Carioca 1 e 2 Nicanor Teixeira. Olhos Que Choram Nicanor Teixeira Marulhos Eduardo Ramos Berceuse Othon Salleiro Ponteio Nicanor Teixeira. Sunny Bobby Hebb Os Mustangs Conjunto Mensageiros da Saudade with their only? Nossa Senhora do Amparo Salvador J. Joyce Matuto Ernesto Nazareth.

Antoninho Pellicciari and his conjunto de boite have probably recorded only one career album, the one presented here and now: I am happy to inform you that these tracks sound exactly as one could expect from a perfect conjunto de boite :.

Trovador de Toledo Gilberto Becaud Berioska Tradicional Diane L. About guitar player Arnaldo da Guitarra unlisted on Memoria Musical and his also unlisted album Madrugada I can tell you only what is displayed on the labels and it is not much: The name of the recording, the MusiColor serial number and the track list. Madrugada Arnaldo Santos Ed. Quero essa mulher assim mesmo. Seara Vermelha. Vidas Secas. Beijo, O.

Deus e o diabo na terra do sol. Ganga Zumba. Noite Vazia. Velha a fiar, A. Som direto de Maurice Capovilla. Desafio, O. Falecida, A. Obrigado a matar! Cariocas, As. Corpo ardente, O. Grande cidade, A. Heitor dos Prazeres. Hora e a vez de Augusto Matraga, A. Menino de engenho. Todas as mulheres do mundo. Rossana Ghessa foi dublada por Mirim Mehler. Cara a Beija-Me - Elizeth Cardoso E Ciro Monteiro - A Bossa Eterna De Elizeth E Ciro (Vinyl.

Em busca do tesouro. Garota de Ipanema. Jerry — a grande parada. Margem, A. Trilha de Caetano Veloso. Roberto Carlos em ritmo de aventura. Terra em transe. Viagem ao fim do mundo. Bandido da luz vermelha, O. Brasil ano Herdeiros, Os. Homem nu, O. Juventude e ternura. Panca de valente. Panorama do cinema brasileiro.

Roberto Carlos e o diamante cor de rosa. Copacabana me engana. Lance maior. Mulher de todos, A. Depoimento intimista do compositor. Azyllo muito louco. Bang Bang. Caveira My Friend. Copacabana mon amour. Marcelo Zona Sul. Trilha musical de Geni Marcondes e Denoy de Oliveira. Monstros do Babaloo, Os. Moreninha, A. Trilha musical de Os mutantes. Orgia ou o homem que deu cria. Profeta da fome, O. Cenografia de Luiz de Barros.

Vinicius de Moraes. A vida e a obra do cantor Orlando Silva. Casa assassinada, A. Trilha de Egberto Gismonti. Culpa, A. Jesus Cristo, eu estou aqui. Marca da ferradura, A. Nelson Cavaquinho. No rancho fundo. Deuses e os mortos, Os. Arranjos e tema de Wagner Tiso. Dois perdidos numa noite suja. Roberto Carlos, a Km por hora. Arranjos: maestro Chico Moraes. Sem essa aranha. Amor, carnaval e sonhos.

Deusas, As. Inconfidentes, Os. Quando o carnaval chegar. Arranjos musicais de Roberto Menescal. Compasso de espera. Hora e a vez do samba, A. Joana francesa. Mestre Ismael. Moreira da Silva. Com Clementina de Jesus e Martinho da Vila. Vai trabalhar, vagabundo. Alegres vigaristas, As.

Anjo da noite, O. Artesanato do samba. O filme foi proibido pela censura e somente liberado em Noite do espantalho, A. Rainha diaba, A. Rei do baralho, O. Amuleto de Ogum, O. Cartomante, A. Casal, O. Casamento, O. Chega de demanda. Copacabana, mon amour. Desquitadas, As. Grande rodeio, O. Jeca macumbeiro, O. Mazzaropi e Pio Zamuner. Pai do povo, O. Ritmo Alucinante. Rei da noite, O. Xica da Silva. Jogo da vida, O. Mar de rosas. Martinho da Vila Paris Menino da porteira, O.

