity in Cuba. While bandleader Desi Arnaz became a huge hit in the States, several equally talented musicians never saw success outside their native country, and have had nothing but their music to sustain them during the Castro reign. Ry Cooder went to Cuba to record a musical documentary of these performers. Many of the musicians on this album have been playing for more than a half century, and they sing and play with an obvious love for the material. Cooder could have recorded these songs without paying the musicians a cent; one can imagine them jumping up and grabbing for their instruments at the slightest opportunity, just to play. Most of the songs are a real treasure, traversing a lot of ground in Cuba's musical history. There's the opening tune, "Chan Chan," a composition by 89-year-old Compay Segundo, who was a bandleader in the '50s; the cover of the early-'50s tune "De Camino a la Verada," sung by the 72-year-old composer Ibrahim Ferrer, who interrupted his daily walk through Havana just long enough to record; or the amazing piano playing on "Pablo Nuevo" by 77-year-old Rubén González, who has a unique style that blends jazz, mambo, and a certain amount of playfulness. All of these songs were recorded live -- some of them in the musicians' small apartments -- and the sound is incredibly deep and rich, something that would have been lost in digital recording and overdubbing. Cooder brought just the right amount of reverence to this material, and it shows in his production, playing, and detailed liner notes. If you get one album of Cuban music, this should be the one. by Steve McMullen   
Tracklist
1 Chan Chan 4:18
2 De Camino A La Vereda 5:03
3 El Cuarto De Tula 7:25
4 Pueblo Nuevo 6:06
5 Dos Gardenias 3:04
6 ¿Y Tú Qué Has Hecho? 3:15
7 Veinte Años 3:31
8 El Carretero 3:30
9 Candela 5:29
10 Amor De Loca Juventud 3:23
11 Orgullecida 3:19
12 Murmullo 3:51
13 Buena Vista Social Club 4:52
14 La Bayames 2:54
Credits
Musician – Alberto "Virgilio" Valdés, Barbarito Torres, Benito Suarez Magana, Carlos González, Compay Segundo, Eliades Ochoa, Ibrahim Ferrer, Joachim Cooder, Juan de Marcos Gonzàlez, Julienne Oviedo Sanchez, Julio Alberto Fernandez, Luis Barzaga, Lázaro Villa, Mañuel 'Guajiro' Mirabal, Manuel 'Puntillita' Licea, Omara Portuondo, Orlando "Cachaíto" López, Rubén González, Salvador Repilado Labrada
Producer – Ry Cooder
FLAC (image+.cue), lossless

Buena Vista Social Club Presents : Ibrahim Ferrer (1999)

When the Buena Vista Social Club album was released to great acclaim in 1997, it revived the careers of quite a few incredibly talented aging Cuban musicians. Like Ibrahim Ferrer, most of those musicians (who had been legendary in the '40s through the '70s) hadn't been performing professionally in decades. With the success of the Buena Vista Social Club, everything changed; they toured the globe, and plans for follow-up albums followed. Ibrahim Ferrer's was the second of what became a line of Buena Vista releases, all hoping to cash in on the success of the first. Ferrer's album is pleasant, the kind of album you could put on during brunch on a sunny morning. The album features many classic Cuban compositions. Original arrangers, musicians, and bandleaders were involved whenever possible. One standout is "Mami Me Gusto," a rolling upbeat tune by the legendary Cuban composer/bandleader Arsenio Rodriguez. On that tune Ferrer is lively and loose, and he is joined by Rodriguez's original pianist, the masterful Ruben Gonzales. The rest of the album is nice, but rarely as inspired or joyous as the original Buena Vista release. This is a much more romantic sounding album and on the right tunes, like "Aquellos Ojos Verdes," they really hit the mark; Ferrer shines and Gonzales sends glistening piano lines cascading down the keys. At age 63-plus, Ferrer was long overdue for a debut album, and as a result the disc communicates a feel of easy satisfaction. If you're looking for classy cocktail party music that will hold the attention of music fans, and won't bother the uninterested, look no further.  by David Lavin   
Tracklist
1 Bruca Maniguá 4:44
2 Herido De Sombras 4:11
3 Marieta 5:51
4 Guateque Campesino 5:06
5 Mamí Me Gustó 5:04
6 Nuestra Ultima Cita 3:56
7 Cienfuegos Tiene Su Guaguancó 5:20
8 Silencio 4:35
9 Aquellos Ojos Verdes 4:51
10 Qué Bueno Baila Usted 4:35
11 Como Fue 3:33
Credits
Conductor – Juan De Marcos González
Featuring [With] – Babarito Torres, Eliades Ochoa, Ibrahim Ferrer Jr., Manuel 'Puntillita' Licea, Omara Portuondo, Orlando 'Cachaito' López, Pio Leyva, Rubén González, Ry Cooder, Teresa Garcia Cartula
Producer – Ry Cooder
APE (image+.cue), lossless

