THE DAVE BRUBECK QUARTET — Jazz At Oberlin (1953) RM | Two Version | SACD, Hybrid | MONO | Original Jazz Classics Remasters Series | FLAC (tracks+.cue), lossless

Although a touch underrated, Jazz at Oberlin is one of the early Dave Brubeck classic recordings. The interplay between the pianist-leader and altoist Paul Desmond on "Perdido" borders on the miraculous, and their renditions of "The Way You Look Tonight," "How High the Moon" and "Stardust" are quite memorable. Brubeck's piano playing on "These Foolish Things" is so percussive and atonal in one spot as to sound like Cecil Taylor, who would not emerge for another two years. With bassist Ron Crotty and drummer Lloyd Davis giving the Quartet quiet and steady support, Brubeck and Desmond were free to play at their most adventurous. Highly recommended. Scott Yanow

Tracklist :

1 - These Foolish Things (Remind Me Of You) 6:33
 Marvell / Jack Strachey 
2 - Perdido 7:32
 Juan Tizol 
3 - Stardust 6:30
 Hoagy Carmichael 
4 - The Way You Look Tonight 7:51
Dorothy Fields, Jerome Kern
5 - How High The Moon 9:11
William Lewis, Nancy Hamilton
Credits :
Paul Desmond - Alto Saxophone 

Dave Brubeck  - Piano 

Ron Crotty - Bass 

Lloyd Davis - Drums 

IT HAPPENED ONE NIGHT a.k.a. "Aconteceu Naquela Noite" (1934) Dir. Frank Capra | Winner of 5 Academy Awards | VIDEO (ISO)

Synopsis :
Frank Capra's seminal screwball comedy, which won all five major Academy Awards for 1934, is still as breezy and beguiling today. Claudette Colbert plays Ellie Andrews, a spoiled heiress who has married fortune-hunting aviator King Westley (Jameson Thomas), despite her father (Walter Connolly)'s objections. To keep Ellie from marrying this lothario, her father has been holding her prisoner aboard his yacht. But Ellie bolts from the yacht, swims ashore in her clothes, and eventually slips onto a Greyhound bus bound for New York. Aboard the bus is newspaper reporter Peter Warne (Clark Gable), who has recently been fired for drinking on the job. Peter gets the last seat on the bus -- but when he gets up to argue with the bus driver, Ellie takes his seat. Since it is the last seat on the bus, they have to share it. When Ellie has her purse stolen and she refuses to report it, Peter begins to suspect something. The next morning, they both miss the bus after a leisurely breakfast, and Peter reveals that he knows her identity. She makes a deal with him: if he helps her get to New York, he can write a scoop about her for his paper. Peter thinks she is a spoiled brat, however, and refuses a monetary bribe: "I'm not interested in your money or your problem. You, King Westley, your father -- you're all a lot of hooey to me!" But as they travel northward and engage in a series of misadventures, the gruff newspaperman and the spoiled rich girl, thrown together by circumstances, fall in love with each other. This movie set the pace for the "screwball" comedy, the witty and romantic clash of temperaments between a man and a woman mismatched in both personality and social position, a type of movie often associated with Katherine Hepburn in such classics as Bringing Up Baby (1938), The Philadelphia Story (1940), and, with Spencer Tracy, Adam's Rib (1949), Pat and Mike (1952), and Desk Set (1957), among others. The only other movies to win all five major Academy Awards (Best Picture, Actor, Actress, Director, and Screenplay) were One Flew Over the Cuckoo's Nest (1975) and The Silence of the Lambs (1991). Paul Brenner
Title : It Happened One Night (1934)
Directed by Frank Capra
Duration : 105 min.
Audio in Engliish / Subtitles : English, Portuguese, Spanish
Genres : Comedy, Drama, Romance
Countries : USA

Complete film 

BARBARA MORRISON — Live At The Dakota (2004) Two Version | FLAC (image+.tracks+.cue), lossless

Barbara Morrison has long been a familiar figure in the Los Angeles area, singing blues, standards, and R&B-ish/jazz material with spirit and feeling. Live at the Dakota teams her at a Minnesota concert with a perfect backup group from the East Coast consisting of tenor saxophonist Houston Person, pianist Junior Mance, bassist Earl May, and drummer Jackie Williams. Most of the selections, such as "Please Send Me Someone to Love," "At Last," and "I'd Rather Drink Muddy Water," are quite familiar, as are the swing standards, but these renditions sound fresh and contain their own surprises. Every song is full of soul, including a slower than usual "Mean to Me," "Don't Go to Strangers," the passionate blues "They Call Me Sundown," and the hardest swinging version of "I'll Be Seeing You" that one will ever hear. Also interesting are the singer's close imitations of both Big Joe Turner and Eddie "Cleanhead" Vinson on the blues "Chains of Love." Both Barbara Morrison and the all-star cast clearly inspire each other during the singer's definitive recording. Highly recommended. Scott Yanow
Tracklist :
1    Things Ain't What They Used to Be 3:42
Ted Persons
2    Please Send Me Someone to Love 5:45
Percy Mayfield
3    Take the "A" Train 4:05
Billy Strayhorn
4    At Last 6:37
Mack Gordon / Harry Warren
5    I'd Rather Drink Muddy Water 4:00
Barbara Morrison
6    Don't Go to Strangers 6:27      
Redd Evans / Arthur Kent / Dave Mann
7    Chains of Love 8:32
Ahmet Ertegun / Harry Van Walls
8    All of Me 3:34
Gerald Marks / Seymour Simons
9    Mean to Me 6:42
Roy Turk
10    I Let a Song Go Out of My Heart 2:30
Duke Ellington / Irving Mills / Henry Nemo
11    They Call Me Sundown 7:02
D. Amy / Cornelius Green
12    I'll Be Seeing You 4:20
Sammy Fain / Irving Kahal
Credits :
Barbara Morrison - Vocals
Jackie Williams - Drums
Earl May - Bass
Junior Mance - Piano
Houston Person - Tenor Sax

