Frank Sinatra, Antônio Carlos Jobim - The Complete Reprise Recordings

Styles: Vocal, Guitar
Year: 1967
File: MP3@320K/s
Time: 58:03
Size: 134,3 MB
Art: Front

(3:20) 1. The Girl From Ipanema
(3:32) 2. Dindi
(2:43) 3. Change Partners
(2:45) 4. Quiet Nights of Quiet Stars
(2:55) 5. Meditation (Meditação)
(2:11) 6. If You Never Come To Me
(3:18) 7. How Insensitive
(2:39) 8. I Concentrate On You
(2:36) 9. Baubles, Bangles And Beads
(2:39) 10. Once I Loved
(3:39) 11. The Song Of The Sabia
(2:35) 12. Drinking Water
(2:36) 13. Someone To Light Up My Life
(2:39) 14. Triste
(2:53) 15. This Happy Madness
(2:20) 16. One Note Samba
(2:27) 17. Don’t Ever Go Away
(3:19) 18. Wave
(3:09) 19. Off Key
(3:40) 20. Bonita

For the first time in over three decades, the Frank Sinatra/Antonio Carlos Jobim recordings are now together in The Complete Reprise Recordings, the most comprehensive compilation of the Sinatra/Jobim sessions yet. The re-mastered classics of the two late musical legends include "Dindi," "How Insensitive," "Quiet Nights of Quiet Stars," and of course, "The Girl from Ipanema," a Jobim masterpiece covered by numerous colleagues such as pianist Vince Guaraldi. In addition to those, there are three new bonus tracks on this reprise that allow for a new compositional spark that perfectly compliment the jazz standards that Jobim arranges in his distinct Brazilian bossa nova style. The Complete Reprise Recordings are a must-have for any collector, and a new lifestyle for dedicated Sinatra/Jobim fans. Sinatra's voice has been heard around the world, and as it is matched flawlessly with the compositional genius of Antonio Carlos Jobim, his fame will continue to grow more than a decade after his passing. https://www.amazon.com.br/Sinatra-Jobim-Complete-Reprise-Recordings/dp/B003CR9BYE

Personnel: Frank Sinatra – vocals, Antônio Carlos Jobim – vocals, guitar

The Complete Reprise Recordings

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Tom Jobim - International Jazz Festival, Montreal '85

Styles: Vocal, Brazilian Jazz
Year: 2022
File: MP3@320K/s
Time: 52:06
Size: 119,9 MB
Art: Front

(3:27) 1. Agua de Beber
(4:08) 2. Chega de Saudade
(4:43) 3. Two Kites
(3:01) 4. Wave
(4:37) 5. Borzeguim
(3:18) 6. Falando de Amor
(9:03) 7. Gabriela
(4:32) 8. A Felicidade
(3:41) 9. Samba do Aviao
(4:16) 10. Waters of March
(4:31) 11. Girl from Ipanema
(2:44) 12. Canção do Exilio / Samba de uma Nota So

Antonio Carlos Jobim was born in Rio de Janeiro, Brazil, to cultured parents. His father was a diplomat, and his mother founded a primary school. He began formal music studies in his teens, eventually foregoing the idea of becoming an architect. His early influences were the big bands of the ‘40s, West Coast jazz of the ‘50s, composers such as Debussy, Stravinsky, Chopin, Villa-Lobos (introduced to him by his German piano teacher), and, of course, the Brazilian samba.

Jobim played piano in nightclubs and made his first recording in 1954, backing a vocalist as “Tom” and His Band. With poet Vinicius de Moraes and vocalist/guitarist Joao Gilberto, Jobim created a new musical style which became known as the bossa nova. It borrowed from the samba, jazz rhythms, and European harmonies. He scored de Moraes’ play Orfeu do Carnaval in 1956 which became the film Black Orpheus in 1959, scored by Jobim and Luis Bonfa. It won both the Academy Award and Golden Globe for Best Foreign Film and the Cannes Film Festival Palme d’Or for its director Marcel Camus. Most importantly, its music fueled the bossa nova fad.

In the meantime Gilberto had recorded Jobim’s songs to popular acclaim in 1958, and Jobim’s “Desafinado” from Jazz Samba by Stan Getz and Charlie Byrd became a hit in America in 1962. Jobim was among several Brazilians to perform that year at Carnegie Hall. The following year Astrud Gilberto, Joao’s wife, scored a mega hit with Jobim’s “The Girl from Ipanema.”

Jobim’s gentle guitar, romantic rhythms, and warm vocal style epitomized the sensuality of his music. He recorded with orchestrators Claus Ogerman and Nelson Riddle, vocalist Frank Sinatra, and several jazz musicians. Many of his songs became well-established in the jazz repertoire and were given English lyrics by various writers: “Corcovado” (“Quiet Nights of Quiet Stars”), “Wave,” “Chega de Saudade” (“No More Blues”), “One Note Samba”, “Amor Em Paz” (“Once I Loved”), “How Insensitive,” “Triste,” “Waters of March,” “Dindi,” and “A Felicidade.”

When interest in the bossa nova waned at the end of the ‘60s, Jobim turned to scoring Brazilian films. A resurgence of interest in the music brought him back to the international scene in the mid-‘80s when he toured with his own group that included his wife, son, and daughter. Just before his death in 1994, he recorded a collaboration with pop star Sting.
By Sandra Burlingame https://www.jazzstandards.com/biographies/biography_222.htm

International Jazz Festival, Montreal '85

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Frank Sinatra & Antonio Jobim - Francis Albert Sinatra & Antonio Carlos Jobim

Styles: Vocal, Piano and Guitar
Year: 1967
File: MP3@320K/s
Time: 28:34
Size: 79,1 MB
Art: Front

(3:16)  1. The Girl From Ipanema (Garota De Ipanema)
(3:30)  2. Dindi
(2:43)  3. Change Partners
(2:46)  4. Quiet Nights of Quiet Stars (Corcovado)
(2:56)  5. Meditation (Meditacao)
(2:12)  6. If You Never Come To Me
(3:18)  7. How Insensitive (Insensatez)
(2:40)  8. I Concentrate on You
(2:35)  9. Baubles, Bangles and Beads
(2:36) 10. Once I Loved (O Amor En Paz)

"I haven't sung so softly since I had laryngitis." That January 30, 1967, he did it. For the first time in his career, The Voice had to put its foot on the brake. And also for the first (and only) time in 52 years of life, Frank Sinatra signed his Christian name on a phonographic record. Francis Albert Sinatra was in the studio with the Brazilian Antonio Carlos Jobim. The meeting of the greatest American singer with the father of bossa nova - the title of the album brings together the full names of the two authors - has now won a new edition, commemorating 50 years.

