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
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
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 (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
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
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)
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
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
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, 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'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
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 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
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
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)
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 :
1Here's That Rainy Day 2:15 Written-By – Burke/Van Heusen
2Two Different Worlds 3:21 Written-By – Frisch, Wayne
3The Shadow Of Your Smile 4:12 Written-By – Mandel, Webster
4Where Is Love 3:00 Written-By – Lionel Bart
5Ev'ry Time We Say Goodbye 4:01 Written-By – Cole Porter
6I'm Always Chasing Rainbows 2:20 Written-By – Carroll, McCarthy
7We'll Be Together Again 3:14 Written-By – Fischer, Laine
8Joey, Joey, Joey 4:18 Written-By – Frank Loesser
9The Folks Who Live On The Hill 3:40 Written-By – Kern/Hammerstein
10Speak Low 3:32 Written-By – Weill, Nash Credits :
Classical Guitar – Laurindo Almeida
Vocals – Sammy Davis Jr.
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
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