JOAQUÍN RODRIGO : Piano Works (Artur Pizarro) (1995) Two Version | FLAC (image+.tracks+.cue), lossless

Joaquín Rodrigo (1901-1999)
1-5. Cinco Piezas del Siglo XVI
6-8. Tres Evocaciones - Homenaje a Joaquin Turina
9-12. Cuatro Piezas Para Piano
13-14. Deux Berceuses 
15-19. Cuatro Estampas Andaluzas
Artur Pizarro – Piano   

CHET BAKER & BUD SHANK — Theme Music from "The James Dean Story" (1958-2000) FLAC (tracks+.cue), lossless

West coast cool purveyors Chet Baker (trumpet) and Bud Shank team up to provide the incidental soundtrack to The James Dean Story (1958). Granted, the biopic was presumably made to cash in on the actor's untimely demise, but movie buffs also recognize it as one of director Robert Altman's earliest features. The score was written by Leith Stevens, who had previously worked on Private Hell 36 (1954), The Wild One (1954), and the Oscar-winning sci-fi classic Destination Moon (1950). Those credentials may have gotten Stevens the gig, but his contributions remain somewhat of a double-edged sword. Neither Baker, Shank, nor any of the other post-bop luminaries in the makeshift ensemble are able to transcend or expound upon the arguably limiting melodies, such as the hopelessly dated and unintentionally kitschy "Hollywood." That shouldn't suggest that this title is a complete washout, thanks in part to another Tinsel Town-related maestro, Johnny Mandel, whose moody, exploratory "The Search" and understated noir of "Success and Then What?" stand as exemplary. One of Stevens' more affective selections is the ballad "Let Me Be Loved." Perhaps by design, it is noticeably reminiscent of Baker's unofficial theme song, "My Funny Valentine," and is easily the most poignant performance on the platter. Otherwise, the vast majority of the material is little more than ersatz-cool filler, bearing little distinction. From a historical perspective, this seems almost criminal, especially in light of the inordinate talent corralled for the project. Potential consumers and Baker enthusiasts should note that the 1958 Pacific Jazz long player did not include the rare vocal version of "Let Me Be Loved." Lindsay Planer 
Tracklist : 
1. Jimmy's Theme 2:49
 Leith Stevens 
2. The Search 4:44
 Leith Stevens  
3. Lost Love 3:35
 Leith Stevens 
4. People 3:32
 Bob Merrill / Leith Stevens / Jule Styne 
5. The Movie Star 3:32
 Leith Stevens 
6. Fairmont, Indiana 4:30
 Leith Stevens 
7. Rebel At Work 3:41
 Leith Stevens 
8. Success And Then What? 3:53
 Leith Stevens 
9. Let Me Be Loved 4:08
Written-By – Livingston-Evans
10. Hollywood 5:02
 Leith Stevens 
11. Let Me Be Loved (Vocal Version) 2:13
Vocals – Chet Baker
Written-By – J. Livingston / R. Evans
Credits :
Alto Saxophone – Charlie Mariano (tracks: 1, 2, 4, 6, 8 to 11), Herbie Steward
Alto Saxophone, Flute – Bud Shank (tracks: 1 to 6, 8 to 11)
Baritone Saxophone – Pepper Adams (tracks: 1, 2, 4 to 6, 8 to 11)
Bass – Monte Budwig
Bongos – Mike Pacheco (tracks: 1, 2, 4 to 6, 8 to 11)
Drums – Mel Lewis
Flute – Don Fagerquist (tracks: 1, 2, 4 to 6, 8 to 11)
Orchestrated By, Arranged By, Conductor – Bill Holman (tracks: 3 to 6, 9, 11), Johnny Mandel (tracks: 1, 2, 8)
Piano – Claude Williamson
Tenor Saxophone – Bill Holman (tracks: 1, 2, 4 to 11), Richie Kamuca (tracks: 1, 2, 4 to 6, 8 to 11)
Trombone – Milt Bernhart (tracks: 1, 2, 4 to 6, 8 to 11)
Trumpet – Chet Baker, Ray Linn (tracks: 1, 2, 4 to 6, 8 to 1

PAUL DESMOND · GERRY MULLIGAN — Two Of A Mind (1962) RM | Two Version | Original Columbia Jazz Classics Series | FLAC (image+.tracks+.cue), lossless

