Various - Roberto Menescal: 55 Years Of Music

Bitrate: MP3@320K/s
Time: 60:40
Size: 138.9 MB
Styles: Bossa Nova, Samba, Brazilian Traditions
Year: 2013
Art: Front

[5:38] 1. Leila Pinheiro - Ah Se Eu Pudesse O Barquinho Voce Nos E O Mar
[2:19] 2. Emilio Santiago - Amanheendo
[4:20] 3. Daira Saboia - Floripa
[3:55] 4. Os Cariocas - Copacabana De Sempre
[2:43] 5. Leny Andrade - Nas Quebradas Da Vida
[2:28] 6. Arimatea - A Morte De Um Deus De Sal
[2:36] 7. Astrid - Vai De Vez (Original Version)
[4:26] 8. Bebossa - Rio Exaltacao
[4:05] 9. Roberto Menescal & Cris Delano - Eu E A Música
[4:05] 10. Oswaldo Montenegro - Eu Canto Meu Blues
[3:59] 11. Wanda Sá - A Volta
[2:50] 12. Roberto Menescal - Voce Me Ganhou
[4:03] 13. Joyce - Nara
[2:23] 14. Andrea Amorim - Rio
[3:03] 15. Maria Luiza - Assim Como Um Amor
[3:53] 16. Roberto Menescal & Trio - Swingueira
[3:46] 17. Tamy - Me Diz

The composer of bossa nova classics like "O Barquinho," "Ah, Se Eu Pudesse," "Errinho à Tôa," "Nós e o Mar," "Rio," "Você," and "Vagamente," Roberto Menescal started his professional career in 1957 as Sylvia Telles' sideman (on guitar) in a tour around Brazil. In 1958, he opened a guitar school in Copacabana (Rio) with Carlos Lyra, having as his pupils Nara Leão and his sister Danuza Leão. In the same year, he formed, with Luís Carlos Vinhas, João Mário, Henrique, and Bebeto, the Conjunto Roberto Menescal, one of the first instrumental groups of bossa nova. The group accompanied Dorival Caymmi, Vinícius de Moraes, Billy Blanco, Maysa, and Telles. Also in 1958, he participated, with Telles, Carlos Lyra, and other artists, in a show at the Clube Hebraica (Rio), when the words "bossa nova" were used (inadvertently, by the club's secretary) for the first time to advertise the event. Having taken part with his group in the recording of Garotos da Bossa Nova in 1959, he participated in the I Festival de Samba Session at the Teatro de Arena theater of the School of Architecture at the State University of Rio de Janeiro. Such informal venues were important vehicles for bossa nova among the middle-class university people who were more inclined to absorb and disseminate it, and Menescal was instrumental for the promotion of such concerts in 1959, 1960, and 1961. Also in 1959, he had his first recorded composition, "Jura de Pombo" (with Ronaldo Bôscoli), by Alaíde Costa. His "O Barquinho" (with Ronaldo Bôscoli), a bossa nova classic, was simultaneously recorded by Maysa, Perry Ribeiro, and Paulinho Nogueira in 1960. In 1962, he accompanied Maysa in her Argentinean tour and, with Eumir Deodato's group, he performed in Marlene's program on TV Rio, having been hired for two years with his own group to back up artists on that TV station. In November 1962, he participated in the historic Bossa Nova Festival at Carnegie Hall in New York, NY, with Tom Jobim, Carlos Lyra, and others, interpreting "O Barquinho" in one of his few performances as a singer. From 1964 to 1968, he worked as an arranger and, invited by André Midani, he started to work as an independent producer and arranger at Polygram. In 1968, he accompanied Elis Regina in her performance at the MIDEM (International Phonographic Market and Music Publishers) in Cannes, France, and in her subsequent European tour, having been Regina's sideman until 1970, when he became Polygram's A&R. Already established as a major producer (having worked with Caetano Veloso, Gilberto Gil, Jorge Ben Jor, Gal Costa, Maria Bethânia, and many others), instrumentalist (as a session man he worked with Lúcio Alves, Maysa, Claudette Soares, Nara Leão, Jair Rodrigues, and Elis Regina), he had several compositions of his included in soundtracks of broadly popular TV soap operas and also wrote music for the cinema (Bye Bye Brasil, Joana Francesa, both by Cacá Diegues, and Vai Trabalhar Vagabundo, by Hugo Carvana). In 1985, having accompanied Nara Leão in performances in Brazil and abroad, he launched with her the LP Um Cantinho, Um Violão/Nara Leão e Roberto Menescal. In the next year, he abandoned his career in A&R and dedicated himself to his solo career. He has also been participating in jazz projects, among others with Joe Henderson. In 2001, he participated with Wanda Sá, Danilo Caymmi, and Marcos Valle in the Fare Festival (Pavia, Italy). Menescal also owns the label Albatroz, which released albums by Danilo Caymmi, Emílio Santiago, and others. ~bio by Alvaro Neder