Buena Vista Social Club Presents : Omara Portuondo (2000)

A beautifully executed and produced album by Omara Portuando, the only woman to appear on the original Buena Vista Social Club recordings. Portuando, who is one of Cuba's most acclaimed musicians and a featured performer at the Tropicana, has shown here that, at 70, she still possesses the qualities that helped develop her stardom on her native island. This recording, which covers a variety of traditional musical styles, from son to guajira to bolero, makes it easy to see why critics have called her the Edith Piaf of Cuba and "The Fiancée of Feeling." The style, especially on the second track, "He Perdido Contigo," evokes a nostalgic, old-fashioned sentiment, and the songwriting is classic. Featured performers include Rubén González on piano, Eliades Ochoa and Compay Segundo on guitar, and a full string section including Angel and Arelis Zaldivar. The performances are lively and tight, creating an album that feels nearly perfect. A full set of liner notes, including English translations of all of the lyrics, makes the album even more accessible.  by Stacia Proefrock
Tracklist  
1 La Sitiera
Guitar – Eliades Ochoa
Written-By – Rafael López
2 He Perdido Contigo
Guitar – Eliades Ochoa
Written-By – Luis Cardenas, María Teresa Vera
3 ¿Dónde Estabas Tú?
Written-By – Ernesto Duarte
4 Mariposita De Primavera
Claves – Alberto "Virgilio" Valdés
Written-By – Miguel Matamoros
5 Canta Lo Sentimental
Guitar, Arranged By [Co] – Manuel Galbán
Vibraphone – Roger Beaujolais
Written-By [Lyrics] – Y. De La Fuente
Written-By [Music] – Urbano Gómez Montiel
6 Ella Y Yo
Arranged By – Francisco Repilado
Clarinet – Haskell Armenteros, Rafael Lázaro Inciarte
Guitar – Benito Suárez, Compay Segundo
Vocals – Pío Leyva
Written-By – Oscar Hernández
7 No Me Vayas A Engañar
Written-By – Osvaldo Farrés
8 No Me Llores Más
Tres – Gilberto 'Papi' Oviedo
Vocals – Ibrahim Ferrer
Written-By – Arsenio Rodríguez
9 Veinte Años
Written-By [Lyrics] – Guillermina Aramburu
Written-By [Music] – María Teresa Vera
10 El Hombre Que Yo Amé (The Man I Love)
Translated By – Humberto Suárez
Written-By – George & Ira Gershwin
11 Siempre En Mi Corazón
Arranged By – Juan De Marcos González
Bongos – Carlos González
Written-By – Ernesto Lecuona
Credits
Alto Saxophone [Solo] – Panteleón Sánchez
Alto Saxophone, Soprano Saxophone – Javier Zalba
Backing Vocals – Dania Valdés, Teresita Garcia Caturla, Xiomara Valdés
Baritone Saxophone – Ventura Gutiérrez
Bongos – Filiberto Sánchez
Cello – Arelis Zaldivar, Roy Avila Serrano
Claves, Backing Vocals – Lázaro Villa
Congas – Angel Terry Domech
Double Bass – Orlando "Cachaíto" López
Guiro – Roberto García
Maracas – Alberto "Virgilio" Valdés
Tenor Saxophone – Antonio Jiménez, Carlos Fernández, Rafael "Jimmy" Jenks
Timbales – Amadito Valdés
Trombone – Antonio Leal
Trombone [Solo], Backing Vocals, Conductor – Jesús "Aguaje" Ramos
Trombone, Conductor, Arranged By [Strings & Horns] – Demetrio Muñiz
Trumpet – Alejandro Pichardo, Daniel Ramos, Yanko Pichardo
Trumpet [Solo] – Manuel 'Guajiro' Mirabal
Trumpet, Flugelhorn – Yaure Muñiz
Viola – Angel Zaldivar, José Marón, Rafael Cutiño, Roberto Herrera
Violin – Aeyoth Marichal, Ariel Sarduy, Augusto Diago, Gerardo Garcia , Hugo Cruz, Humberto Legat, Julián Corrales, Pedro Depestre González, Rogelio Martínez
Vocals – Omara Portuondo
FLAC (tracks+.cue), lossless