Tenda dos milagres. Filhas do fogo, As. Arranjos de Wagner Tiso. Queda, A. Rio, carnaval da vida. Samba enredo: Neguinho, Gilson e Mazinho. Se segura malandro.

Tudo bem. Na boca do mundo. Noiva da cidade, A. Amantes da chuva. Beijo no asfalto, O. Estrada da vida. Gaijin, caminhos da liberdade. Idade da Terra, A. Homem que virou suco, O. Trilha musical de Vital Farias. Pixote, a lei do mais fraco. Pulo do gato, O. Sete gatinhos, Os. Cabaret Mineiro. Deu pra ti Anos Eu te amo. Menino do Rio. Noel por Noel. Rei da vela, O.

Dias de Alforria. Linha de montagem. Menino jornaleiro, O. Sol vermelho. Som, ou o tratado de Harmonia, O. Mixado com som Dolby Stereo. Fala Mangueira! Onda nova. Trilha sonora de Luis Lopes. Para viver um grande amor. Partido Alto. Pra frente Brasil. Cabra marcado para morrer.

Chico Rei. Tiso e Fernando Brant. Eu sei que vou te amar. Filho adotivo, O. Garota Dourada. Areias escaldantes. Beijo da mulher aranha, O. Estrela nua. Hora da estrela, A. Pedro Mico. Rei do Rio, O. Rock estrela. Cidade Oculta.

Cinema Falado. Fonte da saudade. Ma Che, bambina! A vida e a obra do compositor e radialista Adoniran Barbosa. No tempo de Glauber. Dama do cine Shangai, A. Ele, o boto. Trilha musical de Heron Heinz e Os replicantes. Tim Maia. Trem para as estrelas, Um. Uakti: oficina do som. Imagens do inconsciente. Feliz ano velho. Tanga: Deu no New York Times. Grande Mentecapto.

Jorge, um brasileiro. Lili, a estrela do crime. Lua Cheia. Hip Hop SP. Grande arte, A. Leonora Down. Trilha musical de Ed Motta. Viver a vida. Capitalismo selvagem. Terceira margem do rio, A. Cantor de samba, O. Carlota Joaquina — princesa do Brazil. Orquestradores: Mauricio Maestro e Vicente Ribeiro. Terra estrangeira.

Quatrilho, O. Trilha original de Jaques Morelenbaum. Buena Sorte. Cego que gritava luz, O. Com que roupa? Um dia da vida de Noel Rosa. Trilha original de Victor Biglione. Mil e UMA. Tieta do Agreste. Trilha original de Caetano Veloso.

Quem matou Pixote? Baile Perfumado. Cineasta da selva, O. Ed Mort. Guerra de Canudos. Trilha de David Tygel. Matadores, Os. Nelson Sargento no Morro da Mangueira.

Ostra e o vento, A. Trilha original de Wagner Tiso. Boleiros, era uma vez o futebol. Central do Brasil. Geraldo Filme. Produzido por Nelson Ayres e Newton Carneiro. Policarpo Quaresma. Certo Dorival Caymmi, Um.

Da janela para o cinema. Laurindo Almeida, muito prazer. Primeiro dia, O. Santo forte. Tronco, O. Brava gente brasileira. Trilha adicional de Marcelos Zarvos. Eu tu eles. Quase nada. Walter Franco muito tudo. Casamento de Louise, O. Orquestra Tabajara. Dias de Nietzsche em Turim. Trilha sonora de Max de Castro. Invasor, O. Cost: Full and partial scholarships once accepted. Contact: ; vailjazz. Austin had already pushed the envelope when he gained admission to the Litchfield Jazz Camp in Connecticut—which occurs right before the festival—intwo years shy of its minimum age requirement.