Altoist Paul Desmond and baritonist Gerry Mulligan always made for a perfect team during their infrequent collaborations. Both of the saxophonists had immediately distinctive light tones, strong wits, and the ability to improvise melodically. Here the two masterful reed players are featured in pianoless quartets that also include Wendell Marshall, Joe Benjamin or John Beal on bass, and Connie Kay or Mel Lewis on drums. The songs all utilize common chord changes, including the two "originals" ("Two of a Mind" and "Blight of the Fumble Bee"), and the interplay between Desmond and Mulligan is consistently delightful. Highly recommended. [Some reissues add five bonus tracks: two alternate takes of album tracks, a laid-back take of "Easy Living" that shows off Mulligan's way with a ballad, and two takes of "Untitled Blues Waltz" that feature Jim Hall on guitar and a very squeaky drum pedal.] Scott Yanow
Tracklist :
1    All The Things You Are 5:48
Written-By – Jerome Kern, Oscar Hammerstein II
2    Stardust 8:20
Written-By – Hoagy Carmichael, Mitchell Parish
3    Two Of A Mind 5:45
Written-By – Paul Desmond
4    Blight Of The Fumble Bee 6:33
Written-By – Gerry Mulligan
5    The Way You Look Tonight 7:19
Written-By – Dorothy Fields, Jerome Kern
6    Out Of Nowhere 6:42
Written-By – Edward Heyman, Johnny Green
Credits :
Alto Saxophone – Paul Desmond
Baritone Saxophone – Gerry Mulligan
Bass – Joe Benjamin (tracks: 3, 5, 6), John Beal (tracks: 4), Wendell Marshall (tracks: 1, 2)
Drums – Connie Kay (tracks: 1, 2, 4), Mel Lewis (tracks: 3, 5, 6)

YELLOWJACKETS — Four Corners (1987) FLAC (tracks+.cue), lossless

Taking a cue from Weather Report (not to mention a percussionist, Alex Acuña), the Yellowjackets created more exotic textures for Four Corners, often with the use of Zawinul-like synthesizers from Russell Ferrante. The album otherwise represents a shift toward more traditional jazz, felt profoundly in the rhythm section of Jimmy Haslip and new drummer William Kennedy. The change in strategy is made plain on the opening "Out of Town," which finds everyone rethinking their instrument beyond the smooth jazz of Shades. While the atmospheric production of David Hentschel and the band lends an ominous air to the music, fans may see it as a poor tradeoff for the readily identifiable (and often instantly likeable) melodies of their previous work. Though nothing leaps off of Four Corners screaming "Hum me," sections of it are mesmerizing. "Past Ports" and "Wildlife" in particular absorb the listener into a breathing musical world. The disc isn't a full conversion from smooth jazz; Marc Russo's sax is still as sweet as ever, but on a track like "Open Road" the effect is icing on a spice cake. Haslip provides some noisy patterns that suggest he was striving for more substance; in fact, he and Ferrante seem to duke it out for control of "Postcards," while everyone throws their own wrench into "Room With a View." Four Corners is the product of four separate musicians striving to cultivate their own voice, a journey that discovers some interesting music along the way. That the Yellowjackets wanted to explore beyond the fringes of smooth jazz boded well for the band's future. Dave Connolly
Tracklist :
1    Out Of Town 5:02
Written-By – Jimmy Haslip, Russell Ferrante
2    Wildlife 6:03
Cello, Percussion [Additional] – Bill Gable
Vocals – Alex Acuña, Bill Gable, Brenda Russell, Diana Acuña, Jimmy Haslip
Written-By – Alex Acuña, Jimmy Haslip, Russell Ferrante
3    Sightseeing 5:52
Vocals – Bill Gable
Written-By – Jimmy Haslip, Russell Ferrante
4    Open Road 3:37
Written-By – Russell Ferrante
5    Mile High 4:12
Written-By – Bill Gable, Jimmy Haslip, Marc Russo, Russell Ferrante, William Kennedy
6    Past Ports 5:29
Written-By – Russell Ferrante
7    Postcards 5:28
Written-By – Jimmy Haslip, Russell Ferrante
8    Room With A View 4:28
Written-By – Russell Ferrante
9    Geneva 2:24
Written-By – Jimmy Haslip
10    Indigo 5:28
Written-By – Jimmy Haslip, Marc Russo, Russell Ferrante, William Kennedy
Credits :
Drums, Percussion – William Kennedy
Electric Bass [5-string Bass, Fretless Bass] – Jimmy Haslip
Percussion – Alex Acuña
Piano [Acoustic], Synthesizer [All] – Russell Ferrante
Programmed By [Synclavier] – Gary Barlough
Soprano Saxophone, Alto Saxophone – Marc Russo

JOE FARRELL — Outback (1971) Three Version | RM | CTI Best Selection Series | CTI Records 40th Anniversary Edition Series | FLAC (tracks+.cue), lossless