 Buena Vista Social Club Presents : Manuel ''Guajiro'' Mirabal (2004)

The 1997 runaway smash BUENA VISTA SOCIAL CLUB is the gift that keeps on giving. In the wake of the album's success, a number of its key performers, including Ruben Gonzalez and Ibrahim Ferrer, released solo albums, and in 2005, trumpeter Manuel "Guajiro" Mirabal added his name to that distinguished list. Like his cohorts in the Buena Vista project, Mirabal embodies the musical traditions of Cuba, specializing in classic conjunto, with traces of mambo, rhumba, and bolero in the mix. At the time of this recording, Mirabal's first solo album, he was 71 years old.

Though Mirabal has played in countless orchestra and ensemble since the '40s, and has likely run through the entire Afro-Cuban repertoire in that time, this album is devoted almost exclusively to the music of pioneering Cuban visionary Arsenio Rodriguez. Rodriguez cast the die for modern salsa conjunto, and the instrumentation Mirabal chooses--three trumpets, piano, tres, guitar, percussion, and a rotating roster of lead and backing vocalists--is a classic conjunto configuration. Mirabal evokes the sound of a '40s Havana dancehall, and the playing is superb, with danceable polyrhythms, impassioned vocals, and plenty of dazzling brass work. This is another score for BUENA VISTA fans. by AllMusic 
Tracklist
1 El Rincón Caliente 4:46
2 Para Bailar El Montuno 4:17
3 Deuda 5:22
4 El Reloj De Pastora 3:49
5 Me Boté De Guaño 4:24
6 Mi Corazón No Tiene Quien Lo Llore 3:16
7 Tengo Que Olvidarte 4:37
8 Canta Montero 4:12
9 Chicharronero 4:09
10 No Vuelvo A Morón. Las Tres Marias. Apurrúñenme Mujeres Medley 5:03
11 Dombe Dombe 2:16
FLAC (tracks), lossless

EDÚ LÔBO - Missa Breve (1973-1995) FLAC (tracks+.cue), lossless

Strength and weakness of Edu Lobo, the level of complexity of his compositions and his arrangements which can give the impression of a music a bit intellectual touch far from the purified canons of Samba and Bossa Nova. Missa Breve (1973) is part of an extremely interesting MPB / Jazz Fusion lineage symbolized by the superb title "Porto do Sol" which commutes between Jazz and Samba. The first two songs on the album, "Vento Bravo" and "Viola Fora De Moda" are also very successful. With Missa Breve, Edu Lobo proves once again that he is a great composer and performer of high quality. "Zanga, Zangada" is a nice Bossa Nova tune punctuated by Paulo Moura's saxophone. Note the presence in the staff of the Caymmi brothers, Dori and Danilo. The second part of the album is a little less interesting with "bizarre" mystical tunes like "Kyrie" with the Quarteto Em Cy, "Libera Nós" e "Oremus". Missa Breve is a good quality album, a bit uneven nevertheless, but which confirms the immense talent of Edu Lobo by D. Deret

