Having returned to a nation unprepared to put his classical credentials to better use, Neschling lived solely by his wits, tailoring the rules to fit the occasion. Still, the obvious contradiction of balancing the art of the sacred with that of the profane would eventually lead to a resolution, of sorts, in the mind of the eclectic conductor — despite constant clashes throughout his career with key individuals, many of who have felt the abrasive sting of his notorious temperament, a holdover from his street days.

I resigned on the spot. Unfortunately, she sided with Kalil, who had an artistic vision the exact opposite of mine. Driven off by his own recalcitrance, Neschling settled down to a mostly Continental-based conducting career, successfully serving as director of the St.

I ask the musicians to come early, tune their instruments, and not talk during rehearsals. Maestro or malandrocomposer or conductor, by any other name Neschling would still be Neschling — and just as contentious. Neither conventions nor laws seem to ever hold him back. An individualist? Yes, certainly. A survivor? By all means! Whether or not one agrees with his personal points of view are another matter.

Not bad for a South American symphony conductor! But what of the fate of other children of great Brazilian artists? Who are they, and what has become of their fleeting chances at putting a personal stamp on their own individual accomplishments?

They have shared the musical spotlight on numerous occasions, and, to their mutual benefit, have kept up a reasonably amicable working relationship on and off the world stage for nearly 40 years. If anyone knows of an incident where this has not regularly been the case, please let me know. Factually, there is some historical precedence for this behavior in the effervescent nightclub routines of the great Carmen Miranda and her younger sister Aurora, who at one time appeared together at the Cassino da Urca in Rio de Janeiro during the early s.

While Carmen later hit it big in Hollywood wartime musicals, little Aurora Miranda managed to sustain her own, not-insignificant solo career; some condescending old-timers even insisted she had a lovelier singing voice than her more vivacious blood relative, but no matter.

She also appeared in a handful of forties crime dramas, most memorably in Phantom Ladywith Franchot Tone and Ella Raines, and directed by Robert Siodmak. Its success in the jazz and pop arenas has aided immeasurably in increasing the exposure and vitality of modern bossa nova at a time of decreasing public awareness and sagging record sales. Another in a long line of inspired native-sons of Salvador da Bahia is the incomparable Dorival Caymmi, whose prolific song output has served as the melodic equivalent to the literary works of Bahian novelist Jorge Amado.

Dorival has sired several exceptionally gifted offspring of his own that include singer-guitarist Dori Caymmi, songstress Nana Caymmi, and flutist Danilo Caymmi. In fact, Dori Dorival Tostes Caymmi has often been featured as a guest artist, instrumentalist, arranger, composer, performer, and producer on an incredible variety of studio releases over the past three decades alone.

Apropos of his versatility, Caymmi enjoys a formidable reputation among smooth jazz colleagues David Benoit, Larry Coryell, Don and Dave Grusin, and many others, as a highly competent and in-demand session player as well as a premier vocalist. The ballad is a highlight, too, of Mr. Filmed at the Wiltern Theatre in Los Angeles, California, inthis remarkable live event captured the still expressive Jobim — many pounds heavier than what we remember from his youthful, carefree visage — basking in the familial atmosphere, with these two tuneful clans providing the harmonious backdrop to his most enticing creations.

Their year recording debut, Quarteto Jobim-Morelenbaum Velas Recordsand an ensuing American and European tour, were both a popular and critical success. The other key players associated with the concept were multi-talented instrumentalists Domenico Lancelloti and Alexandre Kassin, with Moreno himself on guitar, percussion, and cello.

In his youth, the now thirty-something Veloso the Younger had toured frequently with his dad, and served as musical accompanist to such illustrious pop names as Gilberto Gil and Carlinhos Brown. Exactly what kind of statement Moreno wanted to make with this rather oddball number escapes me. It could, among other things, represent a personal thumbing of his proboscis at the poor state of Brazilian and American pop music per seor whatever else his fertile mind might have conjured up at the moment.

Either way, it was a decisive move on his part to have taken this more idiosyncratic song route, much as his own father had done decades before him. Garnering mixed reviews for his efforts, Mr.

Veloso can rest assured that he had succeeded in producing, at the very least, a fairly respectable stab at American pop standards — filtered, naturally, through his own Northeastern-Brazilian ethos and sensibility. Essentially, and in view of the global-wide pervasiveness of MTV, VH1, satellite radio, hip-hop, rap, world-beat, and other so-called cross-cultural influences, it was all a matter of style and mood. Looking back at recent music history, however, we note that as the market for bossa nova abounded in ever so plentiful a manner in the U.

