Glenn Zottola/Romero Lubambo/Pamela Driggs - Summer Samba

Styles: Jazz
Year: 2023
Time: 24:47
File: MP3 @ 320K/s
Size: 57,2 MB
Art: Front

(5:07) 1. Summer Samba
(6:11) 2. Para Machuchar Meu Coracao
(4:22) 3. Ligia
(4:13) 4. Fotografia
(4:51) 5. Samba e Amor

2023 news reports and events acknowledged and celebrated 50 Years Of Hip-Hop. While noteworthy, it is doubtful that hip hop classics such as "Get Ur Freak On," "Sucker M.C.'s and "Nuthin' But a G Thang" will ever find themselves in the Great American Songbook. The genre simply cannot compare with the vast extent of musical influence emanating from that 1960s period in which Stan Getz, Astrud Gilberto, Antonio Carlos Jobim, et al, took the popular and jazz worlds by storm with the exciting bossa nova sounds of Brazil. "Summer Samba" from should-be-Hall of Fame multi-instrumentalist Glenn Zottola, virtuoso Brazilian guitarist Romero Lubambo, and outstanding vocalist Pamela Driggs epitomizes the substance, vibrancy, and perennial influence that that music has had.

The album offers a handful of beautiful and sublimely-performed selections , all firmly entrenched in the Brazilian canon. The title tune, whose Portuguese name is used here, was a big hit for Brazilian organist Walter Wanderley in 1966, and is covered straight up. Driggs certainly has Gilberto's stylings on loan and adds a fair amount of her own expressiveness to the Marcos and Sergio Paulo Valle composition. Romero Lubambo, who is outstanding throughout the session, here eases all and delivers a fine solo. Then there's Zottola. With a youthful vigor and endless elegance, his luxurious, silk-smooth tenor glides as did that girl on Ipanema Beach. The utterly lovely "Pra Machcar" has Driggs and Zottola as two cavorting musical butterflies with Lubambo adding their rhythmic breeze. Zottola's solo here is a case study in taste. And Lubambo's octaves launch him into a tasteful overdubbed solo.

Driggs, an American who is fluent in Portuguese, has all of the linguistic inflections and their give and take with lyric and melody in her command. Her dynamic approach goes hand-glove with Zottola's tenor and Lubambo's fine acoustics. With a trio set-up such as this, the players must meld perfectly. Toes must be respected and restrained involvement is key. Driggs, Zottola, and Lubambo demonstrate that they are skilled in that regard.

"Ligia," a lesser-known Jobim tune, is more balladic than typical bossa. Lubambo's tasty intro sets up Driggs seduction. It is a romantic grabber and a four-square gorgeous track. Dreamlike, "Fotographia" is also on the relaxed side. "Samba da Amor" offers Zottola's finest solo of the session and a lovely voice/sax unison leading to an apropos "suspended" ending.

"Summer Samba," even with its shorter length, is an exquisite and involving engagement. Hip tip: Hop in and don't listen alone. By Nicholas F. Mondello
https://www.allaboutjazz.com/summer-samba-glenn-zottola-romero-lumbambo-pamela-driggs-self-produced

Personnel: Glenn Zottola - Alto Saxophone; Romero Lubambo - Guitar; Pamela Driggs - Vocal.

Summer Samba

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Glenn Zottola, Chick Corea - The Legend & I

Styles: Trumpet And Piano Jazz
File: MP3@320K/s
Time: 54:21
Size: 125,0 MB
Art: Front

( 9:50) 1. But Not For Me
( 3:57) 2. Crystal Silence
( 5:14) 3. Autumn Leaves
( 3:46) 4. Z-Mother Test Project
( 5:33) 5. Skylark
( 5:38) 6. Moog 1 Arp Project
( 2:32) 7. You Go To My Head
(12:01) 8. Gliden Not Haydn
( 5:46) 9. Bonus Track - Crystal Silence

There have been several musical tributes to the late great Armando Anthony "Chick" Corea since his untimely passing in February, 2021, mostly from fellow musicians. However, The Legend and I is an intimate musical portrait from LA multi-instrumentalist Glenn Zottola who just happened to be one of Corea's best long-time personal friends. As Zottola affirms "He was my best friend and is dearly missed, but I know he will continue to create as that was his relentless purpose in life." The album features nine previously unreleased tracks of music in which both Corea and Zottola collaborate in laying down fresh new interpretations of familiar standards, four Corea originals and two versions of Corea's classic electronic "Crystal Silence."

