Bossacucanova & Roberto Menescal - Bossa Got The Blues

Styles: Brazilian Jazz
Year: 2019
File: MP3@320K/s
Time: 32:54
Size: 32,0 MB
Art: Front

(3:10) 1. 1937
(2:42) 2. Mandacaru
(3:21) 3. Train To Ipanema
(4:18) 4. Sambalaya
(2:06) 5. Blues Bossa
(3:41) 6. Laudi's Theme
(3:00) 7. Bossa Got The Blues
(3:16) 8. Kalunga Rocket
(3:07) 9. Vou Nessa
(4:08) 10. Galeria Menescal

Listening to BossaCucaNova creates the impression that you're driving an exquisite Italian sportscar on a leisurely and sunny Sunday afternoon. You can hear the smooth purr of the engine powering your rhythm, soft but ferocious, a napping tiger, through the open window. Slicing through the breeze moderates its temperature so that it feels both warm and cool simply perfect on your skin. You turn to the left and the right and smile to return the greetings extended by the colorful and inviting scenery bathing in the golden light of that friendly sun above. Bossacucanova makes every day feel better than a good day feel like a simply perfect day for a nice ride.

Bossa Got The Blues maintains the preeminence of Bossacucanova Alex Moreira on keyboards, Marcelinho Da Lua on scratches and samples, and Marcio Menescal on Fender and keyboard bass among contemporary Brazilian bands whose sound springs from filtering traditional bossa nova through modern production and electronica. It also showcases one of the founding fathers of bossa nova guitar: guitarist, composer, and producer Roberto Menescal, who wrote the famous "O Barquinho (Little Boat)" and happens to be father of Bossacucanova bassist Marcio. (Father also joined son and crew for the band's 2001 global debut Brasilidade [Zuirigiboom/Six Degrees].)

Thanks to Papa Roberto, Bossa Got The Blues and some sweet, swinging Grant Green jazz guitar, too, all wrapped up in Bossacucanova's trademark luxurious 1960s production and presentation. Flavio Guimarães' harmonica leads "Laudir's Theme" out from a Brazilian jungle into an acoustic blues, his howls and wails pouring down on the guitar hook like sweet and sticky syrup. Leo Gandleman, whose saxophones have graced recordings by Gilberto Gil and other Brazilian stars for four decades, also climbs onboard to sing the blues.

These ten tracks would split and retrofit quite nicely into two sides of a vinyl LP, and Gandleman plays on the songs that would close side one (track five, "Blue Bossa") and two (track ten "Galeria Menescal"). "Blues Bossa" cribs the melody to "Don't Get Around Much Anymore" before opening up a dance floor jointly rocked by Menescal's electric guitar chords and Gandelman's moaning and groaning baritone and tenor saxophones. Gandelman adds tenor, baritone and flute in a lovely dance with acoustic guitar and vibraphone to "Galeria Menescal" (which opens, in case you missed all the old school, with the sound of a needle coming down on a vinyl album).

Yes, you could downshift and grind your Bossacucanova sportster into a deeper, harder and more powerful gear. But when you feel as good as the sound of Bossa Got the Blues!, why mess with simply perfect?By Chris M. Slawecki
https://www.allaboutjazz.com/bossa-got-the-blues-bossacucanova-e-roberto-menescal-six-degrees-records

Personnel: BossaCucaNova: arranger; Alex Moreira: keyboards; Marcelinho Da Lua: producer; Marcio Menescal: bass; Roberto Menescal: guitar.

Additional Instrumentation: Cris Delanno: vocals; Laudir DeOliveira: percussion; Renato Endrigo: percussion; Leo Gandelman: saxophones, flute, horn arrangements; Flávio Guimarães: harmonica; Carlos Malta: bass flute, piccolo; Jota Moraes: vibraphone; Ian Moreira: percussion; Sidinho Moreira: percussion; Rio Maracatu: percussion; Paulinho Trompete: flugelhorn, horn arrangements, trombone, trumpet.

Bossa Got The Blues

---

Leo Gandelman - Sabe Você

Styles: Saxophone, Brazilian Jazz
Year: 2008
File: MP3@320K/s
Time: 64:42
Size: 149,1 MB
Art: Front

(5:37) 1. Aos Pés da Cruz (feat. Luiz Melodia)
(5:48) 2. Sensível (feat. Joel Nascimento)
(5:34) 3. Pra Machucar Meu Coração (feat. Ney Matogrosso)
(6:04) 4. Futuros Amantes (feat. Chico Buarque)
(6:24) 5. Chove Lá Fora (feat. Caetano Veloso)
(5:50) 6. Coração Vagabundo (feat. Leila Pinheiro)
(6:32) 7. Por Causa de Você (feat. Milton Nascimento)
(5:12) 8. Amargura
(5:32) 9. Sabe Você (feat. Leny Andrade)
(6:12) 10. Só por Amor (feat. Lirinha)
(5:52) 11. Chuva

Saxophonist Leo Gandelman leaves his marks in 2008 with an outstanding album that features many of Brazil’s legendary vocalists. The craftsmanship of Leo Gandelman (Rio de Janeiro, 1956) is widely recognized. During his career, that started at age 15 as soloist with the Brazilian Symphony Orchestra, he has won many prices and polls. After studying at Berklee in Boston, he returned back to Brazil in 1979 to follow the road of success. He has lent his recognizable sound to countless productions, both in popular music and in jazz.

