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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Claus Ogerman and His Orchestra - Latin Rock

Styles: Jazz Funk, Big Band
Year: 1967
File: MP3@320K/s
Time: 27:42
Size: 65,1 MB
Art: Front

(2:34)  1. Tequila
(2:49)  2. San Juan
(1:51)  3. Bang! Bang!
(2:26)  4. Nao Se Acabou (It Didn't End)
(2:20)  5. La Peregrina
(2:51)  6. Un Poco Rio
(2:28)  7. Yambo
(2:13)  8. Tres Hermanas
(2:51)  9. Cuchy Frito Man
(2:49) 10. Paradiso
(2:24) 11. Mas Que Nada

Latin Rock is neither, at least not in the strict sense of the term. The fourth album in Ogerman's mod series for Victor continues the Latin pop of Saxes Mexicanos. The emphasis is on crossover material, such as Joe Cuba's smash "Bang! Bang!" and Cal Tjader's Verve hit "Cuchy Frito Man." With Latin percussion, vibraphone, limited chorus on some tracks, and occasional flute, there's really no room left for anything resembling rock. Ogerman has never arranged with a rock beat ("Tequila" has always been a classic mambo riff), and "Mas Que Nada" is Brasilian, not Latin. But that's OK. 

This can't be called rock, jazz, soul, or pop; instead, it finds smooth new ground of its own. No tracks stand out, but none disappoint, either. Add cheesy jacket art and wacky liner notes by the king of sensational liner notes, Mort Goode, and you have a pleasing, mainstream Latin mod album. ~ Tony Wilds https://www.allmusic.com/album/latin-rock-mw0000766414

Latin Rock

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Claus Ogerman & His Orchestra - Watusi Trumpets

Styles: Big Band, Jazz-Funk  
Year: 1965
File: MP3@320K/s
Time: 28:07
Size: 66,1 MB
Art: Front

(2:19)  1. It's Not Unusual
(2:35)  2. Stingray
(2:19)  3. Watusi Trumpets
(2:28)  4. El Watusi
(2:20)  5. Downtown
(2:25)  6. Right Now
(2:32)  7. Harlem Watusi
(2:05)  8. One Step Above
(1:56)  9. The Joker
(2:34) 10. Poinciana
(2:21) 11. La Bamba
(2:05) 12. Land of 1000 Dances

Now that we’re in the full swing of the summer season, it seemed logical to go for an album this month with a sunny disposition. So let me make the disclaimer that the music on this LP will not change your life and I make no claims for innovation or anything earth shattering. But with your hi-fi setup close to the pool or deck, a libation of your choice in hand, and possibly a dance partner, you might find Watusi Trumpets to be a sunny finger popping disc. While many are most likely aware of arranger Claus Ogerman through his work on such sublime classics as Antonio Carlos Jobim’s Wave , Bill Evans With Symphony Orchestra , and possibly his own late ‘70s/early ‘80s albums Gate of Dreams and Cityscape , fewer still have probably seen or heard Watusi Trumpets. Cut in 1965 for RCA Victor, Ogerman is heard just a few years shy of hooking up with producer Creed Taylor who would keep him busy over the next decade arranging a variety of projects for Verve and CTI Records.

This set is obviously in line with similar concept albums of the time that lent jazz sensibilities to popular dance moves such as the twist. Pop hits abound here including “Downtown,” “It’s Not Unusual,” “The Joker,” “La Bamba,” and “Land of 1000 Dances.” Ogerman approaches the material with taste even if the actual harmonic and melodic content of some of the tunes is limited. “La Bamba” actually seems far removed from its more popular incarnation, with bright flute work and harmonious trombones carrying the lead. A bit more of a Tin Pan Alley chestnut, “Poinciana” is almost unrecognizable until B3 organ steps in with the familiar melody, complimented by a dazzling trumpet fanfare on the bridge. Aside from the pop ditties, Ogerman pens a few of his own originals, along with Herbie Mann’s “Right Now,” Ray Barretto’s “El Watusi,” and Joe Zawinul’s “One Step Above.” The last of these sets the routine for most of the tracks, with B3 organ taking the lead and contrasting bursts from the trumpet and trombone sections. Aside from a flute solo here or there the emphasis is mostly on “the groove” for these tracks that rarely exceed two and a half minutes in length. Standing apart from even his other commercially-oriented RCA sets, Ogerman’s Watusi Trumpets is certainly an oddity and a one-off affair that offers little in the way of jazz improvisation but much in the way of ‘60s high fidelity, not to mention its appeal to those who dig “Space Age Pop” or “Bachelor Pad” music.~ C.Andrew Hovan https://www.allaboutjazz.com/claus-ogerman-orchestra-watusi-trumpets-by-c-andrew-hovan.php

