RAY BROWN & LAURINDO ALMEIDA — Moonlight Serenade (1981-2005) FLAC (tracks+.cue), lossless

After all these years, some jazz historians continue to lament the end of the big-band era; they continue to remind listeners how much of a thrill it can be to hear 20 or 25 seasoned jazz musicians playing together. But there is also a lot to be said for intimacy in jazz -- the sort of intimacy that serves bassist Ray Brown and Brazilian guitarist Laurindo Almeida delightfully well on Moonlight Serenade. Recorded in Germany in 1981, this session finds Brown and Almeida forming an acoustic duo -- and the two of them enjoy a consistently strong rapport on lyrical, introspective performances of material that ranges from Tin Pan Alley standards ("Blue Skies," "Beautiful Love") to Brazilian songs (Ary Barroso's "Inquietação") to European classical music (Johann Sebastian Bach's Air). One of the most ambitious tracks on the album is a medley that combines Thelonious Monk's "'Round Midnight" with Ludwig van Beethoven's Moonlight Sonata (as opposed to "Moonlight Serenade" -- although this 70-minute CD is titled Moonlight Serenade, the gem that became Glenn Miller's theme song is not part of the program). "'Round Midnight," of course, is one of those standards that has been recorded thousands of times over the years; it has been recorded so often that veteran producer Orrin Keepnews once described it as "the national anthem of jazz." But it isn't every day that one hears "'Round Midnight" successfully blended with Beethoven -- something that Brown and Almeida are able to accomplish because they obviously know one another so well musically. Moonlight Serenade, it should be stressed, wasn't the first time the two of them joined forces: Brown and Almeida had played together in the L.A. 4 in the '70s -- so they were a perfect combination when, in 1981, they recorded the cohesive guitar/bass duets on this excellent CD. Alex Henderson
Tracklist & Credits :

OLIVER NELSON — Skull Session (1975-2002) RM | RCA Victor Gold Series | FLAC (tracks+.cue), lossless

Skull Session is hardly up to snuff for the talented and overworked Nelson, who was busy scoring TV shows at the time. The title track is a fun little dabble in electronic funk, but the rest seems beneath Nelson's abilities, as it takes his signature sounds, adds disco, dumbs down the themes, and finishes it off with pedestrian solos from L.A. studio musicians. Douglas Payne  Tracklist & Credits :

ELLA FITZGERALD – 1951 | The Classics Chronological Series – 1261 (2002) FLAC (tracks+.cue), lossless

Most of Ella Fitzgerald's recordings from 1951 (all of which are on this CD) are obscure and have rarely been reissued. "The First Lady of the American Song" turned 34 that year and was in peak form, as she would be throughout the decade. The music ranges from novelties ("Two Little Men In A Flying Saucer," and a cover of "Come On-A My House,") to worthy versions of "Love You Madly," "Smooth Sailing," and "Baby Doll." The settings range from tunes with Sy Oliver's Orchestra and occasional background singers, to a date with Hank Jones, and four lesser-known but delightful duets with Louis Armstrong: "Necessary Evil," "Oops," "Would You Like To Take A Walk," and "Who Walks In When I Walk Out." Scott Yanow
Tracklist :

STAN KENTON AND HIS ORCHESTRA - 1947, Vol. 2 | The Classics Chronological Series – 1039 (1998) FLAC (tracks+.cue), lossless

Like its immediate predecessor, volume five in the Classics Stan Kenton chronology contains a substantial amount of material composed and/or arranged by Sicilian-American Pete Rugolo, a student of Darius Milhaud and Kenton's right-hand man during the mid- to late '40s. It was Rugolo who assisted Kenton during his experiments with modernized, "progressive" big band jazz. (Speaking of modern jazz, note the return of alto saxophonist Art Pepper on the session of October 22, 1947, which opened with Rugolo's "Unison Riff.") Following the example of Dizzy Gillespie, Kenton was now incorporating more Latin percussion and Caribbean rhythms than ever into his music, and even hired Cuban bandleader Machito to play maracas on the sessions which took place during the latter part of December 1947. Smug, contentious and successful, Kenton attracted controversy like a lightning rod. Part of the reason for this was the unusual and at times startling nature of his brand of musical futurism.
A more unsavory aspect of Kenton's reputation was his annoying habit of making what appeared to be arrogantly racist statements. The most famous example of this regrettable tendency was remembered by several eyewitnesses who claimed that Kenton, after participating in a "battle of the bands" at the Savoy Ballroom, got drunk and staggered up to Dizzy Gillespie saying "We can play your music better than you can." Diz -- to his credit -- simply shrugged, said "yeah" and walked away. Walter Gilbert Fuller adds: "He was juiced. But he was saying while he was juiced what he really meant." Here's how Gillespie assessed the overall situation: "Stan Kenton was the copyist. Stan Kenton went out and got a conga drummer after he saw me with one. He hired Carlos Vidal, lured him away from Machito, and put him along with another Latin drummer, Jack Costanzo, in his band. But Stan didn't know what to do with it. He just left it there and they made up their own minds what to play. All this happened after he came up to the Savoy and heard us while Chano Pozo was in the band. Now, I don't just take what they do and leave it there. I don't pass myself off as an expert on Latin music, but the guys who play it respect me for knowing how to take what they do, put it in with my music, and make it right. I never take nothing from nobody without delivering something in return. I think when people figured we might make a lot of money -- that started the controversy about who would get credit for creating modern jazz. My viewpoint was always that the credit should go to the ones who developed and played it best."
Interestingly, Dizzy Gillespie is heard on this disc alongside Buddy DeFranco, Bill Harris and Flip Phillips as members of the Metronome All Stars in combination with Stan Kenton & His Orchestra (a total of 28 players!) on Pete Rugolo's "Metronome Riff," which was recorded on December 21, 1947. Gillespie even toured with Kenton, sometimes leading the band. Later in life, Gillespie bluntly asserted that Kenton "left out the fundamentals," unlike Miles Davis whose music, said Diz, "is based on rhythm and also the blues." Whether or not you agree with that assessment, and while many of Kenton's recordings, including some of the examples heard on this compilation, had plenty of artistic merit, music does not exist in a social vacuum. As a member of the dominant social group, Kenton could and should have shown more respect and gratitude to the African-American artists from whom he borrowed (or swiped) ideas, textures, rhythms and inspiration. That would have been honorable. arwulf arwulf
Tracklist :