Força e fraqueza de Edu Lobo, o nível de complexidade de suas composições e arranjos que podem dar à impressão de uma música um toque um pouco intelectual, longe dos cânones purificados do samba e da bossa nova. Missa Breve (1973) faz parte de uma linhagem MPB / Jazz Fusion extremamente interessante, simbolizada pelo excelente título "Porto do Sol", que se alterna entre Jazz e Samba. As duas primeiras músicas do álbum, "Vento Bravo" e "Viola Fora De Moda" também são muito bem-sucedidas. Com Missa Breve, Edu Lobo prova mais uma vez que ele é um brilhante compositor e intérprete de alta qualidade. "Zanga, Zangada" é uma bela música da Bossa Nova, pontuada pelo saxofone de Paulo Moura. Observe a presença na equipe dos irmãos Caymmi, Dori e Danilo. A segunda parte do álbum é um pouco menos interessante com músicas místicas "bizarras" como "Kyrie", do Quarteto Em Cy, "Libera Nós" e "Oremus". Missa Breve é ​​um álbum de boa qualidade, um pouco desigual, mas que confirma o imenso talento de Edu Lobo
Tracklist:
1 Vento Bravo 3:37
Alto Saxophone – Paulo Moura
Backing Vocals – Danilo Caymmi, Dori Caymmi (2), Fernando Leporace
Baritone Saxophone – Aurino
Bass – Novelli
Drums, Congas – Rubinho 
Piano – Tenório
Trombone – Maciel
Trumpet – Mauricio
Vocals – Edu Lobo
Written-By – Edú Lôbo, Paulo César Pinheiro
2 Viola Fora Do Moda 2:49
Backing Vocals – Fernando Leporace
Bass – Novelli
Drums – Rubinho 
Flute, Backing Vocals – Danilo Caymmi
Vocals, Guitar, Percussion – Edu Lobo
Written-By – Edú Lôbo, José Carlos Capinan
3 Porto Do Sol 5:02
Bass – Novelli
Drums – Rubinho 
Electric Piano – Tenório Jr.
Guitar – Nelson Angelo
Percussion – Danilo Caymmi
Vocals, Guitar, Percussion – Edu Lobo
Written-By – Edú Lôbo, Ronaldo Bastos
4 Zanga, Zangada 3:08
Alto Saxophone – Paulo Moura
Bass – Novelli
Drums – Rubinho 
Vocals, Guitar – Edu Lobo
Written-By – Edú Lôbo, Ronaldo Bastos
5 Dois Coelhos 2:00
Vocals, Guitar – Edu Lobo
Written-By – Edú Lôbo, Ruy Guerra
6 Kyrie 4:30
Backing Vocals – Cynara, Cyva, Danilo Caymmi, Dorinha, Ruy, Soninha
Bass, Backing Vocals – Fernando Leporace
Drums, Percussion – Rubinho 
Organ – Dom Salvador
Piano – Tenório Jr.
Vocals, Backing Vocals – Edu Lobo
Written-By – Edú Lôbo
7 Gloria 5:10
12-String Acoustic Guitar, Backing Vocals – Nelson Angelo
Backing Vocals – Cynira, Cyva, Dorinha Tapajós, Ruy, Soninha 
Bass, Backing Vocals – Fernando Leporace
Drums – Rubinho 
Flute, Backing Vocals – Danilo Caymmi
Organ – Dori Caymmi  
Percussion – Tenório Jr. 
Vocals, Acoustic Guitar – Edu Lobo
Written-By – Edú Lôbo 
8 Incelensa 3:50
12-String Acoustic Guitar, Percussion – Nelson Angelo
Bass, Backing Vocals – Fernando Leporace
Drums – Rubinho  
Flute, Percussion, Backing Vocals – Danilo Caymmi
Vocals, Guitar – Edu Lobo
Written-By – Edú Lôbo, Ruy Guerra
9 Oremus 2:14
Organ – Tenório Jr.
Voice – Milton Nascimento
Written-By – Edú Lôbo
10 Libera-Nos 3:42
Backing Vocals – Cynara, Cyva, Danilo Caymmi, Dorinha, Fernando Leporace, Ruy, Soninha
Bass – Fernando Leporace
Drums – Rubinho 
Piano – Tenório Jr.
Written-By – Edú Lôbo
Credits:
Conductor – Mario Tavares
Directed By [Musical Director] – Maestro Gaya
Orchestrated By – Edu Lobo

MÁRCIO MONTARROYOS & STONE ALIANCE - Márcio Montarroyos & Stone Alliance (1977) Mp3

