Monday, December 18, 2006

Bah, Humbug

Floral Pops 70 - Drum Christmas Para Bailar DIM Serie Especial E-108 (Spa) (197?)

A festive diversion - normal service will be resumed shortly!

I'm not a big fan of the Christmas record but this novelty is worth a listen. An obscure Spanish release with a groovy loungecore edge complimented by wordless 'Barbara Moore' style vocals. Might raise an eyebrow or two at the Christmas party.

1) Jingle Bells
2) White Christmas
3) Rudolph, The Red Nosed Reindeer
4) Here Comes Santa Claus
5) Winter Wonderland
6) Blue Christmas
7) When The Saints Go Marching In
8) Silent Night
9) I Saw Mammy Kissing Santa Claus
10) Santa Claus Is Comming To Town
11) Joy To The World
12) Ave Maria
13) Auld Lang Syne

Wednesday, December 13, 2006

Franko Xavier

Franko Xavier - Same Odeon SMOFB-3845 (1974)

Here's a gem. A high calibre funky samba soul LP you shouldn't be without...

1) Eu Sou Marinheiro
2) Di Bambue
3) Nana
4) Maria, Mariazinha
5) Linda
6) O Chamante
7) Antes Pouco Que Nenhum
8) Mane Joao
9) Somos Todos Irmaos
10) Canto Sul
11) Chuva Miuda
12) Tema Do Amor Amado

Wednesday, December 6, 2006

Stop, Look & Listen

Mario Castro Neves - Stop, Look & Listen Canadian Talent Library CTL S-5211 (1977)

An obscure Canadian library release by an artist who needs little introduction. So I won't, except to say any fans of that female led Sergio Mendes sound should not go without this little gem.

1) Sometime Love Affair
2) Feelings
3) Subtle Chemistry
4) All You Get From Love Is A Lovesong
5) Boca Grande
6) Stop, Look & Listen
7) Summersoft
8) Why Can't There Be You
9) This One's For You
10) Open Up (Try Understanding)

Keeping it short 'n' sweet today as I'm overwhelmed by other commitments and it's all hands on deck with regard getting the new site live - stay posted, it'll be worth the wait!

Monday, November 27, 2006

Caçhasa Suite

Lars Färnlöf, Staffan Abeléens Kvintett & Radiojazzgruppen - Svit Caçhasa SR Records RELP-1152 (Swe) (1973)

“Caçhasa” is singularly impressive, showing that while trumpeter and composer Färnlöf was quite comfortable writing for a larger group, he kept the musical landscape reasonably uncluttered and gave the ensemble and its component parts ample room to swing. Besides the members of the quintet, the soloists on “Caçhasa” include some of Sweden’s best — pianist Bengt Hallberg, guitarist Rune Gustafsson, saxophonist / flautist Lennart Åberg, drummer Egil Johansen, trombonist Lars Olofsson, baritone Erik Nilsson and others. This perceptively written and handsomely performed Jazz album really impresses and grooves hard from the opening bar to the last.

Lars Färnlöf : cornet, flugelhorn
Björn Netz : tenor saxophone
Staffan Abeleen : piano
Fredrik Norén : drums
Red Mitchell : double bass
Bosse Broberg : trumpet
Bertil Lövgren : trumpet
Jan Allan : trumpet
Håkan Nyquist : french horn
Lars Olofsson : trombone
Sven Larsson : bass trombone, tuba
Bertil Färnlöf : oboe, cor anglais
Arne Domnérus : alto saxophone
Claes Rosendahl : tenor saxophone, flute, alto flute
Lennart Åberg : soprano saxophone, tenor saxophone, flute
Erik Nilsson : baritone saxophone
Bengt Hallberg : piano
Rune Gustafsson : guitar
Stefan Brolund : electric bass
Egil Johansen : drums
Jan Bandel : congas

1) Mörkret Ler
2) La Bergerie I
3) La Bergerie II
4) Caçhasa
5) Delta Queen

Thursday, November 16, 2006

Cult Of Marius

Marius Cultier - Ouelele...Souskai Fiesta 360 066 (1975)

This famed pianist was born in Martinique and when as a teenager he began touring the Caribbean & French Antilles participating in various events & contests it wasn't long before he gained notoriety from his peers. At 20 he shifts to Canada where his fame there allows him to promote the young jazz talents of the Antilles.

This album, cut in France has become somewhat of a cult latin jazz masterpiece - and whilst retaining that West Indian flavour is infused with the lateral jazz expressiveness of the day and a compulsive funky flare that is irresistable on the dancefloor. Don't miss the percussive fusion bomb 'Diamant', a true tour de force...

1) Ouelele
2) Missie Sirop
3) Diamant
4) Laini
5) Souskai
6) Ni Tellement Longtemps (Eh Oui Doudou)
7) Gade Boudin Madame
8) Rezouk Souvenir

Monday, November 6, 2006

Uncommonly good Werther!

Werther - Werther Stylo SSLP-1 (1970)

Here's one you don't see too often. A rare slice of jazzy bossa on the obscure Stylo label.

Werther (acoustic guitar &,vocals); Tranka (acoustic bass, tenor sax, piano); Luiz Roberto (drums); Bill Horne (flute, trumpet, melophone); Wanda, Helo, Malu, Carreteiro and Rupp (male/female chorus) with guest musicians featuring Edison Machado (drums); Naná Vasconcelo (percussion); Boi (bongo) and Toninho Silva (acoustic guitar).

With songs by Werther/Gil, Ricardo Arnt, Arthur Verocai/Paulinho Tapajós, Toninho Horta, Caetano Veloso and others. Slick, infectious and haunting - this LP delivers on several fronts.

1) Terça-Feira
2) Leilão
3) Catavento
4) Mudança
5) Litoral
6) Estuário
7) Mararia
8) Lenda
9) Aprestentação
10) Rei Do Chão
11) Dimensão
12) Ave Maria

Friday, November 3, 2006

Blog Radio

With the jukebox you can control which song you want to hear! I have kept the file quality to size ratio to a happy medium to ensure decent sound whilst download pauses are connection speed dependent. The selection will be updated frequently so remember to tune in. Enjoy...

Monday, October 30, 2006

Bossa Filipino

Bong Penera - A Samba Song Penny Rose TSP-5190 (Phil) (1974)

A SAMBA SONG is Bong Penera’s debut album. A Samba Song – as bright as the sunny weather of Manila, is one of the earliest compositions of Bong Penera with the Batucadas. This tune is further given an infectious flow with Brazilian guest Singer Maria Dulce Soares Da Silva singing it in her native language. Copyright is 1974 and produced by Penny Rose Production, the back cover has a short story about the album written by Ding Quejada.

When in 1968, Bong Penera organized a jazz ensemble called the "Shades of Latin" there were certain forces which collaborated to dismiss jazz as a popular idiom as no more than an afterthought of the Existential Satre confined to a numbered few. There was no market for jazz or particularly for the Brazilian bag. And yet in was during these times that Sergio Mendes and Brasil '66 took the South American fever with them to Intercon and Astrud Gilberto to Sheraton and Gary Burton to workshops. Sadly though, one had to be moneyed to see them, understandably, an elitist sect was the only target and type of audience that could patronize jazz. The "Shades of Latin" played at Carbungco’s in Quezon City and in private parties whose people knew Jobim, Badin Powell, Mendes & Walter Wanderley. Eventually, as commercial music surged higher in the charts and the vitality of bossa nova or jazz was getting down under such groups as the "Shades…." had to stop and give way to the trends. The parties soon disappeared including the Carbanco stint, soon it seemed to have been announced that jazz has gone and that the "Shades…" have vanished to obscurity.

But despite the obstacles and brave enough to cross the currents of commercialization, Penera organized the BATUCADA in 1973 and rapidly made it to the top, a rise which he himself did not expect and which music critics describe as "Phenomenal." Perhaps the audience has matured or the trends have changed but whichever reason, concert after concert, performance after performance, the Batucada drew raves and ovations. Bong first involved his Batucada into the jazz revival movement at the Extension with his good friends Lito Molina & Co. and what happened afterwards is history. Offers for nightclub dates, travel abroad and recordings, television performances, movies scores and concerts soon came, Today, Bong Penera & the Batucada is practically the only jazz group that actually made it while using the Brazilian idiom. But why Brazilian? One may ask. Or what accounts for the wide appeal of the Batucada? What brings the jazz buffs to pack at Pension Filipina, Bacchus Pub and Batik Inn?

Firstly, the Batucada is probably the only jazz group that could remain a trio and still retain the sound of a full band. It’s a tease in a way and its diminutive size has baffled many. It plays music that is versatile, universal and certainly rhythmic. Of all the elements that make up the art we know as music, the most fundamental is rhythm. The pulse, the beat—this is the foundation of it all, natural and inevitable, growing out of life itself. The cycle of night and day, the turning seasons of the years, the beat of one’s heart, the steady pace of one’s footsteps, these things are always with us, we are surrounded by rhythm. Thus explains Bong as he points out the particular adherence to the Brazillian idiom and as to why he chose the name "Batucada" which means, "beat." Their music is just it –pulsating, never giving too much or forcing too much, sometimes aggressive, sometimes funky, or soulful and seasoned with sophistication and a case definitely beyond their years. There are depth but not the kind that is confined to the intellectual alone, and there is the dynamic creativity evident in their performances: not one piece is repeated exactly the same as it was first played. There is always something new to look forward to. This is obviously the reason why Bong’s concerts have always been full packed: the Thomas Jefferson Cultural Center had to drive away people for lack of room. The UP Los Banos Concert had to go on for three hours instead of the original one and half, or why the Phil-am life concert had to have a repeat.