Zottola plays the trumpet, his preferred instrument, on five of the nine tracks on the album, while performing on tenor and alto saxophones on the balance of the tunes. The pianist documents his talents on the piano, keyboards, marimba, bass, programming and even drums on "Autumn Leaves." Other musicians gracing this tribute include bassist Avishai Cohen and drummer Adam Cruz. There is one particular track in which the legend does not appear, and that is on the second version (bonus track) of "Crystal Silence," arranged by guitarist Romero Lubambo who plays the guitar and is accompanied by Pamela Driggs on vocals, singing the lyrics penned in 1972 by Neville Potter, another close friend of Corea.

Though he is gone but not forgotten, Corea's music now lives on forever and this homage, while including a somewhat personal touch, actually affirms that his incredible music now belongs to us all. Zottola's warm trumpet and saxophone voice is a perfect vehicle for expressing Corea's music. Zottola also stated that, in his opinion, Corea was the "greatest artist of the 20th century." Well, I believe that Corea would have argued with that conclusion; after all, he was around for 20 years in the 21st century.By Edward Blanco https://www.allaboutjazz.com/the-legend-and-i-glenn-zottola-and-chick-corea-self-produced

Personnel: Glenn Zottola: trumpet; Chick Corea: piano; Avishai Cohen: bass; Adam Cruz: drums; Romero Lubambo: guitar; Pamela Driggs: voice / vocals.

Additional Instrumentation: Glenn Zottola: tenor saxophone, alto saxophone; Chick Corea: keyboards, programming, marimba, bass, drums; Romero Lubambo: programming.

The Legend & I

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Eliane Elias - Light My Fire

Styles: Brazilian Jazz
Year: 2011
File: MP3@320K/s
Time: 54:35
Size: 125,6 MB
Art: Front

(4:18)  1. Rosa Morena
(4:03)  2. Stay Cool
(5:19)  3. Aquele Abraço
(5:38)  4. Light My Fire
(4:00)  5. Isto Aqui O Que é
(4:31)  6. My Cherie Amour
(4:24)  7. Toda Menina Baiana
(3:28)  8. Bananeira
(5:12)  9. Made In Moonlight
(3:39) 10. Turn To Me (Samba Maracatu)
(5:13) 11. Take Five
(4:46) 12. What About The Heart (Bate Bate)

In a career that spans around 30 years and over 20 albums, singer and pianist Eliane Elias has come to epitomize a cool, sophisticated jazz sensibility, especially on the bossa nova songs of her native Brazil. On Light My Fire, she set out to extend the range of styles and grooves in her music and, in so doing, mixes Brazilian music with a couple of jazz standards and one or two famous pop and rock songs. 

The Brazilian songs, which comprise the majority of the album, are splendidly cool and generate a real sense of positivity and optimism. Gilberto Gil's "Aquele Abraço" and "Toda Menina Baiana" are especially effective; Gil and Elias forming a beautiful vocal partnership on both, while Elias' daughter, Amanda Brecker, adds backing vocals to "Toda Menina Baiana." Elias' own "What About The Heart (Bate Bate)" is romantic and upbeat, the pianist's sparkling solo carrying the tune through to the fadeout. Two jazz classics also get a makeover. Kenny Dorham's "Stay Cool," with Elias' own lyrics, also works beautifully; it's a slinky, seductive rendition, with Lawrence Feldman's flute adding to the sense of laidback, casual sensuality. Elias' rework of Paul Desmond's iconic "Take Five" is an atmospherically relaxed contrast to the original another success, despite a rather repetitive section replacing Joe Morello's famed drum solo and features the pianist's vocalese and Randy Brecker's muted, sparse, trumpet.

The Doors' classic "Light My Fire" also gets the slinky, laidback treatment, but works less well. Jim Morrison's original vocal was a yell of desperation, as if the act of "lighting his fire" was the most vital thing in the world; here, Elias sounds far less concerned. This apparent lack of connection is also present on two versions of Stevie Wonder's "My Cherie Amour," one sung in English, the other in French. The musicianship on Light My Fire is superb, with every player slipping effortlessly into the required groove. Even if a couple of numbers don't quite come off, it's still good to see established artists taking a few chances, and there's still plenty of music that does exactly what it should.~Bruce Lindsay(http://www.allaboutjazz.com/php/article.php?id=40237#.UhaimX-Ac1I).

