VA - Jazz & Bossa Nova Masterpiece Best & More Series (2013) CD-Rip
BAND/ARTIST: VA
- Title: Jazz & Bossa Nova Masterpiece Best & More Series
- Year Of Release: 2013
- Label: Universal Japan [TOCJ-66621~8]
- Genre: Bossa Nova / Latin Jazz
- Quality: FLAC (*tracks, image + .cue,log)
- Total Time: 04:17:43
- Total Size: 2,64 GB (+3%rec.)
- WebSite: Album Preview
Tracks:
01. The Cannonball Adderley Quintet - The Happy People (1972)
A really unique little album from Cannonball's all-great late years at Capitol – a session that features some strong influences from Brazilian music – "The Happy People" – and production from the legendary David Axelrod! The mix makes for a really unique little record – a set that isn't really bossa, but isn't regular Cannonball funk either – kind of a special hybrid of the two! Airto plays on the set, and contributed the great groover "The Happy People" – a long bit of funky samba that features George Duke on electric piano, and percussion and vocals by Airto himself.
The rest of the album's pretty darn great too – with some long tracks that have a more open-ended groove than the usual Cannon funk – featuring more piano by Duke, percussion by Airto and King Errison, cornet by Nat Adderley, and guitar by David T Walker. Other titles include "Ela", "Maria Tres Filhos", and "Savior" – and the album was recorded live, with a very lively feel!
01 - The Happy People
02 - Maria Tres Filhos
03 - Savior
04 - ELA
Cannonball Adderley - alto saxophone
Nat Adderley - cornet
George Duke - piano, electric piano
Walter Booker - bass
Roy McCurdy - drums
Airto Moreira - percussion, vocals
King Errison - percussion
Mayuto, Octavio - percussion (tracks 1, 2 & 4)
David T. Walker - guitar (track 3)
Chuck Rainey - electric bass (track 3)
Flora Purim - vocals
Olga James - vocals (track 3)
02. Guitars Unlimited - Quiet Nights & Brazilian Guitars (1966)
A few short years ago the rich, subtle rhythms of Brazil's popular music swept north to dazzle the American musical scene with a tantalizing new sound. Today that sound has become a permanent part of our musical ways.
It is easy to see why, for Brazilian composers have a way of combining melody and rhythm in a meld that gives a feeling of romance to every note, an amorous message to every chord. And this is the spirit that Guitars Unlimited have captured in their first recording … an album of contemporary moods styled for listening today! No violins, no brass, no reeds, only soft guitars and gentle rhythm … and a program of romantic statements as welcome as spring's first sunlight.
The musicians who weave these inspired sounds are unmistakably among today's finest. And this, of course, explains much of the effortless grace and carefree zest heard in their harmonious blends and solo passages. The arrangements of Jack Marshall tell the rest of the story, for he has brought these artists together with a skillful hand and a gifted feeling for the magical beauty of this Brazilian music.
And together, Guitars Unlimited make a wonderful new kind of music that is the essence of romantic moods, quiet nights and Brazilian guitars.
01 - The Girl From Ipanema
02 - Manha De Carnaval (Theme From ''Black Orpheus'')
03 - Meditation (Meditacao)
04 - Here Lies Love
05 - Ho-Ba-La-La
06 - Bim-Bom
07 - Desafinado
08 - Quiet Nights Of Quiet Stars (Corcovado)
09 - One Note Samba (Samba De Una Nota So)
10 - These Are The Ways Of Love
11 - O Barquinho (Little Boat)
Jack Marshall - conductor, arranger, guitar
Howard Roberts, Bob Bain, Tony Rizzo, Al Hendrikson, Tommy Tedesco, Laurindo Almeida, Rosinha de Valenca - guitar
Shelly Manne, Milton Holland - drums, percussion
Frank Flynn - bells
Joe Mondragon - bass
03. Stan Kenton - Artistry In Bossa Nova (1963)
This LP features the Stan Kenton Orchestra (during the period when it had a mellophonium section) performing some of its familiar standards and a few newer songs with a light Brazilian rhythm provided by percussionists Frank Guerrero and Milt Holland (Larry Bunker fills in for Holland on three songs). Although one might consider this project to be an example of Kenton jumping on the bandwagon (since the bossa nova fad was at its peak at the time), the music is quite enjoyable.