Outback is the second and finest of Joe Farrell's dates for Creed Taylor's CTI label. Recorded in a quartet setting in 1970, with Elvin Jones, Chick Corea, and Brazilian percussionist Airto Moreira, Farrell pushes the envelope not only of his own previous jazz conceptualism, but CTI's envelope, as well. Outback is not a commercially oriented funk or fusion date, but an adventurous, spacy, tightrope-walking exercise between open-ended composition and improvisation. That said, there is plenty of soul in the playing. Four compositions, all arranged by Farrell, make up the album. The mysterious title track by John Scott opens the set. Staged in a series of minor-key signatures, Farrell primarily uses winds -- flutes and piccolos -- to weave a spellbinding series of ascending melodies over the extended, contrasting chord voicings by Corea. Jones skitters on his cymbals while playing the snare and tom-toms far more softly than his signature style usually attests. Airto rubs and shimmers on hand drums, going through the beat, climbing on top of it, and playing accents in tandem with Farrell in the solo sections. "Sound Down" is a bit more uptempo and features Farrell playing wonderfully on the soprano. Buster Williams lays down a short staccato bassline that keeps Jones' bass drum pumping. As Farrell moves from theme/variation/melody to improvisation, he brings in Corea, who vamps off the melody before offering a series of ostinati responses. Corea's "Bleeding Orchid" is a ballad played with augmented modes and continually shifting intervals, mapped beautifully by Williams' adherence to the changes, with a series of contrasting pizzicato fills. Farrell's trills and arpeggiatic exercises combine both jazz classicism and Middle Eastern folk music. On Farrell's "November 68th," he invokes John Coltrane's version of "My Favorite Things" as he digs deep into the tenor's middle register for a song-like voicing, played with a gorgeously bluesy sophistication. The other players rally around him and push his sonic flight to near manic intensity. Outback is a stunner, as inspired as anything -- and perhaps more so -- that Farrell ever recorded.  
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1    Canned Funk 7:20
Written-By [Uncredited] – Joe Farrell

2    Animal 9:55
Written-By [Uncredited] – Joe Farrell
3    Suite Martinique 9:03
Written-By [Uncredited] – Joe Farrell
4    Spoken Silence 7:43
Written-By [Uncredited] – Joe Farrell
Credits :
Bass – Herb Bushler
Congas, Percussion – Ray Mantilla
Drums – Jim Madison
Engineer – Rudy Van Gelder
Guitar – Joe Beck
Producer – Creed Taylor
Tenor Saxophone, Soprano Saxophone, Baritone Saxophone, Flute – Joe Farrell

SIVUCA — Pau Doido (1992) FLAC (tracks+.cue), lossless

This album displays the energetic rhythmic power of Brazil's northwest in the hands of an accordion virtuoso with extensive international experience, Sivuca. After an extremely successful tour in 1992 through Scandinavia and northern Europe playing this album's repertoire, they got together in a studio for only four days and recorded it all through. Pau Doido presents a rich panel of northwestern music, with forrós, aboios, and baiões, together with the southeast tradition of samba, choro, and bossa, also reminding the classical influence over Brazilian music, with its valses -- even if "modernized" to a 6/8 jazzy feel -- and canções. Everything glued by creative improvisation, this is an instrumental album at the same time regional and universal, which constitutes an excellent opportunity to present Brazil's cultural diversity. Alvaro Neder
Tracklist :
1. Pau Doido  2:53 
Written-By – João Lyra
2. Fugu Para O Nordeste  3:48 
Written-By – Dominguinhos
3. Riacho Seco  6:07 
Written-By – João Lyra, Maurício Carrilho
4. Seu Tenório  5:22 
Written-By – Cláudio Guimarães
5. Deixe O Breque Pra Mim  4:32 
Written-By – Altamiro Carrilho
6. Forró Na Penha  3:09 
Written-By – Adelmo Arcoverde, João Lyra
7. Que Par Seria  3:21 
Written-By – Glorinha Gadelha, Sivuca
8. Mergulho  4:23 
Written-By – Afonso Gadelha / Glorinha Gadelha
9. Forró Em Timbaúba  2:54 
Written-By – Dominguinhos
10. Um Tom Pra Jobim  4:31 
Written-By – Osvaldinho do Acordeon / Sivuca
11. Canção Pizaaollada  3:38 
Written-By – Glorinha Gadelha / Sivuca
12. Jazz Tupiniquim  3:57
Written-By – Glorinha Gadelha / Sivuca
Credits :
Acoustic Guitar, Viola Nordestina, Guitar – João Lyra
Arranged By, Conductor, Accordion – Sivuca
Double Bass – Toni Dias
Drums – Fernando Pereira 

JOÃO DONATO — A Bad Donato -João Donato's Psychedelic Funky Experience (1970-2004) RM | FLAC (tracks+.cue), lossless