Watusi Trumpets

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The Claus Ogerman Orchestra - Gate of Dreams

Styles: Big Band, Jazz-Funk 
Year: 1977
File: MP3@320K/s
Time: 37:07
Size: 85,8 MB
Art: Front

(4:10)  1. Time Passed Autumn (Part I)
(2:48)  2. Time Passed Autumn (Interlude and Part II)
(4:52)  3. Time Passed Autumn (Part III)
(4:48)  4. Caprice
(2:58)  5. Air Antique
(8:14)  6. Night Will Fall
(2:32)  7. Night Will Fall (Interlude and Conclusion)
(6:42)  8. A Sketch of Eden

Pictured on the back of the album dragging on what looks like a small cigar deep in thought, the moment captured above, that’s where the listener is too, the shimmering strings of ‘Time Passed Autumn’ still and contemplative at the beginning: in a Gil Evans-like domain, the modal progressions moving along quite deliciously but gently until a kind of a light funky jazz rock guitar solo jolts you out of your reverie. Gate of Dreams can and does overegg the pudding in terms of what might almost be jazz-rock symphonic flourishes or what now seems generic movie score touches, but it’s hard not to get sucked in to mondo Ogerman the composer an expert at narrative development via his captivating arranging style. The orchestra also includes some extraordinary players, Michael Brecker and John Guerin among them, heard in a different context to the jazz-rock and funk of the day. It’s interesting that this year has seen the reissue of Keith Jarrett’s Arbour Zena recorded in 1975. Listen to ‘Runes’ and then the beginning of ‘Time Passed Autumn Part 1’ and there’s a striking continuum in the strings at least although Arbour Zena eventually develops along more experimental chamber jazz lines and Gate of Dreams is a warmer sound certainly tonally. On balance the ‘Time Passed’ sequence is where the best moments are to be found; the later ‘Night Will Fall’ sections are maybe just that bit too corny for complete enjoyment. SG  http://www.marlbank.net/reviews/1670-the-claus-ogerman-orchestra-gate-of-dreams-warner-bros.html

Gate of Dreams

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Jan Akkerman & Claus Ogerman - Aranjuez

Styles: Guitar Jazz
Year: 1978
File: MP3@320K/s
Time: 43:30
Size: 107,1 MB
Art: Front

(5:57)  1. Adagio from 'Concierto de Aranjuez'
(4:53)  2. Nightwings
(5:09)  3. Modinha (preludio)
(5:36)  4. Espanoleta
(6:48)  5. Pavane pour une infante defunte
(3:38)  6. Love remembered
(5:40)  7. The seed of god (from 'Magdalena')
(5:45)  8. Bachianas Brasileiras No. 5

This is a reissue of a 1978 release by Dutch rock guitarist Jan Akkerman. The album mystified listeners at the time with its still-unusual combination of electric guitar and lush string arrangements, and it remains something of an oddity from a rock perspective. The orchestral writing by the underrated German arranger Claus Ogerman, however, is quite unusual, and the album has a following among Ogerman's fans. Indeed, although Akkerman gets top billing, the partnership is equal or even tilted a bit toward Ogerman. The opening Adagio from Rodrigo's Concierto de Aranjuez is perhaps the most interesting, and it differs entirely in effect from Miles Davis' presentation of the same music. Akkerman is in the foreground here, of course, but the music is a sort of double fantasy, with Akkerman slightly altering Rodrigo's guitar line and Ogerman providing much deeper hues to the orchestral parts. 

The rest of the music is given over to adaptations of other classical pieces, three of them by Heitor Villa-Lobos, and one original each by Ogerman and Akkerman. The string writing contains some of the richest and most harmonically intricate examples in the entire genre of orchestral pop, and it paradoxically seems to overwhelm the rock guitar at times. However, the continuing interest in the album is easy to understand: it offers a musical idea that makes intuitive sense rock, it has often been suggested, is at bottom a Romantic music yet has been little explored.~James Manheim http://www.allmusic.com/album/aranjuez-mw0000259976

Personnel:  Bass – Niels-Henning Ørsted Pedersen;  Guitar – Jan Akkerman

Aranjuez

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