The Brazillian syndrome with which Bong Pinera & the Batucada grew and permeated the local jazz scene is an act definitely arduous to follow. Their music rose out of pure talent and creativity devoid of any limitation so characteristic of our local jazz bands. Pong Penera is unique by and in himself. He is certainly an accomplished musician and one of the most gifted. He is of course many things too, being a poet, playwright, essayist, professor, painter all rolled into one. He plays guitar quite well and is gifted with an intimate, sensitive and poetic singing voice. His band aptly called the "Batucada" is also unique, Sonny Nabong plays bass, Nick Boogie is on percussion and Ding Poblete is on drums. And all these guys swing and sway with the Brazillian spirit you think that were imported from Rio. As you can see in this album. The girl who sings the Portuguese lyrics of the title tune is a Brazilian who goes by the name of Maria Dulce Soares de Silva, while Norina Ramirez does the English version. The fine supporting flute lines belong to Pete Canson.

This is Bong Penera’s first album (probably the first local jazz album) and he‘s naughty enough to pave packed only 10 songs. The feeling it leaves the listener is that of being "biten" and its goddamn great for a maiden LP.

1) A Samba Song
2) A Tear For Sunrise
3) Wordless
4) Longing
5) Rosita Maria
6) Beat Contemplation
7) Afraid To Be Known
8) And I Will Sing
9) Samba Madrugada
10) A Samba Song No. 2

Friday, October 27, 2006

Eclectic Elek Tricks

Elek Bacsik - Bossa Nova Fontana 460.112 TE (Fra) (1962)

Hungarian guitarist Elek Bacisk was a cousin of Django Reinhardt, but as Bacsik reminded Leonard Feather "we gypsies are all related!" and continued his tradition of blending swing and gypsy elements into a coherent, expressive jazz mode.

Bacsik initially studied classical violin and played gypsy songs in Budapest, then switched to jazz guitar. [In 1975 he recorded a violin album "Bird and Dizzy"]. As a teen, he recorded in a band with alto saxophonist Gabor Szabo and trumpeter Jozsef Quitter, then later toured Europe with Mihaly Tabanyi's band.

Bacsik moved to Paris in 1959, and through the early and mid-'60s recorded and played with visiting American musicians, among them Art Simmons, Quentin Jackson, Lou Bennett and Dizzy Gillespie. He also did sessions heading his own bands. Bacsik emigrated to America in 1966, and worked from 1967-1974 with Teresa Brewer before cutting his own sessions. He appeared at the 1974 Newport Jazz Festival and 1984 Olympic Games Jazz Festival in Los Angeles.

Elek was born in 1926 into a Hungarian gypsy family. He studied the violin at the Conservatory in Budapest but taught himself the guitar and went on to play jazz in Switzerland and France where he played with Dizzie Gillespie.

In 1962 he recorded a LP as leader "The Electric Guitar of the Eclectic Elek Bacsik". On this album his style displays a much closer affinity to Tal Farlow and Johnny Smith than the European gypsy genre where he overdubs a second, mainly rhythm guitar part.

In 1966 he moved to the USA but became submerged in the cabaret scene in Las Vegas. As Leonrad Feather puts it in his liner notes to "Eleck Bacsik: Bird & Dizzy" (Flying Dutchman) 75: "Bacsik was philosophical about the contrast of the matchless talent he displays here [on violin] and the total anonymity of his life in Las Vegas, where he has lived since 1967. "I spent a couple of years at the Riviera Hotel; moved around from one casino to another for a year; spent four years at the Hilton, and for the past year I've been at the Sahara". Asked whether he had ever had a chance to express himself in that so-called entertainment capital of the world, Bacsik promptly replied "No way!" I'd like to play some jazz club, and let the jazz audience hear me at some festivals".

In 1973 he began working with Bob Thiele and released two more LPs as well as playing at the Newport Festival. But just as this seemed to be bringing him to public attention once more he faded back into the shadows. He died in 1991 largely forgotten by the jazz community.

1) Desafinado ''Faits Pour S'aime''
2) Recado ''Loin De Fol''
3) Samba De Una Nota ''Chanson Sur Une Seule Note''
4) Stardust Bossa Nova

Tuesday, October 24, 2006

Sound Clips?

Am playing around with various audio extras to offer u guys. You should hear a brief preliminary sample as this page loads (don't worry - it won't loop you to insanity!).
What say you? On-demand sound samples from forthcoming posts/regularly updated background music? All feedback gratefully received.
My regards to you all...


Filó Machado - Filó Chantecler 2.08.404.102 (1978)

Singer, composer, multi-instrumentalist, arranger and producer Filó Machado was born in Ribeirão Preto (São Paulo) in 1951, on February 3rd. He started working as a singer in clubs when he was ten years old.

He has appeared with the most illustrious artists in international music such as Michel Legrand, Paul Mauriat, Jon Hendricks, Jane Duboc, Ivan Lins, Leny Andrade, Tito Madi, Joyce, Hermeto Paschoal, Johnny Alf, & Flora Purim to name but a fraction!

This, his debut album recorded in 1978 displays a variety of styles and is a hugely enjoyable listen boasting a handful of sultry & bouncy club tunes. In addition Aluizio Pontes & Roberto Sion add to the feel-good factor. Enjoy...

1) O Polvo
2) Viver E Sonhar
3) Tigre De Bengala
4) Ponta De Faca No Peito
5) Fatos Da Visao
6) Menino Diabo
7) Velha Cidade
8) Gira Sol
9) Pindorama
10) Ascensao

Tuesday, October 17, 2006

Jayme Marques

Jayme Marques RCA SPL1-2453 Spain (1976)

Jayme Marques was born in Campo Grande, capital of Mato Grosso del Sur, Brazil on June 12th 1936. After moving to Sao Paulo at 20, he arrives in Europe and soon to be homeland of Spain where he becomes musical director of La Orquesta Orfeo.

Notable jazz guitarist, composer and singer, Jayme Marques has collaborated with the likes of Augusto Algueró, Pedro Iturralde, Tete Montoliu, Ramon Farran. and Paco de Lucía, with who he fused flamenco with Brazilian music.

He has accompanied in world-wide tours such artists as Jacques Brel and Maysa Matarazzo, as well as sessions with Thad Jones, Lionel Hampton & Pat Metheny. He was largely responsible in introducing Bossa Nova and Samba to Europe.

Marques maintains his residence in Spain and in 1965 he moves to Palma de Mallorca where he he resides for 20 years, collaborating with Serrat, Josefine Baker, Tom Jones and Matt Monro. Creator of La Balerar Big Band, Marques ends his stay on the island directing the spectacular “In Memorian A Duke Ellington”. He then moves to Madrid where he lives at the moment, collaborating with Spanish television TVE.

This rare LP was produced & recorded exclusively for TVE for the Saturday TV program “Directísimo” in 1976. Presenter Jose Maria Iñigo personally requested Jayme Marques perform in the program, for which the musician prepared the tunes that appear on this record.

With great musicians like Rafael Ferro (keyboards), Pedro Iturralde (tenor sax and flute), Tito Duarte (percussion) & Pepe Sanchez (drums), this is an eclectic treat for lovers of jazz funk, big band jazz & bossa!

1) In The Mood
2) Dark Orchid
3) Boato
4) This Way
5) Balada
6) Little Brown Jug
7) Summertime
8) Garota De Ipanema
9) My Friend Willie
10) U.S.

Tuesday, October 10, 2006

Jazz Q

Martin Kratochvil's Jazz Q - Tidings Supraphon 1115 2450 (1977)

Czechoslovak organist, pianist, composer and successful owner of the BONTON label was a pioneer in the use of electronic keyboards and computers in music. In 1965, he founded his first amateur jazz group, the Jazz Q, a member of which was the well known flutist Jiri Stivin. But Jiri left the formation in 1970, when Martin changed his musical orientation, heavily influenced by the likes of Chick Corea and John McLaughlin.

Along with Martin's keyboards the band's setup here comprised Lubos Andrst on guitar, Premysl Faukner on bass and Jaromir Helesic on drums. Here's a nice slice of Eastern European funky jazz-fusion, recorded in Praha/Czech Republic in 1977.

1) The Bed-Time Witch
2) Resurrection
3) Footprints
4) Allegory
5) Icicles
6) Weathercock
7) Diamonds
8) Happy-Go-Lucky

Wednesday, October 4, 2006


Johnny Mandel - Harper Mainstream S-6078 (1966)

This is a different kind of cat named Harper... and excitement clings to him like a dame!