Hours later, and with no rehearsal, Austin was welcomed onstage by Brubeck. Though connections made during camps opened Torres up to new gigging opportunities, she, like Austin, believes that chutzpah is necessary to take advantage of them.

Students engage in daily master classes, small ensemble rehearsals, recording sessions, club and concert performances, common sessions with leading jazz musicians, and opportunities to workshop new compositions. Faculty: Dave Douglas, program director, and many others. Cost: Free with acceptance to program. Contact: ; coastaljazz. Dutch Improv Academy Amsterdam and Rotterdam, The Netherlands August 23—30 Highlights: Students spend one week with the Dutch masters in Holland in workshops, master classes, group jams, improvisations, field trips and evening performances.

About 60 students, age 18 and up, from all over the world. Age 16 and older. Contact: peter ijamjazz. Faculty: Numerous, from all over North America. Contact: ; internationalmusiccamp. Students travel around Italy, attend jazz fests and study with renowned instructors. Students age 17 and up need three years of training plus a knowledge of jazz theory. Six of each rhythm section instrument; four horns per combo. Contact: labellavitaarts. Improvisation, technique and performance skills will be taught through practical applications.

For students age 13— Faculty: Jeff Antoniuk, director and guest clinician, and MacEwan music faculty. Contact: ; artsoutreach. About 60 students, age 16— Contact: conservatoriumvanamsterdam. University of Manitoba Summer Jazz Camp Winnipeg, Manitoba, Canada August 16—22 Highlights: Days include small ensemble rehearsals, practical study, improvisation instruction and jam sessions. For — students of all ages. Contact: ; umanitoba.

Vancouver Creative Music Institute Vancouver, British Columbia, Canada June 29—July 3 Highlights: Five-day intensive program joins emerging artists with international improvisational and creative musicians. Limited to 35 players, 18 and up. VenetoJazz and The New School for Jazz and Contemporary Music Summer Workshop Bassano del Grappa, Italy July 13—24 Highlights: A workshop of courses divided by ability, plus master classes, theory, arranging, vocal technique, combos, a big band and public performances.

For students, age 18 and older. Cost: euros before May 10, euros after. Contact: x Ensemble Week focuses on big band, vocal ensemble and combo playing. Each feature student performances, faculty concerts, and jam sessions. For about 80 musicians, age 12— Contact: ; vcm. DB Listings compiled by Mary Wilcop. The pianist is crafting her profile in the United States while remaining in the Netherlands. There is no one else who is more interested in your own career than yourself.

For a half-dozen years the couple has leased an office near their home, where Platteau spends 30 hours each week. Figarova and Platteau established similar relationships with musicians in New Orleans. Figarova has no reservations about championing such music, or the country responsible for its creation.

Figarova, 44, grew up in Baku, Azerbaijan. She studied classical music at the Azerbaijan State Conservatory, but concentrated on jazz after receiving a scholarship in to attend the Rotterdam Conservatory.

Figarova met Platteau at the conservatory inand they married that year. Inshe made her first visit to the U. Figarova recorded Another Me inthe first of her eight albums for Munich.

Figarova stresses hard work and said her long stretches on the road in the first half of made it all but impossible to keep up with business matters. Clearly, the heavy lifting in jazz is being done by a vast number of indies more than labels appeared in the January DownBeat listing of best CDs ofoften with pointedly cryptic names that sound more like passwords than brands: Anti- Pi, Hyena, Music, Hot Cup, hatOLOGY and Cryp-togramophone.

Album) vanish quickly and become cultish collectors items. But some have had staying power. Sustaining a small jazz label today is an act of philanthropy. But it broke a cardinal rule of the independent business model almost from the start. Most indies focus on a single, underserved molecule of the market that defines their identity. Robert Koester, who founded Delmar in St. Louis in and renamed it six Album) later, aimed at many. Delmark has logged more than original titles.