Márcio Montarroyos is an excellent Brazilian musician with an extensive resumé as a session man for Brazilian and international top musicians. Some of his later releases fell in a somewhat abusive commercial line, but this one preserves his musicality and adventurousness. A Brazilian fusion jazz album, originally recorded in 1977, it benefits from the international excellence of such musicians as Steve Grossman, Gene Perla, Don Alias, and the Brazilians Hermeto Pascoal, David Sion, and Dom Bira, among others. Mixing the American standard "A Child Is Born" (Thad Jones) with those musicians' originals, the album keeps a cohesive quality and creative improvisations provided by the amazing range of expression of each of its individual components. by Alvaro Neder

Tracklist:

1 Hey Bicho, Vamos Nessa 4:48

Congas [Uncredited], Cowbell [Uncredited] – Don Bira

Written-By – Steve Grossman

2 Rua Da Boa Hora 4:48

Percussion [Uncredited] – David Sion  

Written-By – Marcio Montarroyos

3 A Child Is Born 4:34

Written-By – Thad Jones

4 On The Foot Peg 5:51

Written-By – Marcio Montarroyos

5 Menina Ilza 6:39

Written-By, Piano [Uncredited], Flute [Uncredited] – Hermeto Pascoal

6 Risa 5:23

Written-By – Don Alias

7 Libra Rising 3:22

Written-By – Steve Grossman

8 The Greeting 4:10

Written-By – Don Alias, Erasto Vasconcelos

Credits:

Bass, Electric Piano, Synthesizer [Strings, Moog], Keyboards, Piano – Gene Perla

Congas, Drums, Guitar, Voice, Percussion – Don Alias

Percussion, Surdo, Voice, Cowbell [Bell], Cowbell – Erasto De Holanda Vasconcelos

Soprano Saxophone, Tenor Saxophone, Piano – Steve Grossman

Trumpet, Flugelhorn, Piano, Percussion, Synthesizer [Moog], Voice, Mellophone – Marcio Montarroyos

MÁRCIO MONTARROYOS - Magic Moment (1982) Mp3

Tracklist:

1 - Patamar (Márcio Montarroyos)  

2 - Magic moment (Márcio Montarroyos)  

3 - Sabor da tarde (Márcio Montarroyos)  

4 - In what direction are you headed? (H.Mabern)  

5 - Pedra bonita (Márcio Montarroyos)  

6 - Makenna beach (Márcio Montarroyos)

Arranged by Marcio Montarroyos

Credits:

Marcio Montarroyos - flugelhorn (1,2,3,4,5), keyboards (1), trumpet (4), electric trumpet (6)

Lincoln Olivetti - piano (1,2,3,4), oberheim (3), keyboards (5,6)

Victor Biglione - guitar (1,2,3,4,5)

Jamil Joanes - bass (1,2,3,4,5,6)

Ivan Conti - drums (1,2,4,5,6)

Ariovaldo Contesini - percussion (1,2,4,5)

Ricardo Silveira - guitar (2,3,4,5)

Picole - drums (3)

Marcos Resende - keyboards (6)

Jorge Robison - guitar (6)

Chacal - congas (6)

ESPERANZA SPALDING - Junjo (2006) FLAC (tracks+.cue), lossless

The debut recording by acoustic upright bassist and vocalist Esperanza Spalding, a native of Portland, OR, residing in Boston, MA, is an exercise in joy and freedom. Well rendered for such a very young musician, it's quite notable, considering the certainty of her concept and clarity of her vision. While steeped in contemporary jazz, there are Latin flavors, unabashed free moments, and some implied and direct swing. Further, it is an expression of her well-being, optimism, and future hope for her life in this music. Also in her peer group, pianist Aruan Ortiz and drummer Francisco Mela add a hundredfold to this music and establish themselves as leaders-to-be, and are quite capable partners for Spalding's wonderful sounds. The first piece, a take of the Jimmy Rowles evergreen "The Peacocks," lets you know something special is going on. Spalding's bass leads out with the probing piano of Ortiz as wordless vocals and a modal jam all precede the melody, followed by a free section. The imagination quotient of this interpretation is off the charts. "Mompouana" is a most impressive circular tune surrounding the sweetness and light of Spalding's voice in a 9/8 time signature, choppy piano motifs, upper to midrange drama, and thoughtful, intricate secondary lines. In their ultimate playful state, "Perazuán" and "Perazela" show Spalding's ability to scat, with Ortiz on the former and furiously alongside Mela on the latter track. The other covers are a darker-than-the-original rendition of Chick Corea's neo-bopper "Humpty Dumpty" and the personable, lighthearted "Loro," written by Egberto Gismonti. "Two Bad," with a feeling reminiscent of the standard "Alone Together," is a brittle, quirky, and unpredictable tune that is the only instrumental of the lot. Spalding sings no lyric content whatsoever; her style is all natural, sensual, and precious. Whether she is coerced to sing songs in the future is to be determined. For sure, she is an accomplished bassist, musician, and original thinker. Junjo is an auspicious beginning that should catch the ears of any lover of great music. by Michael G. Nastos 