Private eye Lew Harper shows up early at the Southern California estate of Elain Sampson. She offers a drink, he declines, "I thought you were a detective," she says. "New type," Harper answers. Paul Newman memorably plays that new type in Harper, based on Ross MacDonald's The Moving Target. The first detective film in Newman's then 23-film career (he later reprised Harper in The Drowning Pool), Harper revitalized the genre. Newman's sleuth chews gum fast...and slips out of jams even faster as he unravels a twisted case of kidnapping and murder. William Goldman's clever screen-play throws quips and a parade of LA-LA-Land characters Harper's way. There's a woman of means (Lauren Bacall), a gun-toting attorney (Arthur Hill), a poolside gigolo (Robert Wagner), a boozy ex-starlet (Shelley Winters), a jazz junkie (Julie Harris), Harper's estranged wife (Janet Leigh) and the unholy order of the Temple of the Clouds (led by Strother Martin). Each may possess a clue. Or a bullet for Harper.

For me, this soundtrack has it all. A groovy main theme, a couple of cracking vocal numbers by Ruth Price and soul superstar Sam Fletcher, beautiful jazz ballads penned and played by Andre Previn and the obligatory mod-swinging crime tunes. A really great listen all the way through, the epitome of cool!

1) Harper (Main Title)
2) Quietly There
3) Magnus Cum Louder
4) Livin' Alone
5) Harper Does It Better
6) Mexican Breakfast
7) Sure As You're Born
8) Harper's Ferry
9) Temple Of The Clouds
10) Bel Air
11) Finale (Susan)

Tuesday, September 26, 2006

Nova Bossa 4

Nova Bossa 4 - 'Self Titled' Odeon LDF-4378 (1969)

Download now, ask questions later! Some terrific bossa vocals here courtesy the obscure Nova Bossa 4 out of Argentina. Groovy harmonies with the odd psyche touch, dig the infectious organ led 'Muchacho De Moda'. Quality all the way...

1) Asegura Este Samba (Ogunhe)
2) Insensatez
3) Mi Bien (Meu Bem)
4) Muchacho De Moda (Rapaz De Moda)
5) Andante (Si Manda)
6) Tristeza
7) El Teléfono (Telefone)
8) El Grande Amor (O Grande Amor)
9) Queda Mal Con Dios (Fica Mau Com Deus)
10) El Día Que Lloré (O Dia Que Chorei)
11) Canto
12) Llorando Por Mí (Chorando Por Mim)

Wednesday, September 20, 2006

Wlodzimierz Nahorny

Wlodzimierz Nahorny - Jej Portret Muza SXL-0703 (1970)

Pianist, saxophonist, flautist, arranger and film composer, Polish Jazz legend Wlodzimierz Nahorny was born in 1941 and made his debut on stage in 1959. The ubiquitous Nahorny is to be found on many of the most important Polish jazz recordings and similarly graced many a star-studded festival line-up throughout Europe, U.S. & Asia during the sixties and seventies. In 1966 he received a prestigious modern jazz laureate in competition in Vienna.

The Polish Muza record label is a firm favorite of mine, with a dazzling output of both traditional and like this album timeless modern jazz classics. This fine LP boasts many nice tunes and has a dreamy, melancholic flavour but nevertheless that vital component so essential in meriting a post on this blog. The highlight for me being the laid-back groove of the 'Hole In The Ground' theme.

1) Jej Portret (Her Portrait)
2) Powiedzielismy Juz Wszystko (We've Said Everything)
3) Cala Jestes W Skowronkach (There Are Skylarks All Over You)
4) Melodia Z Filmu ''Dziura W Ziemi'' (Theme From The Motion Picture ''Hole In The Ground'')
5) Taki Dzien (What A Day)
6) Mowily Mu (They Told Him)
7) Niech Pan Mi Nie Odslania Wnetrza (Leave Me Alone)
8) Wroce Do Ciebie (I'll Be Back)
9) Jest Warszawa (But Warsaw Still Is)
10) Obok Nas (Beside Us)
11) Wlasnie Tego Dnia (This Very Day)
12) Trzymajac Sie Za Rece (Holding Hands)

Monday, September 18, 2006


Sorry for the lack of updates recently I have been out of the country. Stay tuned for more of the good stuff...

Wednesday, August 23, 2006

A Night In The '706' Club

Eduardo Prates e Seu Conjunto & Fernando Martins e Seu Conjunto - Uma Noite No 706 Philips 6349.336 (1977)

This will satisfy lovers of Fender Rhodes led jazzy bossa. Lots of funky tunes here awash with groovy male & female vocals.

This session was recorded live at the "706" club in Rio and features a side each by Eduardo Prates & Fernando Martins with their respective groups.

Side A - Eduardo Prates e Seu Conjunto
1) Vai Levando
2) Papo Furado
3) O Que Vier Eu Traco
4) Bambo Do Bambu
5) Ajoelha
6) Partido Rico
7) Te Segura
8) Recordacoes De Um Batuqueiro
9) Voce Vai Ver

Side B - Fernando Martins e Seu Conjunto
1) Adeus, America
2) Rock-Enredo
3) Acreditar
4) Outro Amor
5) Jesuino Galo Doido
6) Antes Ele Do Que Eu
7) Perdoa
8) Maracatu Atomico

Wednesday, August 2, 2006

Os Tatuis

Os Tatuis - Os Tatuis Farroupilha LPFA-410 (1965)

Yet another early Bertrami brothers project, also known as Azymuth!. Here's a the slickest bossa jazz, the group's forward thinking arrangements are already self-evident on this perfectly realised album.

Os Tatuis are led by Jose or Ze Roberto on piano & Claudio Henrique on bass, the remainder of the group comprising Og Vasconcelos on Sax, Ivo Mendes on trumpet, Elizeu de Campos Vieira on drums with Aresky Aratto also on keys.

1) Vivo Sonhando
2) Nuvens
3) Inutil Paisagem
4) Voce
5) A Morte De Um Deus De Sal
6) Insensatez
7) A Bossa Do Ze Roberto
8) Primavera
9) Samba Do Aviao
10) Sou Sem Paz
11) Minha Namorada
12) O Menino Das Laranjas

Wednesday, July 26, 2006

A Musica De Briamonte

José Briamonte - Sambeco, A Musica De Briamonte RCA Victor BBL-1449 (1968)

Probably the rarest LP by this legendary songwriter, arranger & pianist. His talents often grace the grooviest sixties' bossa releases and this album is no exception.

Joined by the likes of Papudinho on trumpet, Raulzinho on trombone, Heraldo do Monte on acoustic guitar, Capacete & Guará on acoustic bass, Garoto on vibes, Chacau & Heitor on drums & percussion and Boneca on acoustic guitar.

Whether it's tight snapping jazz instrumentals or groovy bossa vocals, each tune is propelled in Briamonte's trademark swinging fashion - and with songs penned by Alan & Marilyn Bergman, Quincy Jones, João Donato, Luiz Carlos Vinhas, Milton Nascimento & Johnny Alf, as well as Briamonte himself, it's a great listen all the way through!

1) Roda De Samba
2) Selva
3) Moça
4) The World Goes On
5) Canto Pra Amada
6) Eu E A Brisa
7) Mr. King
8) Travessia
9) Watch What Happens
10) Januaria
11) Sonho Bom
12) Ye Me Le

Wednesday, July 12, 2006

Inner City Summer

Here's a compilation of lesser known summery jazz fusion tunes all taken from the U.S. Inner City label and are of a late seventies vintage. I did this one for personal consumption but thought you might enjoy it, so here it is with suitable cover art.

If there are enough takers, I'll post the second volume at a later date.

1) Sam Morrison - Song Of Landa
2) Arn Evans + Tradewinds - Song For The Changing Seasons
3) Jeff Lorber Fusion - Chinese Medicinal Herbs
4) Listen Featuring Mel Martin - Growing
5) Dry Jack - Heads In The Cloud
6) Solar Plexus - The Darwin Dilemma
7) Bert Ligon - River Journey
8) Didier Lockwood - Aspiring Answer
9) Cybill Shepherd - Triste
10) Kellis Ethridge - Pensacola Joy
11) Arni Egilsson - Hot Air On A G String

Monday, July 3, 2006

Guitarra Cósmica

Sebastião Tapajós - ... E Sua Guitarra Cósmica Forma VDL-114 (1969)

Sebastião Tapajós is a renowned Brazilian musician with over 50 recorded albums. A classically-trained violonista (acoustic guitar player), he soon awakened to his own musical expression, which bridges the gap between the rich Brazilian tradition and the delicacy, subtlety, and sophistication of the classical tradition. He received more than 20 awards in his career, including Germany's Album of the Year. Touring intensively through Europe, he has played and recorded with Gerry Mulligan, Astor Piazzolla, Oscar Peterson, Paquito de Rivera, Zimbo Trio, Hermeto Pascoal, and many others, with concerts attended by more than 600,000 people.