They range from the antique to the avant-garde; from George Brunis and Art Hodes in their twilight to Anthony Braxton and the AACM at their dawn along with contemporary Chicago-based free improvisers, as well as a deep catalog of blues including Magic Sam and Junior Wells. The store is the source of our capital and subsidizes the label.

If Manfred Eicher at ECM has constantly cultivated a new generation and sensibility since the late s, labels like Chiaroscuro and Arbors have kept alive an older one. I doubt if there is much future in independent recording purely as an economic venture. Its numbers, more or less typical for an indie, go something like this: An initial release, such as the current Ruby Braff: For The Last Time, will get a run of 1, copies.

When demand justifies, additional pressings are ordered in lots of If an artist tours and wants a batch, a custom run can be ordered. About 80 percent of the Arbors catalog and half of the Chiaroscuro are currently available on disc; the rest can be downloaded. With CDs now sold primarily through bookstores, online and in discount chains, independent distribution is not only shrinking but the CD demographic itself is slowly aging.

The good news is that the technology is now so democratized, an artist can become his or her own indie label and distribute in cyberspace. They just have to be prepared to support themselves.

And just as the Internet has put the power of the press into the fingers of the individual, so too does it allow independent musicians to effectively market themselves and maintain professional relations using such social networking sites as Facebook, MySpace and Twitter.

The Leavenworth, Kan. The whole paradigm has shifted through sites like Facebook. Other than that, it is a pretty boring place to be. Petaluma, Calif. But sometimes, older-school new technologies work better. Though they adore the swagger and prance of ancient uptown acts such as Charlie Johnson and Cecil Scott, the piece NYC outfit is miles away from being a Xerox band.

Leader Steven Bernstein is a hell of an arranger, and he makes his boys toe the line. But his criteria for success is a bit more complex than merely following charts. He wants the spirit of the performance to smooch the prototype while reflecting esthetic particulars of a more modern era. Call it the best of both worlds; or the best of several worlds.

Insight could be part of the mix, too. Something tells me Bernstein might know. When is his mom going to move over so he can rule on his terms?

Ravi Coltrane may have a special empathy for the Prince. When is his father going to move over so he can rule on his own terms? For Charles, the obstacle is an uncommonly durable queen. Still, at 43, Ravi is now three years older that his father was when he died.

Why should Ravi be any different or be held to a higher standard? Almost everyone under 50 sounds like Trane. It is pure, earnest and marinated in modal flights that move freely over a permissive and responsive rhythmic underpinning that lets the music move where it likes. They revisit material the bassist recorded with Alice Coltrane on harp in When it snaps to life with an abrupt tempo change, Coltrane awakens but seems to quit early, as if slightly unfulfilled.

It adds nothing to an otherwise delightful cameo that demonstrates that a funky rhythmic line can be played with a light touch. Perdomo is especially whimsical. Coltrane follows with little more than a coda that seems to end in mid air. He returns after E. Strickland, drums; Brandee Younger, harp Ordering info: savoyjazz. At the core of the scene is the dynamic team of cellist Peggy Lee, leading this superb octet, and drummer Dylan van der Schyff, who grounds and propels the ensemble.

Decades of development have led them to the fluidity of this amalgam, which moves without stress from orchestration to fragmentation and back. This can create conflict. While rock and classical music trade in dramatic, accessible melodies, staged theatricality, disciplined ensemble parts and a healthy dose of schmaltz, jazz is improvised, intimate, individual and deplores the obvious. All this excess is a shame, because The Bad Plus does well with sparse arrangements.

Like Barry Guy does with his big groups, Lee tries Beija-Me - Elizeth Cardoso E Ciro Monteiro - A Bossa Eterna De Elizeth E Ciro (Vinyl create ideal opportunities in her band for improvising, framing the interactions in big, open arrangements. No, on both counts. I admire The Bad Plus greatly for its fearlessness and coherence. But here, its tendencies toward prog-rock artiness and Lisztian Romanticism alternate between the sublime and the ridiculous. Drew Gress and E. Strickland forge a strong alliance.

