Romero Lubambo - Rio De Janeiro Underground

Styles: Guitar Jazz, World
Year: 2003
File: MP3@320K/s
Time: 68:33
Size: 157,6 MB
Art: Front

(5:52)  1. She Walks This Earth
(6:43)  2. Easy Going
(5:53)  3. Rio De Janeiro Underground
(5:52)  4. For Donato
(5:35)  5. Aparecida
(4:38)  6. Cornfield
(6:47)  7. Dipper Mouth
(6:35)  8. Estrela Guia
(4:37)  9. Sweeping The Chimney
(5:00) 10. Leblon
(5:43) 11. Avenida Central
(5:13) 12. Nira

RIO DE JANEIRO UNDERGROUND is a combination of several influences that I was exposed to, having been brought up in that incredible city. From bossa nova, to funk, to second line, to Brazilian country music, to jazz, and to street samba. All these types of music touched me greatly; not necessarily played on the radio, but in backyards, jam sessions and on the streets of Rio. For this project, I chose musicians that are masters of many different types of music to bring back to me the feelings I had making music in Rio. It was a joy for me to work with them. To have Herbie Mann and Ivan Lins as special guests is a dream come true. 

~ Editorial Reviews https://www.amazon.com/Rio-Janeiro-Underground-Romero-Lubambo/dp/B0000AOV3L

Personnel : Romero Lubambo (acoustic guitar, guitar); Ivan Lins (vocals); Herbie Mann (alto flute, flute); Cesar Camargo Mariano, Dario Eskenazi (piano, Fender Rhodes electric piano); Sergio Brandao, Paul Socolow (bass); Ricky Sebastian, Mark Walker (drums); Cyro Baptista (percussion).

Rio De Janeiro Underground

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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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Leny Andrade & Cesar Camargo Mariano - Ao Vivo

Size: 152,7 MB

Time: 65:36

File: MP3 @ 320K/s

Released: 2015

Styles: Brazilian Jazz, Bossa Nova, Samba

Art: Front

01. Sambambaia (Instrumental) (Live) (9:10)

02. Tristeza De Nos Dois (Live) (5:03)

03. Redentor (Live) (3:14)

04. Vai De Vez (Live) (3:14)

05. A Ilha (Live) (6:22)

06. Ceu E Mar (Live) (3:36)

07. Fim De Sonho (Live) (4:57)

08. Voce Vai Ver (Live) (4:37)

09. Da Cor Do Pecado (Live) (7:19)

10. Carinhoso (Instrumental) (Live) (5:12)

11. Choro Do Minuto (Live) (2:10)

12. Quem Diz Que Sabe (Live) (6:41)

13. Alvoroço (Live) (3:57)

Making the virtuosic and vigorous style of samba-jazz her main field of expression, Leny Andrade acquired a solid reputation as a singer and improviser, acknowledged by the many top musicians who have performed with her, such as Paquito D'Rivera (who considers Andrade his favorite singer), Luiz Eça, Dick Farney, João Donato, Eumir Deodato, and Francis Hime. Leny Andrade's eclectic style became better defined with the advent of bossa nova, through which she introduced jazz elements into her singing. Finally, she opted for a synthesis of samba-jazz that refutes much of the delicacy and attention to the lyrics as proposed by bossa nova, in favor of a more energetic interpretation. The LP Registro (1979) is a good sample of her dedication to that genre. She also has albums dedicated to rootsy samba-canção/samba composers like Cartola, Leny Andrade Interpreta Cartola (1987), and Nelson Cavaquinho (Luz Negra, 1994). Throughout her career, Andrade had many hits and some of her biggest include "Estamos Aí" (Durval Ferreira/Maurício Einhorn), "A Resposta" (Marcos Valle/Paulo Sérgio Valle), and "Samba de Rei" (Marcos Vasconcellos/Pingarilho). At six, Andrade was already taking classical piano classes. At nine, she started to sing on radio shows like the Clube do Guri (Rádio Tupi, Rio de Janeiro). Six years later, she became the crooner for the Permínio Gonçalves Orchestra. In 1961, she performed at the historic nightclubs of the Beco das Garrafas, Bacará (accompanied by the Sérgio Mendes Trio), and Bottle's Bar. Her first album, A Sensação, was released that same year. In the next year, she became the crooner of Dick Farney's orchestra in São Paulo. In 1965, she had success with the show Gemini V, together with Pery Ribeiro and the Bossa Três at the Porão 73 nightclub, which was recorded live and released as an LP.

 In that same year, she recorded "Estamos Aí" (Durval Ferreira/Maurício Einhorn), one of the most important songs of her repertory, for an eponymous LP. Andrade departed then for a season in Argentina, at the end of which she settled in Mexico, where she lived from 1966 to 1970. In 1972, she and Ribeiro starred in the Gemini V show again, yielding the live recorded LP Gemini Cinco Anos Depois/Pery Ribeiro & Leny Andrade. In 1973, she participated on the live recording Expo-Som '73, together with Márcia, Simone, and Ari Vilela. Her international activities gained momentum in the decades of 1980 and 1990, a period in which she shared her time between the U.S. and Brazil. In 1993, she moved to New York, NY. In the U.S., she performed intensively in jazz festivals, 40 just in the first year. In August 1994, she participated in the Hollywood Bowl Festival (Los Angeles, CA), performing for 15,000 people. In the same year, she performed at the Lincoln Center and released her praised acoustic album in duet with guitarist Romero Lubambo (Coisa Fina). In 1995, she was nominated for the Sharp prize as Best MPB Female Singer, released Letra e Música in duet with Cristóvão Bastos (an album dedicated to Tom Jobim's originals with song and lyrics written without collaborators), and participated in the Umbria Jazz Festival (Umbria, Italy) and in the fourth Blu Jazz Festival (Blumenau, Santa Catarina, Brazil). In 1998, she also participated in the JVC Jazz Festival (New York, NY) and on the TV special Tim Maia Tribute (Multishow, Brazil). ~Alvaro Neder

Ao Vivo 

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