His father, who was his first teacher, prompted him to begin playing at nine. He continued to study as a self-taught, until he moved to Belém, in Pará, Brazil, studying musical theory with Professor Drago. In 1963, he moved again, this time to Rio, where he studied with Othon Salleiro. In 1964, he moved to Portugal, where he graduated from the Lisbon National Music Conservatory. Tapajós was already an active performing artist, performing concerts in Portugal and Spain. In Madrid, he studied with guitar master Emilio Pujol, having graduated from the Hispanic Culture Institute. Since 1968, his recordings have been released in Brazil, Argentina, Japan, and in most European countries. Returning to Belém, he spent some time there before moving again to Rio, in search of performing opportunities and at the same time researching Brazilian popular music. The first opportunity to perform came with a rendition of Villa-Lobos' "Concerto for Guitar and Orchestra," together with National Symphonic Orchestra, at the Teatro Municipal, Rio's most distinguished classical music concert house. The critics were very favorable, and he began to tour Brazil and the U.S., giving concerts. By and by, Tapajós began to demonstrate interest in writing Brazilian popular music. His compositions, always evidencing an original character while avoiding easy commercial references, are profoundly rooted in Brazilian tradition. In 1972, his Brasil/El Arte de la Guitarra was released by Discmedia/Trova-Alfa, with themes from classical and popular Brazilian composers, and his own compositions, together with a Weiss piece, "Allemande." After 1973, he toured Europe with great success. In that same year, he performed at the Folklore and Bossa Nova of Brazil Festival, accompanying Maria Betânia and Paulinho da Viola, and he recorded Bienvenido Tapajós for MPS. He then began an intense touring schedule through Germany, Austria, Denmark, Norway, Italy, Holland, Belgium, and other countries. He also makes a point in presenting to his European audiences other great Brazilian musicians, such as Maurício Einhorn, Zimbo Trio, Joel do Bandolim, Djalma Correa, Sivuca, and others.

In 1981, Sebastião Tapajós recorded with Zimbo Trio the album Sincopando, for Stockfisch. In 1982, his LP Guitarra Criolla was awarded, in Germany, as the Album of the Year. Two years later, he released Xingu, with Pedro "Sorongo" Santos and Djalma Correa, through Tropical Music. His LP Terra was also awarded as Best Foreign Album in Germany. In 1988, Sebastião Tapajós recorded Luá, Joá, with Maurício Einhorn, for Caju Music. In Brazil, he was awarded by the Academia Brasileira de Letras as the best Brazilian musician of 1992. In 1993, he recorded a CD entirely dedicated to Villa-Lobos' music, Villa-Lobos, for L'Art. In 1994, also for L'Art, he recorded another album with pieces mostly by Hispanic classical composers. But, in 1995, his Visões do Nordeste (L'Art) brought his own compositions with Northeast Brazilian rhythms; with only one song not written by him, the Northeastern folklore song, "Mulher Rendeira." With Brazilian pianist Gilson Peranzzetta, Tapajós recorded, in 1996, the album Affinities, mostly with compositions by the two. Rejecting being labeled as a "jazz" player, Sebastião Tapajós is simply a Brazilian music player.

1) Light My Fire
2) Rio Das Ostras
3) A Estrela E O Astronauta
4) Call Me
5) Luar Em Veropeso
6) Eu Quase Sozinho
7) Cantiga De Errante
8) A 200 P.H.
9) Zazueira
10) Wave
11) Sinhazinha
12) La Mentira

Wednesday, June 21, 2006


Paz - Kandeen Love Song Spotlite SPJ-507 (1977)

In 1974 keyboard player Geoff Castle joined Latin fusion band PAZ and started a Sunday night residency at the Kensington pub in Holland Park, which ran for 8 years. The band, led by the late Dick Crouch, who wrote most of the material, built a huge following and in 1976 recorded the first of many BBC broadcasts. The band’s first album “Kandeen Love Song”, issued on Spotlite Records in 1977, quickly became popular on the club scene.

The first side was recoreded in 1976, when Brian Smith was the main melodist, playing soprano & tenor saxes and some flute. By 1977 when the three beautiful tracks on the second side were made, Ray Warleigh had taken over on soprano & tenor saxes, but on this album concentrates on piccolo in superb fashion.

Stay awhile on that second side. On it you will hear the title track, a long leisurely rhapsodic piece heavily featuring the flute. Should you marvel at the length of Ray Warleigh's lines, as he elegantly spins improvisations, then that's because he is using cyclic breathing - in through the nose and out through the mouth at the same time, to sustain the phrasing - just like Roland Kirk. Incidentally, the theme of Kandeen Love Song is thousands of years old, a tune which so seized Dick Crouch when BBC producer Angela Bond sang it to him that he added the chords.

Another unique point about this album: Ron Matthewson , probably recognised as the leader on his instrument in Britain, plays bass guitar with Paz , wheras he usually uses string bass. It could well be the first time he's ever been recorded playing bass guitar.

There's also a contrast between the first and second sides. Even though you'd rarely realise it, the 1977 tracks are played totally "free", but the good sense and feeling of the musicians disguises the fact almost completely.

Dick Crouch wrote Crotales (means "strings of bells") and The Bell Tree on the first side - on both of them there's glorious resonant bass from Matthewson. Solar Wind is the keyboardist's, Geoff Castle, who comes from the very rich background of the National Youth Jazz Orchestra, Graham Collier and Nucleus. Yours Is The Light is from Santana's repertoire, a most melodic and exhilarating version.

Listen to Warleigh's stratospheric piccolo on both The Buddha and Time Stood Still, two peices which show how relentlessly the band continue to move forward in ideas, execution and taste.

(Side One)
Brian Smith - soprano, flute; Geoff Castle - keyboards; Phil Lee - electric guitar; Ron Matthewson - bass guitar; Dick Crouch - Electravibe, percussion; Dave Sheen - drums; Simon Morton - congas
Recorded in London - Tuesday 18th May, 1976.

(Side Two)
Ray Warleigh - piccolo, flute, alto flute; Geoff Castle - keyboards, synthesizer; Phil Lee - electric guitar; Ron Matthewson - bass guitar; Dave Sheen - drums; Chris Fletcher - congas; Dick Crouch & Simon Morton - percussion
Recorded in London - Saturday 25th June, 1977.

1) Crotales
2) Solar Wind
3) The Bell Tree
4) Yours Is The Light
5) The Buddha
6) Time Stood Still
7) Kandeen Love Song

Tuesday, June 13, 2006

Oscar Brown Jr. & Luiz Henrique

Oscar Brown Jr. & Luiz Henrique - Finding A New Friend Fontana SRF-67549 (1966)

Here's two artists who need no introduction. A rare coming-together by these great vocalists and friends who met at Greenwich Village's Cafe Au Go Go in August 1965. If truth be told, Brown's sly, sardonic vocal style isn't an exact fit for bossa nova; he has to rein himself in for this subtle, almost whispering idiom. But then, the songwriting collaboration works surprisingly well, mostly leaning toward a romantic bossa style, but occasionally hearkening back to Brown's North American hipster persona. And they wander off the territory altogether with Brown's playfully racy bossa calypso, "Wham! Bam! Thank You Mam!".

The album also includes a few Brazilian standards as appetizers before the collaboration begins in earnest. The multi-talented Brazilian Santa Claus, Sivuca, is responsible for three of the soft-focused arrangements, while Henrique takes charge of the rest.

1) Laia Ladaia
2) Nothin' But A Fool
3) Manha De Carnaval
4) Much As I Love You
5) I Had No Idea
6) Wham! Bam! Thank You Ma'm!
7) Finding A New Friend
8) Dawn Comes Again
9) Listen To Me
10) The Answer To My Prayer
11) Seeing Maria
12) Barra Limpa

Tuesday, June 6, 2006

Na Trilha De Osmar Milito

Osmar Milito - Na Trilha De Osmar Milito SOMA 409.6002 (1974)

Noted pianist Osmar Milito is owner of a strong harmonic sense, and has collaborated with amongst others Liza Minelli, Sammy Davis Jr., Pat Metheny, Cláudio Roditi, Hendrik Meurkens, Tony Bennett, Sarah Vaughan, Benny Golson, Spanky Wilson, Mark Murphy and Hermeto Pascoal.

Brother of Hélcio Milito (from the Tamba Trio), Osmar became a professional in 1964, backing Elis Regina, Silvinha Telles, Leny Andrade, Nara Leão, Paulo Moura, Edison Machado, Maria Bethânia, Gilberto Gil, Vinicius de Moraes, and Jorge Ben. After spending a season in Mexico, Milito settled in the U.S. for two years, during which he accompanied Sergio Mendes. Returning to Brazil in the '70s, Milito continued to work with top MPB artists such as Chico Buarque, Ivan Lins, and Nana Caymmi, and instrumental musicians such as Pascoal Meirelles, Márcio Montarroyos, Mauro Senise, and Paulinho da Costa.

I was going to post an individual film score by Milito but this fine album sports tunes taken from several Brasilian Novelas or soundtracks of which he recorded many and ably demonstrates the man's knack for penning hip, catchy and soulful bossas.

1) As Moças (Carinhoso)
2) Encabulada (O Primeiro Amor)
3) Hey Shazam (O Primeiro Amor)
4) Mandato (Selva de Pedra)
5) Corpo Sano Em Mente Sã (Selva de Pedra)
6) O Bofe (O Bofe - Abertura)
7) América Latina (Selva de Pedra)
8) Porcelana, Vidro e Louça (O Bofe)
9) O Primeiro Amor (O Primeiro Amor -Abertura)
10) Podes Crer (O Primeiro Amor)
11) Vou Disparar (O Primeiro Amor)

Tuesday, May 30, 2006

Edgar e Os Tais

Edgar e Os Tais - Cantárida RGE XRLP-5.350 (1970)

Great jazzy vocal bossa led and arranged by Edgar Gianullo and supremely groovy to boot!