They have the advantage of being instrumentals, however emotionally frozen. What starts out with an incendiary little spark on a Nirvana cover is diminished as the CD plods in its attempt to level the playing field between arch modernism Babbitt and pop populism Bee Gees. But the cellist and her mates provide as much focus as they do elaborations, and the melodic threads and rhythmic gambits bind all that needs to be bound.

When the band plays straight, the music is pastoral and passive, more atmosphere than active. In its more exploratory avant conceit, I find little desire to be provoked into another dreary probe through the musical outback of sonic squeals and squawks. Dare to dislike it. A two-CD set, 75 documents his last recorded concert on his birthday at a festival in Lugano, Switzerland. Here, all three are redone in fresh, if less than imaginative, ways.

On a set of duets and a one-day quartet session last summer, the communication between Jim Hall and Bill Frisell is intimate, supportive and free flowing. Still, the groove and feel remain in most of this music. Again, the emphasis is on extended interplay between the guitarists, but Frisell takes an additional step back on many of the 10 tracks. As free-jazz heavies found meaningful collaboration with adventurous electronic artists, Shipp eventually got onboard himself. While not everything he tried succeeded, it was impressive to watch him tackle new sounds.

Unlike the rigorous work he created with his early trio and as a member of David S. He sounds more complete than ever before.

The piece opens with delicate saxophone waves and the brass introduces the theme—which returns several times in slightly different forms—over the saxes.

New attitude and direction. Change comes as no surprise, because this modern blues woman has shown an independent streak throughout a recording career that began in With Oliver Wood overseeing things, Copeland sings the dozen songs with feeling as first-call musicians give her much more than mere accompaniment. Besides the aforementioned, Copeland has two more distinctive songs under control. Ordering info: telarc.

The Bradley Young Trio and tenor saxophonist Ed Petersen, who guest solos on three tracks, joins Baker on this set of Tin Pan Alley and bebop standards, done in a no-frills, straightahead style.

His solo is bittersweet, heartfelt and tender, but never saccharine. Any time Baker plays above a mezzo-forte his sound echoes. His orchestra has experienced frequent personnel changes but has always featured topnotch musicians, and Why Not? With this new opus, Gruntz delivers some of the inspired post-bop that has become his trademark.

The program also includes two separate versions of the title track. Penned by Swiss composer Robert Sutter, it is full of twists and turns, with its quirkiness and tone reminiscent of Frank Zappa. It requires prowess from the soloist, and becomes a formidable feature for the nimble flute of Chris Hunter. Gruntz does not break much new ground with Why Not?

At its core, this is a solid and enjoyable big band date—which is not common these days. Ordering info: tcb. The intersections of theory and habit pass quietly, suggesting a system whose intentions are nuanced and intended to invigorate and not overthrow the mainstream. Beyond theory lays a satisfying quartet showcase in which Sandke is joined by guitarist Howard Alden and a rhythm team. She has a lovely, unaffected transparency.

Parrott also appears on Jubilation, recorded live in a Switzerland club. The brassy, ballsy front line puts down a rollicking program of standards, pausing rarely to reflect on ballad tempos. Johnson and Kai Winding. Pure, fragile vocals eschewing swagger and sure-handed selections, admirably set, make for success. Johnson beauty further brighten and lighten up this imaginative, unslavish homage. Ordering info: blujazz.

The teen offers an unsettling disparity between a mature voice, capable of secure and fresh if a tad shrill phrasing, and chirrupy mic patter. Ordering info: aentertainment. Ordering info: cccmusicgroup. Saccharine seductress? DB Ordering info: concordmusicgroup. Even when the results fall a bit short of the mark, the effort can carry the day. Saxophonist Quinsin Nachoff has been one of the brightest young musicians in Toronto for a number of years— someone who can step easily between contemporary classical music and improvisation—and this chamber quintet recording from should win him a larger audience.