Short album (does not reach 30 minutes) with ten songs, brings together seven of Jobim himself ( The girl from Ipanema , Dindi , Meditation , How insensitive , among others) and three North American standards ( Change partners , I concentrate on you and Baubles , bangles and beads ). The reissue brings two bonus tracks: the medley Quiet night of quiet stars / Change partners / I concentrate on you / The girl from Ipanema taken from the TV show A man and his music + Ella Jobim (also from 1967) and an unprecedented recording of The girl from Ipanema , made during the registration of Francis Albert Sinatra & Antonio Carlos Jobim. The sound is bossa nova with a more sophisticated outfit, since the arrangements were under the responsibility of the German Claus Ogerman. The album was a public and critical success, remaining 28 weeks on the Billboard charts.

Grammy-nominated, he justly lost the gold gramophone album of the year to Sgt. Pepper's Lonely Hearts Club Band, by the Beatles. Sinatra was a little late in the hump. It was five years ago, since the historic concert at Carnegie Hall, that the Brazilian beat had become a fever in the United States. Although a little late, the album can be considered fundamental.

The main reason is for bringing Sinatra at a special time. His interpretation is very subtle, of a vocal technique that until then seemed unprecedented in his long trajectory. In complete harmony with Jobim and his soft guitar, the drummer Dom Um Romão stands out. "A Brazilian who seemed, at the same time, to be alert and drugged," wrote Stan Cornyn in the album insert. Warner executive, he worked several times on Sinatra albums. Sinatra and Jobim (“Tone”, as The Voice called the conductor) recorded another work together. In 1969, they got together for a new album. The irregular result came out in the compilation Sinatra and company, which went public only in 1971. Three other tracks from this same studio encounter remained unpublished until 2010, when the double album Sinatra / Jobim: The complete Reprise recordings was released, which brought together the recordings made in 1967 and 1969. In this way, it is the work of 50 years ago that must remain the meeting of the two giants of music. Francis Albert Sinatra & Antonio Carlos Jobim is a very silent album, to be tasted little by little. Without haste, and for many, many times. https://www.diariodepernambuco.com.br/noticia/viver/2017/08/album-historico-de-frank-sinatra-e-tom-jobim-ganha-edicao-comemorativa.html

Personnel: Frank Sinatra – vocal; Antônio Carlos Jobim – piano, acoustic guitar, backing vocals; Claus Ogerman – arranger, conductor; Dom Um Romão – drums; Colin Bailey - drums I Concentrate On You, Baubles Bangles And Beads, Change Partners, Dindi;  Al Viola – electric guitar;  Jose Marino – doublebass

Francis Albert Sinatra & Antonio Carlos Jobim

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Salena Jones - Salena Sings Jobim With The Jobim's

Styles: Vocal, Brazilian Jazz
Year: 1994
File: MP3@320K/s
Time: 51:03
Size: 117,6 MB
Art: Front

(3:26)  1. I Was Just One More For You
(3:11)  2. Agua de Beber
(3:10)  3. Useless Landscape
(3:37)  4. Quiet Night Of Quiet Stars
(3:04)  5. Somewhere In The Hills
(5:16)  6. Dindi
(3:31)  7. Desafinado
(4:53)  8. How Insensitive
(3:21)  9. Girl / Boy From Ipanema
(3:22) 10. Once I Loved
(3:11) 11. Meditation
(2:52) 12. One Note Samba
(4:35) 13. Bonita
(3:28) 14. Song Of The Jet

Born in Newport News, VA, in 1944, Salena Jones (real name: Joan Elizabeth Shaw) would over the course of a 60-plus-year career become one of the leading vocalists of swing music, performing in a number of countries in Europe and Asia and recording a number of albums. Jones got her first break at the famed Apollo Theater in New York, winning a talent contest that resulted in a record deal. She spent the early part of her career touring and performing with such leading lights as Louis Armstrong, Cab Calloway, and Duke Ellington. Her first forays overseas, to Spain and the U.K., were in the mid-'60s and were to begin a life spent mostly outside the rather fickle confines of the United States. In 1978, she made her first appearance in Japan and performed there on an annual basis. By the first decade of the 21st century, she had performed on most continents, recorded more than 40 albums, and sang at the 2006 Shanghai International Jazz Festival. ~ Chris True https://www.allmusic.com/artist/salena-jones-mn0000290681                

Personnel:  Salena Jones (vocal);  Antonio Carlos Jobim (piano);  Paulo Jobim (guitar);  Daniel Cannetti Jobim (piano);  Sebastiao Netto (bass);  Ricardo Costa (drums);  Paulo Antonio Braga (percussion);  Raul de Souza (trombone);  Paulo Roberto de Oliveira (flugel);  Danilo Caymmi and Paulo Jobim (flute);  Marcio Mallard and Diana Lacerda (cellos)

Salena Sings Jobim With The Jobim's

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Antonio Carlos Jobim - Verve Jazz Masters 13

Styles: Vocal, Bossa Nova
Year: 1993
File: MP3@320K/s
Time: 56:34
Size: 131,4 MB
Art: Front

(4:17) 1. Corcovado (Quiet Nights Of Quiet Stars)
(2:39) 2. Vivo Sonhando (Dreamer)
(3:40) 3. So Danco Samba
(2:47) 4. Desafinado (Off Key)
(3:35) 5. Aguas De Marco (Waters Of March)
(5:29) 6. O Grande Amor
(2:53) 7. Agua De Beber
(3:15) 8. Chovendo Na Roseiro (Double Rainbow)
(6:55) 9. O Morro Nao Tem Vez
(2:12) 10. Fascinating Rhythm
(2:57) 11. Insensatez (How Insensitive)
(3:11) 12. Inutil Paisagem (Useless Landscape)
(3:25) 13. O Morro não tem Vez
(2:06) 14. Por Toda Minha Vida
(2:43) 15. Triste
(4:23) 16. Borzeguim