To the rescue came what has since been described as the single most underrated, and most outstanding, contribution to the form in the entire popular music catalog. The original LPs proved especially absorbing but were pretty much over before they started, barely clocking in at a miserly 30 minutes.

But what a brilliant half hour of music making it was! It was not, I venture to say, the sort of thing Sinatra fans were looking for from the great Francis Albert back then. The linguistic nuances both artists draw from these few lines suffuse the song with psychological underpinnings. With stylistic fluency and complete mastery of LP musical idiom, Frank Sinatra accomplished more than a generation ago what Caetano Veloso intrinsically tried to do today, but had ultimately failed to put over.

After this long-departed high-water mark, whatever covers album anyone else subsequently tried to disseminate was, to these ears, disappointingly and quite justifiably met with less than halfhearted enthusiasm. Many of these sincere but Album) fatuous attempts at recapturing the essence of the Brazilian musical soul have all suffered ungraciously by comparison.

Unfortunately for the diva, even the presence of such experienced sidemen as Joe Album) on electric guitar, Oscar Castro-Neves on acoustic guitar, Clark Terry on trumpet, Zoot Sims on sax, and Paulinho da Costa on percussion, could not turn back the proverbial time-clock on her obviously declining vocal powers.

It was deserving of a failing grade for that miscalculation alone. Another case in point, and a valiant but unfulfilling affair to boot, came about in from noted pop stylist Dionne Warwick. Dionne Warwick Aquarela do Brasil qpratools.

But the years had not been kind to her, either, so much so that by the time she got around to laying down an actual track of bossa nova and samba-tinged songs an uncharacteristic throatiness had developed, and became the main distraction of her Aquarela do Brasil on Arista Records.

But again, the recently acquired dryness to the Warwick sound, as well as a pronounced and disturbing rasp did little to compensate for the almost total absence of her former lushness and warmth. Burt Bacharach. Regrettably, no amount of digital wizardry could possibly have overcome, or even disguise, the glaring realization that, by the middle of the s, Dionne Warwick had lost most of her lovely singing voice.

This is not to say that advanced age in the entertainment industry can be a major deterrent in the planning of an all-Brazilian covers album — or any other record, for that matter.

Certainly, Frank Sinatra, Sarah Vaughan, Tony Bennett, and many other important older artists have proven to be the notable exceptions to that rule. However, given the fact that plain old insight and artistry can sometimes help to patch over growing vocal deficiencies, it must not be overlooked that subtlety and timing, as demonstrated by Mr.

Sinatra, can be just as important as a rich and powerful vocal presentation, if not more so. No one believed him, of course, no matter how hard Jobim tried to convince his friends otherwise.

Caetano Veloso A Foreign Sound tomamusica. I read a review a few years back by a friend of mine, Scottish LP John Fitzpatrick. The album clearly looks backward in time, not forward more on this aspect later. Rex - Monolith 2nd Version. Rex - Hot Love. Elmo's Fire Brian Eno Cover. Elmo's Fire radio jI K? Toots Thielemans - Killer Joe. CJ Bolland - Sugar is Sweeter. Basement Jaxx Breakaway S; — O? Chaos A. MP3 combustible edison-short double latte.

Console [Pan Or Ama] 05 - display? Cex Instrumental. Louis Toddle-Oo. Diana Krall - Peel Me a Grape. Prefuse 73 - eve of dextruct. Money Mark, Sean Lennon, et al. Stand Up. Hollywood Mix. Showgirls Remix. L Remix. Jack Kerouac - History of Bop. Jega - Geometry - 07 - breakpoint envelope. Lovage - Strangers On A Train. Rex - The Essential Collection - 11 - King of. Scruff - so long. Projectile - Pug Times - B1 - Bypass.

Neotropic - Vacetious Blooms. Scruff - Wail. Low Speed. Louis Blues 2. Labels: count basiejazzsammy davis jrvocal. Labels: jazzlaurindo almeidaray brown. Sunday, December 12, Pachora - Ast. Labels: brad shepikchris speedpachoraworld fusion. Friday, December 10, Paul Giger - Alpstein. Labels: jan garbarekjazzpaul gigerpierre favre. Labels: livenew ageAlbum) horn. Labels: cannonball adderleyjazzjoe zawinullivelouis hayesnat adderleysam jones. The Nosebleed 's " Ain't Bin To No Music School " is the very first documented recording that include the participation of guitar maestro Vini Reillywho shortly after will join The Durutti Column and later will become the main member of the band along with drummer and friend Bruce Mitchell.