STAN KENTON AND HIS ORCHESTRA – 1950 | The Classics Chronological Series – 1185 (2001) FLAC (tracks), lossless

There is a gap in the Stan Kenton chronology. It begins with the ellipsis caused by the second commercial recording ban mandated by the American Federation of Musicians, which was in effect throughout most of 1948. Unable to continue making studio recordings, Kenton toured with his mammoth orchestra until he wore himself down and disbanded on December 14, only days before AFM president James C. Petrillo lifted the ban. Kenton apparently needed a break; it wasn't until February 1950 that he resumed making records for Capitol. Kenton's Innovations in Modern Music Orchestra consisted of 37 players; he was now straddling a 23-piece big band plus strings. The sessions that took place in Los Angeles on February 3, 4, and 5 1950 resulted in some of Kenton's most theatrical and dramatically charged recordings; more than half of them were issued on 12" 78 rpm platters, which allowed for extended durations of between four and five minutes. Pete Rugolo's suspenseful tone poem titled "Conflict" is one of the weirdest. Scored almost as if intended for a Hollywood sci-fi movie and using elements that seem to lead directly back to Anton Webern's Opus 6, "Conflict" combines oozing, queasy tonalities with unsettling percussion, sudden blasts from startled trumpets, and an eerie wordless vocal by June Christy. Kenton also continued to experiment with Latin American-flavored jazz; Neal Hefti's "In Veradero" and Laurindo Almeida's "Mardi Gras," which tap into Brazilian traditions, feature ensemble vocals generated by members of the band and their families. With players like Art Pepper, Bud Shank and Shorty Rogers on board, 1950 turns out to be one of the better installments in the Classics Stan Kenton chronology. arwulf arwulf  
Tracklist & Credits :

STAN KENTON AND HIS ORCHESTRA – 1950-1951 | The Classics Chronological Series – 1255 (2002) FLAC (tracks+.cue), lossless

Illness, exhaustion and a national recording ban imposed by executives heading the American Federation of Musicians forced Stan Kenton to disband and withdraw from the music scene in December 1948. The hiatus lasted until February 1950, when he resumed making records for the Capitol label (see Classics 1185, Stan Kenton & His Orchestra 1950). Classics 1255, 1950-1951, which is the seventh volume in the Classics Kenton chronology, contains all of the recordings he made with his big band between May 18 1950 and March 20 1951. By and large, Kenton's music sounded better than ever during this period. His 37-piece Innovations Orchestra, which nearly bankrupted him when he took it on a national tour that set him back something like two hundred grand, performed attention-getting music using ambitiously conceived "progressive" arrangements. Kenton shared composing and arranging duties with Laurindo Almeida, Shorty Rogers and the ever-imaginative Pete Rugolo. In addition to dynamic studies focusing upon the brass and string sections, as well as the cello department in particular, a series of pieces were created as portraits of bandmembers June Christy, Art Pepper, Maynard Ferguson and Shelly Manne. Two tracks cut on August 16 1950 feature pianist and vocalist Nat King Cole, who maintained his composure amid blasts from the brass and shouts from the band during "Orange Colored Sky" -- note that the vocal routine used by the band is a precise word-for-word imitation of the famously rowdy version by that "Incendiary Blonde" Betty Hutton. Kenton bowed to convention by employing a resonant crooner and Billy Eckstine impersonator by the name of Jay Johnson; there is also a wistful band vocal on "September Song." Kenton continued to employ Latin American percussionists to spice up his Caribbean-style arrangements; Cole Porter's "Love for Sale" works very nicely under the influence of Miguel Ramon Rivera's conga drumming. Lest anyone should complain that this band didn't play enough melodies that could be whistled or hummed, Kenton's old chum Vido Musso's tenor sax was featured on the familiar "Santa Lucia" and a dramatic rendering of "Vesti la Giubba," the famous aria from Ruggero Leoncavallo's opera Pagliacci. After capping all of this with the delightful "Artistry in Tango" and savoring Bud Shank's graceful solo on Pete Rugolo's "Theme for Alto," one can begin to understand how and why Kenton's early-'50s band enjoyed increasing popularity in its day. Much of what he'd recorded during the previous decade pales by comparison. arwulf arwulf  
Tracklist : 