Antonio Carlos Jobim's entry in the exhaustive VERVE JAZZ MASTERS set of historical reissues is one of the best single-disc Jobim anthologies available. It's not got much in the way of historical range, since it stops in the mid-'60s, just before Jobim left Verve for Reprise and then A&M. However, since Jobim's Verve years were, in the minds of many, his career highpoint, VERVE JAZZ MASTERS 13 distills the best of his most artistically and commercially successful period. Nearly all of Jobim's greatest songs are here in their definitive versions, and the whole is sequenced thoughtfully, so that the disc has a logical and delightful flow. This is magnificent stuff, as well as being the birth of bossa nova. https://www.allmusic.com/album/verve-jazz-masters-13-mw0000112351

Personnel: Antonio Carlos Jobim - Vocal, Guitar, Piano; Stan Getz - Tenor Saxophone; Joao Gilberto - Guitar, Vocal; Tommy Williams - Bass; Luiz Bonfa Bass; George Duvivier Bass; Paulo Ferreira Drums; Paulo Braga Drums; Paulo Jobim Guitar, Vocal, Producer

Verve Jazz Masters 13

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Joao Y Astrud Gilberto With Antonio Carlos Jobim & Stan Getz - Samba E Bossa Nova

Bitrate: MP3@320K/s
Time: 51:47
Size: 118.6 MB
Styles: Bossa Nova, Brazilian jazz
Year: 2006
Art: Front

[6:26] 1. Garota De Ipanema
[5:25] 2. Corcovado
[2:21] 3. O Pato
[3:17] 4. Samba De Uma Nota So
[3:05] 5. Samba De Minha Terra
[4:00] 6. Meditaçao
[4:19] 7. It Might As Well Be Spring
[2:51] 8. Um Abraço No Bonfa
[2:03] 9. Bim Bom
[2:43] 10. A Felicidade Adieu Tristesse
[1:58] 11. The Telephone Song
[4:23] 12. Only Trust Your Heart
[3:22] 13. Eu E Voce
[4:04] 14. Rosa Moreno
[1:24] 15. Doralice

I was on a luckless search looking for a review of this album when a friend called and asked what I was doing. So I told him and asked him if he knew where somebody might have written a relevant review of this album. He said there was only one word I needed to write - WOW!

Samba E Bossa Nova

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Various - Antonio Carlos Jobim & Friends (3 Parts)

Brazilian songwriter and vocalist Antonio Carlos Jobim (1927–1994) was one of the creators of the subtle, whispery, jazz-influenced popular song style known as bossa nova. He has been widely acclaimed as one of Brazil's greatest and most innovative musicians of the twentieth century.

Jobim's place in the annals of popular music was secured by a single hit song, "The Girl from Ipanema" (1964), which he co-wrote with lyricist Vinícius de Moraes. His creative contributions to jazz, however, went much deeper; many of his songs became jazz standards, and, in the words of Richard S. Ginell of the All Music Guide , "Every other set" performed in jazz clubs "seems to contain at least one bossa nova." Jobim was sometimes called the George Gershwin of Brazil, not so much because of any musical or lyric similarity Jobim's songs tended to have oblique, often poetic lyrics quite unlike the clever romantic rhymes of George Gershwin's brother Ira but because his music became the bedrock for the work of jazz musicians for decades after its creation.

Album: Antonio Carlos Jobim & Friends (Part 1)

Bitrate: MP3@320K/s

Time: 58:22

Size: 133.6 MB

Styles: Bossa Nova, Brazilian jazz

Year: 2015

[2:40] 1. Antônio Carlos Jobim - The Girl From Ipanema

[2:28] 2. Sergio Mendes & Brasil '66 - Agua De Beber

[5:15] 3. Dizzy Gillespie - One Note Samba

[3:36] 4. João Gilberto - Só Danço Samba

[4:17] 5. Antônio Carlos Jobim - Corcovado

[2:48] 6. Astrud Gilberto - How Insensitive

[4:13] 7. Stan Getz - Chega De Saudade (No More Blues)

[3:31] 8. Elis Regina - Águas De Março

[2:15] 9. Sergio Mendes & Brasil '66 - Wave

[2:27] 10. Caetano Veloso - Meditação

[4:55] 11. Gal Costa - A Felicidade

[4:26] 12. Antônio Carlos Jobim - Captain Bacardi

[2:40] 13. Astrud Gilberto - Dindi

[4:41] 14. Stan Getz - O Grande Amor

[3:09] 15. Elis Regina - Inútil Paisagem

[2:40] 16. Walter Wanderley - Song Of The Jet

[2:13] 17. Ella Fitzgerald - Desafinado

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Album: Antonio Carlos Jobim & Friends (Part 2)

Bitrate: MP3@320K/s

Time: 66:35

Size: 152.4 MB

Styles: Bossa Nova, Brazilian jazz

Year: 2015

[4:44] 1. Wes Montgomery - O Morro Nao Tem Vez

[2:10] 2. Astrud Gilberto - Amor Em Paz

[3:50] 3. Antônio Carlos Jobim - Brasil Nativo

[5:03] 4. Antônio Carlos Jobim - Para Machuchar Meu Coracao

[6:21] 5. Herbie Hancock - Ela E Carioca

[3:09] 6. Elis Regina - Retrato Em Branco E Preto

[5:48] 7. Ella Fitzgerald - Jazz Samba

[2:45] 8. Astrud Gilberto - Felicidade

[2:51] 9. João Gilberto - Vivo Sohando

[5:27] 10. Joe Henderson - Dreamer

[2:06] 11. Sergio Mendes & Brasil '66 - Triste

[2:32] 12. Astrud Gilberto - Eu E Voco

[2:39] 13. Elis Regina - Bonita

[5:18] 14. Joe Henderson - Portrait In Black And White

[4:34] 15. João Gilberto - Este Seu Olhar

[1:44] 16. Elis Regina - O Que Tinha De Ser

[5:26] 17. Antônio Carlos Jobim - Ana Luiza

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Album: Antonio Carlos Jobim & Friends (Part 3)