Personnel: Eliane Elias: vocals, piano; Gilberto Gil: vocals, guitar; Randy Brecker: trumpet; Oscar Castro-Neves: guitar; Romero Lubambo: guitar; Ross Traut: guitar; Lawrence Feldman: flute; Marc Johnson: bass; Marivalso dos Santos: percussion; Paulo Braga: drums; Rafael Barata: drums; Amanda Brecker: vocals (7).

Light My Fire

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Roseanna Vitro - Tropical Postcards

Styles: Vocal, Bossa Nova
Year: 2007
File: MP3@320K/s
Time: 61:15
Size: 140,9 MB
Art: Front

(5:40)  1. Song Of The Jet
(6:46)  2. Land Of Wonder
(3:50)  3. I'll Be Seeing You
(5:21)  4. Certas Canções
(5:28)  5. Kisses
(5:17)  6. I Just Need Your Kisses
(5:50)  7. Reza
(3:47)  8. I Remember You
(5:27)  9. Wave
(5:49) 10. Cravo E Canela
(7:53) 11. In Search Of My Heart

Tropical Postcards isn't the first time that Roseanna Vitro has embraced Brazilian jazz; over the years, the expressive vocalist has recorded some Brazilian songs here and there. However, Tropical Postcards is the first time that Brazilian jazz has seriously dominated one of her albums, and it is also among her best, most inspired and memorable projects. Vitro doesn't embrace Brazilian jazz exclusively on Tropical Postcards; she gets away from the album's Brazilian theme on McCoy Tyner's "In Search of My Heart" (which favors more of a modal/Indian/Middle Eastern ambience) and Johnny Mercer's "I Remember You." Nonetheless, Brazilian jazz is the album's primary direction, and that theme serves Vitro impressively well whether she is tackling Antonio Carlos Jobim's "Wave" and two Milton Nascimento songs ("Cravo e Canela" and "Certas Cancoes") or providing a bossa nova interpretation of the standard "I'll Be Seeing You."

Thankfully, Tropical Postcards doesn't have an all-standards-all-the-time policy; Vitro, much to her credit, isn't afraid to offer some surprises when it comes to selecting material. "Wave," "I'll Be Seeing You" and "I Remember You" have been recorded countless times, but Vitro true to form also surprises us with some gems that jazz vocalists haven't paid nearly as much attention to, including Tom Harrell's "Terrestris" and Ivan Lins' "I Just Need Your Kisses." Clearly, Vitro is smart enough to realize that a song doesn't have to be a Tin Pan Alley warhorse to have value, and she knows how important it is for a jazz vocalist to put his/her stamp on some lesser known pearls. Tropical Postcards is an excellent addition to Vitro's catalog. ~ Alex Henderson   http://www.allmusic.com/album/tropical-postcards-mw0000209663

Recording information: Charlestown Road Studios, Hampton, NJ. Photographer: Paul Wickliffe.

Personnel: Roseanna Vitro (vocals); Dean Johnson , Nilson Matta, Robert E. Bowen (bass instrument); Tom Lellis (vocals); Romero Lubambo (guitar, acoustic guitar); Chieli Minucci (guitar, electric guitar); Don Braden, Joe Lovano (saxophone); Kenny Werner (piano); Duduka Da Fonseca, Cecil Brooks III (drums); Mino Cinelu (percussion); Trio da Paz.

Tropical Postcards

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Adela Dalto - Exotica

Styles: Vocal
Year: 1996
File: MP3@320K/s
Time: 55:32
Size: 128,0 MB
Art: Front

(1:09) 1. Dawning
(6:07) 2. Moon And Sand
(4:51) 3. And When The Clouds Fade Away
(4:51) 4. Dreams Of Paradise
(4:17) 5. Summer Passion
(5:04) 6. Brazilian Summer
(4:06) 7. Chora Coracao
(4:32) 8. Bachianas Brasileiras No. 5
(1:50) 9. Sol Do Meio Dia
(4:19) 10. Pobre De Mim
(3:22) 11. Coração Vagabundo
(4:06) 12. Waiting For Him
(6:53) 13. Afro Sambas