L.A. 4 - The L.A. Four Scores! (1975-2014) FLAC (image+.cue), lossless

 Altoist Bud Shank (who doubles on flute) and acoustic guitarist Laurindo Almeida first teamed up in 1954 to make a couple of albums called Brazilliance that hinted at but greatly predated bossa nova. Shank and Almeida came together 20 years later to form the L.A. Four, a quartet also including bassist Ray Brown and drummer Shelly Manne. Their debut recording as a unit was made at the 1974 Concord Jazz Festival, and it finds the appealing musicians blending together well on bossa nova tunes (including "Manha de Carnaval"), Almeida's classical-oriented originals, and some swing. This was a particularly inventive chamber jazz band. by Scott Yanow
Tracklist :
1     Sundancers 7:38
Bud Shank
2     Carioca Hills 3:53
Laurindo Almeida
3     Allemande and the Fox 3:58
Laurindo Almeida
4     Berimbau Carioca 6:29
Laurindo Almeida
5     Cielo 4:51
Laurindo Almeida
6     Prelude, Opus 28, No. 4/How Insensitive 5:17
Norman Gimbel / Antônio Carlos Jobim
7     Old Time Rag 1:47
Laurindo Almeida
8     Manha de Carnaval 8:30
Luiz Bonfá
Credits :
Bass – Ray Brown
Drums – Shelly Manne
Flute – Bud Shank
Guitar – Laurindo Almeida
Saxophone [Alto] – Bud Shank

L.A. 4 - Concierto de Aranjuez (1976-1987) FLAC (tracks+.cue), lossless

The second recording and first studio set by the L.A. Four matched together Bud Shank on alto and flute, guitarist Laurindo Almeida, bassist Ray Brown, and drummer Shelly Manne for a diverse yet consistently enjoyable program. The selections range from "Dindi" and "Manteca" to "St. Thomas" and a 13-minute exploration of "Concierto de Aranjuez." As usual, the band mixes together bossa nova and Brazilian jazz, some touches of classical music, and cool-toned bop. Recommended as a strong example of the group's appealing sound. by Scott Yanow
Tracklist :
1     Dindi 5:55
Ray Gilbert / Antônio Carlos Jobim
2     Rainbows 6:46
Bud Shank
3     Rondo Espressivo 4:44
Emanuel Bach
4     Manteca 7:46
Gil Fuller / Dizzy Gillespie / Chano Pozo
5     St. Thomas 7:30
Sonny Rollins
6     Concierto de Aranjuez: Adagio Movement 13:14
Joaquín Rodrigo
Credits :
Alto Saxophone, Flute – Bud Shank
Bass – Ray Brown
Drums – Shelly Manne
Guitar – Laurindo Almeida

L.A. 4 - Watch What Happens (1978-1990) APE (tracks+.cue), lossless

For their third recording, the L.A. Four had drummer Jeff Hamilton permanently taking Shelly Manne's place but otherwise utilized their original players (altoist-flutist Bud Shank, guitarist Laurindo Almeida, and bassist Ray Brown). Most unusual in their repertoire on this set is Chuck Mangione's "Land of Make Believe," which was a current pop hit. Otherwise, the tunes are the usual mixtures of bossas, classical numbers, and standards, including "Summertime," "Mona Lisa," and "Nuages." Tasteful and lightly swinging music. by Scott Yanow
Tracklist :
1     Watch What Happens 5:24
Norman Gimbel / Michel Legrand
2     Summertime 5:14
George Gershwin / Ira Gershwin / DuBose Heyward
3     Mona Lisa 4:55
Ray Evans / Jay Livingston
4     Williwaw 5:27
Bud Shank / Laurindo Almeida         
5     Land of Make Believe 6:55
Chuck Mangione
6     Nuages 5:48
Django Reinhardt     
7     Misty 7:42
Johnny Burke / Erroll Garner
Credits :
Bass – Ray Brown
Drums – Jeff Hamilton
Guitar – Laurindo Almeida
Saxophone [Alto], Flute – Bud Shank

L.A. 4 - Executive Suite (1983-1995) FLAC (tracks), lossless

Eight years after their debut recording, the L.A. Four (guitarist Laurindo Almeida, Bud Shank on alto and flute, bassist Ray Brown, and drummer Jeff Hamilton) recorded their eighth and final album. The band and its concept had not run out of gas, but Shank was soon to give up the flute altogether and play a more forceful brand of straight-ahead jazz. On this last effort, the L.A. Four as usual mixes cool-toned jazz, Brazilian music, and classical to form an appealing blend. Two group originals, a few classical themes, "My Funny Valentine," and Antonio Carlos Jobim's "Chega de Saudade" comprise the attractive set. Recommended. by Scott Yanow
Tracklist :
1     Blues Wellington 5:42
Jeff Hamilton
2     Amazonia 4:38
Laurindo Almeida
3     Você e Eu (You and I) 4:21
Norman Gimbel / Carlos Lyra / Vinícius de Moraes
4     Simple Invention 6:27
Johann Sebastian Bach
5     Entr'acte 6:55
Jacques Ibert
6     My Funny Valentine 7:35
Lorenz Hart / Richard Rodgers
7     Chega de Saudade (No More Blues) 5:41
Antônio Carlos Jobim / Vinícius de Moraes
Credits :
Alto Saxophone – Bud Shank
Bass – Ray Brown
Drums – Jeff Hamilton
Guitar – Laurindo Almeida

CAL TJADER - Cal Tjader Plays the Contemporary Music of Mexico and Brazil (1962-2008) RM / FLAC (image+.cue), lossless