João Donato, né en 1934, pianiste et compositeur, mais également arrangeur et chef d'orchestre. Dans les années 70, il vivait à Los Angeles. La Bossa Nova passée de mode, le label américain Blue Thumb Records lui offrit la possibilité de réaliser l'album de son choix tout en s'inspirant des sonorités électriques en vogue à l'époque. Il découvre les claviers électriques, en particulier le Fender Rhodes, véritable jouet entre ses mains qu'il va dompter et façonner pour en extraire la substantifique moelle qu'est A Bad Donato (1970). Aux frontières du Funk, de la Pop Psychédélique et du Jazz Fusion, A Bad Donato est une oeuvre expérimentale délicieusement groovie qui garde toujours sa fraîcheur et sa spontanéité 45 ans plus tard. Un album "déganté" réalisé "sérieusement" grâce à la participation de musiciens de Jazz exceptionnels comme Bud Shank, Dom Um Romao e Oscar Castro Neves et des arrangements en collaboration avec Eumir Deodato. "The Frog" entendu maintes fois comme générique d'émissions radio restera bien ancré dans mon inconscient comme un objet intemporel. A Bad Donato est au 76ème rang du classement Rolling Stone des 100 meilleurs albums de la musique brésilienne. Dominique Deret
Tracklist :
1.    The Frog 2:37
Written-By – João Donato
2.    Celestial Showers 2:36
Written-By – João Donato
3.    Bambu 2:20
Written-By – João Donato
4.    Lunar Tune 4:55
Written-By – João Donato
5.    Cadê Jodel? = The Beautiful One 2:07
Written-By – João Donato
6.    Debutante's Ball 3:00
Written-By – João Donato
7.    Straight Jacket 3:27
Written-By – João Donato
8.    Mosquito = Fly 2:59
Written-By – João Donato
9.    Almas Irmãs 1:53
Written-By – João Donato
10.    Malandro 2:31
Written-By – João Donato
Credits :
Acoustic Guitar – Oscar Castro-Neves
Arranged By – Eumir Deodato, João Donato
Bass – Chuck Domanico
Drums – Dom Um Romão, Mark Stevens, Paulinho Magalhães
Electric Guitar – Warren Klein
Flute – Bud Shank
Organ, Piano – João Donato
Percussion – Emil Richards, Joe Porcardo
Reeds – Bill Hood, Don Menza, Ernie Watts, Jack Nimitz
Trombone – Jimmy Cleveland, Ken Shroyer
Trumpet – Conti Candoli, Jimmy Zito, Pete Candoli

LUCIANA SOUZA — Brazilian Duos (2001) Two Version | FLAC (image+.tracks+.cue), lossless

Luciana Souza's well-received third record, Brazilian Duos, is a departure in two respects. First, the gifted vocalist is backed not by a jazz quartet, but rather by three different acoustic guitarists -- Romero Lubambo, Marco Pereira (playing eight-string), and Walter Santos (her father). Second, Souza turns away from original material and toward classic Brazilian songs by figures like Dori Caymmi, Luiz Gonzaga, Djavan, Jobim, Toninho Horta, and her parents, Walter Santos and Tereza Souza. The range of moods is astounding, from the tongue-twisting virtuosity of the opening "Baião Medley" and the playfulness of "O Bolo" to the heartbreaking strains of "Pra Dizer Adeus," "Docemente," and "Suas Mãos." Souza's voice, poised and attractive enough on its own, becomes a thing of transcendent beauty when matched with these sparse yet vibrant accompaniments. David R. Adler
Tracklist :
Baião Medley    (5:25)
1.1.    Repeita Januário
Written-By – Luiz Gonzaga, Humberto Teixeira
Guitar [8 Strings] – Marco Pereira
1.2.    Qui Nem Jiló
Written-By – Luiz Gonzaga, Humberto Teixeira
1.3.    Romance
Written-By – Djavan
2.    Suas Mãos 3:58
Written-By – Antônio Maria
Guitar – Walter Santos
3.    Pra Que Discutir Madame 2:42
Written-By – Haroldo Barbosa, Janet De Almeida
Guitar – Romero Lubambo
4.    Pra Dizer Adeus 3:41
Written-By – Edu Lobo, Torquato Neto
Guitar [8 Strings] – Marco Pereira
5.    Amanhã 3:03
Written-By – Tereza Souza, Walter Santos
Guitar – Romero Lubambo
6.    Eu Não Existo Sem Você 2:36
Written-By – Antonio Carlos Jobim, Vinicius De Moraes
Guitar – Walter Santos
7.    Doce De Côco 4:02
Written-By – Hermínio Bello De Carvalho, Jacob Do Bandolim
Guitar [8 Strings] – Marco Pereira
8.    As Praias Desertas 3:31
Written-By – Antonio Carlos Jobim
Guitar – Walter Santos
9.    Docemente 4:38
Written-By – Tereza Souza, Walter Santos
Guitar – Romero Lubambo
10.    O Bolo 2:06
Written-By – Tereza Souza, Walter Santos
Guitar – Walter Santos
11.    Viver De Amor 3:59
Written-By – Ronaldo Bastos, Toninho Horta
Guitar – Romero Lubambo
12.    Saudade De Bahia 2:46
Written-By – Dorival Caymmi
Guitar [8 Strings] – Marco Pereira
Credits :
Producer, Vocals, Arranged By – Luciana Souza