His writing—bold, diverse and filled with compelling counterpoint—does the job. The approach he follows on most of the six landscape-themed compositions allows Taylor to take the lead, occasionally shadowed by the string trio, and add color with his horn. Stoked by an aggressive rhythm section blasting fusillades at him from all angles, Beck responds with his slurred, slippery, slimy distorted howl at its magisterial best.

Ordering info: eaglerockent. If the opening unaccompanied solo is any indication, he is a trombonist with a robust tone the jazz world has to reckon with. On this new album, Gilkes tones down his Latin jazz influences to deliver vibrant compositions that emphasize his other musical interests.

In trumpeter Michael Rodriguez, Gilkes has found a perfect match with whom he can explore his inclination for counterpoint. When the two play independent melodies before entangling them, they produce stunning results. The leader put together a terrific rhythm section to support their nimble and rich musical ideas.

They make the two horns sound stately and provide a new canvas for his time signature experiments. Ordering info: marshallgilkes. As Beija-Me - Elizeth Cardoso E Ciro Monteiro - A Bossa Eterna De Elizeth E Ciro (Vinyl does in The Bad Plus, King makes defying expectation his mission on this collaboration with guitarist Craig Green. There are multiple paths into this music, which is entirely improvised. They cross sentiments and meet in lyrical moments.

However, King and Green never overstay their invitation. The program is nicely varied from track to track. But Salis, who alternates between piano, Hammond and Fender Rhodes, is the only one who sounds at ease, finding fresh and provocative gambits on every piece.

Previte comes off as the least inspired participant. Petrella is a monster on his instrument, and previous work has revealed his sharp grasp of electronic enhancements, but he overdoes it a little here. Reverby effects pedals sometimes reduce his razor-sharp phrasing and fullbodied tone into an oil slick of dubby low-end. Ordering info: auand. In terms of delivering the traditional punch of the two-tenor front line, however, Greene and Malaby easily clear the historically high bar.

Often, when an album is dedicated to relatively recently departed giants like, in this case, Andrew Hill and Dewey Redman, their influences are heard on discrete tracks. Instead, Pavone has melded the sly structural features the pianist favored and the earthy swing the saxophonist mined from quirky outbound material.

Ancestors is the 10th recording Pavone has led or co-led on Playscape. Like its predecessors, the album has a rallying spirit and a progressive bead on traditional practice. It is what jazz needs from its eminent leaders.

As a player, Wolff is equally reliable; his uptempo solos can swing hard, and he has the temperament to leave space where it belongs on ballads.

The tune is built on a simple piano motif, which might sizzle a little more over a Mardi Gras rhythm. Instead, Wolff sets it to straight-eights and a backbeat, played without much enthusiasm by drummer Victor Jones. In the forefront, Wolff and Steve Wilson, playing soprano sax, craft an eloquent conversation, with inflections and pauses that suggest thoughtful as well as artful discourse.

It begins with a solo, then a trio, then the whole band plays and then they reverse the process until Bynum stands alone once more. The structure may seem schematic, but it creates a framework for many different things to happen at unpredictable moments. Performed by Bynum, Mary Halvorson and Tomas Fujiwara, it starts to crack like distressed ice as each player applies pressure to go in a different direction. Just when it seems it might shatter, the head reappears. That jauntiness sounds sneaky, but in a good way.

Throughout the record, the changes in tone, texture and style keep coming, and the players rise to the challenge, modulating their voices and withholding or asserting their presence in order to make them work. This is no plea for cheap applause or excuse for a sub-par performance; more likely, Sheila Jordan is teasing those who might be fooled by her youthful verve into thinking she must have gotten carded to get into the venue. She gets a little pitchy.

Often she swoops or wobbles around the note rather than tagging it precisely. None of that matters. What matters is the smile Jordan brings into her delivery, even when she simply sustains one long vowel.

She scats occasionally, but seems more comfortable when spinning stories into her variations on the tune. Malaby may be best known for his broadshouldered tenor, but his soprano steals the show here. Paul Rishell and Annie Raines: powerful lessons Ordering info: mc-records. Rishell shows remarkable understanding of his guitars, and his singing voice breathes with knowing grace and burnished intensity.