Adela Dalto has been immersed in the highest levels of creative Latin and Brazilian music and has mixed the sophisticated elements of this music with American jazz. Her Latin jazz repertoire also includes her original compositions, combining beautiful vocal sounds with fiery rhythms. She has performed around the world with her musical group including the U.S., Latin America, the Caribbean, Europe, Japan, China, Indonesia and Egypt. One of her first performances was as a backup singer for Celia Cruz, and she has since performed with some of the top Latin jazz artists including Arturo O'Farrell, Mario Bauza's AFRO CUBAN JAZZ ORCHESTRA and Carlos "Patao" Valdez. Her recordings include world class musicians such as Chucho Valdez, David Sanchez, Jerry Gonzalez, David Valentin, Ray Vega and Claudio Roditi. She has collaborated on albums with Mario Bauzá, Lee Konitz, and Aloisio Aguiar.

As a Latin Jazz vocalist, recording artist and songwriter, with a successful career that spans over 30 years, her performance has been described as "A sublime melding of Latin and jazz styles Dalto is sensuous and spellbinding." (Mark Holston, JAZZIZ). https://elusivedisc.com/adela-dalto-exotica-single-layer-stereo-japanese-import-sacd/

Musicians: Adela Dalto, vocals; Aloisio Aguiar, piano, marimba, celeste, percussion; Romero Lubambo, guitar; David Finck, bass; Portinho, drums; Waltinho, percussion, voice; Mauricio Smith, flute; Jimmy Cruz, percussion, wooden flute; Cidinho Teixeira, accordian

Exotica

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Maucha Adnet - The Jobim Songbook

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 62:16
Size: 143,4 MB
Art: Front

(4:37)  1. Vivo Sonhando
(4:20)  2. Só Tinha De Ser Com Você
(4:57)  3. Insensatez
(4:33)  4. Ela É Carioca
(4:54)  5. Chega De Saudade
(5:26)  6. Samba Do Avião
(3:55)  7. Águas De Março
(3:59)  8. Meditacão
(4:59)  9. Desafinado
(4:29) 10. Corcovado
(5:10) 11. Outra Vez
(6:01) 12. Garota De Ipanema
(4:51) 13. Água De Beber

The lack of liner notes doesn't give much clue as to how long Maucha Adnet has been active professionally as a vocalist, though a quote from Antonio Carlos Jobim indicates that she toured with the late, legendary composer. Her deep, soulful voice is very appealing, similar to that of Leny Andrade. Accompanied by a mix of Brazilian and American musicians, including pianist Helio Alves, flugelhornists Claudio Roditi and Michael Brecker, trombonist Jay Ashby, guitarists Mario Adnet and Romero Lubambo, bassist Nilson Matta and drummer Duduka Da Fonsaca, she is obviously very familiar with a wide range of Jobim's compositions, covering both internationally known hits and pieces that have received less exposure outside of Brazil. The focus is on the singer, with occasional piano or guitar solos, with the brass and reed instruments providing background colors. She scats in unison with an unidentified male singer during the introduction to "Chega De Saudade" before swinging its joyous lyrics, with Alves switching to electric piano. She brings more depth to "Aquas de Marco" (The Waters of March)" than most singers, while Adnet's understated interpretation of "Outra Vez" is also welcome. ~ Ken Dryden https://www.allmusic.com/album/the-jobim-songbook-mw0000577529

Personnel:  Vocals, Producer – Maucha Adnet; Saxophone – Joe Lovano; Trombone – Jay Ashby;  Acoustic Bass – Nilson Matta; Acoustic Guitar – Romero Lubambo; Acoustic Guitar, Arranged By – Mario Adnet; Drums – Duduka Da Fonseca; Flugelhorn – Claudio Roditi, Randy Brecker; Piano – Alfredo Cardim, Helio Alves

The Jobim Songbook

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Alyssa Graham - Echo

Styles: Vocal
Year: 2008
File: MP3@320K/s
Time: 51:21
Size: 120,6 MB
Art: Front

(6:10)  1. America
(4:41)  2. Pictures Of You
(4:19)  3. Echo
(3:59)  4. Arkansas
(4:47)  5. My Love
(5:17)  6. Butterflies
(3:42)  7. I Burn For You
(5:38)  8. Involved Again
(4:03)  9. Once Upon A Summertime
(5:27) 10. Coming Home
(3:14) 11. Izaura