LUCIANA SOUZA — Duos II (2005) Two Version | FLAC (image+.tracks+.cue), lossless

Tracklist :
1.    Sai Dessa    3:02
 Nathan Marques / Ana Terra 
Guitar – Romero Lubambo
2.    Nos Horizontes Do Mundo    4:00
 Paulinho da Viola 
Guitar – Swami Jr.
3.    A Flor E O Espinho / Juízo Final    4:45
 Nelson Cavaquinho / Guilherme DeBrito 
Guitar – Swami Jr.
4.    Muita Bobeira    2:50
 Luciana Souza 
Guitar – Romero Lubambo
5.    Modinha    3:29
 Antônio Carlos Jobim / Vinícius de Moraes 
Guitar – Marco Pereira 
6.    No Carnaval / Vento    4:27
 Antônio Carlos Jobim / Vinícius de Moraes 
Guitar – Guilherme Monteiro
7.    Sambadalú (Para Luciana Souza)    3:49
 Marco Pereira 
Guitar – Marco Pereira 
8.    Aparecida    5:48
 Ivan Lins 
Guitar – Romero Lubambo
9.    Trocando Em Miúdos    5:42
 Chico Buarque / Francis Hime 
Guitar – Romero Lubambo
10.    Chorinho Pra Ele    2:54
 Hermeto Pascoal 
Guitar – Romero Lubambo
11.    Atrás Da Porta    2:46
 Chico Buarque / Francis Hime 
Guitar – Marco Pereira 
12.    Você    3:34
Guitar – Guilherme Monteiro
 Walter Santos / Tereza Souza 
Credits :
Luciana Souza - Audio Production, Producer, Vocals
Romero Lubambo - Casa Gonzalez (Classical Guitar); Ramirez (Classical Guitar)
Marco Pereira - Sughyama (Seven-String Requinto Guitar); Walter Vogt (Classical Guitar)
Swami Jr. - Tessarin (Seven-String Guitar)
Guilherme Monteiro - Manoel Andrade (Classical Guitar); Gibson 175 (Electric Guitar)

LUCIANA SOUZA — Duos III (2012) FLAC (tracks+.cue), lossless

Though Grammy-winning Brazilian vocal great Luciana Souza's third Duos recording marks the (approximately) ten-year anniversary of her Grammy-nominated Brazilian Duos, the trilogy concludes marvelously with duets by the singer and the lineup that appears on Duos II (2005): Toninho Horta, Romero Lubambo, and Marco Pereira. Traveling the world and playing in the duet format over the previous decade has helped Souza hone her ability with intimate yet lively voice-guitar conversations rich with clarity and eloquence. Stripping away the need for busier accompaniment, she and her cohorts eagerly embrace the core of each story and its sonic moment. With the exception of a sparse, plaintive meditation on Jobim's renowned "Dindi," most of the songs run from two-four minutes, allowing for quick guitar-vocal exchanges that make their point without dallying or overstating. The opening track, the easy flowing and breezy "Tim Tim Por Tim Tim," has a simple guitar line that allows the listener to zero in on Souza's dusky tones and expansive range. The snappy "Doralise" finds her voice fluttering through her higher register and daring the accompanying guitar line to keep up. She balances percussive tunes like that with the gentler sensuality and slightly mournful touches of tracks like "As Rosas Nao Falam" and the opening segment of the medley of "Lamento Sertanejo" and (the rollicking) "Maca do Rosto." No matter the tempo, no matter the tone chosen by each guitarist, Souza's voice on these classics of her native land are mesmerizing. Jonathan Widran
Tracklist :
1.    Tim Tim Por Tim Tim    1:32
 Haroldo Barbosa / Geraldo Jacques 
Acoustic Guitar - Toninho Horta 
2.    Doralice    2:06
 Antonio Almeida / Dorival Caymmi 
Acoustic Guitar – Romero Lubambo 
3.    Chora Coração    2:42
 Antônio Carlos Jobim 
Acoustic Guitar [7-String Guitar] – Marco Pereira 
4.    Pedra Da Lua    2:55
 J. Cascata / Toninho Horta 
Acoustic Guitar & Backing Vocals – Toninho Horta  
5.    Dona Lu    3:56
 Gilberto Gil 
Acoustic Guitar [7-String Guitar] – Marco Pereira
6.    Mágoas De Caboclo    3:39
 Leonel Azevedo / J. Cascata 
Acoustic Guitar [7-String Guitar] – Marco Pereira
7.    Eu Vim Da Bahia 2:42
 Gilberto Gil 
Acoustic Guitar [7-String Guitar] – Marco Pereira
8.    As Rosas Não Falam    4:02
 Cartola 
Acoustic Guitar – Romero Lubambo 
9.    Medley: Lamento Sertanejo (Forró Do Dominguinhos) / Maçã Do Rosto    3:45
 Djavan / Dominguinhos / Gilberto Gil 
Acoustic Guitar – Romero Lubambo 
10.    Inútil Paisagem    2:51
 Antônio Carlos Jobim / Aloysio de Oliveira 
Acoustic Guitar - Toninho Horta 
11.    Dindi 6:06
 Antônio Carlos Jobim / Aloysio de Oliveira 
Acoustic Guitar – Romero Lubambo 
12.    Beijo Partido    5:03
 Toninho Horta 
Credits :
Vocals, Vocalese – Luciana Souza 