Playing bittersweet harp, Raines taps emotions as expressively. Kane, just a few months past successful cancer surgery, shows herself to be a rare powerhouse who packs plenty of heart into every word she sings. Coleman offers pleading inflections of voice and guitar that ring true. Both handle good songs. Ordering info: bluescaravan. Ordering info: vizztone. Ordering info: stonyplainrecords. Tina brings extroverted carnality to songs associated with, among others, B. DB Ordering info: acrobatmusic.

By packing in so many quick-changing ideas, Bates risks composing pieces that arrive as schematic exercises—a flashy display of prog daring-do with no heart. Luckily, his excellent band not only brings the pieces to life, but also makes them sound natural and touched with unlikely grace. They balance fluidity and chunkiness, shaping tactile rhythmic figures as malleable armatures. Plying flesh to the bone is the assured frontline of saxophonist Quinsin Nachoff and trumpeter Russ Johnson.

The record was produced by Dave Douglas, whose influence as a composer is acutely felt here. But Bates is clearly emerging, and once he pares down the info in his tunes, watch out.

Ordering info: greenleafmusic. Loads of albums were released to commemorate the occasion, and Blue Note tossed in six reissues. So did organist Walter Wanderley, who ended up playing regularly with Astrud Gilberto. Wanderley exhibited a frenetic rhythm style, consistently opting for staccato stabs over any sustain. Keyboardist and arranger Eumir Deodato also found success in the U. Still, her full-throated singing brings style and verve to the material and she has a natural rapport with Monteiro, another samba vet.

But the adventurous, constantly morphing arrangements take the folkloric sources into the stratosphere, with the combo producing a deceptively rich, varied sound.

The jazzfueled excursions its alumni would soon embark on are hinted at, but Quarteto Novo functions as a model of precision and succinctness, packing endless invention into three-minute gems. DB Ordering info: bluenote. The music is only part of the lure.

Superbly recorded and garnished with a bohemian ambiance, it has an intimate jazz-club verisimilitude that crackles with historical and emotional context. Davis was far from an anointed legend in While he was making his landmark recordings for Columbia by day, he was still working small jazz clubs at night. It was a characterization that appealed to his own sense of theater and permitted his fans to savor their own exclusivity and hipness.

This CD gives us a glimpse of those working nights. John Coltrane was in search of a voice. The next three pieces from November include the elegant Cannonball Adderley and Red Garland, who replaced Evans on short notice. In the final two tracks from JanuaryDavis is sparse and teasing while Trane and Adderley are wall-to wall. But few could swing harder and lighter than the brilliant Desmond. The Herman band was among his best. But the format gives little breathing space to its talent.

Vaughan is in spectacular voice as usual. We still have 11 familiar songs served straight up by one of the finest post-war singers at the height of her talent. McRae would look for subtle and unexpected ways to reshape a lyric. A couple of now politically incorrect oldies add further charm.

Saxophonist David S. The artful presentation of some limbo-like internal landscape is emphasized by the track fades, which occur at moments when Ware is lifting off. But it neglects to acknowledge one of their most important progenitors—Albert Ayler. And the stumbling block resides in the same place. But in different ways, each is so extreme as to be offputting.

The backing band, led by saxophonist Jeff Lederer, persuasively inhabits the varied settings, from near-lullaby to jittery reggae to manic march. Juramento Falso J. Numa Seresta Luiz Americano Choro 78rpm: Bonicrates de Muletas Biliano de Oliveira Choro 78rpm: Dolente Jacob do Bandolim Choro 78rpm: Saudade Ernesto Nazareth Valsa 4. Tenebroso Ernesto Nazareth Tanguinho 6. Odeon Ernesto Nazareth Tanguinho 7. Faceira Ernesto Nazareth Valsa 8. If you wonder now why I have not written Happy New Year using Cyrillic letters, the explanation is also simple: I have still not figured out how to install the language bar in my newly installed version of Ubuntu Studio O.