Kenton on piano is the main soloist throughout, with Conte Candoli having a couple solos on trumpet and high-note trumpeter Bud Brisbois getting a few spots. Kenton's "Brasilia" is a charming piece deserving to be revived. Otherwise, it is interesting to hear such songs as "Interlude," "Concerto to End All Concertos," "Eager Beaver," and even "Artistry in Rhythm" in this setting.
01 - Artistry In Rhythm
02 - Opus In Chartreuse
03 - Interlude
04 - Kentonova
05 - Eager Beaver
06 - Concerto To End All Concertos
07 - Brasilia
08 - Painted Rhythm
09 - Opus In Pastels
10 - Jump For Joe
11 - Loco-Nova
12 - Artistry In Bossa Nov
Stan Kenton - piano, leader, arranger
04. The Sergio Mendes Trio & Wanda De Sah - Brasil '65 (1965)
That's Brasil 65, not Brasil 66 – a distinction that marks a key early stage for the great Sergio Mendes – heard here on one of his first albums to mix together bossa jazz and vocals! The approach here is a bit more like vintage bossa dates from Brazil – or a bit like some of the Verve bossa records too – as Sergio's core trio is at the heart of every tune, playing with a great jazzy approach – then augmented in different ways by alto and flute from Bud Shank, guitar from Rosinha De Valenca, and vocals from the lovely Wanda De Sah! Production is perfect – really in a classic Elenco Records mode – and titles include "Let Me", "Consolacao", "Tristeza Em Mim", "Muito A Vontade", "Reza", "Berimbau", and "Aquarius".
In 1965, Sergio Mendes and his trio conducted their first out-of-Brazil experiment: They recorded in L.A. for the first time in what proved to be their first major move into the U.S. market and their embrace of the new bossa nova sound. Accompanying the Mendes band were then-great vocalist Wanda de Sah and guitarist Rosinha de Valenca. This is deeply swinging bossa; it is crisp and pops out at the listener in every conceivable way. It features exotic and pioneering rhythmic work, smooth accessibility, and sophisticated melodies, many of which were written by the hottest talents in Brazil, such as Marcos Valle ("Samba de Verão" [aka "So Nice"]), Baden Powell and Vinícius de Moraes ("Berimbau"), João Donato ("Muito a Vontade"), Edú Lobo ("Reza"), and of course Antonio Carlos Jobim ("One Note Samba" and "She's a Carioca"). Also adding to the jazzed-out nature of the new bossa flavor was Bud Shank blowing alto on "So Nice" and other cuts, which had its lyric – -as did "One Note Samba" and a few others – translated into English. But the appeal of Shank's appeal with this band cannot be overrated. Shank took the shimmering mist that Getz contributed to bossa nova and punched it up and gave it an edge and some raw emotion. This stands with Mendes' best work from Brazil and is truly one of his American highlights.
01 - So Nice (Samba de Verao)
02 - Favela
03 - Berimbau
04 - Tristeza Em Mim
05 - Aquarius
06 - One Note Samba
07 - She's A Carioca
08 - Muito a Vontade
09 - Let Me (Deixa)
10 - Consolacao
11 - Reza
Sergio Mendes - piano
Sebastiao Neto - bass
Chico Batera - drums
Wanda De Sah - vocals
Rosinha De Valenca - guitar
Bud Shank - flute, alto saxophone
05. Wanda De Sah - Softly! (1965)
A lost bossa classic from Wanda De Sah – aka Wanda Sa, the wife of Edu Lobo, and a singer who worked with Sergio Mendes in his pre-Brasil 66 days! The album's got a wonderfully laidback feel – languid, yet jazzy, with the feel of some of Astrud Gilberto's best work on Verve, yet with vocals that are possibly better – thanks to Wanda's pedigree in Brazilian pop. Recordings were done in California, not Rio – and arrangements are handled by the great Jack Marshall – who's got a strong ear for keeping things interesting with a mix of strings, Latin rhythms, and Capitol pop shadings.