Bitrate: MP3@320K/s

Time: 64:12

Size: 147.0 MB

Styles: Bossa Nova, Brazilian jazz

Year: 2015

Art: Front

[6:36] 1. Joe Henderson - Boto

[3:29] 2. Antônio Carlos Jobim - Luiza

[3:59] 3. Antônio Carlos Jobim - Remember

[5:03] 4. Gal Costa - Se Todos Fossem Iguais A Voce

[3:18] 5. Antônio Carlos Jobim - Chansong

[8:46] 6. Lee Ritenour - Stone Flower

[2:19] 7. Antônio Carlos Jobim - Mojave

[6:39] 8. Stan Getz - Once Again (Outra Vez)

[3:09] 9. Elis Regina - Chovendo Na Roseira

[2:07] 10. Nelson Riddle - Por Toda Minha Vida

[2:27] 11. Astrud Gilberto - She's A Carioca

[2:17] 12. Astrud Gilberto - Water To Drink

[3:44] 13. Antônio Carlos Jobim - Looks Like December

[3:16] 14. Antônio Carlos Jobim - Nuvens Douradas (Golden Clouds)

[3:11] 15. Joe Henderson - Happy Madness

[3:44] 16. Antônio Carlos Jobim - Anos Dourados

Antonio Carlos Jobim & Friends (Part 1)(Part 2)(Part 3) 

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Antonio Carlos Jobim - The Story Of... Antonio Carlos

Styles: Bossa Nova, Brazilian Jazz
Year: 2018
File: MP3@320K/s
Time: 57:48
Size: 133,3 MB
Art: Front

(2:06)  1. Triste
(3:21)  2. Manhã de Carnaval
(2:07)  3. A Felicidade
(2:42)  4. The Girl From Ipanema
(3:09)  5. Antigua
(4:28)  6. Captain Bacardi
(2:46)  7. Desafinado
(2:23)  8. Jazz Samba (So Danco Samba)
(2:26)  9. Corcovado
(2:44) 10. Lamento
(2:35) 11. Dindi
(2:37) 12. Dreamer
(3:17) 13. Meditation
(4:19) 14. Chega de Saudade
(2:19) 15. Look To The Sky
(3:37) 16. O Morro
(3:23) 17. Berimbau
(2:17) 18. One Note Samba
(2:28) 19. Hurry Up And Love Me (Preciso de Voce)
(2:36) 20. Favela

It Has that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil, and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source. Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel, and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning. As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. 

His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner. Born in the Tijuca neighborhood of Rio, Jobim originally was headed for a career as an architect. Yet by the time he turned 20, the lure of music was too powerful, and so he started playing piano in nightclubs and working in recording studios. He made his first record in 1954 backing singer Bill Farr as the leader of "Tom and His Band" (Tom was Jobim's lifelong nickname), and he first found fame in 1956 when he teamed up with poet Vinícius de Moraes to provide part of the score for a play called Orfeo do Carnaval (later made into the famous film Black Orpheus). In 1958, the then-unknown Brazilian singer João Gilberto recorded some of Jobim's songs, which had the effect of launching the phenomenon known as bossa nova. Jobim's breakthrough outside Brazil occurred in 1962 when Stan Getz and Charlie Byrd scored a surprise hit with his tune "Desafinado"and later that year, he and several other Brazilian musicians were invited to participate in a Carnegie Hall showcase. Fueled by Jobim's songs, the bossa nova became an international fad, and jazz musicians jumped on the bandwagon, recording album after album of bossa novas until the trend ran out of commercial steam in the late '60s. 

Jobim himself preferred the recording studios to touring, making several lovely albums of his music as a pianist, guitarist, and singer for Verve, Warner Bros., Discovery, A&M, CTI, and MCA in the '60s and '70s, and Verve again in the last decade of his life. Early on, he started collaborating with arranger/conductor Claus Ogerman, whose subtle, caressing, occasionally moody charts gave his records a haunting ambience. When Brazilian music was in its American eclipse after the '60s, a victim of overexposure and the burgeoning rock revolution, Jobim retreated more into the background, concentrating much energy upon film and TV scores in Brazil. But by 1985, as the idea of world music and a second Brazilian wave gathered steam, Jobim started touring again with a group containing his second wife Ana Lontra, his son Paulo, daughter Elizabeth, and various musician friends. At the time of his final concerts in Brazil in September 1993 and at Carnegie Hall in April 1994 (both available on Verve), Jobim at last was receiving the universal recognition he deserved, and a plethora of tribute albums and concerts followed in the wake of his sudden death in New York City of heart failure. Jobim's reputation as one of the great songwriters of the century is now secure, nowhere more so than on the jazz scene, where every other set seems to contain at least one bossa nova. ~ Richard S.Ginell  https://www.allmusic.com/artist/ant%C3%B4nio-carlos-jobim-mn0000781837/biography

The Story Of... Antonio Carlos Jobim

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Antonio Carlos Jobim - Wave: the Antonio Carlos Jobim Songbook

Styles: Vocal, Brazilian Jazz
Year: 1962
File: MP3@320K/s
Time: 63:32
Size: 146,2 MB
Art: Front

(2:52)  1. Wave
(5:50)  2. So Danço Samba (Jazz Samba)
(3:14)  3. Happy Madness
(3:12)  4. Chovendo Na Roseira
(5:53)  5. Desafinado
(2:48)  6. A Felicidade
(4:46)  7. O Grande Amor
(4:03)  8. Insensatez
(4:48)  9. Amor Em Paz (Once I Loved)
(4:16) 10. Corcovado (Quiet Nights of Quiet Stars)
(5:20) 11. Triste
(2:31) 12. The Boy from Ipanema
(5:18) 13. Samba de Uma Nota Só (One Note Samba)
(5:26) 14. Vivo Sonhando
(3:08) 15. Wave

The sequel to the popular The Girl from Ipanema anthology basically reshuffles the deck, duplicating nine of the earlier CD's songs and adding six new ones, using mostly the same performers with a few additions. The new wrinkle is that the artists perform different tunes, a game that one imagines could be continued indefinitely on future issues. Among the highlights: Ella Fitzgerald has a marvelous time bouncing to the rhythms of "So Danço Samba," Wes Montgomery  the consummate musician scores again with a lovely "Amor Em Paz," and Oscar Peterson is a surreal speed demon on "Triste." Lowlight: Sarah Vaughan's awkwardly mannered "The Boy from Ipanema." Again, there is plenty of Stan Getz along with his tenor sax successor in matters Jobim, Joe Henderson plus Astrud and João Gilberto, Dizzy Gillespie, Toots Thielemans, Charlie Byrd, Herbie Hancock, Chick Corea, Pat Metheny, and Jobim himself. As a jazz buff's introduction to Jobim, either Songbook will do, but Verve's The Man from Ipanema triple album is the best, most comprehensively idiomatic choice overall. ~ Richard S.Ginell https://www.allmusic.com/album/wave-the-antonio-carlos-jobim-songbook-mw0000648316     

