CÉSAR CAMARGO MARIANO & HÉLIO DELMIRO — Samambaia (1981-2003) RM | Odeon 100 Anos Séries | FLAC (tracks+.cue), lossless

Era chegado o momento de confeccionar meu segundo disco na Odeon. Foi marcada uma reunião com Mayrton Bahia, produtor do disco anterior, onde foi discutida a idéia de mais um disco instrumental. E a idéia tomou forma. Mais ficou a pregunta- com quem? Daí, a saudadede um velho amigo e companheiro de grandes batalhas trouxe a resposta.
Hélio Delmiro foi comunicado e sua reação foi imediata, pois vinha diretamente ao encontro de uma vontade antiga de realizar esse duo de alguma forma, tanto que as músicas que estavam em sua cabela eram coincidentementeas mesmas que as minhas,
E então começou a realização de um velho sonho. No dia 17 de agosto de 1981, entramos no estúdio e apresentei a ele um do meus temas, Samambaia. E mais uma vez foi confirmada a udentificação musical e sensitiva do duo pois no meio da exposição do tema, Helinho "saiu tocando" e a faixa foi gravada "na primera".
E num clima simples. gostoso e emocional, entre várias garrafas de água mineral com gás, foi regada aquela Samambaia que une as mãos e as cabeças desses dois amigos brasileiros a séculos. César Mariano
Tracklist :
1.    Samambaia 5:04
  Written-By – César Camargo Mariano
2.    Carinhoso 3:51
Written-By – João De Barro, Pixinguinha
3.    Emotiva Nº 4    4:11
Written-By – Hélio Delmiro
4.    Curumim    3:41
Written-By – César Camargo Mariano
5.    Das Cordas    1:50
Written-By – Hélio Delmiro
6a        Milagre Dos Peixes    4:46
Written-By – Milton Nascimento, Fernando Brant
6b        Cais
Written-By – Milton Nascimento, Fernando Brant
6c        San Vicente
Written-By – Milton Nascimento, Fernando Brant
7.     Choratta 2:10
Written-By – César Camargo Mariano
8.    No Rancho Fundo 4:55
Written-By – Ary Barroso, Lamartine Babo
9.    Ninhos    5:50
Written-By – Hélio Delmiro
10.    Maria Rita 2:14
Written-By – César Camargo Mariano
Credits ::
Piano Yamaha : César Camargo Mariano
Violão Ovation : Hélio Delmiro
Arranjos : César Camargo Mariano / Hélio Delmiro

SOM IMAGINÁRIO — Matança Do Porco (1973-2003) RM | Odeon 100 Anos Series | Two Version | FLAC (image+.tracks+.cue), lossless

Etonnant mélange que ce Matança do Porco (1973) de Som Imaginário. Un album qui commence avec "Armina", un titre de Prog Symphonique / Art Rock à la Moody Blues. Poursuite avec "A 3" qui bascule dans le Jazz Fusion, à l'image de l'évolution Jazz Rock d'un groupe tel que Soft Machine (Som Imaginário qui n'est pas sans évoquer Azymuth ou l'inverse). Wagner Tiso, en signant la majorité des titres, a pris le pouvoir au sein du groupe. Matança do Porco est proche de l'album concept en délivrant une "orgie" instrumentale complexe et fascinante, fusionnant le Jazz, le Rock Progressif, la musique classique et la MPB. Dans cet esprit conceptuel, le point culminant l'album, l'orgasme ultime, la chanson-titre, "A Matança do Porco" (11 minutes) divisée en trois mouvements assez époustouflants. La line-up est composée de Wagner Tiso (Hammond, acoustique et piano électrique), Tavito (guitare), Luiz Alves (basse) et Robby Silva (batterie). L'album comprend également des apparitions : Milton Nascimento, Danilo Caymmi et les Golden Boys. Magistral tour de force. Dominique Deret
Tracklist :
1. Armina 5:41
Drums – Robertinho
Electric Bass – Luiz Carlos
Guitar – Frederiko
Written-By, Piano, Electric Piano, Organ – Wagner Tiso
2. A3  3:09
Drums, Congas – Robertinho
Electric Bass, Maracas – Luiz Carlos
Flute – Danilo Caymmi
Guitar – Chiquito 
Percussion – Chico Batera
Twelve-String Guitar – Tavito
Written-By, Electric Piano, Organ – Wagner Tiso
3. Armina (Vinheta 1) 0:45
Conductor – Arthur Verocai
Orchestra – Orquestra Odeon
Written-By – Wagner Tiso
4. (A Nova Estrela) Nº 2  6:35
Conductor – Gaya
Drums – Robertinho
Electric Bass – Luiz Carlos
Guitar – Chiquito, Frederiko
Orchestra – Orquestra Odeon
Percussion – Chico Batera
Twelve-String Guitar – Tavito
Written-By, Organ, Electric Piano – Wagner Tiso
5. A Matança do Porco  11:01
Conductor – Gaya
Drums – Robertinho
Electric Bass – Luiz Carlos
Guitar – Frederiko
Orchestra – Orquestra Odeon
Percussion – Chico Batera
Vocals – Golden Boys, Milton Nascimento
Written-By, Piano, Organ – Wagner Tiso
6. Armina (Vinheta 2)  0:34
Conductor – Arthur Verocai
Orchestra – Orquestra Odeon
Written-By – Wagner Tiso
7. Bolero  3:08
Drums – Robertinho
Electric Bass – Luiz Carlos
Flute – Danilo Caymmi
Written-By – Luiz Alves, Milton Nascimento, Roberto Da Silva
Written-By, Piano, Electric Piano – Wagner Tiso
Written-By, Twelve-String Guitar – Tavito
8. Mar Azul 3:43
Drums – Robertinho
Electric Bass, Guitar – Luiz Carlos
Flute – Danilo Caymmi
Guitar – Chiquito 
Written-By – Luiz Alves
Written-By, Electric Piano, Organ – Wagner Tiso
9. Armina (Vinheta 3)  0:46
Conductor – Arthur Verocai
Orchestra – Orquestra Odeon
Written-By – Wagner Tiso