This blog is going to feature some Durutti rarities in the future, so I think that it makes sense to start from this little punk record. The record was available both with silver and blue labels, it is reported that Althought uncredited, the cover picture was taken by famous Mancunian photographer Kevin Cummins. Labels: erroll garnerjazz. Monday, November 8, Benny Golson - Stardust. Labels: benny golsonfreddie hubbardjazzmarvin smitty smithmulgrew millerron carter.

Labels: cleveland eatonjazzmaurice whiteramsey lewis. Labels: george duvivierjazzmax roachsonny clark. Thursday, November 4, Donald Byrd - Kofi.

Con Brio - Goran Končar & Darko Jurković Jazz Quartet - Meeting Point (CD, Album), iDEATH - Admiral Sir Cloudesley Shovell - Dont Hear It...Fear It!! (CD, Album), The Woman That Got Away - J.J. Cale - Troubadour (Vinyl, LP, Album), Me And Mr E - Flash Fiktion - Flash Fiktion (CD, Album), Todos Navegamos En El Mismo Bote (Wir Sitzen Alle Im Selben Boot) - Dschinghis Khan - Dschinghis Kh, Operation Decoy - Hugh Masher - Operation Decoy (Vinyl), David, Moffett & Ornette - A Film By Dick Fontaine (1966) - Ornette Coleman Trio* Featuring Davi, Island Fancies :) - 1969年 - Diary Of A Lucid Dreamer (Cassette, Album), Come On And Dance - Various - Dancing Dance / Take This Train (Vinyl), Boogie With Stu - Led Zeppelin - Physical Graffiti (Deluxe Edition) (File, Album), Sildim - Sinan Özen - Aşkın S Hali (CD, Album), To Good To Be Forgotten - John Holt - The Best Of & The Rest Of John Holt (CD), No Moon At All - Anita ODay - Anita (Vinyl, LP, Album)

8 thoughts on “Coffee Beans - Luiz Bonfá - Luiz Bonfá (Vinyl, LP, Album)

  1. Vinyl Price Guide. Luiz Bonfa LP Vinyl Record Sold for USD on Price guide for collectable Vinyl Records, CDs, Cassettes, Reel-to-reel tapes, 8-Track cartridges, MiniDiscs and more!

  2. Shasida 8 Comments on Coffee Beans - Luiz Bonfá - Luiz Bonfá (Vinyl, LP) Label: Dot Records - DLP • Format: Vinyl LP, Mono • Country: US • Genre: Jazz, Folk, World, & Country • Style: Bossa Nova.

  3. Luiz Bonfá - Luiz Bonfá - Vinyl LP - - US - Original günstig online kaufen bei HHV Record plays in quiet parts partly with slight background noises. A3 Coffee Beans. A4 The Gentle Rain. A5 Batuque. B1 Love Birds (Passarinho) B2 Romantico. B3 Oba Oba.

  4. A pretty great little album from Bonfa – always one of the more corruptible bossa players, working here in a groovy set of pop arrangements by Deodato with a lively American twist! Some tunes are fast-driving bossa numbers with good jazz accompaniment, others have backing vocals in a wordless 60s style, and others are mellow and gentle. The best of these latter ones is "Oba Oba" Brand: Dot (Label).

  5. LUIZ BONFá Vinyl Records and CDs: Legendary Brazilian guitarist Luiz Bonfa is a key progenitor to the Bossa Nova movement. After a stint playing clubs in Rio de Janeiro, he migrated to New York in the late s, where he worked as a guitarist and composer with Stan Getz (among others).

  6. Luiz Bonfa "Brazil's King Of The Bossa Nova And Guitar" LP EX Mono Wlp Sold for USD on Price guide for collectable Vinyl Records, CDs, Cassettes, Reel-to-reel tapes, 8-Track cartridges, MiniDiscs and more!

  7. Jan 29, · Label: Ranwood - R • Format: Vinyl LP, Album Gatefold • Country: US • Genre: Jazz, Latin, Funk / Soul • Style: Fusion. Vocals – Maria Toledo, Sonia Burnier; Notes Plausibly, credits of tracks B3 and B5, as on inner sleeve, are inverted (on label, both tracks are credited as written by Bonfá). Luiz Bonfá: Jacaranda /5(46).

Leave a Reply

Your email address will not be published. Required fields are marked *