This 1962 set by Cal Tjader, recorded at the beginning of the bossa nova craze in the United States (released in the same year and on the same label as the smash Jazz Samba by Stan Getz and Charlie Byrd), has one of the most boring titles imaginable, and it doesn't begin to describe the laid-back yet magical innovations in the grooves. Produced by Creed Taylor, the date was arranged and orchestrated by the great pianist Clare Fischer (who also wrote the liner notes). Tjader set out to offer a very modern portrait of the music pouring out of Mexico City by showcasing selected Mario Ruíz Armengol compositions, and out of Brazil by spotlighting numbers by singers such as Elisete Cardoso and João Gilberto. Tjader's vibes are placed in juxtaposition with Fischer's piano and percussion by Changuito, Milt Holland, and Johnny Rae, with a woodwind section that included both Don Shelton and Paul Horn, and even some wordless exotica vocals by Ardeen DeCamp. In addition, Brazilian guitar star Laurindo Almeida helps out on about half the set and contributed "Chôro e Batuque," while Fischer offers "Elisete," named for the singer. The feel here is gentle with infectious rhythms and beautifully wrought woodwinds (check "Se é Tarde, Me Perdoa"), gorgeous piano, and spacious vibes. The arrangements by Fischer certainly represent the era, but they endure into the 21st century because of the shining example of interplay between the percussion and melodies (note the breezy "Silenciosa"). Tjader had been playing samba on records for a number of years by this point, and worked with Getz in 1957, but this was the first place he allowed his own complex yet delightfully subtle melodic (rather than just rhythmic) sensibilities to shine on the vibes. The most remarkable thing about this set is how effortlessly the two traditions blend.
(This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa')
Tracklist :
1     Vai Querer 3:04
Hianto De Almeida / Laurindo Almeida / Edú Lobo / Fernando Lobo
2     Qué Tristeza 2:50
Mario Armengol / Mario Ruíz Armengol
3     Meditacao 3:33
Antônio Carlos Jobim / Newton Ferreira De Mendonça
4     Sone 3:09
Mario Armengol / Mario Ruíz Armengol
5     Se é Tarde, Me Perdoa 2:51
Ronaldo Bôscoli / Carlos Lyra
6     Não Diga Nada 2:48
Noacy Mercenes
7     Silenciosa 3:28
Mario Armengol / Mario Ruíz Armengol
8     Elizete 2:31
Clare Fischer
9     Imagen 2:41
Mario Armengol / Mario Ruíz Armengol
10     Tentaço do Incoveniente 2:33
Manoel da Conceição / Augusto Mesquita
11     Preciosa 2:41
Mario Armengol / Mario Ruíz Armengol
12     Choro e Batuque 5:02
Laurindo Almeida
Credits :
Arranged By, Piano, Liner Notes – Clare Fischer
Bass – Freddie Schreiber
Congas – Changuito (faixas: 2, 4, 7, 9, 11)
Drums – Johnny Rae (faixas: 1, 3, 5, 6, 8, 10, 12)
Guitar – Laurindo Almeida (faixas: 1, 3, 5, 6, 8, 10, 12)
Percussion – Milt Holland
Producer – Creed Taylor
Timbales – Johnny Rae (faixas: 2, 4, 7, 9, 11)
Voice – Ardeen de Camp (faixas: 2, 4, 7, 9, 11)
Woodwind – Bernie Fleischer (faixas: 1, 3, 5, 6, 8, 10, 12), Don Shelton, Gene Cipriano (faixas: 1, 3, 5, 6, 8, 10, 12), John Lowe, Paul Horn 

LAURINDO ALMEIDA / CHARLIE BYRD - Brazilian Soul (1981) FLAC (image+.cue), lossless

The first of at least four meetings on record between the great Brazilian-styled guitarists Laurindo Almeida and Charlie Byrd, this very logical matchup (in a quartet with bassist Bob Magnusson and percussionist Milt Holland) is quite succesful. The music is tightly arranged with very little improvisation but the beauty of the two guitarist's distinctive tones and the colorful melodies makes this a rewarding set. From "Carioca" and Jobim's "Stone Flower" to several Brazilian classical pieces and even "Don't Cry For Me Argentina," everything works. by Scott Yanow
Tracklist:
1    Carioca 3:44
Written-By – Ernesto Nazareth
2    Naquele Tempo 3:38
Written-By – Alfredo Vianna
3    Cochichando 2:37
Written-By – Alfredo Vianna
4    Luperce 2:49
Written-By – Luperce Miranda
5    Famoso 2:55
Written-By – Ernesto Nazareth
6    Choro II 2:50
Written-By – João Pernambuco
7    Brazilian Soul 2:44
Written-By – Radamés Gnatalli
8    Stone Flower 4:55
Written-By – Antonio Carlos Jobim
9    For Jeff 6:46
Written-By – Charlie Byrd
10    Don't Cry For Me Argentina (From "Evita") 3:32
Written-By – Andrew Lloyd Webber, Tim Rice
Credits:
Arranged By – C. Byrd (faixas: 2, 6, 8 to 10), L. Almeida (faixas: 1 to 5, 7)
Bass – Bob Magnusson
Guitar – Charlie Byrd, Laurindo Almeida
Percussion – Milt Holland

LAURINDO ALMEIDA / CHARLIE BYRD - Latin Odyssey (1982) FLAC (image+.cue), lossless