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 

ART ENSEMBLE OF CHICAGO — People in Sorrow (1969-1988) Serie The Finest Jazz On CD - The Golden Hits From EMI | FLAC (tracks+.cue), lossless

In 1969, the Art Ensemble of Chicago (which had recorded just one official record, Congliptious, as a group at that point in time), moved to Paris for two years and recorded eight albums during their first year overseas alone. This particular LP has the innovative band (which was then a quartet consisting of trumpeter Lester Bowie, bassist Malachi Favors, and both Roscoe Mitchell and Joseph Jarman on multiple reeds) performing the 40-minute group original "People in Sorrow." The still-startling music, which uses space, dynamics, and a wide range of emotions expertly, is not for everyone's taste (the high-energy tenors of the mid-'60s are actually easier to get into), but worth the struggle. Scott Yanow
Tracklist :
1    People In Sorrow (Part 1)    17:07
2    People In Sorrow (Part 2)    23:05
Credits :
Alto Saxophone, Soprano Saxophone, Bassoon, Percussion, Written-By – Joseph Jarman
Alto Saxophone, Soprano Saxophone, Flute, Percussion, Written-By – Roscoe Mitchell
Bass, Strings, Percussion, Written-By – Malachi Favors
Trumpet, Flugelhorn, Percussion, Written-By – Lester Bowie

BOLA SETE — Aqui está o Bola Sete ... (1957) Vinyl, LP, Album | FLAC (image+.cue), lossless

This is Bola Sete e Seu Conjunto – Aqui Esta o Bola Sete (1957), for Odeon, which is Bola Sete debut LP in the Para Dancar style. And there is more to come since all these albums never had a chance to be reissued in CD. Bola Sete plays electric guitar renditions of Brazilian standards, Bolero and two compositions by his own. Odeon did not credit musicians in this session.

Tracklist :

1 – Aquarela do Brasil (Ary Barroso)

2 – Rico Vacilon (Rosendo Ruiz)

3 – Copacabana (João de Barro / Alberto Ribeiro)

4 – Na Baixa do Sapateiro (Ary Barroso)

5 – Solamente Una Vez (Agustin Lara)

6 – Morena Boca de Ouro (Ary Barroso)

7 – Baccará (Bola Sete)

8 – Molambo (Jaime Florence “Meira” / Augusto Mesquita)

9 – No Rancho Fundo (Ary Barroso / Lamartine Babo)

10 – Remexendo (Radamés Gnattali)

11 – Czardas (V. Monti)

12 – Por Um Amor (Bola Sete) 