Edgar Gianullo (vocal, guitar, bass); Toniquinho (drums); Vicente (bass, piano, organ, percussion); Neneco (vocal, percussion); Nelsinho (vocal, percussion, mouth tuba); Rosely (vocal); Sergio (organ, celeste, bass); Felpudo (trombone, trumpet); Vidal (tenor-sax, flute, piccolo)

1) Estou Dez Anos Atrasado
2) Queen Aparecida
3) Nao Deixo Voce Ir Embora
4) Dela
5) A Primeira Vez
6) Vou Me Pirulitar
7) Prólogo
8) Foi Tao Bacana
9) A Morena Lena
10) Quem Vem La (Vem Balancar)
11) Bambe-Lo
12) Alo-Helo

Monday, May 22, 2006

Fly Cruzeiro

Aquarius Producoes Artisticas - Brazil By Music 'Fly Cruzeiro' (1972)

Here's an absurdly rare promotional record for Brasil's Cruzeiro Airlines on their own label. Mellow yet groovy jazz fusion courtesy Marcos Valle and an early Azimuth incarnation.

1) Jingle Cruzeiro
2) Esta Fazendo Um Ano - Aquarela Do Brasil
3) Zazueira - Mas Que Nada
4) Tristeza
5) Aqui E O Pais Do Futebol
6) Ate Pensei
7) Zanzibar
8) Nao Tem Solucao - Marina - ...Das Rosas
9) Samba De Verao
10) Prenda Minha
11) Asa Branca
12) Wave

Tuesday, May 9, 2006


Here's a personal compilation of ultra-hip vocalese-jazz recordings by Estonian group Collage culled from their impossible-to-find Russian Melodiya albums from the seventies. Legendary stuff this, impossible to adequately put into words and incomparable in form & delivery to anything I can immediately think of. Try Estonian Novi Singers & you'll have some idea!

This seven-piece consists of three female vocalists who sound like angels and four male musicians. Together they perform an incredible combination of jazzy, classical folk tunes and whilst many of the songs have an ethereal hymnal quality, they all come together to forge a timeless and irresistable groove!

Absolutely essential...

1) Mets Neidude Vahel
2) Halb Sirp
3) Petis Peiu
4) Kee, Pada
5) Neiud Lähevad Ära
6) Uni, Tule Silma Peale!
7) Memme Vaev
8) Ehted Kadunud
9) Kodukingu Kuusik
10) Neiut Pole Kodus
11) Vastlalaul
12) Oh, Seda Õnnista Eluga
13) Bossanova Hing
14) Üheskoos

(Translations available on request)

Also, until further notice all download links will be within the comments for each individual post.

Rodolfo Alchourron

Rodolfo Alchourron - Sanata Y Clarificación Vol. 2 Prodisa 47005 (Arg) (1974)

Rodolfo Alchourron - composer, arranger, director and guitarist has built an enviable reputation in many areas including television, cinema and theatre as well as many sought after studio and concert recordings.

After having received notoriety with 'classic' compositional prizes he turned toward more popular music styles and attracted by the jazz he learned as an adolescent was instrumental in the formation of diverse trios & big bands in the sixties.

Between 1970 and 1974 his "Sanata Y Clarificación" emerged as the evolution of jazz-rock began to take hold. As a result of frequent incursions into his own tango and folk roots, and the increasing interest in those forms, Alchourron began replacing the wind instruments in his group with bandoneón and built a repertoire that was strongly influenced by elements of Argentine music.

In New York between 1978 and 1989, with "Southern Exposure", he composed numerous songs and instrumental pieces, combining in all of them elements of jazz and South American music.

This superb and collectible LP boasts many of his leading contemporaries including Ruben Barbieri, Bernardo Baraj, Chachi Ferreyra, Mario Tenreyro, Adalberto Cevasco, Osvaldo Lopez, Gustavo Beitelman, Raul Parentella and not forgetting Argentinean legend Litto Nebbia.

Jazzy, groovy, sinewy funky fusion grooves combine to create another lost classic, one that I humbly attempt to resurrect for you here.

1) Algunos Dias, Algunas Noches
2) No Se, No Se, Preguntare Para Saber
3) Vals Turnco
4) Esas Dos Cosas Benditas
5) Casi Un Tango
6) Cuzco Sucio y Molesto, Largo De Aqui
7) Vals En La Muy Sostenido

NB. Please ammend the running order of the titles in the zip file - I mistakenly numbered them in alpha order when they should read as above.

Thursday, April 27, 2006


Trio Irakitan - Os Sambas Que Gostamos De Cantar Odeon MOFB-3010 (1964)

The original vocal set of Gilvan, João, Toni, Edinho, Odilon & Irakitan Brito aren't my favorite group by any means, concentrating on sedate bolero sambas and mariachi-style folk songs for the majority of their early years. However, syrupy romantic stylings aside, this LP is a true winner. Ultra-tight vocalese renditions of hits of the day with a crack backing section culminating in a handful of groovy & totally swinging tunes I'm sure you'll really dig! Their 'Moca' and 'Samba De Duas Notas' particularly memorable in my opinion.

1) Amor No Samba
2) Moca
3) Chorou, Chorou
4) So Danco O Samba
5) Estrada Do Sol
6) Garota De Ipanema
7) Amor A 120
8) Voce
9) Nao Fique Triste
10) O Barquinho
11) Samba De Duas Notas
12) Menina Flor

Wednesday, April 26, 2006

Temas Brasileños

Tete Montoliu - Temas Brasileños Ensayo ENY-303 (1974)

The outstanding Catalan jazz pianist, whose real name was Vicenç Montoliu i Massana was born blind in the Eixample district of Barcelona, and died in the same city. He was the only son of Vicenç Montoliu (a professional musician) and Àngela Massana, a jazz enthusiast, who encouraged her son to study piano and in 1944 engaged his piano teacher, Petri Palou. Before that, Montoliu had his first piano lessons with Enric Mas at the private school for blind children that he attended from 1939-1944 where he learned to read music in Braille.
From 1946 till 1953 he studied music at the Conservatori Superior de Música de Barcelona, where he met his first jam session fellows. Don Byas arrived in Barcelona in 1947 and introduced Tete to the Bebop style.

On March 13, 1956 he met the vibraphonist Lionel Hampton in a jam session in Barcelona. Montoliu toured with Hampton through Spain and France, had his first session as a leader in 1958 , and played with the touring Roland Kirk in 1963. Through the years, he also worked with such visiting Americans as Kenny Dorham, Dexter Gordon, Ben Webster, Lucky Thompson, and even Anthony Braxton.

On this LP, recorded in November 1973, of Brasilian themes he is joined by Alberto Moraleda on bass, Miguel Ángel Lizandra on drums and Pedro Díaz on percussion.

1) Generique-Manhã De Carnaval-Samba De Orfeu (From 'Black Orpheus')
2) Girl From Ipanema-Corcovado-Samba De Uma Nota So
3) Mulher Rendeira (Theme From 'O Canganceiro')-Bahía-Brasil
4) Canto De Ossanha-Ola-So Danço Samba
5) Desafinado-Meditaçao-Tristeza

Wednesday, April 19, 2006

Dancing Party

Various Artists - Dancing Party Odeon SMOBQ 9013 (Italy)

Here's an Italian library LP notable for some dreamy bossas in particular by Angel Pocho Gatti, who I have a soft spot for. No date given on the record but sounding like a late sixties/early seventies release.

Some premiere league Italian jazzmen are featured on this one playing a varied partly orchestral & beaty selection of tunes. Perhaps some more library LPs will be featured in the future should there be a demand.

1) Franck Pourcel - Je Reviens Te Chercher
2) N. Romano - Drums Blues
3) A. Pocho Gatti - Sentimental Bossa
4) Enrico Intra - Blues Per Noi (pt.1)
5) Pino Calvi - Tango For Brass
6) B. Pisano - For Scarlet
7) A. Pocho Gatti - Non Sei Mariu' Stasera
8) B. Pisano - Blue Ice
9) Pino Calvi - Blues For Brass
10) N. Romano - Blue Sunday
11) A. Pocho Gatti - Beautiful Day
12) Enrico Intra - Blues Per Noi (pt.2)

Tuesday, April 11, 2006

Come To Brasil...

Roberto Avila & Cachoeiras - Come To Brasil Plainis Phare CH-1267 (Swi) (1987)

Sorry for the the late update, I have just returned from Barcelona and am now renewed and ready for some special Easter shares.

Blogger has just wiped my not too inconsiderable introduction to this album and I don't really have the inclination at this time to repeat myself.

Don't let the year put you off with this one, it's a timeless classic and a real favorite I never tire of hearing. Guitarist and cavaquinho player Roberto Avila produces this sublime effort and whilst the title track & opener is a little commercial and probably the album's weakest tune the rest of it is an inspired listen and boasts some tremendously funky and jazzy tunes oozing grooviness and top class musicianship.