01 - Ho Ba La La
02 - Sweet Happy Life (Samba De Orfeu)
03 - Quiet Nights (Corcovado)
04 - Aruanda
05 - The Dreamer
06 - So Danco Samba (Jazz 'n' Samba)
07 - Once I Loved
08 - Who Knows
09 - Tem Do
10 - With Feeling
11 - Agua De Beber
Wanda De Sah - vocals
with strings, orchestra and Latin rhythm arranged and conducted by Jack Marshall
06. Clare Fischer - Manteca! (1966)
One of our favorite albums ever from the great Clare Fischer – and one of the first to really show his special talents at their best! The sound here is a wonderful blend of jazz, Latin, and Brazilian modes – and in addition to piano, Clare plays plenty of organ on the date – which bristles with this cool, clear sound amidst larger backdrops that have a very driving feel!
There's lots of percussive energy at the bottom of the bigger group tracks – thanks to work from Latin percussionists Carlos Vidal, Cuco Martinez, Chino Valdes, and Rudy Calzado – and some of the other cuts feature a smaller group, but still with lots of great percussion! Clare's organ has this feel that's very different than the usual Hammond jazz style – and really sounds great throughout – on a batch of tracks that includes a key reading of his classic "Morning" – plus the cuts "Manteca", "Favela", "Afro Blue", "Dulzura", and "Negrita".
01 - Manteca
02 - El Toro
03 - Morning
04 - Afro Blue
05 - Favela
06 - Marguerite (Suegra)
07 - Dulzura
08 - Sway (Quien Sera)
09 - Negrita
Clare Fischer - piano and organ
Conte Candoli, Bobby Bryant, Don Smith, A.D. Brisbois - trumpet
Gil Falco, Bob Edmondson - trombone
Ernie Tack - bass trombone
Ralph Peña - bass
Nicholas "Cuco" Martinez - timbales
Adolfo "Chino" Valdes, Carlos Vidal - conga
Rudy Calzado - cencero and güiro
Richard West - bass
07. Bud Shank & Clare Fisher - Bossa Nova Jazz Samba (1962)
A sublime little set all the way through – an early 60s date from the west coast scene – and one that was almost as important to that side of the country as the Verve bossa records were to New York! Bud Shank's in the lead on alto sax – no flute at all this time around – blowing sharp and soulfully, in a way that's even more deft than most of his other albums! But the equal star here is the young Clare Fischer – who plays piano in the group, and also contributed a host of original tunes to the set – fresh numbers that are way different than the usual "bossa-ized" standards, or American remakes of Brazilian classics. Ralph Pena is a key member of the group on bass – and Larry Bunker plays some vibes as well. Titles include "Joao", "Pensativa", "Samba Guapo", "Samba Da Borboleta", and "Que Mais?".
01 - Samba Da Borboleta
02 - Illusao
03 - Pensativa
04 - Joao
05 - Misty
06 - Que Mais_
07 - Wistful Samba
08 - Samba Guapo
Bud Shank - alto saxophone
Clare Fischer - piano
Ralph Pena - bass
Larry Bunker - vibes, drums
Bob Neel, Milt Holland, Frank Guerrero - percussion
08. Bud Shank, Clare Fischer, Joe Pass - Brasamba! (1962)
One of the greatest albums of Brazilian jazz that Bud Shank ever recorded — done with a style that's a lot more like some of the best bossa albums from Rio at the time! Bud's recorded in other bossa settings before — but there's something about this record that really gets the whole thing right — as Shank's alto and flute come into play with a killer combo that includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on guitar, and Milt Holland and Chuck Flores on percussion.
The added percussion really brings a lot to the set — and gives it a strongly bossa-driven groove that really lets Shank take off on alto and flute solos. Fischer's piano is remarkably strong — caught at that clear early point in his career when he was such a fresh voice on the scene. The whole thing's wonderful overall — and if you think you might have it under another name, check the song listings — because we bet you don't! Titles include "Sambinha", "Gostoso", "Elizete", "O Barquinho", "Brasamba", and "Otem A Note".