GUINGA & GABRIELE MIRABASSI - Passos e Assovio (2018) 24-96 / FLAC (tracks)

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

D'ALMA - D'Alma (1981) Lp / FLAC (tracks), lossless

D'ALMA - D'Alma (1983) Lp / FLAC (tracks), lossless

D'ALMA - A Quem Interessar Possa (1979) Lp / FLAC (tracks), lossless

PAULO MOURA - Confusão Urbana, Suburbana e Rural (1976-1989) APE (image+.cue), lossless

Even though instrumental choro has been jazz-influenced for decades, reedsman Moura really falls somewhere between choro and jazz-samba. The jazz elements are very strong, the local ingredients more varied and more Afro-Brazilian than usual, and he is fond of a big-band sound and a somewhat staid avant-gardism, both of which are foreign to the mainstream idiom. But the spirit and the underlying sound are choro rather than anything else, even if they do stretch the boundaries. And Moura is a fine player with a fine group. by John Storm Roberts

Faixas:

1 Espinha De Bacalhau

Written-By – Severino Araújo

2 Notícia

Written-By – Alcides Caminha, Nelson Cavaquinho, Norival Bahia

3 Bicho Papão

Written-By – Martinho Da Vila, Paulo Moura, Wagner Tiso

4 Tema Do Zeca Da Cuíca

Written-By – Rosinha de Valença

5 Carimbó Do Moura

Adapted By – Paulo Moura

6 Se Algum Dia

Written-By – Martinho Da Vila

7 Peguei A Reta

Written-By – Porfino Costa

8 Amor Proibido

Written-By – Cartola

9 Dois Sem Vergonha

Written-By – Paulo Moura, Wagner Tiso

10 Eu Quero É Sossego

Written-By – Cachimbinho

11 Dia De Comício

Written-By – Paulo Moura

12 Pedra Da Lua

Written-By – Toninho Horta

Créditos

Accordion – Julinho 

Arranged By – Wagner Tiso

Brass – Altamiro Carrilho, Ary Carvalhaes, Cacau, Joãozinho, Lloyd McNeill, Marcio Montarroyos, Maurilio, Mauro Amoroso, Nivaldo Ornelas, Paulo Bombardino, Pirulito, Raulzinho, Ré Menor, Toninho

Cavaquinho – Mané Do Cavaco, Neco

Contrabass – Jamil

Coordinator [Coordenação Artistica], Directed By [Direção Estúdio] – Martinho Da Vila

Drums – Alexandre Papão, Paulinho Batera

Guitar – Rosinha de Valença, Toninho Horta, Valdir

Leader – Paulo Moura

Organ, Piano – Wagner Tiso

Percussion – Doutor, Eliseu, Geraldo Bongô, Gilberto, Luna (11), Marçal, Paulinho, Raphael Corderdos, Serginho, Zeca Da Cuica

Violin – Pareschi, José Alves, Spalla

Vocals – Gilda Horta, Isauro Tiso, Miucha

ANDRÉ GERAISSATI – Entre Duas Palavras (1982) / FLAC (tracks), lossless

SÉRGIO AND ODAIR ASSAD - Latin American Music for Two Guitars (1985) FLAC (image+.cue), lossless

