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)

ARY BARROSO & DORIVAL CAYMMI - Um Interpreta o Outro (1958) lp /Mp3

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

DORIVAL CAYMMI - Canções Praieiras [1954] ODEON / LP / FLAC

If one were to look for a geographical region in Brazil that resembles the Mississippi Delta in terms of producing a lion's share of influential performers, a good case could be made for the region of Bahia in Brazil's northeast. The list of Bahian performers is formidable: Caetano Veloso, Gilberto Gil, Gal Costa, Maria Bethania, etc. What links all of these people is the influence of Dorival Caymmi perhaps the single most important composer to come from this region.

Born in 1914, Cammyi composed popular songs that echoed the nation's indigenous songforms: sambas, toadas (melancholy romantic tunes), modinhas (sentimental songs), songs and chants from fishermen, and singing from the Afro-Brazilian religion of candomble (practiced most widely in Bahia). In many ways Caymmi is a very conservative songwriter in that he relies on simple, beautiful melodies and sharply imagistic lyrics, the latter generally about the people and place, life and love in Bahia. Most importantly, Caymmi is a great storyteller in a folkloric tradition, a tradition that Americans might associate, with, say, Woody Guthrie. This is not to say that Caymmi resembles Guthrie -- he doesn't compositionally (although his writing is frequently poetic) or vocally -- but there is a similarity in the way he creates a sense of place and fills that place with mostly common, working folk, characters who are richly drawn and sensitively portrayed (a good example would be his songs that detail the hard life of fisherman). It is unsurprising to find that Caymmi's songs have become so beloved in that everyone is familiar with his music as if it were in the air they breathe -- perhaps it is.

Caymmi is also well-known as the man who composed hit songs for the legendary Carmen Miranda, but it was during the heady days of tropicalia in the late '60s when performers such as Veloso, Gil, Elis Regina and other began recording Caymmi's songs as a tribute to their Bahian heritage as a way to preserve (and in some cases update) Brazilian musical tradition. Believe it or not even a schlocky pop singer like Andy Williams recorded a Caymmi song. A true legend, Caymmi's influence lives on with his extraordinarily talented children, Nana, Danilo, and Dori all of whom have achieved great success in Brazil.  by John Dougan
Tracklist
A1 Quem Vem Prá Beira Do Mar 3:04
A2 O "Bem" Do Mar 3:06
A3 O Mar 3:00
A4 Pescaria (Canoeiro) 2:53
B1 É Doce Morrer No Mar 3:24
B2 A Jangada Voltou Só 3:12
B3 A Lenda Do Abaeté 2:33
B4 Saudades De Itapoã 2:34
Credits
Guitar, Written-By – Dorival Caymmi
Canções Praieiras est le premier album 33T de Dorival Caymmi sorti en 1954. Dorival Caymmi est l'un des premiers grands auteurs-compositeurs-interprète de Samba avec Ary Barroso, Cartola et Noel Rosa. D'ailleurs les grands noms de la Bossa Nova, Tom Jobim e Vinicius de Moraes, ne s'y trompent pas quand, dans les années 60, ils rendent hommage à Dorival Caymmi via quelques illustres albums à une période où ce dernier était tombé dans une forme d'anonymat : Caymmi Visita Tom (1964) et Caymmi et Vinicius e Caymmi no Zum Zum (1965). Canções Praieiras est un album âpre et rugueux porté par une simple guitare acoustique et la voix gutturale de Dorival Caymmi. La plupart des Sambas qu'il interprète ont été chantées dans les années 30/40 de façon sensuelle et "débridée" par Carmen Miranda, d'où le contraste saisissant. En bonus sont présentés quelques titres 78T des années 30. Le son n'est pas terrible, mais le témoignage sonore émouvant. Ses enfants, Nana Caymmi et Dori Caymmi en tête, ont également eu de jolies carrières dans la musique . by Dominique Deret

DORIVAL CAYMMI

Canções Praieiras [1954] 

ODEON / LP / FLAC

O Púbis da Rosa