Roberto Menescal: 55 Years Of Music mc
Roberto Menescal: 55 Years Of Music zippy

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Joyce Moreno - Fiz Uma Viagem (Songs of Dorival Caymmi)

Styles: Vocal, Brazilian Jazz
Year: 2017
File: MP3@320K/s
Time: 52:23
Size: 132,1 MB
Art: Front

(3:32)  1. Maracangalha
(2:59)  2. Fiz uma viagem
(4:08)  3. Sábado em Copacabana
(2:22)  4. Vatapá
(5:03)  5. Não tem solução
(8:16)  6. História de pescadores
(4:51)  7. Nunca mais
(5:02)  8. Maricotinha
(3:28)  9. Canoeiro
(2:34) 10. Saudade de Itapoã
(3:16) 11. Nesta rua tão deserta
(2:32) 12. Acalanto
(4:14) 13. Canto de Nanã

Over the course of an international career, Joyce (aka Joyce Moreno) has recorded over 21 solo discs and over 300 of her songs by some of the greatest names in Brazilian and international music, such as Flora Purim, Milton Nascimento, Elis Regina, Gal Costa, and others. Her compositions have been featured in television, theater, and film soundtracks, such as The Player by Robert Altman. Touring internationally every year, she consolidated herself as an original artist with a distinctive voice and a personal compositional style predominantly celebrating her femininity. Her first recording, as a member of a vocal group, was in 1964 on the LP Conjunto Sambacana. Her first solo album, titled Joyce (Philips), was released in 1968. The album wasn't successful because it already had Joyce's pioneering trademark: a female subject singing in the first person, which was a difficult thing to swallow back then. She recorded two albums for that label (the next being Encontro Marcado in 1969), with extremely competent arrangers Dorival Caymmi, Gaya, and Luiz Eça, but the consolidation of her musical style would only come later. In 1970, she joined the group A Tribo, which had important musicians like Nelson Ângelo, Toninho Horta, Novelli, and Naná Vasconcelos (later replaced by drummer Nenê). Backed by them, she recorded a four-track record for EMI, with "Caqui," "Adeus Maria Fulô," "Nada Será Como Antes," and "The Man from the Avenue" (1971). After signing with Odeon in 1972, she teamed up with Nelson Ângelo to record Nelson Ângelo & Joyce . 

After taking a break from performing, she returned in 1975 after an invitation from Vinícius de Moraes to accompany him on an international tour both as a singer and as a guitar player. On one of the tour stops, Rome, Joyce met the Italian producer Sergio Bardotti, who produced an album with her for the Italian label Fonit-Cetra, Urban Bird (released in Brazil by Continental as Passarinho Urbano two years later). In 1977 she moved to New York, where she committed herself to record an album produced by Claus Ogerman featuring Michael Brecker and other brilliant musicians, but it was never released. However, that short stint with American jazz musicians confirmed her own style. In 1980, her song "Clareana" (with Mauricio Maestro), a lullaby dedicated to her daughters Clara and Ana, was successful at that year's MPB festival, becoming a national hit, a fact that put her career in perspective. Her songs became successfully recorded by such stars as Milton Nascimento, Elis Regina, Maria Bethânia, and many others.  Signing a new contract with EMI, Joyce recorded Feminina (1980), her first self-created solo work. The next LP, Água e Luz, featured virtuoso accordionist Sivuca. Her own independent production of Tardes Cariocas (1984) was fruitful, as the album was awarded Best Independent Album of the Year. Saudade do Futuro (Pointer, 1985) earned her an invitation from the Yamaha festival in Japan. This was followed by an album with limited distribution on the Funarte label in conjuction with Continental, which was devoted to the important sambista Wilson Batista (Wilson Batista, Samba Foi Sua Glória, 1986). 