Jazz is a paradox that is both compromising and uncompromising. It is compromising as an assimilating art, one that absorbs all influences that touch it. It is uncompromising that jazz demands virtuosity and creativity. It is this paradox that allows the genre to contain both a Sarah Vaughan and Dianna Krall, and a Grant Green and John McLaughlin beneath its tent. It is jazz that welcomes the better angels of creation into its realm to manifest any number of delightful and inventive manners. Jazz, by its very nature, is evolving in four dimensions. Norah Jones, for example, with a crack band and a Country and Western sensibility, has reformed the interface between jazz and popular music. Think of Jones as Josef Haydn, a musical trailblazer inventing a new way to look at an established genre, one further perfected by Mozart's inevitable invention. Norah Jones' Mozart is Alyssa Graham. New York native Graham and guitarist/husband Douglas Graham recorded the singer's first release in their living room on a self-produced shoestring. The result was What Love Is (2005) which was selected for several Best of 2005 lists. Graham has since honed her musical approach to a fine edge, with Echo at once pure metal and perfect amalgam. Echo boasts a Latin influence and indeed one exists. But there is none of the piquant tartness of a typical Latin outing. Instead, the collective efforts of Jeff Haynes' essential percussion, guitarists Graham and Romero Lubambo and the Hendrik Meurkens-influenced Gregoire Maret are distilled into dense tension, sounding as if it has been there all the time. This is familiar music and that is its magic. Paul Simon's "America" is rendered as a siren song buoyed by purring congas and round nylon stings. This same formula transforms Michel LeGrand's "Once upon a Summertime" in a similar manner; quietly and with great grace. 

Pianist John Cowherd shares composing duties with both Bryan McCann ("Echo" and "Arkansas") and Douglas Graham ("Pictures of You" and "My Love") to anchor the disc. "Echo" is a sophisticated vignette, a cross between Burton Cummings and Bruce Hornsby. Graham's delicious intonation is perfectly balanced by Cowherd's Norah Jones-like octaves. "Arkansas" is a potent pastoral smart and informed and mysterious. "My Love" powerfully recalls Elton John's Tumbleweed Connection (MCA , 1971) and Jackson Browne's The Pretender (Asylum, 1976), especially in Cowherd's fine piano solo and Graham's solid high, rich alto. Into this mix is "Involved Again." Composed by Jack Reardon ("The Good Life"), "Involved Again" was written for Billie Holiday and was slated to be recorded by her, save for the singer's death in 1959. The song remained shelved until Reardon heard Alyssa Graham. The song would have been perfect next to "I'm A Fool to Want You" and "But Beautiful," from Holiday's Lady in Satin (Columbia, 1958). Graham captures perfectly the conflict of forgiven love, totally committed at a cost. She has spent her time wisely, perfecting her art and the art that came before her. Echo is a fine wine with a heady base and nose and an expansive finish. It is to be savored after many listenings. ~ C.Michael Bailey https://www.allaboutjazz.com/echo-alyssa-graham-sunnyside-records-review-by-c-michael-bailey.php

Personnel: Alyssa Graham: vocals; Jon Cowherd: vocals, French horn, piano, organ; Douglas Graham: guitars; Romero Lubambo: guitar; Elizabeth Lim-Dutton, Laura Seaton: violin; Lawrence Dutton: viola; Sachi Patitucci: cello; Gregoire Maret: harmonica; Doug Weiss: bass guitar; Obed Calvaire: drum; Jeff Haynes: percussion.

Echo

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Billy Stritch - Waters of March: The Brazilian Album

Styles: Vocal And Piano Jazz, Brazilian Jazz
Year: 2017
File: MP3@320K/s
Time: 44:37
Size: 103,8 MB
Art: Front

(4:04)  1. Waters of March
(4:24)  2. How Insensitive
(4:10)  3. As Rosas Não Falam
(3:43)  4. Gently
(4:48)  5. Astrud
(4:33)  6. If Ever
(3:20)  7. Someone to Light up My Life
(3:25)  8. Samba De Verão
(3:54)  9. So Many Stars
(3:58) 10. Evolution
(4:13) 11. I Don't Want to Be Away from You