The second meeting on records by Brazilian guitarists Laurindo Almeida and Charlie Byrd is similar to their first in that the emphasis is on melodies and arrangements with only subtle improvising in spots. The quartet is completed by Joe Byrd or Bob Magnusson on bass and Chuck Redd or Jeff Hamilton playing drums. Almeida and Byrd perform works from several South American composers (including Astor Piazzola) plus the current show tune "Memory" and the peaceful music holds one's interest. by Scott Yanow
Tracklist:
1 Memory (FromCats) 4:12
Written-By – A. L. Webeber, T. S. Eliot, Trevor Nunn    
2 Zum and Resurección del Angel 7:46
Written-By – Astor Piazzolla    
3 El Niño 3:13
Written-By – Antonio Lauro    
4 Gitanerias 2:40
Ernesto Lecuona
5 Adios 3:04
Enric Madriguera / Eddie Woods
6 El Gavilan 3:03
Aldemaro Romero
7 Estrellita 4:25
Manuel Ponce
8 Tubihao de Beijos 4:12
Written-By – Ernesto Nazareth    
9 Intermezzo Malinconico 3:04
Manuel Ponce
Credits
Laurindo Almeida - Guitar
Charlie Byrd - Guitar
Joe Byrd - Bass
Jeff Hamilton - Drums
Bob Magnusson - Bass
Chuck Redd     Drums

LAURINDO ALMEIDA / CHARLIE BYRD - Tango (1983) FLAC (image+.cue), lossless

This unusual CD finds guitarists Laurindo Almeida and Charlie Byrd (who have both mastered bop and Brazilian music) performing 11 tangoes with the assistance of bassist Joe Byrd and drummer Chuck Redd. Although the two acoustic guitarists have their short solos, the emphasis in this delightful set is on their ensemblework, respectful interpretations of the melodies and those infectious tango rhythms. by Scott Yanow
Tracklist:
1 Orchids in the Moonlight 3:11
Edward Eliscu / Gus Kahn / Vincent Youmans
2 Blue Tango 4:28
Leroy Anderson
3 Jalousie 3:24
Vera Bloom / Jacob Gade
4 Los Enamorados 3:02
Reynaldo Hahn
5 La Rosita 2:31
Gus Haenschen
6 Tango Alegre 3:06
Laurindo Almeida
7 La Cumparsita 3:05
Pascual Contursi / Enrique Pedro Maroni / Gerardo Hernán Matos Rodriguez
8 Adios Muchachos 4:04
Julio César Sanders / Cesar Vedani
9 The Moon Was Yellow 3:47
Fred E. Ahlert / Edgar Leslie
10 Hernando's Hideaway 3:54
Richard Adler / Jerry Ross
11 Tanguero 3:53
Randy Masters
Credits:
Bass – Joe Byrd
Drums – Chuck Redd
Guitar – Charlie Byrd, Laurindo Almeida

 

STAN GETZ WITH LAURINDO ALMEIDA - Stan Getz With Guest Artist Laurindo Almeida (1963-2008) RM / FLAC (tracks+.cue), lossless

Three weeks after completing his meeting with Luiz Bonfá and only two days after the epochal Getz/Gilberto sessions, Stan Getz was back in the studio recording more bossa nova. Producer Creed Taylor was obviously striking while the iron was hot, getting in as many Brazilian sessions as he could, yet the quality of the music-making remained consistently marvelous. Continuing his practice of running through one star guitarist after another, this time Getz has Laurindo Almeida as the designated rhythm man, featured composer, and solo foil. The rhythm section is an authentically swinging mixture of American sidemen (including Steve Kuhn on piano and George Duvivier on bass) and Brazilian percussionists. Almeida didn't like to improvise, so his solos stay close to the tunes, inflected with a perfectly matched feeling for the groove along with classical poise. Jobim's "Outra Vez" is a particularly lovely example of Getz's freedom and effortless lyricism contrasted against Almeida's anchored embroidering. Sessions like these might have been seen as cashing in on the boom at the time, yet in the long view, one should be thankful that these musicians were recording so much cherishable material. by Richard S. Ginell  
Tracklist:
1 Minina Moca 5:41
Luiz Antonio
2 Once Again 6:42
Antônio Carlos Jobim
3 Winter Moon 5:21
Laurindo Almeida / Portia Nelson
4 Do What You Do, Do 4:35
Laurindo Almeida / Jeanne Taylor
5 Samba Da Sahra 4:54
Laurindo Almeida
6 Maracatu-Too 5:00
Laurindo Almeida / Stan Getz
Credits:    
Bass – George Duvivier
Drums – Dave Bailey, Edison Machado, Jose Soorez
Guitar – Laurindo Almeida
Percussion [Latin Rhythm] – José Paulo, Luiz Parga
Producer – Creed Taylor
Tenor Saxophone – Stan Getz

GUITARS UNLIMITED - Quiet Nights and Brazilian Guitars [1966] Capitol-Japan / FLAC

Yet another record of instrumental hits meant to cash in on the bossa nova craze, or L.A. session musicians at the top of their game? Certainly fans of Howard Roberts, once a recording artist for Verve, will not want to miss this one, as the cool guitarist lends solos to all but one of the tracks here, a usual assortment of Jobim and Gilberto tunes and soundalikes. No strings anywhere on the album, and arranger Jack Marshall keeps things light and lively. Easy to find in cut-out bins and certainly worth the dollar or two price.  by Ted Mills

Tracklist:

1. The Girl from Ipanema (Jobim) - 2:44
2. Manha de Carnival (Theme from "Black Orpheus") (Bonfa) - 2:42
3. Meditation (Meditacao) (Jobim) - 3:06
4. Here Lies Love (Marshall-Mosher) - 2:26
5. Ho-Ba-La-La (Gilberto) - 2:18
6. Bim-Bom (Gilberto) - 2:23
7. Desafinado (Jobim) - 2:41
8. Quiet Nights of Quiet Stars (Corcovado) (Jobim) - 2:03
9. One Note Samba (Samba de Uma Nota So) (Jobim) - 2:34
10. These Are the Ways of Love (Marshall-Mosher) - 2:37
11. O Barquinho (Little Boat) (Menescal-Boscoli) - 2:32

Credits:
Jack Marshall - conductor, arranger, guitar (2,5,7,11)
Howard Roberts, Bob Bain, Tony Rizzo, Al Hendrikson, Tommy Tedesco, Laurindo Almeida (1,3,4,6,8-10) alternating with Rosinha de Valenca - guitar
Shelly Manne, Milton Holland - drums, percussion
Frank Flynn - bells (1,3,4,6,8-10)
Joe Mondragon - bass
Produced by Jack Marshall and David Cavanaugh.
Recorded in 1966.

GUITARS UNLIMITED - Quiet Nights and Brazilian Guitars

 [1966] Capitol-Japan / FLAC / scans

O Púbis da Rosa

SAMMY DAVIS JR Sings, LAURINDO ALMEIDA Plays [1966] CCM / FLAC

The intimacy inherent in this collection places 1966's Sammy Davis, Jr. Sings and Laurindo Almeida Plays in a class unto itself. As he had done on the highly conceptual All-Star Spectacular in 1962 and California Suite in 1964, multi-talented entertainer Sammy Davis Jr. has created a unique and thoroughly fascinating outing. The ten selections feature Davis and Brazilian instrumentalist/arranger Laurindo Almeida, who made a name for himself as an accompanist for Carmen Miranda before delving into the decidedly American art form of West Coast cool jazz with saxophonist Bud Shank in the mid-'50s. Here, the pair effortlessly complement each other inside the very intonation and tenor of their respective crafts. Davis' incisive abilities as an emotive performer bring a pervasive dramatic quality to the wide range of material covered. When compared to fellow Rat Packer Frank Sinatra's reading of "Here's That Rainy Day," Davis' vocals lean into the song, resulting in a palpable sense of melancholia. He evokes a similar sentiment on the achingly poignant version of Cole Porter's "Ev'ry Time We Say Goodbye" as well as the hopelessly optimistic "I'm Always Chasing Rainbows." However, the real magic woven into this collaboration is without a doubt Davis' incorporation of several significant Broadway melodies. "Where Is Love" -- taken from Lionel Bart's Oliver -- is a stunning, if not mesmerizing, interpretation. "Joey, Joey, Joey" bears an earthy closeness, offering what is arguably a defining moment as the tune transcends its place within the stage production Most Happy Fella, becoming an exceptional and exquisite ballad. [In 2004, Collectors' Choice Music reissued Sammy Davis, Jr. Sings and Laurindo Almeida Plays as part of the label's complete restoration of Davis' 1960s Reprise Records catalog.]  by Lindsay Planer 
Tracklist 
1 Here's That Rainy Day  2:15
Written-By – Burke/Van Heusen
2 Two Different Worlds  3:21
Written-By – Frisch, Wayne
3 The Shadow Of Your Smile  4:12
Written-By – Mandel, Webster
4 Where Is Love   3:00
Written-By – Lionel Bart
5 Ev'ry Time We Say Goodbye  4:01
Written-By – Cole Porter
6 I'm Always Chasing Rainbows  2:20
Written-By – Carroll, McCarthy
7 We'll Be Together Again  3:14
Written-By – Fischer, Laine
8 Joey, Joey, Joey  4:18
Written-By – Frank Loesser
9 The Folks Who Live On The Hill  3:40
Written-By – Kern/Hammerstein
10 Speak Low  3:32
Written-By – Weill, Nash
Credits
Classical Guitar – Laurindo Almeida
Vocals – Sammy Davis Jr.

SAMMY DAVIS JR Sings LAURINDO ALMEIDA Plays [1966]

[2004 RE] Collectors' Choice Music / FLAC / scans

O Púbis da Rosa

JOANIE SOMMERS - Softly: The Brazilian Sound [1964]