Swiss based Brasilian band Cachoeiras comprise Roger Blavia on percussion, drums & backing vocals, Ademir Candido on guitar, Eduardo "Dudu" Penz on superb form on electric bass, Paulo Menezes on percussion, Julinho Martins on keyboards, percussion & vocals, Marcelinho Martins on alto sax and female backing by Peggy Chew, Jackie Leite & Faffy Martins.

And who's that on flugelhorn? None other than Freddie Hubbard adding punctuation to a hitherto unknown but significant chapter in the history of Brasilian music. Who said music from the late eighties can't be groovy? No sir, not me...

1) Come To Brasil
2) Chorinho Prus Veio
3) Arara Sirio
4) Maybe You Know
5) Perto De Casa
6) Boca Do Mato
7) Samba Na Moita
8) Malvada
9) Baiao 171
10) Faffy Fofa

Sunday, April 2, 2006


Quinteplus - Quinteplus EMI S-10055 (1972)

More jazz from Buenos Aires this time and a killer batch of funky instrumentals from Quinteplus. Drum beats, fat strident basslines awash with warm fender rhodes and tight horns. There's all-round virtuosity on this rare Argentine set that rewards the listener with repeated listening.

Joining tenor sax superstar Jorge Anders are Carlos "Pocho" Lapouble on drums, Santiago Giacobbe on electric piano, Gustavo Bergalli on trumpet and Jorge González on electric & contrabass.

1) Loberman, El Hombre Lobo
2) Los Ejes De Mi Carreta
3) Blackman, El Justiciero
4) El Marques 1° Parte-2° Parte-3° Parte
5) El Pasito De Nano
6) Zamba De Mis Pagos
7) La Vuelta Del Elefantor
8) Oda A Billy Joe

Tuesday, March 28, 2006


Quarteto Sambacana - Muito Pra Frente Odeon MOFB 3443 (1965)

Milton Nascimento & Pacifico Mascarenhas (vocals); Geraldo Vespar (guitar); J.T. Meirelles (alto sax & flute); Tião Marinho (bass); Wilson das Neves (drums); Ubirajara Cabral (piano); Ed Maciel & Joao Luis (trombone); Mauricio (trumpet); Moacir Marques (tenor sax); J. Claudio (vibes) and others...

1) Tom Da Canção
2) O Vento Que Soprou
3) Até Você Voltar
4) Aladim
5) Era Um Dia Assim
6) Estrela Caindo
7) Eu E Você
8) Sem Me Olhar
9) Fui Olhar Pra Você
10) Mesmo Céu
11) Você É Muito Mais
12) Tarde Azul
13) Apareceu Na Tarde
14) O Navio E Você

A great bossa LP with divine vocal harmonizing led by composer Pacific Mascarenhas...

Wednesday, March 22, 2006


Marcos Samm - Psiu!... Polydor LPNG 44.049 (1970)

Events are conspiring against me so I'll keep this one short and sweet. A killer LP with lashings of groovy bossa beats.

Funky, jazzy and soulful in equal measure and provided by such luminaries as Erlon Chaves, Ivan Paulo, Antonio Adolfo and Nonato Buzar with arrangements by Roberto Menescal. Sold?

1) Beija-Me
2) Ela
3) Menina Esperança
4) Meu Lugar
5) Canto Puro Amor
6) Faço A Festa
7) De Encontro Ao Vento
8) Rosa-Maria
9) Blue
10) Alô Helô
11) Psiu!
12) Por Quê - Minha Namorada

Friday, March 17, 2006

Brazilian Octopus

Brazilian Octopus - Brazilian Octopus Fermata SFB-257 (LF-163) (1969)

Picture a band that features musicians from schools so different as the multi-instrumentalist Hermeto Pascoal, the post-tropicalist guitar hero Lanny Gordin, bossa nova pianist Cido Bianchi (former Milton Banana Trio), acoustic guitarist Olmir 'Alemão' Stocker and jazz bassist Nilson da Matta. The surprising meeting happened in 1968 and helped write a little known chapter in the history of instrumental music in Brazil called Brazilian Octopus, whose only release is hunted by record collectors. "This is undoubtedly the strangest Brazilian group ever", writes Marcelo Dolabela in his dictionary ABZ do Rock Brasileiro (printed on Estrela do Sul, 1987). "At that time, we didn't care about the money, we just wanted to play. It was a wonderful experience", recalls Celso Bianchi, also a maestro and arranger.

Brazilian Octopus was lined up in São Paulo in the beginning of 1968 by Lívio Rangan, manager of a textile factory that promoted musical fashion shows to promote their products. "Lívio used to like me a lot. He even claimed he was gonna turn me into the new Sergio Mendes", tells the musician, appointed by Rangan as the group's coordinator. In fact, Brazilian Octopus was born with uncommon space in the market: a contract for a year of work that included three months of rehearsals during which the musicians received salaries. At that time, the band also recorded an album with Japanese saxophonist Sadao Watanabe.

'Gigs In A Cage'
The music director of the shows was the tropicalist maestro Rogério Duprat. Gilberto Gil, Caetano Veloso and Eliana Pittman also participated. "I dressed up in a lion costume in many of those shows. The whole group dressed up in animal costumes and played inside a cage", Hermeto recalls. Despite their very different backgrounds, the members knew one another because they all hung out in the same venues, specially the nightclub Stardust (managed by Lanny's father), where Hermeto, Bianchi and Alemão often performed. "I remember that we were rehearsing when the news was broken that guitarist Wes Montgomery had passed away", says Alemão. "As usual, there were little quarrels", claims the saxophonist Carlos Alberto, noticing that the "incompatibility of ideas" was frequent within the group, especially when it was time to choose the set list. It was different when, after a few months into rehearsals, the event manager suggested that the group make an album. "Lívio Rangan thought that we could insert a number of radio-friendly songs into the disc", recalls Alemão, who was in charge of contacting songwriters with whom he had worked before. "I gathered a number of unreleased songs which were refused by Cido Bianchi, who was more interested in playing jazz. One of them was Jorge Ben's País Tropical", teases the guitarist.

"Even when we had to play French or Italian songs that were part of the factory's repertoire, we always did it with dignity. That work influenced many of the things that I do today. That's why I reckon music is universal. Everybody is influenced by everybody else", says Hermeto, who was responsible for coordinating collective arrangements after a few misunderstandings popped up among the musicians. He also wrote two themes featured in this very rare LP : Rhodosando and Chayê, which were pop and Cuban cha-cha-cha fusions. "I got inspiration from the fashion models to write those songs. I already played nightclubs, then, so I could play many different styles", remembers the musician from Alagoas.

'Unexpected Extras On The Cover'
Other members also contributed with original compositions: Alemão (Canção Latina, written with Vitor Martins), vibraphone player João Carlos Pegoraro (Summerhill) and Lanny (O Pássaro). The recording of the latter provoked an argument between Hermeto and the sound technicians. "Due to the song's repetitive melody, he wrote the counterpoint to be played by two flutes, just to liven it up a bit. But when he heard the mixed track, the counterpoint had vanished. Hermeto was so furious that he wanted to beat the technician up ", laughs saxophonist Carlos Alberto, who also recalls that Pascoal does not appear on the cover of the album because he couldn't make it to the photo shooting. A clerk from an advertising agency sat by the piano, instead - as well as an old timer, a dog and a child, who had nothing to do with the making of the album, but appeared on the cover. The shooting took place on a piece of land that looked like the surface of the moon - a reference to the space race between the USA and former USSR.

Produced by Mário Albanese and Fausto Canova, the album Brazilian Octopus features new arrangements for Casa Forte (Edu Lobo), Pavane (Gabriel Fauré), Canção de Fim de Tarde (Walter Santos and Thereza Souza), Gosto de Ser Como Sou and Gamboa (Mário Albanese and Ciro Pereira), exploring a characteristic sound yielded by the flutes with the vibraphone, organ and guitars. "We never received a penny for that LP. It seems that it was released in Europe, even enjoying a little success", says Carlos Alberto, who claims that the members of the band tried to talk to Fermata's CEOs and get to know about the sales. Instead of checks, all they got was laudatory comments and an invitation to make a new album. Figuring that they would not get any money from it, they turned it down. The octet ended right there and then.

1) Gamboa
2) Rhodosando
3) Canção Latina
4) Pavane
5) As Borboletas
6) Momento B/8
7) Summerhill
8) Gosto De Ser Como Sou
9) Chayê
10) Canção De Fim De Tarde
11) O Pássaro
12) Casa Forte

Monday, March 13, 2006

São Paulo Jazz Funk

Banda Metalurgia - Banda Metalurgia Som Da Gente SD-6013 (1982)

Formed in 1980 and led by Trombonista Itacyr Bocato, this wonderful Brasilian jazz funk bomb boasts many great tunes. Slick jazzy rhythms set to a tight São Paulo horn section, very much akin to the more well-known Banda Black Rio and critically acclaimed on first release.

With Bocato on trombone are Lino Simão, Jacare & Julio Peluchi on saxophones, Nonô Camargo & Claudio Faria on trumpets, Mané Leao on piano, Marcelo Munari on guitar, Edu Fiore on bass and Claudinho on drums.