01 - Brasamba
02 - Otem A Note
03 - Autumn Leaves
04 - Sambinha
05 - Gostoso
06 - If I Should Lose You
07 - O'Barquinho
08 - Serenidade
09 - Elizete
10 - Samba De Orfeu
Bud Shank - alto saxophone, flute
Clare Fischer - piano
Joe Pass - guitar
Ralph Pena - bass
Larry Bunker - vibraphone, drums
Chuck Flores, Milt Holland - percussion
01. The Cannonball Adderley Quintet - The Happy People (1972)
A really unique little album from Cannonball's all-great late years at Capitol – a session that features some strong influences from Brazilian music – "The Happy People" – and production from the legendary David Axelrod! The mix makes for a really unique little record – a set that isn't really bossa, but isn't regular Cannonball funk either – kind of a special hybrid of the two! Airto plays on the set, and contributed the great groover "The Happy People" – a long bit of funky samba that features George Duke on electric piano, and percussion and vocals by Airto himself.
The rest of the album's pretty darn great too – with some long tracks that have a more open-ended groove than the usual Cannon funk – featuring more piano by Duke, percussion by Airto and King Errison, cornet by Nat Adderley, and guitar by David T Walker. Other titles include "Ela", "Maria Tres Filhos", and "Savior" – and the album was recorded live, with a very lively feel!
01 - The Happy People
02 - Maria Tres Filhos
03 - Savior
04 - ELA
Cannonball Adderley - alto saxophone
Nat Adderley - cornet
George Duke - piano, electric piano
Walter Booker - bass
Roy McCurdy - drums
Airto Moreira - percussion, vocals
King Errison - percussion
Mayuto, Octavio - percussion (tracks 1, 2 & 4)
David T. Walker - guitar (track 3)
Chuck Rainey - electric bass (track 3)
Flora Purim - vocals
Olga James - vocals (track 3)
02. Guitars Unlimited - Quiet Nights & Brazilian Guitars (1966)
A few short years ago the rich, subtle rhythms of Brazil's popular music swept north to dazzle the American musical scene with a tantalizing new sound. Today that sound has become a permanent part of our musical ways.
It is easy to see why, for Brazilian composers have a way of combining melody and rhythm in a meld that gives a feeling of romance to every note, an amorous message to every chord. And this is the spirit that Guitars Unlimited have captured in their first recording … an album of contemporary moods styled for listening today! No violins, no brass, no reeds, only soft guitars and gentle rhythm … and a program of romantic statements as welcome as spring's first sunlight.
The musicians who weave these inspired sounds are unmistakably among today's finest. And this, of course, explains much of the effortless grace and carefree zest heard in their harmonious blends and solo passages. The arrangements of Jack Marshall tell the rest of the story, for he has brought these artists together with a skillful hand and a gifted feeling for the magical beauty of this Brazilian music.
And together, Guitars Unlimited make a wonderful new kind of music that is the essence of romantic moods, quiet nights and Brazilian guitars.
01 - The Girl From Ipanema
02 - Manha De Carnaval (Theme From ''Black Orpheus'')
03 - Meditation (Meditacao)
04 - Here Lies Love
05 - Ho-Ba-La-La
06 - Bim-Bom
07 - Desafinado
08 - Quiet Nights Of Quiet Stars (Corcovado)
09 - One Note Samba (Samba De Una Nota So)
10 - These Are The Ways Of Love
11 - O Barquinho (Little Boat)
Jack Marshall - conductor, arranger, guitar
Howard Roberts, Bob Bain, Tony Rizzo, Al Hendrikson, Tommy Tedesco, Laurindo Almeida, Rosinha de Valenca - guitar
Shelly Manne, Milton Holland - drums, percussion
Frank Flynn - bells
Joe Mondragon - bass
03. Stan Kenton - Artistry In Bossa Nova (1963)
This LP features the Stan Kenton Orchestra (during the period when it had a mellophonium section) performing some of its familiar standards and a few newer songs with a light Brazilian rhythm provided by percussionists Frank Guerrero and Milt Holland (Larry Bunker fills in for Holland on three songs). Although one might consider this project to be an example of Kenton jumping on the bandwagon (since the bossa nova fad was at its peak at the time), the music is quite enjoyable.
Kenton on piano is the main soloist throughout, with Conte Candoli having a couple solos on trumpet and high-note trumpeter Bud Brisbois getting a few spots. Kenton's "Brasilia" is a charming piece deserving to be revived. Otherwise, it is interesting to hear such songs as "Interlude," "Concerto to End All Concertos," "Eager Beaver," and even "Artistry in Rhythm" in this setting.