MÔNICA SALMASO — Iaiá (2004) FLAC (tracks), lossless

Mônica Salmaso is one of those singers Brazil seems to produce by the dozens. She has a seductive, cool voice, mellifluous and on control over the material. She sounds wonderfully in control on the samba "Cabrochinha" and the stripped down "Estrela de Oxum," as well as an imaginative cover of Tom Zé's "Menina, Amanha de Manha." There's plenty of thought in the arrangements, such as the clarinets that are the spine of "Cidade Lagoa," and which typify this as a kind of Brazilian art music, as is evident from the piano on "Sinhazinha (Despertar)." In many ways it's an album to be admired rather than enjoyed, because it seems to keep an emotional distance, both from the heart of the material and from the listener. As such, that's fine, but it's hard to form any attachment to either the material or the singer. Salmaso may be good, but you never find the heart of her -- and that's a problem over the course of an entire CD. Chris Nickson
Tracklist :
1.    Moro Na Roça 2:19
– Traditional
Acoustic Guitar [7-String] – Maurício Carrilho
Adapted By – Zagaia, Xangô Da Mangueira
Percussion – Robertinho Silva
2.    Cabrochinha 3:48
Acoustic Guitar [7-String] – Maurício Carrilho
Arranged By – Maurício Carrilho
Bandolin – Pedro Amorim
Cavaquinho – Luciana Rabello
Clarinet – Nailor "Proveta" Azevedo
Flute – Marcelo Bernardes
Pandeiro – Jorginho Do Pandeiro
Tamborim – Celsinho Silva, Gordinho
Violoncello – Iura Ranevsky
Written-By – Maurício Carrilho, Paulo César Pinheiro
3.    Estrela De Oxum 3:26
Acoustic Bass – Rodolfo Stroeter
Acoustic Guitar – Paulo Bellinati
Bass Flute ["A Gorda"] – Teco Cardoso
Percussion – Robertinho Silva
Written-By – Joyce, Rodolfo Stroeter
4.    Menina Amanhã De Manhã 5:29
Accordion – Toninho Ferragutti
Acoustic Bass – Rodolfo Stroeter
Acoustic Guitar, Cavaquinho – Webster Santos
Arranged By – Benjamim Taubkin, Toninho Ferragutti
Flute, Baritone Saxophone – Teco Cardoso
Percussion – Ari Colares
Piano – Benjamim Taubkin
Written-By – Perna, Tom Zé
5.    Vingança 3:39
Accordion, Arranged By – Toninho Ferragutti
Arranged By [Brass Arrangement], Clarinet, Alto Saxophone – Nailor "Proveta" Azevedo
Written-By – Francisco Mattoso, José Maria De Abreu
6.    Por Toda A Minha Vida 2:20
Acoustic Guitar – Paulo Bellinati
Arranged By – Paulo Bellinati
Written-By – Tom Jobim, Vinicius De Moraes
7.    Assum Branco 4:50
Acoustic Bass – Rodolfo Stroeter
Acoustic Guitar, Percussion – Paulo Bellinati
Arranged By – Paulo Bellinati
Violoncello – Lui Coimbra
Written-By – José Miguel Wisnik
8.    Cidade Lagoa 3:00
Arranged By – Luca Raelle
Band – Sujeito A Guincho
Bass Clarinet – Luis Afonso "Montanha", Nivaldo Orsi
Clarinet – Edmilson Nery, Luca Raelle*, Sérgio Burgani
Written-By – Cícero Nunes*, Sebastião Fonseca
9.    Doce Na Feira 3:04
Flute – Teco Cardoso
Percussion – Ari Colares
Piano – André Mehmari
Written-By – Altair*, Jair do Cavaquinho
10.    Sinhazinha (Despertar) 5:04
Arranged By – André Mehmari
Piano – André Mehmari
Written-By – Chico Buarque
11.    Onde Ir 4:42
 Written-By – Vanessa da Mata 
12.    É Doce Morrer No Mar 5:25
 Written-By – Dorival Caymmi 
13.    Na Aldeia 5:38
Acoustic Guitar [7-String] – Maurício Carrilho
Backing Vocals – Ana Costa, Analimar, Jurema De Cândia
Bandolin – Pedro Amorim
Cavaquinho – Luciana Rabello
Clarinet – Nailor "Proveta" Azevedo
Guest – Teresa Cristina
Pandeiro – Jorginho Do Pandeiro
Percussion [Prato E Faca] – Paulino
Reco-reco – Celsinho Silva
Surdo – Gordinho
Violoncello – Iura Ranevsky
Written-By – Carusinho, De Chocolat, Silvio Caldas

PAULO BELLINATI · MÔNICA SALMASO — Afro-Sambas (1997-2010) FLAC (tracks), lossless

Tracklist :
1.    Consolação    4:21
 Baden Powell 
2.    Labareda    3:22
3.    Tristeza E Solidão    4:27
 Vinícius de Moraes / Baden Powell 
4.    Canto De Ossanha    3:53
 Vinícius de Moraes / Baden Powell 
5.    Canto De Xangô    4:36
 Vinícius de Moraes / Baden Powell 
6.    Bocochê    2:53
 Vinícius de Moraes / Baden Powell 
7.    Canto De Yemanjá    7:05
 Vinícius de Moraes / Baden Powell 
8.    Tempo De Amor    3:47
 Vinícius de Moraes / Baden Powell 
9.    Canto De Pedra-Preta    4:12
 Vinícius de Moraes / Baden Powell 
10.    Lamento De Exú    3:23
 Vinícius de Moraes / Baden Powell 
11.    Cordão De Ouro / Berimbau    4:26
 Paulo Bellinati 
Credits :
Mônica Salmaso - Mixing, Performer, Vocals
Pauli Bellinati - Arranger, Mixing, Producer, Guitar by Ignacio Fleta & hijos - 1991 