JOÃO GILBERTO - Chega de Saudade (1959) FLAC (image+.cue), lossless

João Gilberto's debut LP, 1959's Chega de Saudade, was one of the most important bossa nova recordings, and credited by many as the album that, more than any other, launched bossa nova as a major popular music genre. The dozen songs add up to a surprisingly short playing time of about 23 minutes, but introduce several of bossa nova's most beloved trademarks: breezy, soothing melodies and vocals; tight arrangements with seamless blends of clipped guitar strokes and light orchestration, and, of course, the bossa nova rhythm. The most popular of these songs ("Chega de Saudade" and "Desafinado") had already been released as singles in 1958, but though they might be the most memorable tracks, the album maintains a consistently high standard (if a fairly similar mood throughout). [The 2010 U.K. CD reissue on El adds a lot of bonus material, starting with three 1959 Gilberto recordings used in the film Orfeo do Carnaval, among them another classic, "Manha de Carnaval." Also included are no less than eleven 1957-1959 Brazilian recordings by artists other than Gilberto that are tightly or loosely aligned with the early bossa nova movement Bola Sete and Walter Wanderley being the most well known of those. Gilberto was involved in most, but not all, of these as a songwriter or guitarist, and the rationale for their inclusion is not spelled out in the CD's annotation (which, for that matter, has only basic details about these non-Gilberto tracks). It's churlish to complain about abundant extra material on a reissue CD that does include everything from the album it's based upon, but the 12-page booklet had room for such information. Packaging criticism aside, those 11 tracks by performers other than Gilberto are enjoyable and show different slants on the early bossa nova sound, sometimes instrumental, sometimes with shades of exotica (on Wanderley's organ-dominated cuts), sometimes with women singers, and sometimes poppier in approach than Gilberto's own work. Three consecutive versions of Gilberto's "Ho-Ba-La-La" (one of the songs from Chega de Saudade) seem like a programming lapse, but Norma Bengell's vocal version of that song is a highlight, as is Alaide Costa's jazzy rendering of Gilberto's "Minha Saudade."'  by Richie Unterberger  
João Gilberto é um baino, 'bossa-nova' de vinte e sete anos.
Em pouquíssimo tempo influenciou tôda uma geração de arranjadores, guitarristas, músicos e cantores. Nossa maior preocupacão, neste 'long-playing'  foi que Joãozinho no fosse atrapalhado por arranjos que tirassem sua liberdade, sua natutal agilidade, sua maneira pessoal e instransferível de ser, em suma, sua espontaneidade. Nos arranjos contidos neste 'long-playing' Joãozinho participou ativamente; seus palpites, suas idéias, estão todas aí. Quando João Gilberto se acompanha, o violão é êle . João Gilberto não subestima a sensibilidade do povo. Êle acredita que há sempre lugar para uma coisa nova, diferente e pura que - embora à primeira vista não pareça - pode se tornar, como dizem na linguagem especializa : altamente comercial. Porque o povo comprende o Amor, as notas, a simplicidade e a sinceridade. Eu acredito em João Gilberto, porque êle é simples, sincero e extraordináriamente musical.
P.S. - Caymmi também acha. (Antonio Carlos Jobim)

Tracklist  
1 – Chega De Saudade 2:03
Lyrics By – Vinicius De Moraes
Music By – Antonio Carlos Jobim
2 – Lobo Bobo 1:21
Lyrics By – Ronaldo Boscoli
Music By – Carlos Lyra
3 – Brigas, Nunca Mais 2:07
Lyrics By – Vinicius De Moraes
Music By – Antonio Carlos Jobim
4 – Hô-bá-lá-lá 2:17
Music By, Lyrics By – João Gilberto
5 – Saudade Fêz Um Samba 1:47
Lyrics By – Ronaldo Boscoli
Music By – Carlos Lyra
6 – Maria Ninguém 2:23
Music By, Lyrics By – Carlos Lyra
7 – Desafinado 1:58
Lyrics By – Newton Mendonça
Music By – Antonio Carlos Jobim
8 – Rosa Morena 2:06
Music By, Lyrics By – Dori Caymmi
9 – Morena Boca De Ouro 2:01
Music By, Lyrics By – Ary Barroso
10 – Bim Bom 1:17
Music By, Lyrics By – João Gilberto
11 – Aos Pés Da Cruz 1:35
Lyrics By – Zé Da Zilda
Music By – Marino Pinto
12 – E Luxo Só 1:59
Music By, Lyrics By – Ary Barroso
Credits
Choir – Garotos da Lua (tracks: 4)
Drums – Milton Banana (tracks: 1 to 12)
Flute – Copinha (tracks: 1 to 12)
Guitar, Vocals – João Gilberto (tracks: 1 to 12)
Percussion – Rubens Bassini (tracks: 1 to 12)
Producer, Arranged By, Piano – Antonio Carlos Jobim (tracks: 1 to 12)
Trombone – Edmundo Maciel (tracks: 1 to 12)