With her international career at full speed, Joyce recorded albums in Brazil, the U.S. (Verve), Japan, and Germany. During the '90s, in the heat of the dance-oriented "new bossa" or "drum'n'bossa" movement, her music had additional impetus in Europe, more specifically in England. In 1997 she released a book chronicling the behind-the-scenes world of MPB, Fotografei Você na Minha Rolleyflex (MultiMais Editorial). Moreno finished out the decade with two acclaimed albums, 1998's Astronauta: Cancões de Elis on Blue Jackel and 1999's Hard Bossa, her first recording for the U.K's Far Out label. Her relationship with Far Out fostered a true renaissance for the singer. The 21st century saw Joyce immersed in a whirlwind of activity. In 2000 she issued Tudo Bonito on Sony, followed a year later by Gafieira Moderna on Far Out in the U.K. and Biscoito Fino in Brazil. Joyce and husband Tutty Moreno her producer and drummer toured behind both recordings, which prevented her from recording again until late 2002. The splendid Bossa Duets album was issued by Sony in 2003. In 2004 Joyce issued a global hit record that has become a classic entry in her catalog: Just a Little Bit Crazy, backed by Banda Maluca (led by pianist Bugge Wesseltoft). It was released by Far Out everywhere but Brazil, where it was issued by Biscoito Fino. 

The album was so widely celebrated that it was followed by a live DVD documenting its supporting tour.  Moreno didn't rest on her laurels, however: she recorded an album with Dori Caymmi entitled Rio Bahia for Far Out in 2005. She and Tutty shared billing on the excellent Samba-Jazz & Outras Bossas in 2007, again for Far Out. She issued a live CD/DVD combo package, Ao Vivo, in 2008. In 2009 Far Out released Visions of Dawn, a gorgeous lost album recorded with Naná Vasconcelos (percussion) and Mauricio Maestro (bass, electric bass, producer) in Paris in 1976. The year 2009 also saw Celebrating Jobim with the WDR Big Band released exclusively in Japan, and the Brazil-only Slow Music on Biscoito Fino. Moreno toured almost incessantly during 2010 before returning to the studio. These sessions also for Far Out became the completely solo Rio de Janeiro, which saw release at the end of 2011. It was followed by Tudo, a collection of bossas, sambas, and jazzy ballads with her trio -- husband Tutty Moreno on percussion and pianist Hélio Alves. To celebrate her 50th anniversary as a recording artist, she released Raiz (translated Roots) in January of 2015, a collection of iconic bossa standards with her trio and bassist Rodolfo Stroeter. ~ Alvaro Neder  https://www.allmusic.com/artist/joyce-mn0000292876/biography                      

Fiz Uma Viagem (Songs of Dorival Caymmi)

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Joyce Moreno - Cool

Bitrate: MP3@320K/s
Time: 47:10
Size: 108.0 MB
Styles: Jazz vocals
Year: 2016
Art: Front

[4:56] 1. Love For Sale
[3:19] 2. Fever
[3:22] 3. Cool
[3:58] 4. The Banana Boat Song
[2:48] 5. Let's Do It
[3:35] 6. Round Midnight
[3:38] 7. Invitation
[5:25] 8. The Shadow Of Your Smile
[3:38] 9. Mingus, Miles & Coltrane
[2:58] 10. You Do Something To Me
[2:52] 11. Nature Boy
[3:48] 12. My Favourite Things
[2:46] 13. Moon River

Joyce Moreno: vocals & guitar; Tutty Moreno: drums & percussion; Helio Alves: piano; Rodolfo Stroeter: bass.