01 - Artistry In Rhythm
02 - Opus In Chartreuse
03 - Interlude
04 - Kentonova
05 - Eager Beaver
06 - Concerto To End All Concertos
07 - Brasilia
08 - Painted Rhythm
09 - Opus In Pastels
10 - Jump For Joe
11 - Loco-Nova
12 - Artistry In Bossa Nov
Stan Kenton - piano, leader, arranger
04. The Sergio Mendes Trio & Wanda De Sah - Brasil '65 (1965)
That's Brasil 65, not Brasil 66 – a distinction that marks a key early stage for the great Sergio Mendes – heard here on one of his first albums to mix together bossa jazz and vocals! The approach here is a bit more like vintage bossa dates from Brazil – or a bit like some of the Verve bossa records too – as Sergio's core trio is at the heart of every tune, playing with a great jazzy approach – then augmented in different ways by alto and flute from Bud Shank, guitar from Rosinha De Valenca, and vocals from the lovely Wanda De Sah! Production is perfect – really in a classic Elenco Records mode – and titles include "Let Me", "Consolacao", "Tristeza Em Mim", "Muito A Vontade", "Reza", "Berimbau", and "Aquarius".
In 1965, Sergio Mendes and his trio conducted their first out-of-Brazil experiment: They recorded in L.A. for the first time in what proved to be their first major move into the U.S. market and their embrace of the new bossa nova sound. Accompanying the Mendes band were then-great vocalist Wanda de Sah and guitarist Rosinha de Valenca. This is deeply swinging bossa; it is crisp and pops out at the listener in every conceivable way. It features exotic and pioneering rhythmic work, smooth accessibility, and sophisticated melodies, many of which were written by the hottest talents in Brazil, such as Marcos Valle ("Samba de Verão" [aka "So Nice"]), Baden Powell and Vinícius de Moraes ("Berimbau"), João Donato ("Muito a Vontade"), Edú Lobo ("Reza"), and of course Antonio Carlos Jobim ("One Note Samba" and "She's a Carioca"). Also adding to the jazzed-out nature of the new bossa flavor was Bud Shank blowing alto on "So Nice" and other cuts, which had its lyric – -as did "One Note Samba" and a few others – translated into English. But the appeal of Shank's appeal with this band cannot be overrated. Shank took the shimmering mist that Getz contributed to bossa nova and punched it up and gave it an edge and some raw emotion. This stands with Mendes' best work from Brazil and is truly one of his American highlights.
01 - So Nice (Samba de Verao)
02 - Favela
03 - Berimbau
04 - Tristeza Em Mim
05 - Aquarius
06 - One Note Samba
07 - She's A Carioca
08 - Muito a Vontade
09 - Let Me (Deixa)
10 - Consolacao
11 - Reza
Sergio Mendes - piano
Sebastiao Neto - bass
Chico Batera - drums
Wanda De Sah - vocals
Rosinha De Valenca - guitar
Bud Shank - flute, alto saxophone
05. Wanda De Sah - Softly! (1965)
A lost bossa classic from Wanda De Sah – aka Wanda Sa, the wife of Edu Lobo, and a singer who worked with Sergio Mendes in his pre-Brasil 66 days! The album's got a wonderfully laidback feel – languid, yet jazzy, with the feel of some of Astrud Gilberto's best work on Verve, yet with vocals that are possibly better – thanks to Wanda's pedigree in Brazilian pop. Recordings were done in California, not Rio – and arrangements are handled by the great Jack Marshall – who's got a strong ear for keeping things interesting with a mix of strings, Latin rhythms, and Capitol pop shadings.