PIXINGUINHA, CLEMENTINA DE JESUS, JOÃO DA BAIANA - Gente da Antiga (1968) lp / Mp3

GAROTO : Garoto Revive Ary Barroso em Alta Fidelidade (1957) lp | Mp3

BOSSA 3 + PERY RIBEIRO - Encontro (1966) ODEON / Mp3

Encontro is a date that matched the excellent group Bossa Três with the power-house bossa vocalist Pery Ribeiro, perhaps the most assured male voice of the '60s and a worthy companion to Elis Regina (who was in turn the best Brazilian vocalist of all). Bossa Três (Luís Carlos Vinhas, Edison Machado, Tião Neto) make a big difference on this record, their dynamic range and virtuosic playing taking nearly as much of the spotlight as Ribeiro himself. Their version of "O Canto de Ossanha" is intriguing, starting in a haunting fashion with only struck piano and Ribeiro's voice before the track blossoms one minute later. Machado especially stands out, often sounding like he's right behind the listener and the whole group playing with such splendid intuition and knowledge of the others that the songs wind their way around each other snake-like. Encontro is a splendid match of vocalist with instrumentalists. by John Bush
Tracklist:
1 Amanhã
Written-By – Tereza Souza, Walter Santos
2 A Mesma Canção
Written-By – Roberto Menescal, Ronaldo Boscoli
3 O Canto De Ossanha
Written-By – Baden Powell, Vinicius De Moraes
4 Samba Do Dom Natural
Written-By – Carlos Pingarilho, Marcos Vasconcellos
5 Olê Olá
Written-By – Chico Buarque
6 Tristeza
Written-By – Horaldo Lobo, Niltinho
7 João Do Trem
Written-By – Nelson Panicali, Silveira
8 Samba Da Pergunta
Written-By – Pingarrilho, Vasconcellos
9 Tempo Feliz
Written-By – Baden Powell, Vinicius De Moraes
10 Despedida De Mangueira
Written-By – Aldo Cabral, Benedicto Lacenda
11 Recado Ao Pé Do Berço
Written-By – Luiz Carlos Vinhas, Ronaldo Boscoli
12 Se O Carro Parar
Written-By – Roberto Menescal, Ronaldo Boscoli
Créditos
Bass – Octavio Bailly Jr
Drums – Edison Machado
Lead Vocals – Pery Ribeiro
Piano – Luiz Carlos Vinhas

BOSSA 3 + PERY RIBEIRO - Encontro (1966) 

(2002) EMI / ODEON / Mp3 / CBR320k / scans

O Púbis da Rosa

FRANCIS HIME – Francis Hime (1973-2002) RM | Serie Odeon 100 Anos | FLAC (tracks), lossless

Você não saberia de ouvir uma seleção aleatória de discos da época, mas nem tudo era doçura e luz para a música brasileira nos anos 60 e 70. Para cada dúzia de discos preenchidos com bossas primaveris e sambas de verão, havia alguns com um grau excessivo de reflexão agridoce (acima e além das notas outonais atingidas por muitas bossa novas). Francis Hime foi um desses criadores brasileiros. Um cantor e um compositor responsável pela maior parte de seu material, Hime lançou um maravilhoso álbum auto-intitulado em 1973, que aparece no disco de 1971, de Caetano Veloso , e no obscuro Obnoxius, de José Mauro . Com produção de Milton Mirandae a direção musical do Maestro Gaya , HimeAs baladas introspectivas são exatamente do tipo de orquestrações em espiral - maduras com instrumentos de sopro e metais silenciados - que precisam de um efeito máximo. Hime concentra seu humor em todo o álbum, tornando-se o tipo de álbum mais compacto do que consistindo de partes móveis, mas sua beleza é indiscutível. John Bush
Tracklist :
1 Atrás da Porta  2:23
Francis Hime
2 À Meia-Luz  3:28
Francis Hime
3 Olívia  4:06
Francis Hime
4 Sem Mais Adeus  2:24
Francis Hime / Vinícius de Moraes
5 Ave Maria  2:57
Francis Hime
6 Valsa Rancho  3:20
Francis Hime
7 Minha 2:46
Francis Hime
8 Último Canto  1:44
Francis Hime
9  Réquiem  4:17
Francis Hime
Credits :
Conductor, Orchestrated By – Francis Hime
Directed By – Milton Miranda
Directed By [Director Musical] – Maestro Gaya