Personnel includes: Antonio Carlos Jobim (vocals, piano, guitar); Cesar Camargo Mariano (piano, electric piano); Joao Gilberto (vocals, guitar); Ella Fitzgerald, Sarah Vaughan, Elis Regina, Astrud Gilberto (vocals); Stan Getz, Joe Henderson (tenor saxophone); Dizzy Gillespie, Donald Byrd (trumpet); Romeo Penque (flute, piccolo, clarinet, oboe, English horn); Danny Bank (flute, alto flute); Phil Woods (clarinet); Toots Thielemans (harmonica); Chick Corea, Herbie Hancock, Oscar Peterson, Lalo Schifrin, Eliane Elias (piano); Pat Metheny, Wes Montgomery, Charlie Byrd, Oscar Castro-Neves (guitar); Ron Carter, George Duvivier, Sam Jones (bass); Grady Tate, Paulo Braga (drums); Candido Camero (conga); Milton Banana (percussion); Gil Evan's Orchestra, Frank Foster's Orchestra.

Wave: the Antonio Carlos Jobim Songbook

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Herbie Mann - Do the Bossa Nova with Herbie Mann

Styles: Flute Jazz
Year: 1962
File: MP3@320K/s
Time: 33:13
Size: 76,3 MB
Art: Front

(4:21)  1. Deve ser amor (It Must Be Love)
(5:31)  2. Menina feia (Ugly Girl)
(2:38)  3. Amor em paz (Love in Peace)
(4:23)  4. Voce e eu (You and I)
(3:22)  5. One Note Samba (Samba de uma nota so)
(4:08)  6. Blues Walk
(4:26)  7. Consolacao (Consolation)
(4:21)  8. Bossa velha (Old Bossa)

Recorded in Rio w/ Baden Powell, Dom Um Romao, Durval Ferreira, Paulo Moura, Sergio Mendes, Antonio Carlos Jobim, Luis Carlos Vinhas and even a 17=piece Escola de Samba! Very much ahead of the curve, Mann headed out to Brazil to record this stunning Brazil meets Jazz collaborations - in our humble opinion one of the toughest and most successfull of all Bossa meets Jazz records. https://soundsoftheuniverse.com/sjr/product/herbie-mann-do-the-bossa-nova-1962

Personnel:  Flute, Alto Flute – Herbie Mann;  Alto Saxophone – Paulo Moura;  Bass – Gabriel, Octavio Bailly Jr; ;  Drums – Dom Um, Juquinha, Papao;  Guitar – Baden Powell , Durval Ferreira;  Piano – Luiz Carlos Vinhas, Sergio Mendes; Piano, Arranged By, Conductor – Antonio Carlos Jobim;  Trumpet – Pedro Paulo;  Vocals – Antonio Carlos Jobim

Do the Bossa Nova with Herbie Mann

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Ithamara Koorax - Rio vermelho

Styles: Vocal
Year: 1996
File: MP3@320K/s
Time: 67:37
Size: 155,4 MB
Art: Front

(3:50)  1. Sonho de um sonho
(5:38)  2. Retrato em branco e preto
(6:41)  3. Correnteza
(4:54)  4. Preciso aprender a ser so
(5:26)  5. Tudo acabado
(3:48)  6. Ternura antiga
(4:27)  7. Nao sei
(3:37)  8. E preciso dizer adeus
(6:06)  9. Cry me a river
(7:05) 10. India
(3:44) 11. Rio vermelho
(8:14) 12. Se queres saber
(4:02) 13. Empty glass

Any American who is seriously into Brazilian music knows that he/she cannot rely on U.S. labels alone; it is important to look for CDs that come out on Brazilian labels but make it to the U.S. as imports. Ithamara Koorax is a perfect example of a Brazilian pop-jazz vocalist who was well-known in Brazil before she had any North American releases. Although she didn't have anything out in the U.S. until Fantasy licensed Serenade in Blue from Brazil's Jazz Station label in 2000, she had provided several excellent albums for Brazilian and Japanese labels in the '90s. One of them was 1995's Rio Vermelho, which came out on Imagem in Brazil and Paddle Wheel in Japan. Emphasizing ballads, this pop-jazz effort is a fine example of Brazilian torch singing Rio Vermelho is mood music with a very Rio de Janeiro-ish sound. Rio de Janeiro, in fact, is where percussionist/arranger Arnaldo DeSouteiro produced this CD. Saying that Rio Vermelho is mood music isn't saying that Koorax's performances should fade into the background quietly she brings so much soul, depth, and emotion to the lyrics (most of them in Portuguese) that listeners would be doing themselves a disservice if they didn't turn up the volume and pay very close attention. And all of the songs that Koorax picks are perfect for a torch album, including Antonio Carlos Jobim's "É Preciso Dizer Adeus," the title track (a Milton Nascimento gem), and Arthur Hamilton's "Cry Me a River." The latter is one of only two English-language performances on this CD; the other is Luiz Bonfá's "Empty Glass," which also appears on Koorax's superb Bonfá tribute, Almost in Love: Ithamara Koorax Sings Luiz Bonfá. But whether she is singing in Portuguese or English, Rio Vermelho is a first-rate torch album. ~ Alex Henderson https://www.allmusic.com/album/rio-vermelho-mw0000538470

Personnel:  Bass – Jamil Joanes, Ron Carter;  Clarinet – Paulo Sergio Santos;  Drums – Pascoal Meirelles;  Flute – Carlos Malta;  Guitar – Luiz Bonfá, Maurício Carrilho;  Lead Vocals – Ithamara Koorax;  Piano – Antonio Carlos Jobim;  Piano, Synthesizer – Paulo Malaguti;  saxophone – Carlos Malta, Daniel Garcia (9), Sadao Watanabe

