Don Burrows, James Morrison - In Good Company

Styles: Flute, Saxophone, Trombone, Trumpet Jazz
Year: 2015
File: MP3@320K/s
Time: 121:09
Size: 279,6 MB
Art: Front

( 5:57)  1. (You’d Be So) Easy To Love
( 3:46)  2. A Day In The Life Of A Fool (Manhã de Carnaval)
( 3:44)  3. I Fall In Love Too Easily
( 5:13)  4. Please Don’t Talk About Me When I’m Gone
( 7:29)  5. I Thought About You
( 5:55)  6. The One I Love (Belongs To Somebody Else)
( 5:05)  7. Teach Me Tonight
( 6:11)  8. What’s New?
( 8:05)  9. Sweet Georgia Brown
( 7:51) 10. Donna Lee
( 8:00) 11. The 6th Variation
( 3:55) 12. Honeysuckle Rose
( 9:40) 13. Lace Embrace
( 3:48) 14. Squeeze Me
(12:10) 15. Basin Street Blues
( 7:12) 16. There Will Never Be Another You
(10:48) 17. Satin Doll
( 6:11) 18. Essa Cara

James’s latest release “In Good Company” with Don Burrows has remained in the Top 10 of the Aria Jazz Charts since its debut at No 2. After 10 weeks, fans still can’t get enough of this landmark recording. Don Burrows, widely regarded as the Father of Australian Jazz, recently retired from live appearances after a stellar career at the forefront of world jazz for more than 60 years and its fitting that his last recording should be with his protege, James Morrison. As James says “Don has many great sayings but one struck me the most Don loved playing with other people and he said ‘You’re only as good as the company you keep’. In his company, I’ve been at my best.” http://www.jamesmorrison.com/latest-news/in-good-company-with-don-burrows/

Personnel: Don Burrows (alto flute/clarinet/alto saxophone), Morrison (trombone/bass trumpet/trumpet), Phil Stack (acoustic bass) and a range of excellent ensembles.

In Good Company

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Bonfa & Burrows - Brazil

Styles: Guitar And Saxophone Jazz, Brazilian Jazz
Year: 1978
File: MP3@224K/s
Time: 50:45
Size: 85,4 MB
Art: Front

(3:51)  1. The Shade Of The Mango Tree
(3:22)  2. Sofisticada
(6:06)  3. Enchanted Sea
(2:33)  4. Batucada
(5:28)  5. Menina Flor
(2:36)  6. Giselle
(3:09)  7. Prelude
(2:04)  8. Passeio No Rio
(4:21)  9. Morning Of The Carnival
(2:50) 10. Amoroso
(2:06) 11. Indian Dance
(3:08) 12. Himalaia
(9:05) 13. The Gentle Rain

Although overshadowed by the towering figure of Antonio Carlos Jobim and to a lesser extent by João Gilberto, Luiz Bonfá was right there at the birth of bossa nova as well. In fact, at least two of his songs, the haunting "Manha de Carnaval" and equally evocative "Samba de Orpheus" swept the world at least three years before Jobim's songs began to make a global impact, paving the way for the first Brazilian wave. In addition, Bonfá cultivated a delicate, precise classical guitar style, though more attuned to the traditional samba rhythm than the Gilberto/Jobim bossa nova lilt. Born near the bay of Guanabara in Rio his father was an Italian immigrant Bonfá took up the guitar at eleven and studied classical guitar with the Uruguayan master Isaias Savio. He began to work Rio's clubs as a singer with the Quitandinha Serenaders, and by 1946, he was appearing on Brazil's Radio Nacional. By 1957, Bonfa was beginning to split his time between New York City and Rio, touring the U.S. with singer Mary Martin, as well as writing and recording Brazilian film scores. The turning point in his career came in 1959 when film director Marcel Camus asked Bonfá to contribute some songs to his film version of the play Orfeo do Carnaval (to be renamed Black Orpheus on the screen). The director originally rejected "Manha de Carnaval" as the film's main theme, but after coming up with what he felt was an inferior second effort, Bonfá fought for his first tune and got his way, and "Manha de Carnaval" became a global pop/jazz/folk standard. In the late '50s and '60s, Bonfá began recording several albums for the American market on EMI Odeon (Capitol), Dot, Atlantic, Cook, Philips, Epic, and Verve, and he and his songs appeared prominently on the Jazz Samba Encore album with Jobim and Stan Getz. His songwriting skills were in demand in the most unpredictable places; for example, he wrote the schmaltzy "Almost in Love" for Elvis Presley (included in the forgettable 1968 film Live a Little, Love a Little). 

Bonfá's profile in America virtually disappeared after the '60s, although he continued to tour and write, eventually cutting over 50 albums. But he resurfaced in U.S. CD shops after a 15-year gap in 1989 with Non-Stop to Brazil for Chesky, followed by the ravishing The Bonfá Magic in 1991 (released domestically on Milestone) and 1993's Moods on GSP. Also, the original soundtrack for Black Orpheus is available on a Verve CD, a firsthand snapshot of Bonfá and Jobim lighting the fuse for the world-wide Brazilian music explosion. On January 12, 2001, Luiz Bonfá died of cancer in Rio de Janeiro. ~ Richard S. Ginell https://itunes.apple.com/us/artist/luiz-bonfa/id281115#fullText

Personnel:  Acoustic Guitar, Ovation Guitar – Luiz Bonfá;  Bass – George André;  Drums – Josè Boto;  Flute, Alto Saxophone – Don Burrows

Brazil

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