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

GRUPO MEDUSA — Grupo Medusa (1981) Vinyl LP | FLAC (tracks), lossless

The Grupo Medusa was formed in São Paulo, congregating some of the best musicians of the Brazilian jazz scene. The group lasted a little time and had two records released.
Apresentação do grupoThe first one, "Grupo Medusa", released in 1981, inaugurated the record company Som da Gente, specialized in Brazilian instrumental music. The line-up in this record, was: Amilson Godoy (piano), Cláudio Bertrami (bass), Heraldo do Monte (electric and acoustic guitar, mandolin) and Chico Medori (drums), with guest appearence of Theo da Cuíca and Jorginho Cebion on percussion. An innovative and authorial album, with lots of spaces for improvisation of all the musicians, and highly rich in the exploration of the Brazilian rhythms.
Tracklist :
1 - Baiana (Cláudio Bertrami)
2 - Zeby (Cláudio Bertrami)
3 - Caminhos (Cláudio Bertrami)
4 - Medusa (Chico Medori)
5 - Pé no chão (Chico Medori)
6 - Asa delta  (Cláudio Bertrami-Chico Medori)
7 - Uma viagem (Cláudio Bertrami-Chico Medori)
8 - Ponto de fusão (Cláudio Bertrami)
Credits :
Drums, Percussion – Chico Medori
Electric Bass, Fretless Bass, Acoustic Bass, Surdo – Cláudio Bertrami
Electric Guitar, Mandolin, Acoustic Guitar – Heraldo Do Monte
Percussion – Jorginho Cebion, Theo Da Cuíca
Piano, Electric Piano, Clavinet – Amilson Godoy
Producer, Arranged By – Grupo Medusa
Recorded By, Mixed By – Carlos Duttweller
Vocalese [Gemido Da Seca] – Heraldo Do Monte (tracks: 1)

SAMMY DAVIS, JR. · LAURINDO ALMEIDA — Sammy Davis, Jr. Sings · Laurindo Almeida Plays (1966-2004) FLAC (tracks+.cue), lossless

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.] 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.

SÂO BERNARDO (1972) Dir. Leon Hirszman | VIDEO (AVI)

Synopsis :
The story of Paulo Honório, a poor kid who becomes a rich farmer. Obsessed by his desire to get even richer, he doesn't pay much attention to his wife, Madalena, a teacher who reacts against his tyrannical ways.

A história de Paulo Honório, um garoto pobre que se torna um rico fazendeiro. Obcecado pelo desejo de ficar ainda mais rico, ele não dá muita atenção à esposa, Madalena, uma professora que reage contra seus modos tirânicos.
Title :  São Bernardo (1972)
Directed by Leon Hirszman
Duration : 112 min.
Audio in português / English Subtitles
Genres : Drama
Countries : Brazil 

SAMBALANÇO TRIO — Sambalanço Trio (1964-2000) FLAC (tracks) 24-32Hz

As the bossa nova style exited seven nascent years of development and entered into a post-pubescent stage full of confidence, the Sambalanço Trio hit the Brazilian music scene with a splash. Comprised of Cesar Camargo Mariano on piano, Humberto Clayber on bass, and future percussion superstar Airto Moreira on traps, the Sambalanço Trio had a sophisticated and multi-faceted sound, one that melded an aggressive, samba-school-on-parade sound with a subtler air, redolent of Antonio Carlos Jobim, João Gilberto, and even the Bill Evans Trio. For example, "Samblues" -- the opening track on the Sambalanço Trio's self-titled re-release -- combines Moreira's samba-derived partido alto rhythms with Mariano and Clayber's cool, blues-based melodies. On "Berimbau," traditional elements -- such as a Brazilian bagpipe intro and syncopated Capoeira rhythms -- are fused with a five-four melodic passage that sounds like a section from David Brubek's "Take Five." These two songs, along with the album as a whole, deftly illustrate how the Sambalanço Trio infused the soporific bossa nova scene of 1964 with much-needed doses of energetic rhythms, cutting-edge jazz voicings, and spontaneity. One of the only drawbacks to this release is its short length, but whatever the CD lacks in quantity of songs, the Sambalanço Trio more than makes up for it in their quality. John Vallier   
Tracklist :
1 – Samblues (César Camargo Mariano) 2:16
2 – Balanço Zona Sul (Tito Madi) 2:33
3 – O Morro não tem vez (Tom Jobim – Vinicius de Moraes) 3:45
4 – Nos e o Mar (Roberto Menescal – Ronaldo Boscoli) 2:19
5 – Homenagem a Clifford Brown (Dorimar) 2:44
6 – Berimbau (Baden Powell – Vinicius de Moraes) 3:57
7 – Jacqueline K (Heraldo Correia) 2:49
8 – Consolação (Baden Powell – Vinicius de Moraes) 2:38
9 – O Amor que Acabou (Chico Feitosa – Luiz F. Freire) 3:13
10 – Pra que Chorar (Baden Powell – Vinicius de Moraes) 2:30
11 – Marisa (Cesar Camargo Mariano) 3:04
12 – Sambinha (Humberto Clayber – Cesar Camargo Mariano) 2:12
Credits :
Contrabass – Humberto Clayber
Drums – Airto Moreira
Piano – Cesar Camargo Mariano