Rio vermelho

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Herbie Mann - Latin Fever

Styles: Flute Jazz
Year: 1964
File: MP3@320K/s
Time: 34:18
Size: 78,9 MB
Art: Front

(2:17)  1. Harlem Nocturne
(2:15)  2. Fever
(1:53)  3. Not Now - Later On
(2:15)  4. The Golden Striker
(3:06)  5. Insensatez
(2:30)  6. You Came A Long Way From St. Louis
(5:15)  7. Batida Differente
(4:01)  8. Nana
(5:05)  9. Groovy Samba
(5:38) 10. Influenza De Jazz

Latin Fever is an album by American jazz flautist Herbie Mann recorded for the Atlantic label and released in 1964. The album features tracks from the 1962 sessions that produced Do the Bossa Nova with Herbie Mann with more recent recordings. https://en.wikipedia.org/wiki/Latin_Fever

Personnel:  Herbie Mann - flute;  Durval Ferreira (tracks 7 & 10), Baden Powell (track 8), Bill Suyker (tracks 1-3 & 6) - guitar;  Clark Terry (tracks 1-3 & 6), Pedro Paulo (tracks 7 & 10), Ernie Royal (tracks 1-3 & 6) - trumpet;  Paulo Moura - alto saxophone (tracks 7 & 10);  Antônio Carlos Jobim - piano, vocals, arranger (tracks 5 & 9);  Sérgio Mendes - piano (tracks 7 & 10);  Paul Griffin - piano, organ (tracks 1-3 & 6);  Gabriel (track 8), Otavio Bailly Jr. (tracks 7 & 10) - bass;  Juquinha (track 8), Dom Um Romão (tracks 7 & 10), Bobby Thomas (tracks 1-3 & 6) - drums;  George Devens - vibraphone, percussion (tracks 1-3 & 6)

Latin Fever

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Antonio Carlos Jobim, Elis Regina - Elis & Tom

Bitrate: MP3@320K/s
Time: 37:57
Size: 86.9 MB
Styles: Bossa Nova, Latin jazz
Year: 1974/2009
Art: Front

[3:32] 1. Águas De Março
[1:42] 2. Pois E
[3:51] 3. Só Tinha De Ser Com Você
[2:16] 4. Modinha
[2:42] 5. Triste
[3:56] 6. Corcovado
[1:43] 7. O Que Tinha De Ser
[3:03] 8. Retrato Em Branco E Preto
[1:38] 9. Brigas Nunca Mais
[2:03] 10. Por Toda A Minha Vida
[2:45] 11. Fotografia
[2:20] 12. Soneto Da Separação
[3:11] 13. Chovendo Na Roseira
[3:08] 14. Inútil Paisagem

This beautiful -- and now legendary -- recording date between iconic Brazilian vocalist Elis Regina and composer, conductor, and arranger Tom Jobim is widely regarded as one of the greatest Brazilian pop recordings. It is nearly ubiquitous among Brazilians as a household item. Regina's voice is among the most loved in the history of Brazilian music. Her range and acuity, her unique phrasing, and her rainbow of emotional colors are literally unmatched, and no matter the tune or arrangement, she employs most of them on these 14 cuts. Another compelling aspect of this recording is the young band Jobim employs here and allows pretty free rein throughout. He plays piano on eight of these tracks, and guitar on two others, but the fluid, heightened instincts of these players -- guitarist Oscar Castro-Neves, Luizão Maia on bass, drummer Paulinho Braga, and pianist César Mariano -- reveal them to be at the top of their game for this rather informal date that does include a few numbers with a full orchestra. That said, most of these songs were completed as first takes with very little overdubbing. The ballads are stunning -- check"Modinha," written and arranged by Jobim. The chart, even with an orchestral backing, is amazingly terse because the composer knew Regina worked best within minimal settings. Only two minutes and 16 seconds in length, it nonetheless captures the Portuguese notion of "saudade" perfectly. Of course, most of these tunes are bossa novas. The opening "Águas de Março" features a deceptively simple cat-and-mouse vocal call and response, kicking the disc off on a light, cheerful note; it's a delightful and very sophisticated number, but it feels effortless. "Triste" is one of Jobim's finest tunes, and there is scarcely a better version of it than this one. Even with electric guitars (complete with a semi-funky solo in the middle eight) on top of the nylon strings, the gauzy yet pronounced rhythms and the languid melody delivered by Regina are gorgeous. "Corcovado" is done with an orchestra, full of lilting flutes and a deep string backdrop. It is mournful and sensual. Jobim plays guitar and piano here, and adds a hushed backing vocal to Regina's refrains. It's an unusual reading, but a stellar one. "Brigas, Nuncas Mais" is a wonderfully accented -- if brief -- bossa nova with all the percussion just above the threshold of hearing. It's all guitars, bass, and Regina in the first verse before the Rhodes piano and counterpoint enter near the end. She does more to express the true elegant sensuality of the bossa nova in a minute and 13 seconds than some singers have in a lifetime. Jobim's classic jazz ballad "Inútil Paisagem" is very difficult to deliver well, because it requires incredible restraint and emotion. Accompanied only by Jobim's piano -- and his all-but-whispered backing vocal -- this is truly one of Regina's greatest performances of the 1970s. It closes the album on a stunning high note, leaving nothing to be desired by the listener. ~Thom Jurek

Elis & Tom

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Herbie Mann & Joao Gilberto - Recorded In Rio De Janeiro

Bitrate: MP3@320K/s
Time: 31:23
Size: 71.9 MB
Styles: Latin jazz, Bossa Nova
Year: 1965/2005
Art: Front

[2:35] 1. Amor Em Paz (Love In Peace)
[1:56] 2. Desafinado
[1:17] 3. Bolinha De Papel
[3:03] 4. Insensatez
[2:22] 5. Maria Ninguém
[2:29] 6. O Barquinho
[2:19] 7. Samba De Minha Terra
[2:01] 8. Rosa Morena
[4:27] 9. Consolation
[3:20] 10. One Note Samba
[1:11] 11. Bim Bom
[4:18] 12. Deve Ser Amor

Nice, more light than emphatic Afro-Latin and jazz mixture by flutist Herbie Mann and composer/vocalist Joao Gilberto from 1977. The two make an effective team, with Gilberto's sometimes sentimental, sometimes impressionistic works effectively supported by Mann's lithe flute solos. ~Ron Wynn