Released in 1964, the aptly titled Softly, the Brazilian Sound was Joanie Sommers' seventh long-player for Warner Bros. in under five years. She had been marketed as a torch balladeer to popular jazz and Great American Songbook enthusiasts, as well as a teenybopper to a considerably younger audience. Sommers joins forces with Laurindo Almeida (guitarist/arranger) in a move that predates Frank Sinatra's collaborative efforts with Antonio Carlos Jobim by several years. In actuality, the so-called "bossa nova" movement was one of the only trends to have any effect on the American pop scene during the mid-'60s -- particularly when going up against British Invasion bands. And it's little wonder that Jobim's name crops up throughout the effort, as he co-penned a couple of tunes -- including the sultry opener, "Meditation" (Meditacao). Comparatively traditional is Henry Mancini's title theme to Glenn Ford and Geraldine Page's concurrent romantic comedy, Dear Heart. Almeida's score is tempered, yet stays fairly close to Andy Williams' Top 30 hit reading of the song. "Watching the World Go By" -- which shouldn't be confused with the Dean Martin classic -- is the other cinematic selection. Sommers' refined confidence not only sells the number, but makes it one of the project's least dated entries. Although arguably obligatory, "Quiet Nights (Corcovado)" gives Almeida an opportunity to weave his lyrical and romantically charged acoustic guitar on the Jobim bossa nova archetype. Conversely, Almeida could have gotten significantly more mileage had he removed the syrupy and heavy-handed string section. "Once (Ils S'Aimaient)" is a perfect match for Sommers' expressive voice as she subtly contributes to the composition's ever so slight sense of melancholia. After an instrumental introduction that seems to portend a reflective ballad, "Softly, as I Leave You" is taken at a quicker tempo, giving the singer a bit more melody to work with. Unquestionably, Sommers' downy intonations are at once hypnotic and seductive. "I Could Have Danced All Night" then counters with a happy-go-lucky visage that settles into one of the finest samba vibes on the platter. She offers the same unencumbered flair to the bluesy "You Can't Go Home Again," while the Johnny Mercer collaboration with Almeida on "Old Guitaron" allows Sommers to engage listeners with the warm, inviting intimacy that she was becoming known for. In 2007, Collectors' Choice Music combined Softly, the Brazilian Sound with Sommers' 1960 long-playing debut, Positively the Most, making each available for the first time in decades. by Lindsay Planer  
Track Listing
1 Meditation (Meditacao) 3:01
2 Dear Heart 3:19
3 Watching the World Go By 3:09
4 Quiet Nights (Corcovado)  2:52
5      Once (Ils S'Aimaient) 2:47
6 Softly, As I Leave You 3:23
Giorgio Calabrese / Antonio de Vita
7 I Could Have Danced All Night 2:24
8 I'll Remember April 3:00
Gene DePaul / Buddy Johnson / Don Raye
9 You Can't Go Home Again 3:30
10 Carnival (Manha de Carnaval) 3:26
Luigi Creatore
11 Old Guitaron 3:59
 12 That's All 2:49
Alan Brandt / Bob Haymes
Credits
Arranged By, Conductor – Laurindo Almeida
Electric Guitar – Al Viola, Howard Roberts, Tony Rizzi
French Horn – Justin Gordon
Guitar [Spanish Guitar] – Al Hendrickson
Vibraphone [Mallet Instruments] – Emil Richards

  JOANIE SOMMERS - Softly: The Brazilian Sound 

[1964] Warner Bros. Records / FLAC / scans 

O Púbis da Rosa

LAURINDO ALMEIDA - Duets with the Spanish Guitar [1958] LP / FLAC

Tracklist  

A1 Entr'acte

Composed By – Jacques Ibert

A2 Bachianas Brasileiras No. 5

Composed By – Heitor Villa-Lobos

A3 Ronde

Composed By – Emile Desportes

A4 Azulão

Composed By – Jayme Ovalle

A5 Prelude In E Minor, Opus 28, No. 4

Composed By – Frédéric Chopin

Transcription By – Almeida

A6 O Cacador

Composed By – Laurindo Almeida

A7 Pastorale Joyeuse

Composed By – Emile Desportes

Tres Pontos De Santo

Composed By – Jayme Ovalle

B1.1 Chariô

B1.2 Aruanda

B1.3 Estrella Do Mar

B2 Tambourin

Composed By – François Joseph Gossec

B3 Boi-Bumbá

Composed By – Valdemar Henrique, Transcription By – Almeida

B4 Sicilienne

Composed By – Gabriel Fauré

B5 Para Ninar

Composed By – Paurillo Barroso

B6 Pièce En Forme De Habanera

Composed By – Maurice Ravel

B7 Maracatú

Composed By – Ernani Braga

Heitor Villa-Lobos, composer of "Bachianas Brasilieras No 5", considered the version of the Aria by Salli Terri and Laurindo Almeida on Duets with the Spanish Guitar to be the best recorded performance of this work.

Grammy nominations, 1959

Best Engineered Record, Classical   (winner)

Best Classical Performance, Vocal Soloist

the following experts are taken from Capitol promo material -

from Hi-Fi & Music Review May, 1958 - ...a prize-winner in my collection. Laurindo Almeida's guitar playing captures the keen poignancy and rhythmic elan of Brazilian music with superb assurance and taste. He is joined by an excellent flutist, Martin Ruderman...and a mezzo-soprano whose velvet voice and astonishing flexibility has hardly an equal at present: a girl with the singular name of Salli Terri. She sings Villa-Lobos' Bachianas Brasileiras No 5 with a sinuousness and ecstasy which make this the finest modern version. - K.G.R.

from the Seattle Post Intelligence, February 1958 - ...Miss Terri's voice is an ethereal one, and the three musicians make totally enchanting music together. Highly recommended.

from the Oregonian, February 1958 - ...exploits the lyric and emotional possibilities of everything from the 5th Bachianas Brasileiras to a Chopin prelude...unbelievable singing. A fascinating assortment of mingled beauties.