Sabe Você is his eleventh solo album and maybe his most important. The performance is great as always, the repertoire is beautiful as always, but the special guests make this an exceptional album. The vocalists all deliver superb performances, perfectly fitting into the concept Leo had in mind. Their voices shine in the chosen repertoire. The album’s opener that features Luiz Melodia singing “Aos Pés da Cruz” is good example. After a wonderful sax intro, Luiz Melodia sings this popular 1942 samba in his unmistakable relaxed way. Gandelman trades solos with Lula Galvão on the acoustic guitar. The only non-vocal guest performance is by Joel Nascimento on the mandolin on the Pixinguinha choro “Sensível.” Ney Matogrosso’s voice sounds as a dedication to Ary Barroso on his composition “Pra Machucar Meu Coração,” and how good it is to hear Chico Buarque performing his own “Futuros Amantes.” Caetano Veloso sings “Chove Lá Fora” the way only he can, while Leila Pinheiro gives her best on Caetano’s composition “Coração Vagabundo.” The list doesn’t end: Milton Nascimento is in great shape on the Dolores Duran/Jobim classic “Por Causa de Você”; Leny Andrade justifies the honour to sing the album’s title track, “Sabe Você”; and youngster José Paes de Lira (or in short Lirinha) closes the vocal part of the repertoire with “Só por Amor.” Lirinha (1976) is mostly known because of his presence in the band Cordel do Fogo Encantado from Pernambuco.

It’s amazing to hear all these voices on one album. However, the most amazing thing maybe is that the cd doesn’t sound like a “who is who” in Brazilian vocal music. Leo Gandelman manages to make his guests all part of his project. The different voices don’t interfere with the flow of the album; the songs gently connect with one another. In a clever way the unique sound of Leo Gandelman’s saxophones (soprano, alto and tenor) glue all the songs together, making sure we don’t forget that this is Leo’s album. He’s helped with that by a bunch of fantastic musicians. David Feldman on the piano, Lula Galvão on electric and acoustic guitars, André Vasconcelos on bass, Allen Pontes on drums and Sidinho Moreira is the percussionist on duty. The band is featured in a couple of instrumentals. There’s no doubt about it: Sabe Você is one of those timeless albums that will always leave its listener with a feeling of pleasure and (thanks to the voices) nostalgia. https://musicabrasileira.org/leo-gandelman-sabe-voce/

Sabe Você

---

Leo Gandelman - Pérolas Negras

Styles: Saxophone, Brazilian Jazz
Year: 1997
File: MP3@320K/s
Time: 52:57
Size: 122,2 MB
Art: Front

(4:04) 1. Mas Que Nada
(4:19) 2. Me Deixa em Paz
(3:53) 3. As Rosas Não Falam
(4:31) 4. Nanã
(4:57) 5. Overjoyed
(4:39) 6. Mr. Funk Samba
(4:21) 7. Faltando um Pedaço
(3:26) 8. Lamentos
(5:29) 9. Clube da Esquina Nº 2
(4:58) 10. Toda Menina Baiana
(4:55) 11. Choro Negro
(3:19) 12. Pérola Negra

Leo Gandelman has been singled out for his successful instrumental pop performances on top of brass arrangements and Brazilian percussion, both within Brazil and abroad (he presently lives in the U.S.). Along with his own work as an instrumentalist, he has produced albums such as Gal Costa's Plural and Marina's Virgem. As a composer he also has written soundtracks for major TV soap operas and series and films. He has performed in such festivals as the Free Jazz Festival and the Hollywood Rock (both in Brazil), and the Montreux Festival (Switzerland). Gandelman also was the winner of the newspaper Jornal do Brasil (Rio de Janeiro) poll as the most popular instrumental artist for 15 years in a row. Born in Rio de Janeiro, Gandelman, initiated by his mother, the concert pianist Salomea Gandelman, and by his father, the conductor Henrique Gandelman, was influenced by European classical music. At 15, he performed as a flute soloist ahead of the Orquestra Sinfônica Brasileira.

He also studied viola da gamba, having being a member of the Pró Arte Antiqua group. At 16, he abandoned music, tired of the tyrannical routine of classical studies, and decided to become a photographer. He only returned to music three years later, already as a saxophonist. Attending Boston's Berklee College, Gandelman furthered studies on saxophone, composition, and arrangements. Returning to Brazil upon graduation, in 1979, he quickly became a busy session man (having participated in the recording of 600 albums during ten years), and formed his first group, Avenida Brasil, with Serginho Trombone, Bidinho, and Zé (trumpets). In 1984, he wrote the soundtrack to the film Rádio Pirata (Lael Rodrigues). His first solo album, Leo Gandelman (1987), had a smash hit with "A Ilha" (with William Magalhães). Solar (1990), the third one, sold 70,000 copies not bad for an instrumental title in Brazil. Western World (American reissue of his second album, Ocidente [1988]) was considered the best progressive music album in the U.S.~ Alvaro Neder https://www.allmusic.com/artist/leo-gandelman-mn0000248380/biography

Pérolas Negras

---