If you wonder who Maestro Maurice Monthier might be, the explanation is not so simple: I do not know much about him, except that his listed discogaphy consists of a series of around 8 career albums with the same title but with a different volume number. Bergman Marie Blanche G.

Dousset Midnight Cowboy John Barry Bittencourt Sampaio

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9 thoughts on “Beija-Me - Elizeth Cardoso E Ciro Monteiro - A Bossa Eterna De Elizeth E Ciro (Vinyl, LP, Album)

  1. Beija-me Deixa o teu rosto coladinho ao meu Beija-me eu dou a vida pelo beijo teu Beija-me Quero sentir o teu perfume, Beija-me com todo o teu amor Senão eu morro de ciúme. Ai! Ai! Ai! Que coisa boa O beijinho do meu bem Dito assim parece à-toa O feitiço que ele tem Ai! Ai! Ai! Que coisa louca Que gostinho divinal Quando eu ponho a minha boca Nesses lábios de coral.

  2. Feb 21,  · Link original: Elizeth Cardoso & Cyro Monteiro – A Bossa Eterna de Elizeth e Cyro () Publicado em: Monday, December 17, by zecalouro. We spent a time today talking about each other preferences on Brazilian music and singers and I did not get surprised to hear from friends that Elizeth Cardoso is a favorite singer of everybody.

  3. Jan 28,  · A voz de Ludmilla na introdução da gravação de Beija-me faz supor por alguns segundos que a cantora fluminense trouxe esse samba sincopado dos compositores Roberto Martins ( – ) e.

  4. Beija-me Quero o teu rosto coladinho ao meu Beija-me Que eu dou a vida pelo beijo teu. Beija-me Quero sentir o teu perfume Beija-me com todo o teu amor Se não eu morro de ciúme. Ai ai ai que coisa boa O beijinho do meu bem Dito assim parece a toa O gostinho que ele tem. Ai ai ai que coisa louca Que beijinho divinal Quando eu ponho a minha boca Nos teus lábios de coral.

  5. Beija-me, que eu dou a vida Por um beijo teu Beija-me, quero sentir o teu perfume Beija-me com todo o teu amor Se não eu morro de ciúme. Ai, ai, ai, que coisa boa O beijinho do meu bem Dito assim, parece atoa O feitiço que ele tem. Ai, ai, ai, que coisa boa Que gostinho divinal Quando eu ponho a minha boca Nos teus lábios de coral. Beiiija-me.

  6. Beija-Flor. É Beija, é Beija-Flor. Que minha Mãe me entregou. Para afastar as doenças. De quem for merecedor. Meu Mestre está comigo. Pois ele é meu amor. É no céu e na terra.

  7. Beija-me eu dou a vida pelo beijo teu Beija-me Quero sentir o teu perfume, Beija-me com todo o teu amor Senão eu morro de ciúme Ai! Ai! Ai! Que coisa boa O beijinho do meu bem Dito assim parece à-toa O feitiço que ele tem Ai! Ai! Ai! Que coisa louca Que gostinho divinal Quando eu ponho a minha boca Nesses lábios de coral.

  8. Apr 13,  · Se você abre os olhos de levinho, de vez em quando, e percebe que na hora do beijo o gatinho fica o tempo todo de olho aberto, isso pode significar algumas coisas: que ele está desconfiado, que ele não está totalmente envolvido, que ele está preocupado e não consegue relaxar e se entregar.

  9. Arnaldo Antunes escreveu a poesia e a transformou em música. Marisa Monte a interpretou. Harmonicamente perfeita! Ambos foram magistrais. Antunes usou, porém, o que chamamos de licença poética para escrever seus versos. É sabido que licença poética é a liberdade que toma o poeta de transgredir as normas da poética ou da gramática, a fim de trabalhar com a rima, .

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