Since the late '60s, Brazilian guitarist and singer Joyce Moreno has been one of the most iconic members of the MPB movement, pushing the envelope way past the traditional bossa novas of Jobim. In the early '80s, albums such as Feminina and brought Joyce an international following that she continues to enjoy to this day. Her sizeable catalog features a diverse collection of original material, not to mention key collaborations with such heavyweights as Jon Hendricks, Joao Donato, Kenny Werner, Sivuca, and many others. For the most part, Joyce sings in her native Portuguese, but is known to deliver a song or two in English on occasion. Having spent a time in the United States, she recorded two albums in the early '90s for Verve that featured a smattering of tunes sung in English. In 1995, she released the album Delirios De Orfeu, which featured the jazz standards "Speak Low" and "There's a Small Hotel." These few precursors would only hint at the approach she has taken to her newest offering, a set of all jazz standards sung exclusively in English.

Sparsely accompanied by pianist Helio Alves, bassist Rodolfo Stroeter, and drummer Tutty Moreno, Joyce tackles a dozen Tin Pan Alley and vintage jazz classics all in her inimitable style. Three Cole Porter trinkets make the cut, namely "Love for Sale," "Let's Do It," and "You Do Something to Me." On the jazzier side, there's Monk's "'Round Midnight," "Invitation," and "My Favorite Things." Much in keeping with its title, there's a relaxed and seductive vibe to the entire set that is undeniably beguiling. Joyce is at the forefront of these arrangements with her understated guitar and vocals, although Alves get a chance to step out a few times. A particularly jaunty version of "Cool" from West Side Story demonstrates the pianist's tasteful accompaniment and includes a crystalline solo moment as well. Particularly musical and tender, Tutty's finger taps on his drum kit add character to the usually corny "Fever." Another threadbare pop tune, "Day-O (The Banana Boat Song)," rises above the mundane with some great harmonics by bassist Stroeter.

Wordless vocals are utilized on "'Round Midnight," "My Favorite Things" and the Joyce original "Mingus, Miles, & Coltrane" to great effect. Multi-tracking and additional voices establish a rich and profound vibe on "Nature Boy" as Joyce improvises over Alves' piano riff. A seductive and reflective "Moon River" closes out the set with singer and her guitar acapella. Although definitely a departure from her usual modus operandi, Cool can easily hold its own among Joyce's singularly expressive and impressive body of work. ~C. Andrew Hovan

Cool

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Joyce Moreno - Raiz

Bitrate: MP3@320K/s
Time: 53:32
Size: 122.6 MB
Styles: Samba, Bossa Nova
Year: 2015
Art: Front

[3:24] 1. Copacabana
[2:51] 2. Meu Piao
[4:14] 3. O Barquinho
[2:57] 4. Tamba
[6:56] 5. Desafinado
[4:38] 6. O Morro Nao Tem Ves
[4:38] 7. Na Baixa Do Sapateiro
[2:45] 8. Cartao De Visita
[3:18] 9. Ceu E Mar
[5:14] 10. Nos E O Mar
[2:05] 11. Vestido De Bolero
[3:46] 12. Tristeza De Nos Dois
[6:40] 13. Canto De Yansan