Recorded In Rio De Janeiro

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Gary McFarland - Soft Samba

Bitrate: MP3@320K/s
Time: 28:56
Size: 66.2 MB
Styles: Bossa Nova, Latin jazz
Year: 1964/2015
Art: Front

[1:45] 1. Ringo
[2:33] 2. From Russia With Love
[2:16] 3. She Loves You
[3:03] 4. A Hard Day's Night
[2:04] 5. The Good Life
[2:18] 6. More
[3:55] 7. And I Love Her
[1:57] 8. The Love Goddess
[3:13] 9. I Want To Hold Your Hand
[1:51] 10. Emily
[1:53] 11. California, Here I Come
[2:03] 12. La Vie En Rose

Acoustic Guitar – Antonio Carlos Jobim; Bass – Richard Davis; Flute – Seldon Powell, Spencer Sinatra; Guitar – Kenny Burrell; Percussion – Sol Gubin, Willie Bobo; Piano – Patty Bowen; Trombone – Jimmy Cleveland. Recorded June15-16, September 3, October7, 1964, at Van Gelder Recording Studios, NJ.

Gary McFarland's profile was rising in jazz as an arranger and producer, having already crafted respected albums with artists such as Bill Evans. This album was perceived as a step in more commercial directions, what with its covers of Beatles tunes, film themes, and all. This didn't make it popular with jazz critics of the time, generally known for being snobby, anyways. Now that Gary McFarland is being increasingly remembered, there are similarly increasing numbers of McFarland-related reissues like this to be found. It is generally accepted that his follow-up --- The In Sound --- is the better album, but don't let that knowledge cause you to overlook Soft Samba!

Soft Samba may not have Gabor Szabo, but it does have Kenny Burrell and Antonio Carlos Jobim on guitar. It has Willie Bobo on percussion. It has "yeah, yeah, yeah" as the only readily identifiable lyrics on an album otherwise full of vocals. For these reasons and more, please introduce yourself to this album and to the thoroughly enjoyable repertoire of Gary McFarland. ~Panko Morton

Soft Samba

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Various - The Boys From Ipanema

Bitrate: MP3@320K/s
Time: 38:04
Size: 87.1 MB
Styles: Brazilian jazz-pop
Year: 2008
Art: Front

[2:53] 1. Carlos Lyra - Maria Ningué
[2:41] 2. Tamba Trio - Mas Que Nada
[3:01] 3. Roberto Menescal - Preciso Aprender A Ser Só
[2:49] 4. Caetano Veloso - Chuvas De Verão
[3:15] 5. Antonio Carlos Jobim - Nuvens Douradas
[2:11] 6. Os Cariocas - Telefone
[3:23] 7. João Donato - O Morror Não Tem Vez
[2:34] 8. Chico Buarque - Pois É
[3:57] 9. Zimbo Trio - Chuva
[2:50] 10. Luíz Eça - Tristeza De Nós Dois
[2:45] 11. Jorge Ben - Por Causa De Vocé, Menina
[2:53] 12. Tamba Trio - Reza
[2:44] 13. Toquinho - Oi Lá!

The Boys From Ipanema

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Edu Lobo & Tom Jobim - Tom & Edu

Styles: Brazilian Jazz, Bossa Nova
Year: 1981
File: MP3@320K/s
Time: 36:02
Size: 84,4 MB
Art: Front

(2:10)  1. Ai Quem Me Dera
(4:38)  2. Pra Dizer Adeus
(3:21)  3. Chovendo Na Roseira
(3:26)  4. Moto Contínuo
(3:07)  5. Angela
(2:58)  6. Luiza
(4:05)  7. Canção Do Amanhecer
(4:13)  8. Vento Bravo
(4:16)  9. É Preciso Dizer Adeus
(3:42) 10. Canto Triste

A driving force behind the rise of the MPB (Musica Popular Brasileira) sound, singer/composer Edu Lobo was born in Rio de Janeiro in 1943; at 18 he formed his first trio with Dori Caymmi and the great Marcos Valle, and in 1962 forged a long-term writing partnership with renowned lyricist Vinicius de Moraes. Drawing influence from bossa nova masters including Antonio Carlos Jobim, João Gilberto, and Baden Powell, Lobo released his debut LP, A Musica de Edú Lobo por Edú Lobo in 1963; that same year he also authored the music for Oduvaldo Vianna Filho's play Os Azerados Mais Os Benvidos, the first of many stage collaborations. The album Cinco Na Bossa, recorded with Nara Leão and the Tamba Trio, followed in 1965, the same year Lobo took top honors at the First Annual Brazilian Popular Musical Festival with his composition "Arrastão," a major hit for singer Elis Regina. (In 1967, he repeated the feat with "Ponteio.")

Albums including 1968's Edú followed before Lobo met Sergio Mendes in 1969, resulting in a contract with A&M Records for From the Hot Afternoon, which featured saxophonist Paul Desmond; by now a resident of Los Angeles, he toured with Mendes and Brasil 66 before resurfacing in 1971 with Sergio Mendes Presents Lobo, followed later that same year by Cantiga de Longe. Upon returning to Brazil, Lobo focused his energies on composing for films before returning to the studio for 1973's Missa Breve; he then spent the mid-'70s writing music for Globo, the world's fourth-largest television network, including work on the hit series Caso Especial. 1976 saw the release of the LP Limite Das Aguas, with the widely acclaimed Camaleão appearing two years later; in 1979, Lobo's score to the feature Barra Pesada earned "Best Soundtrack" honors at the Gramado Film Festival.

Lobo inaugurated the '80s with a flurry of activity, following the LP Tempo Presente with the 1981 soundtrack Jogos de Danca (a work composed for the Ballet Guaira) as well as Tom e Edu, a collaboration with Antonio Carlos Jobim. In the wake of two more ballet scores, O Grande Circo Mistico and Gabriela, Lobo worked on a series of stage musicals Vargas, O Corsario do Rei, and Danca da Meia-Lua  before finally returning to the studio in 1990 for the LP Serie Personalidade. Corrupião followed in 1993, and two years later he returned with Meia Noite. The score to the 1997 film Guerra de Canudos preceded Lobo's next project, a planned adaptation of Jo Soares' book A Samba for Sherlock. Bio ~ https://itunes.apple.com/br/artist/edu-lobo/id10485

Antônio "Tom" Carlos Brasileiro de Almeida Jobim (January 25, 1927 – December 8, 1994), also known as Tom Jobim, was a Brazilian songwriter, composer, arranger, singer, and pianist/guitarist. He was a primary force behind the creation of the bossa nova style, and his songs have been performed by many singers and instrumentalists within Brazil and internationally.