A fascinating album of Latin and Brazillian guitar duets, it includes works by A. Piazzolla and is a feast for the ears. by Paul Kohler
Tracklist
Tango Suite for 2 guitars
1 Deciso 04:22
Astor Piazzolla
2 Andante 03:40
Astor Piazzolla
3 Allegro 06:13
Astor Piazzolla
Micropiezas (4) for 2 guitars
4 Tranquilo 01:05
Leo Brouwer
5 Allegro vivace 01:28
Leo Brouwer
6 Vivacissimo muy ritmico 00:49
Leo Brouwer
7 Sonoro 01:39
Leo Brouwer
8 Bebé 02:12
Hermeto Pascoal
Suite Retratos, for 2 guitars
9 Anacleto de Medeiros 03:37
Radamés Gnattali
10 Chiquinha Gonzaga 04:27
Radamés Gnattali
11 Recife Dos Corais, for 2 guitars 02:03
Sergio Assad
12 Valseana, for 2 guitars 01:29
Sergio Assad
13 Vitoria Regia, for 2 guitars 01:59
Sergio Assad
14 Pinote, for 2 guitars 02:03
Sergio Assad
Estancia, ballet, Op. 8
15 Idilio Crepuscular 01:41
Alberto Ginastera
Credits
Composed By – Alberto Ginastera (tracks: 15), Astor Piazzolla (tracks: 1 to 3), Hermeto Pascoal (tracks: 8), Leo Brouwer (tracks: 4 to 7), Radamés Gnattali (tracks: 9, 10), Sergio Assad (tracks: 11 to 14)
Guitar [Left Channel] – Odair Assad (tracks: 1 to 11, 13 to 15)
Guitar [Right Channel] – Sergio Assad (tracks: 1 to 11, 13 to 15)
Guitar, Soloist – Sergio Assad (tracks: 12)

SERGIO AND ODAIR ASSAD - Latin American Music for Two Guitars 

(1985) Nonesuch / FLAC (image+.cue), lossless

O Púbis da Rosa

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

CHUCHO VALDÉS - Bele Bele en La Habana (1998) FLAC (tracks+.cue), lossless

Issued just after his landmark two-week June 1998 gig at the Village Vanguard and subsequent U.S./Canada tour, Chucho Valdés' first album for Blue Note bears out a lot of the hype surrounding this hugely gifted Cuban pianist. Unlike many of today's younger Cuban keyboard hotshots, Valdés not only has great technical chops and musical erudition, he manages to stay closely tied to his Cuban rhythmic roots. Thus, he employs a Cuban percussionist Roberto Vizcaino Guillot along with the standard bass (Alain Pérez Rodriguez) and drums (Raúl Píñeda Roque), which dramatically increases the possibilities for rhythmic experiments. Valdés more often than not is all over the keyboard, comfortable with everything from Ravel-ian classical complexity to Bill Evans' introspection to Cecil Taylor-like crunches. But there are surprisingly few wasted motions; all of the notes fit. He creates tremendous excitement on "Con Poco Loco" (which ends with a sly steal from "Giant Steps"), and suddenly breaks into a cornucopia of European stream-of-consciousness fireworks before returning to Cuba on "Son Montuno." However, the best moments on Bele Bele en La Habana come when Valdés hooks his fire-eating technique into the groove and doesn't let go. "El Cumbanchero" contains some sudden rhythmic shifts that will have you leaping out of your chair, and "Tres Lindas Cubanas" gradually builds a great head of steam. This CD will give you a much better idea of Valdés' pianistic capabilities than any of his records with Irakere. On a political level, it is interesting and disheartening to note that Valdés recorded this album in Toronto under the auspices of EMI Music Canada; a direct signing with Blue Note would have exposed the American company to charges of trading with the enemy. Obviously, as of 1998, the Cold War was not completely over. by Richard S. Ginell  

Tracklist
1 Son Montuno 7:12  
Chucho Valdés
2 Lorraine 5:41 
Chucho Valdés
3 But Not for Me (Pero No Para Mi) 3:07 
George Gershwin / Ira Gershwin
4 Con Poco Coco (Without Much Thought) 8:35 
Chucho Valdés
5 El Cumbanchero (The Rumba Dancer) 6:54
Rafael Hernández
6 Tres Lindas Cubanas (Three Pretty Cuban Girls) 6:29  
Guillermo Castillo
7 La Sitiera (The Small Farm) 8:44
Chucho Valdés
8 Los Caminos (The Pathways) 9:30
Pablo Milanés