01 - Ho Ba La La
02 - Sweet Happy Life (Samba De Orfeu)
03 - Quiet Nights (Corcovado)
04 - Aruanda
05 - The Dreamer
06 - So Danco Samba (Jazz 'n' Samba)
07 - Once I Loved
08 - Who Knows
09 - Tem Do
10 - With Feeling
11 - Agua De Beber
Wanda De Sah - vocals
with strings, orchestra and Latin rhythm arranged and conducted by Jack Marshall
06. Clare Fischer - Manteca! (1966)
One of our favorite albums ever from the great Clare Fischer – and one of the first to really show his special talents at their best! The sound here is a wonderful blend of jazz, Latin, and Brazilian modes – and in addition to piano, Clare plays plenty of organ on the date – which bristles with this cool, clear sound amidst larger backdrops that have a very driving feel!
There's lots of percussive energy at the bottom of the bigger group tracks – thanks to work from Latin percussionists Carlos Vidal, Cuco Martinez, Chino Valdes, and Rudy Calzado – and some of the other cuts feature a smaller group, but still with lots of great percussion! Clare's organ has this feel that's very different than the usual Hammond jazz style – and really sounds great throughout – on a batch of tracks that includes a key reading of his classic "Morning" – plus the cuts "Manteca", "Favela", "Afro Blue", "Dulzura", and "Negrita".
01 - Manteca
02 - El Toro
03 - Morning
04 - Afro Blue
05 - Favela
06 - Marguerite (Suegra)
07 - Dulzura
08 - Sway (Quien Sera)
09 - Negrita
Clare Fischer - piano and organ
Conte Candoli, Bobby Bryant, Don Smith, A.D. Brisbois - trumpet
Gil Falco, Bob Edmondson - trombone
Ernie Tack - bass trombone
Ralph Peña - bass
Nicholas "Cuco" Martinez - timbales
Adolfo "Chino" Valdes, Carlos Vidal - conga
Rudy Calzado - cencero and güiro
Richard West - bass
07. Bud Shank & Clare Fisher - Bossa Nova Jazz Samba (1962)
A sublime little set all the way through – an early 60s date from the west coast scene – and one that was almost as important to that side of the country as the Verve bossa records were to New York! Bud Shank's in the lead on alto sax – no flute at all this time around – blowing sharp and soulfully, in a way that's even more deft than most of his other albums! But the equal star here is the young Clare Fischer – who plays piano in the group, and also contributed a host of original tunes to the set – fresh numbers that are way different than the usual "bossa-ized" standards, or American remakes of Brazilian classics. Ralph Pena is a key member of the group on bass – and Larry Bunker plays some vibes as well. Titles include "Joao", "Pensativa", "Samba Guapo", "Samba Da Borboleta", and "Que Mais?".
01 - Samba Da Borboleta
02 - Illusao
03 - Pensativa
04 - Joao
05 - Misty
06 - Que Mais_
07 - Wistful Samba
08 - Samba Guapo
Bud Shank - alto saxophone
Clare Fischer - piano
Ralph Pena - bass
Larry Bunker - vibes, drums
Bob Neel, Milt Holland, Frank Guerrero - percussion
08. Bud Shank, Clare Fischer, Joe Pass - Brasamba! (1962)
One of the greatest albums of Brazilian jazz that Bud Shank ever recorded — done with a style that's a lot more like some of the best bossa albums from Rio at the time! Bud's recorded in other bossa settings before — but there's something about this record that really gets the whole thing right — as Shank's alto and flute come into play with a killer combo that includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on guitar, and Milt Holland and Chuck Flores on percussion.
The added percussion really brings a lot to the set — and gives it a strongly bossa-driven groove that really lets Shank take off on alto and flute solos. Fischer's piano is remarkably strong — caught at that clear early point in his career when he was such a fresh voice on the scene. The whole thing's wonderful overall — and if you think you might have it under another name, check the song listings — because we bet you don't! Titles include "Sambinha", "Gostoso", "Elizete", "O Barquinho", "Brasamba", and "Otem A Note".
01 - Brasamba
02 - Otem A Note
03 - Autumn Leaves
04 - Sambinha
05 - Gostoso
06 - If I Should Lose You
07 - O'Barquinho
08 - Serenidade
09 - Elizete
10 - Samba De Orfeu
Bud Shank - alto saxophone, flute
Clare Fischer - piano
Joe Pass - guitar
Ralph Pena - bass
Larry Bunker - vibraphone, drums
Chuck Flores, Milt Holland - percussion
Bossa Nova | Discography | Latin | FLAC / APE | CD-Rip
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