The Portuguese word "raiz" translates to "roots" in English. On this date, the iconic Brazilian singer Joyce Moreno celebrates 50 years in the music business by returning to them. She and her band explore classic bossa and samba tunes from the Brazilian canon with the kind of elegance and grace that have been hallmarks of her career. In addition to singing, she is both guitarist and musical director. Her band includes husband Tutty Moreno on drums and percussion, bassist Rodolfo Stroeter, and jazz pianist Helio Alves. The program is rich, filled with tunes from some of Brazil's greatest composers. Two highlights are "O Barquinho" and "Nos E O Mar" by Roberto Menescal. He discovered Moreno in 1964 after hearing a home recording of her and assisted greatly in launching her career. Though she's thanked him publicly before, she does so again here -- he is the only guest, playing guitar on both of his songs. The inventively arranged two-song medley of Dorival Caymmi tunes, "Vestido de Bolero"/"Requebre Que Eu Dou Um Doce," is a set highlight. Also included are Tom Jobim and Vinicius De Moraes' "Desafinado," which gets a gorgeous reading as its folk roots peer through bossa and jazz. Jobim's "O Morro Nao Tom Vez" beams through burning samba. The set's greatest surprise, however, is inclusion of Luiz Eça's "Tamba," delivered in a gorgeous arrangement with Moreno's chanted vocal as percussion and piano ride atop a groove that walks the line between Sergio Mendes' "Mais Que Nada" and Afro-Cuban jazz. The closer, "Canto de Yasaan" by Baden Powell and Ildásio Tavares, is introduced by electric bass harmonics before a crystalline piano whispers to the fore. In this number, Moreno is her most vocally expressive, allowing the emotional power in lyric and melody to come through unrestrained by the nuance or arrangement. Raiz is gorgeous. It offers continued -- and inspired -- proof that Moreno remains one of the great interpretive singers in the Brazilian MPB tradition. Add to this that her skills as a guitarist and arranger are undiminished by time, and the word "iconic" fits like a glove. ~Thom Jurek

Raiz

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Joyce Moreno & Kenny Werner - Poesia

Styles: Vocal And Piano
Year: 2015
File: MP3@320K/s
Time: 62:10
Size: 142,5 MB
Art: Front

(4:45)  1. Second Love Song
(5:22)  2. É o Amor Outra Vez
(5:23)  3. Olha Maria
(5:20)  4. Estate
(5:09)  5. Mad About the Boy
(4:01)  6. Velho Piano
(4:10)  7. Throw It Away
(4:46)  8. Pra Dizer Adeus
(4:10)  9. Smile
(4:06) 10. Choro Bandido
(5:39) 11. Some Other Time
(4:41) 12. Novelo
(4:33) 13. The Water Is Wide

Though it may be a nonsensical thought, it's tempting to wonder if Kenny Werner has figured out how to clone himself. Lately, it would seem that he's everywhere: if you've opened the pages of DownBeat you've seen his "Zen And The Art Of Jazz" columns staring back at you; if you've headed up to Berklee you've seen him in action, acting as Artistic Director of that institution's Performance Wellness Institute; if you frequent New York's Blue Note or Jazz Standard you might've heard his new quintet or his longstanding trio; and if you've followed the new release schedule, you may have spotted the latest from that trio or trumpeter Randy Brecker's RandyPOP! (Piloo Records And Productions LLC, 2015), an album featuring Werner's playing and his arrangements/derangements of classic pop songs. How he fits it all in is a mystery, but it's clear that a Werner in motion gathers no moss.

Now, in keeping with that idea, comes another release from the omnipresent pianist. Poesia finds Werner working with vocalist Joyce Moreno , building on a musical relationship that extends back over a quarter of a century: Werner appeared on both of Moreno's albums on the Verve imprint, he toured Japan with her in 1991, and he remains her first choice pianist whenever she arrives in New York. Here, these two deliver thirteen intimate duo gems that are as lovely and distinctive as the budding and blooming flower images that adorn the packaging.

Across this album, Werner and Moreno demonstrate that beauty comes in many forms. "Olha Maria" moves with melancholic charm, "Estate" comes across as a form of musical hypnotherapy, "Mad About The Boy" is a daydream and a saloon song rolled into one, and "Pra Dizer Adeus" reduces the whole concept of yearning into a single work. Virtually every one of these performance exists in a similar space in terms of tempo, dynamics, and pacing, but each piece of musical poetry carries a different intention. A number like "Velho Piano," for example, deals with the evolution and unmasking of love over time while a piece like "The Water Is Wide" comes from a different place, speaking in spiritual tones. Both deal with dissimilar topics, but they become kindred spirits in the way that Werner and Moreno address them. Not a year goes by without the arrival of one or two extraordinarily beautiful piano-and-voice duo albums. For 2015, this is one of them. To say that this music is affecting and enthralling would be a gross understatement. ~ Dan Bilawsky  http://www.allaboutjazz.com/poesia-kenny-werner-pirouet-records-review-by-dan-bilawsky.php
 

Personnel: Joyce Moreno: vocals; Kenny Werner: piano.

Poesia

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