1) Multinacional
2) Amarelo
3) Impulso
4) Oi
5) Ap. 403
6) Barra Pesada
7) Lá Em Guayaquil
8) Ermelindo E Casanova
9) A Salsa E O Cheiro Verde
10) Esperando Edmundo
11) Em Tempo De Baeta
12) Samba Da Volta Ao Bernô

Tuesday, March 7, 2006


Zimbo Trio - Opus Pop Nº 2 Philips 6349 080 (1973)

Formed in 1964 in São Paulo by classically trained pianist Amilton Godoy, bassist/composer/orchestrator Luís Chaves, and drummer Rubinho (Rubens Barsotti).

They performed for the first time under the name of Zimbo Trio at Oásis nightclub in São Paulo, accompanying the famous actress and novice singer Norma Benguel in a show directed by Aluísio de Oliveira.

In 1965, the trio travelled to Lima and Buenos Aires, and it was at the festival of Mar del Plata, Argentina, they received the Cancioneiro das Américas award. They were then hired to perform regularly on the TV show 'O Fino da Bossa', produced by Elis Regina and Jair Rodrigues. The Zimbo Trio received awards for best soundtrack for the movies Noite Vazia (1965, Walter Hugo Khoury) and A Margem, (1967, Ozualdo Candeias).

In 1972, they toured Portugal and Spain with Elizete Cardoso. Accompanying the Brazilian singer Sílvia Maria on Adilson's "Heróica," The Zimbo Trio was awarded first prize at the Festival de Onda Nueva, Caracas, Venezuela. Since 1973 the trio has been in charge of the Centro Livre de Aprendizagem Musical (Free Center for Musical Studies), an entity dedicated to the teaching of a wide spectrum of musical styles.

With a career spanning 40 years, and more than 40 albums, including guest appearances, Zimbo Trio’s line-up has remained unchanged since its inception.

Although some of their LPs are quite pedestrian, they are true exponents of the bossa form and could even turn their hands to more progressive & funky fusion offerings. This album is pretty disimilar to that Zimbo sound boasting haunting renditions of Bach or Chopin classics turned inside-out into hip bossa grooves. Fans of wordless female vocals and dreamy scatting won't be disappointed.

1) Sevilla
2) Festa No Sertão
3) Wachet Auf Ruff Uns Die Stimme
4) Prelúdio
5) La Danse d'Anitra
6) Playera
7) Sicilienne
8) Largo
9) Narcisos

Friday, March 3, 2006

Dr. Jorge López Ruiz

Jorge López Ruíz - Viejas Raíces II, De Las Colonias Del Río De La Plata Trova DA 5009 (Arg)(1976)

What can one say about legendary bassist Jorge López Ruiz that can do the man justice? He's a Composer and Director and has made music for more than 60 films, 40 Plays and 400 recitals. He was instrumental in the creation of the successful Argentinean record label TROVA, of which he was the first Director of A&R. During this period they made most of the recordings of artists like Vinicius de Moraes, Astor Piazzola, Dorival Caymmi as well as producer, arranger and director of stars like Sandro, Piero, Leonardo Favio and Sergio Denis.

Doctor of Music (Compostion & Performance) from Columbia Pacific University, Doctorship of The London Institute of Applied Research and Social Sciences Director of the Laboratory of Music Electro-Acoustics as well as recipient of too numerous awards & medals to list here!

In the first half of the 70's he gained Professorship of the Argentinean Institute Of Cinematography and in 1975 rose to the position of A&R Director of EMI-ODEON in Argentina.

His musical accomplishments are staggering, as well playing acoustic & electric bass on many respected jazz outings he's a mean cellist and pianist. He played with a legendary quintet led by Lalo Schifrin in 1956-1957 that featured saxophonist Gato Barbieri. López Ruiz had also been Schifrin's big band bassist along with Gato. He always played with the very best in Argentinean jazz.

The local scene in Argentina in the mid-70's was extremely conservative, with a majority of musicians, critics and media people dead against avant-garde jazz. Traditional and mainstream jazz seemed to be what most attracted the public; more modern jazz had only a moderate appeal. So the fact that some of the better-known modern jazzmen were ready for the challenge of free and avant-garde jazz, was almost intolerable to the rest of the musicians and the opinion makers. Then the listeners had their say and they responded positively to the challenging music this avant-garde minority was producing, much to the astonishment of everyone involved. This middle-class group of musicians, reacting in their own artistic way to the many challenges of the epoch, opened new ground for music development in Argentina.

The album I present today is musical testament to those troubled times - funky brooding jazz fusion that deserves a wider audience and a re-issue. Along with Matias Pizarro on piano and the great "Pocho" Lapouble on drums we are served up a delicious non-stop asssault on our senses. Again this is a lesser-known 'sequel' volume to the more in-demand Viejas Raíce I from the preceding year but is my personal favourite from this period in López Ruiz's career.

1) O'Placar
2) Para Nosotros Solamente
3) Balewada
4) Los Berugos Wor
5) La Hora de La Sed Maldita
6) El Viaje De Dumpty
7) Eterna Presencia
8) Mira Tú

As I have done on many an occasion, accompanied by this record, kick back with a cigar & an espresso and drink in the goodness of this timeless magnum opus...

Monday, February 27, 2006

Juvenile Gypsy Jazz

Boulou - With The Paris All Stars Barclay LP-80254 (Fra) 1964

The 13 Years Old Jazz Sensation From France!

Boulou Ferré was born of gypsy origin in Paris on the 24th of April 1951. At five years, Boulou sang all the solos of Dizzy Gillespie but started his musical studies at the age of seven with his father, Pierre Matelot Ferré, one of the main musicians in Django Reinhardt's and Stéphane Grappelli's Quintette du Hot Club de France. Along with jazz guitar he starts to study classical guitar with Francisco Gil and gives a first concert at the Guimet Museum at the age of eight.

At twelve, he accompanies Jean Ferrat who fell under his charm, it was then he signed with Barclay and recorded his first album in '63. In 1964 he plays during the first part of John Coltrane's concert at the Jazz festival of Juan les Pins. Boulou & les Paris All Stars is in fact his third album and features Pierre Michelot, Eddy Louiss, Kenny Clarke and Maurice Vander amongst other stars. This album was an homage to Charlie Parker and Dizzy Gillespie and was given 4 stars from Down Beat Magazine.

At the beginning of the Seventies, he appears with the vibraphonist and multi-instrumentalist Gunter Hampel, then with Steve Potts in company of Christian Escoudé and the Japanese pianist Takashi Kako. In 1974, it's with The Corporation Gypsy Orchestra, he grabs the attention of Carlos Santana and Frank Zappa et al.

Boulou went on to study harmony and composition with the french organist and composer Olivier Messiaen - and participate in a wide repertoire with several musicians such as Dexter Gordon, Dizzy Gillespie, Kenny Clarke, Wayne Marsh, Philly Joe Jones, Chet Baker, Stéphane Grappelli… He also composes music for movies and for television.

1) Mack The Knife
2) Groovin' High
3) Night & Day
4) Undecided
5) Blue'N Boogie
6) Salt Peanuts
7) A Night In Tunisia
8) Bluesette
9) I'll Never Smile Again
10) Ow
11) The Girl From Ipanema
12) Ascott

Thrill at the marvels of this thirteen year old. In his vocals you can hear he's but a boy but that's where the kiddiness ends! All this under the direction of Maestro Alain Goraguer. A treasure...don't you think so?

Friday, February 24, 2006

Big Band Explosion!

Gil Fuller-James Moody & The Monterey Jazz Festival Orchestra - Night Flight Pacific Jazz ST-20101 (1966)

Coming on strong like Oliver Nelson or Lalo Schifrin, this filmic sounding orchestral blow-out is so good it hurts. Sax and flute player James Moody joins Gil (real name Walter) Fuller on this lesser known Monterey Jazz Orchestra outing without Dizzy Gillespie this time, but that doesn't affect the quality one bit - inspired performances all-round.

Fuller has regularly collaborated with all the greats including Ray Charles, Stan Kenton & the aforementioned and close buddy Dizzy Gillespie and is the bandleader's bandleader. He was one of the first to compose big band charts in the bebop style and later formed his own own publishing company, a natural outlet when he branched out into writing texts about his music, including an analytical discussion of his arrangement methods.

Not an average batch of cover versions this, Fuller and Moody inject exciting variations into well-known tunes and the orchestra are tight and monumentally swinging. Not a dud note to be heard...

01) Tin Tin Deo
02) I'm In The Mood For Love
03) Night Flight
04) Our Man Flint
05) Seesaw
06) Batucada Surgiu
07) 17 Mile Drive
08) A Patch Of Blue
09) Latin Lady
10) Blues For A Debutante
11) Sweets For My Sweet
12) Wild Chestnuts

A real eye-opener coming shortly in the form of a French guitarist and jazz-scat vocalist with a secret I am soon to reveal, one that I could barely believe myself

Saturday, February 18, 2006

Piri on Quartin

Piri - Vocês Querem Mate Quartin LP-RSQ3 (1970)

This release typifies the sound of Roberto Quartin's eponymous and short lived label. Dark, brooding jazz but always tight and groovy.