Credits

Contralto Vocals – Salli Terri

Flute – Martin Ruderman 

Guitar – Laurindo Almeida 

LAURINDO ALMEIDA 

Duets with the Spanish Guitar [1958] LP / FLAC

O Púbis da Rosa

LAURINDO ALMEIDA - The Art of the Guitar from the Renaissance to Broadway [1969] CAPITOL [5LP] FLAC

Tracklist 

Villa-Lobos: Music For The Spanish Guitar Part I
A1 Etude No. 1 2:17
Written-By – Villa-Lobos
A2 Prelude No. 1 4:56
Written-By – Villa-Lobos
A3 Etude No. 8 3:04
Written-By – Villa-Lobos
A4 Chôro Typico 5:46
Written-By – Villa-Lobos

 

Villa-Lobos: Music For The Spanish Guitar Part II

B1 Etude No. 7 5:25
Written-By – Villa-Lobos
B2 Prelude No. 5 3:31
Written-By – Villa-Lobos
B3 Prelude No. 3 5:55
Written-By – Villa-Lobos
B4 Schottish-Chôro From Suite Populaire Brasilienne 4:34
Written-By – Villa-Lobos

Duets With The Spanish Guitar Part I
C1 Entr' Acte 3:12
Written-By – Ibert
C2 Bachianas Brasiliera No. 5 5:56
Written-By – Villa-Lobos
C3 Ronde 1:58
Written-By – Emile Desportes
C4 Azulão 1:27
Written-By – Jayme Ovalle-Bandiera
C5 Prelude No. 15 (Raindrops) 2:15
Transcription By – Almeida, Written-By – Chopin
C6 O Cacador 1:46
Written-By – Almeida
C7 Pastorale Joyeuse 2:36
Written-By – Emile Desportes

Duets With The Spanish Guitar Part II
Tres Pontos De Santo, Op. 10 4:02
D1a Chario
Written-By – Jayme Ovalle
D1b Aruanda
Written-By – Jayme Ovalle
D1c Estrella Do Mar
Written-By – Jayme Ovalle
D2 Tambouriin 1:25
Transcription By – Almeida
Written-By – Gossec
D3 Boi Bumbá 1:34
Written-By – Vladimir Henrique
D4 Sicilienne 4:02
Transcription By – Almeida
Written-By – Faure
D5 Para Ninar 2:20
Written-By – Paurillo Barroso
D6 Piece En Forme De Habanera 2:44
Written-By – Ravel
D7 Maracatú 2:24
Written-By – Braga Ferreira

Broadway Solo Guitar Part I
E1 People 3:09
Written-By – Bob Merrill, Jule Styne
E2 My Funny Valentine 3:28
Written-By – R. Rodgers - L. Hart
E3 As Long As He Needs Me 2:18
Written-By – Lionel Bart
E4 I've Grown Accustomed To Her Face 2:38
Written-By – F. Loewe - A.J. Lerner
E5 Smoke Gets In Your Eyes 2:48
Written-By – J. Kern, O. Harbach

Broadway Solo Guitar Part II
F1 Little Girl Blue 3:19
Written-By – R. Rodgers - L. Hart
F2 What Kind Of Fool Am I? 3:13
Written-By – A. Newley, L. Bricusse
F3 Was She Prettier Than I? 2:37
Written-By – Hugh Martin, Timothy Gray
F4 The Sound Of Music 3:41
Written-By – R. Rodgers - Oscar Hammerstein II
F5 The Most Beautiful Girl In The World 3:03
Written-By – R. Rodgers - L. Hart

For My True Love Part I
G1 Jota 3:12
Written-By – Falla
G2 Cancion 1:18
Written-By – Falla
G3 Polo 1:37
Written-By – Falla
G4 Pavanne, Op. 50 5:12
Transcription By – Almeida
Written-By – Faure
G5 Lass From The Low Country 2:49
Written-By – Traditional
G6 Black Is The Color Of My True Love's Hair 4:00
Written-By – Niles
G7 Galliard: Come Again, Sweet Love Doth Now Invite 4:03
Written-By – Dowland

For My True Love Part II
H1 Passarinho Esta Cantando 1:23
Written-By – Mignone
H2 Modinha 4:13
Written-By – Ovalle 
H3 Prelude 1:25
Written-By – De Visee
H4 Au Bois Du Rossignolet (The Myrtle Bower) 2:00
Written-By – Traditional
H5 Plaisir D'amour 3:52
Written-By – Martini 
H6 Gagliarda 1:10
Written-By – Galilei
H7 O Cassate Di Piagarmi 2:54
Written-By – A. Scarlatti
H8 Gigue 1:47
Written-By – Bach 
H9 Bist Du Bei Mir 2:55
Written-By – Bach 

A Man And A Woman Part I
I1 A Man And A Woman 2:20
Written-By – Lai, Keller, Barouh 
I2 Call Me 3:03
Written-By – Tony Hatch
I3 Michelle 2:21
Written-By – John Lennon - Paul McCartney 
I4 Bluesette 2:38
Written-By – G. Thielemans
I5 Here's That Rainy Day 3:24
Written-By – J. Burke - J. Van Heusen 

A Man And A Woman Part II
J1 Secret Love 3:46
Written-By – P.F. Webster, S. Fain 
J2 Distant Shores 3:34
Written-By – James Guercio 
J3 Soft Mood 3:01
Written-By – Laurindo Almeida
J4 Goin' Out Of My Head 2:45
Written-By – B. Weinstein, T. Randazzo 
J5 Mais Que Nada 2:12
Written-By – Jorge Ben

Credits

Flute – Martin Ruderman (tracks: C1 to D7, G1 to H9)

Guitar – Laurindo Almeida

Vocals [Vocalist] – Salli Terri (tracks: C1 to D7, G1 to H9)

LAURINDO ALMEIDA

The Art of the Guitar from the Renaissance to Broadway 

CAPITOL [1969] 5LP / FLAC

O Púbis da Rosa