Widely known as the composer of "Garota de Ipanema" (The Girl from Ipanema), one of the most recorded songs of all time, Jobim has left a large number of songs that are now included in jazz and pop standard repertoires. The song Garota de Ipanema was recorded 240 times in another version for several artists. More Bio ~ http://en.wikipedia.org/wiki/Ant%C3%B4nio_Carlos_Jobim

Tom & Edu

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Antônio Carlos Jobim - Collection

Bitrate: 320K/s
Time: 48:41
Size: 111.5 MB
Styles: Bossa Nova, Brazilian jazz
Year: 2014
Art: Front

[2:40] 1. The Girl From Ipanema
[2:48] 2. Agua De Beber
[2:52] 3. Corcovado (Quiet Nights Of Quiet Stars)
[3:31] 4. Águas De Março
[4:09] 5. Desafinado
[5:03] 6. Para Machuchar Meu Coracao
[2:45] 7. How Insensitive
[3:15] 8. Meditation
[2:14] 9. Samba De Uma Nota Só (One Note Samba)
[2:45] 10. Felicidade
[4:17] 11. Chega De Saudade
[3:49] 12. Quiet Nights Of Quit Stars
[2:19] 13. So Danco Samba (Jazz Samba)
[3:19] 14. O Morro Nao Tem Vez
[2:49] 15. Wave

It has been said that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil, and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source.

Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel, and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning. As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner. ~partial bio by Richard S. Ginnell

Collection

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Vinícius De Moraes - Pure Bossa Nova

Bitrate: 320K/s
Time: 47:16
Size: 108.2 MB
Styles: Bossa Nova, Brazilian jazz vocals
Year: 2005
Art: Front

[4:04] 1. Minha Namorada
[1:48] 2. Chega De Saudade (With Caetano Veloso)
[3:26] 3. Canto De Ossanha (With Elis Regina)
[2:48] 4. Agua De Beber (With Antonio Carlos Jobim)
[3:57] 5. Insensatez (With Sylvia Telles)
[3:19] 6. Sabe Você (With Os Cariocas)
[2:52] 7. Samba Da Volta
[3:31] 8. Samba Em Preludio (With Odette Lara)
[2:36] 9. Samba De Orly (Samba De Fiumicino) (With Toquinho)
[3:10] 10. Pra Que Chorar (With Alcione)
[2:33] 11. Ela É Carioca (With Os Cariocas)
[3:38] 12. Se Todos Fossem Iguais Á Você (With Agostinho Dos Santos)
[6:48] 13. Samba Da Benção
[2:38] 14. Carta Ao Tom 74 (With Toquinto)

Verve Records has been releasing their reasonably-priced Pure Bossa Nova series through the years, but the 50th anniversary of the bossa nova style in 2008 saw the reissue of many of the compilations, as well as some new entries. This excellent collection is based around the lyrical talents of Vinicius De Moraes, one of the main co-writers of the bossa movement, and features recordings of slinky sambas by the best singers of the era. Jazz and pop fans will enjoy the fiery emoting of Elis Regina, the smooth stylings of Toquinho, the uber-cool of Caetano Veloso, and others.

Pure Bossa Nova

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Ana Caram - Rio After Dark

Bitrate: 320K/s
Time: 58:40
Size: 134.3 MB
Styles: Brazilian jazz vocals, Bossa Nova
Year: 1989/2003
Art: Front

[3:58] 1. Rio After Dark
[4:04] 2. Alagoas
[3:37] 3. Meditation
[6:07] 4. Viola Fora De Moda (Outdated Viola)
[4:49] 5. Summer Days
[4:40] 6. La Cumbia
[4:05] 7. Anos Dourados
[3:11] 8. Renovacao (Renovation)
[4:21] 9. Rainbow
[2:16] 10. O Que Vier Eu Traco (Whatever It Is, I Can Handle It)
[2:56] 11. Sem Legenda
[3:18] 12. Forever
[4:22] 13. O Tempo E O Lugar (Time And Place)
[2:35] 14. Serrado (Savannah)
[4:15] 15. You've Got A Friend

In stylistic terms, large portions of Ana Caram's first U.S. album could easily have been recorded in 1962; it's as if time had stood perfectly still since "Desafinado" became a hit. Yet this is all for the good for this Antonio Carlos Jobim protegé, who can comfortably give material by the more contemporary writer Djavan, and even Carole King's "You've Got a Friend," the bossa nova treatment. Like most seductive Brazilian female singers, Caram is just a bit off-pitch and gets away with it. She also plays guitar skillfully in the Joao Gilberto rhythmic manner, and occasionally writes her own tunes ("Renovacao," "Rainbow") in an attractive classic bossa nova idiom. The revered Jobim sits in on piano and contributes a few vocal harmonies on two of his songs ("Meditation," "Anos Dourados"); the Chesky recording also diligently picks up his groaning. Paquito D'Rivera chirps on clarinet in the tongue-twisting "O Que Vier Eu Traco" and turns up on alto sax on Paulo Jobim's first-rate "La Cumbia," phrasing in the lilting Getz manner though he can't help but slip in a bop run or two. Steve Sacks plays low-key, moaning alto flute on several tracks, and Carlos Alberto de Oliveira and Café handle the delicate percussion. The production is typical low-key, spare-textured, painstakingly recorded Chesky fare -- and unreconstructed bossa nova fans need not hesitate. ~ Richard S. Ginell

Recorded at RCA Studio A, New York, New York on April 6-7 & 18, 1989.

Ana Caram (vocals, guitar); Paquito D'Rivera (saxophone, clarinet); Steve Sacks (alto flute, background vocals); Antonio Carlos Jobim, David Chesky (piano); Bill Washer (guitar); David Finck (bass); Carlos Alberto De Oliveria, Cafe (percussion); Beso Cerqueira, Steve Kaiser, Mary Kent (background vocals).

Rio After Dark

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