Again, a crack troop has been assembled here. Accompanying Piri's guitar and gentle vocals are Danilo Caymmi and Paulinho Jobim on flute, Jorge Marinho on bass, the ubiquitous Wilson Das Neves on drums and Juquinha on percussion. Tita also adds guest vocals.

Elements of bossa, psych, funk & folk are to be had on these 10 originals all composed by Piri himself.

1) Reza Brava
2) As Incríveis Peripécias De Danilo
3) O Som Do Roberto
4) Sombra Morta
5) Vocês Querem Mate?
6) Cupído Esculpido
7) Chão Vermelho
8) Lágrimas
9) Espiral
10) Porta Do Sol

More from Quartin's 60s incarnation 'Forma' Records coming soon...

Wednesday, February 15, 2006

Grupo Medusa

Grupo Medusa – Ferrovias Som Da Gente SDG 18-83 (1983)

Here’s a favourite of mine, the smoothest and most perfectly realised Brasilian fusion from supergroup Grupo Medusa. The much maligned term ‘fusion’ conveys their effortless blend of jazz, bossa and homegrown ‘Nordeste’ leanings to the blistering funk of the title cut!

Formed in 1980, Ferrovias or 'Railroads' is their second album and comprises such luminaries as Amilson Godoy formerly of the Bossa Jazz Trio on piano & fender rhodes; famed guitarist Olmir Stocker (Alemão) who was part of Breno Sauer’s outfit in the 60s and member of the mythical Brazilian Octopus in 1968; bassist Cláudio Bertrami (brother of Azimuth’s José Roberto); drummer Chico Medori and percussionist Théo da Cuíca.

All the tracks are original, self-penned instrumental compositions and are co-produced collectively by the group.

1) Aduba-Lé
2) Lamentos
3) Fantasia
4) Cheiro Verde
5) Nordestina
6) Picadeiro
7) Ferrovias
8) Beija-Flor
9) Pouso Em Congonhas

Friday, February 10, 2006

The Real Erlon Chaves

Orquestra St. Moritz directed by Erlon Chaves - Procura-Se Uma Virgem CID-14.025 (1971)

Composer, arranger and pianist Erlon Chaves was born in Sao Paulo and began studying music at seven years of age. After making a big name in the '50s as a "nightclub" pianist he soon began his career as bandleader and joined TV Excelsior of Sao Paulo.

In 1965 he relocated to Rio De Janeiro where he became musical director for TV Tupi and later TV Rio. It was shortly after this he accompanied Elis Regina on her Olympia excursion in Paris.

His bands always featured some of the best musicians around, and in the seventies his repertoire was a groovy melange of poppy international and Brasilian hits. Although saying this, his talents as arranger graced some of the most funky and hip recordings of the era.

This definitive soundtrack from the Brasilian comedy Procura-Se Uma Virgem was an almighty blend of soft-porn stylings with slinky organ lines, tight percussion and bass and sexy wordless vocals rivaling anything coming out of Cinecitta at the time. Seldom shows up and when it does goes for an arm & a leg!

What more could one ask?

01) Procura-Se Uma Virgem (Prefixo)
02) Procura-Se Uma Virgem - Valsa
03) Grilo
04) Os 3 Ladrões
05) Uma Velha Bossa
06) Vamos Nós
07) O Anjo E O Diabo
08) Tema De Amor
09) Ba Oba Oba
10) Procura-Se Uma Virgem (Sufixo)

Bossa De Jazz Moderno!

Sexteto De Jazz Moderno - Bossa Nova RCA Victor BBL-1222 (c1963)

OK... Here's a rare bossa set by Sexteto De Jazz Moderno featuring Jorginho on Alto sax, Aurino on Tenor, Fats Elpidio on Piano, José Menezes on Guitar with Ritmistas Plinio & Paulo completing the sextet.

All tracks are extended improvisations of some classic Brasilian evergreens.

01) Samba De Uma Nota Só
02) Barquinho
03) Samba Toff
04) Desafinado
05) Menina Feia
06) Lamento

Sunday, February 5, 2006

Romano Mussolini Dies!

Romano Mussolini Trio - Mirage PDU Jazz A-6018 (Italy) 1974

I was intending to post some bossa stuff here today but before I do a quick word on Maestro Mussolini who passed away a couple days ago.

Romano Mussolini, jazz pianist and bandleader, the third and youngest son of Fascist dictator Benito Mussolini, was born on September 26, 1927 in Forlì in the Po valley and enjoyed a privileged childhood until the early years of the Second World War.

In 1943 he began experimenting with playing jazz on the piano, and was largely self-taught. After his father and his mistress, Carla Petacci, were shot while trying to escape to Switzerland in April 1945, Romano assumed a low profile, and after the war he launched his professional career as a pianist under the pseudonym “Romano Full”. By the mid-1950s, however, he had established a considerable national reputation under his own name, playing and recording with the trumpeter Nunzio Rotondo.

He led his own trio from the late 1950s onwards, the Romano Mussolini All Stars, and in 1959 supported a number of international guests, notably the Swedish baritone saxophonist Lars Gullin, the singer Helen Merrill and the American trumpeter Chet Baker, on visits to Italy. Baker was notorious for his drug dependency, and Mussolini remembered him as “dangerous to be around”, because of constant investigations by narcotics police. On the other hand, the pianist claimed not to remember the laid-back trumpeter’s first words to him, delivered in the hip tones of the ultra-cool jazzman: “Gee, it’s a drag about your old man.” They worked together at the Santa Tecla club in Milan, where, according to Baker’s biographer, James Gavin, “audiences flocked to see the younger Mussolini and a famous junkie on one stage”.

In 1963, leading his own band once more, Mussolini won the Italian critics’ album of the year prize for Jazz at Studio 7. At the same time, his style began to move from the cool West Coast modern jazz favoured by Gullin and Baker to more romantic fare, and by the following decade he was recording moody albums such as Mirage and Soft and Swing, leavened by his occasional high-octane jam sessions with the expatriate US clarinettist Tony Scott, who had settled in Rome.

By the 1980s, although his natural style on record had now developed further into one that drew heavily on Oscar Peterson’s playing, Mussolini began to play an even more traditional repertoire in public, recording with the guitarist Lino Patruno in his touring tribute to Louis Armstrong, as well as playing a very similar repertoire with the Austrian trumpeter Oscar Klein.
He was a favourite at Italian festivals throughout the 1990s and recently appeared as a guest at Europe’s biggest traditional jazz festival at Ascona in Switzerland with Patruno.

1) The Twitch
2) Omaggio A Oscar Peterson
3) Sweet Elisabeth
4) Hong Kong
5) Mirage
6) Blues For Alexandra
7) Rachel's Lullaby


Here's a real nice album cut by the maestro in 1974. It's fender rhodes all the way, both moody and groovy - a monster! ...might surprise a few of you!

Wednesday, February 1, 2006

Bobby Cole's Point Of View

Bobby Cole - A Point Of View Concentric S-1000 (1964)

This much sought after and timeless LP features 12 original compositions that show off the man's great songwriting, piano and vocal skills. He's ably accompanied here by Ralf Rost, Arnold Wise and Kathy Kelly in a totally swinging trio session, I'm sure you'll agree.

Side A
1) Status Quo
2) The Name of the Game Is Trouble
3) Lover Boy
4) You Can't Build A Life On A Look
5) But It's Spring
6) Heat

Side B
1) You Could Hear A Pin Drop
2) A Change of Scene
3) A Perfect Day
4) Elegy For Eve
5) No Difference At All
6) I'm Growing Old

During his career, among his many accomplishments, he was the musical director for Judy Garland at her final Palace performance, recorded for Columbia and for years was the house band at Sinatra's legendary "watering hole", "Jilly's". It was there that he started to develop his cult following.

Bobby Cole died a tragic death in a New York gutter outside of the club at which he was performing on December 19, 1997. He apparently fell, cracking his head on the curb, where he lay motionless for some time until someone finally called "911".

Files are encoded @ 192Kbps.

Monday, January 30, 2006

I launch this blog Quimsy's Mumbo Jumbo, God bless her and all who sail in her!

Gay Vaquer - The Morning of the Musicians RCA Victor (Brazil) 103.0059 (1972)

Personnel: Gay Vaquer (acoustic + electric guitars); Jane Vaquer (vocals); Luiz Eca (acoustic + electric keyboards); Paulo Moura (soprano and alto sax, flute); Novelli (amplified acoustic bass); Everaldo Ferreira and Bill French (drums, percussion)

1) 5:20

For this inaugural
voyage into musical mumbo jumbo why not try this Brasilian classic!

Brasilian music is my first love and this sort of LP goes a long way in explaining why, although I will not limit myself to posting music from this one genre.

Guitarist Gay Anthony Vaquer assembles an all-star line up of musicians for this breezy soft fusion tour de force. His then wife Jane (now known to many as Jane Duboc) can be heard on vocals.

Sweet and sublime one moment, progressive and funky the next - I hope you enjoy this little offering.

Files are encoded @ 192Kbps.

Stick around, more to follow...