An award-winning composer, arranger, vocalist, and jazz pianist of extraordinary range and sophistication, Billy Stritch breathes new life into the Great American Songbook, all the while bringing an easy sense of humor and showmanship to his performances. Born and raised in Sugar Land, Texas, Billy Stritch got his start at age 12, playing piano at his neighborhood First Presbyterian Church. Word spread about the child prodigy, and the local country club hired him for a four-year weekly gig in the piano bar. The dreaded requests came in droves, prompting Billy to rush home and learn all the requisite standards, which would subsequently fill his tip bowl! Inspiration came from jazz greats like Oscar Peterson and George Shearing, but his older sister’s love for Elton John and Billy Joel opened up a new world of pop music which informs his playing to this day. After being turned on to singers like Mel Torme, Ella Fitzgerald, Mark Murphy and Carmen McRae, Stritch started to find his own voice to use in conjunction with the piano mastery. While at the University of Houston, Billy teamed with two female vocalists and created Montgomery, Plant & Stritch. The jazz vocal trio appeared in local saloons, but soon they were playing the most important supper clubs in the country. Eventually, the JVC Jazz Festival paired the group with Mel Torme at Carnegie Hall, they became regulars at the Newport Jazz Festival, and they toured Italy with the North Sea Jazz Festival four years in a row. When the group broke up, Billy made the big move to New York City. He was playing a piano bar when Liza Minnelli stopped in, listened and immediately hired him to arrange for her “Steppin’ Out At Radio City” extravaganza. This led to international performances on stage at The Palais de Congres in Paris, The Municipale in Rio de Janeiro, The Russiya in Moscow, NHK Hall in Tokyo and The Royal Albert Hall in London. He acted as associate producer, pianist and arranger for Minnelli’s Gently CD, which earned two Grammy nominations, and was co-arranger with Marvin Hamlisch for Minnelli On Minnelli at the Palace Theater in New York City. His arrangements have also been performed in the annual Christmas Spectacular at Radio City Music Hall, most memorably in the "Multiplying Santa" fantasy.

As a composer, Stritch and Nashville writer Sandy Knox penned the 1994 Grammy Award-winning country song, "Does He Love You?," recorded by Reba McEntire and Linda Davis, which has sold over four million copies nationwide. The song was named one of the Top Ten Country Songs of 1994 by the readers of Music City News and also appears on Patti LaBelle’s CD, Flame. Most recently, it was performed on "American Idol" by Reba McIntire and the show’s winner Kelly Clarkson. In 2001, a new door opened in the professional life of Billy Stritch. He was cast in the role of Oscar, the piano-playing crooner in the Broadway revival of “42nd Street” which starred Christine Ebersole Their show-stopping number together, "I Only Have Eyes For You", led to television spots on The Rosie O’Donnell Show and CBS This Morning. In February 2004, Billy and Christine collaborated on a nightclub act entitled “In Your Dreams” which they have performed at Feinstein’s in New York, The Cinegrill in Hollywood, and Manhattan’s famed jazz nightspot Birdland. In November 2004, the two released a CD also entitled “In Your Dreams” on the Ghostlight Records label and they have many concert appearances scheduled through 2005 and beyond. Billy’s other TV appearances include Sondheim: A Celebration at Carnegie Hall, The Today Show, The Charlie Rose Show and The Oprah Winfrey Show. He was also guest conductor for The Rosie O’Donnell Show when regular musical director John McDaniel was on the road in concert. His first solo recording, “Billy Stritch” (DRG Records), finds Stritch swinging standards with Chip Jackson on bass and Terry Clarke on drums. His follow-up CD on the Touchwood Record label, “Waters Of March: The Brazilian Album”, features Dave Ratajczak on drums, David Finck on bass, along with a 40-piece string orchestra. “Jazz Live”, his third release (Fynsworth Alley), was recorded live at The Jazz Standard in New York City with John Arbo on bass and Dave Ratajczak on drums, and caused the London Times to rave, "Equally gifted as a player and a singer, and doing both with no-holds-power, Stritch is not afraid to dazzle!" http://www.billystritch.com/Billy-Stritch-Bio.html

Personnel: Billy Stritch (vocals, piano); Jukka Linkola (conductor); Emanuel Moriera, Romero Lubambo (guitar); Gerry Niewood (flute, tenor saxophone); Alex Norris (flugelhorn); Glen Ostrin (French horn); Andrew Williams (trombone); David Finck (bass); Dave Ratajczak (drums); Cafe (percussion); Cortes Alexander, Natalie Blalock, Alexandra Haas (background vocals).

Waters of March: The Brazilian Album

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Kate Reid - The Heart Already Knows

Styles: Vocal Jazz
Year: 2018
File: MP3@320K/s
Time: 47:33
Size: 109,5 MB
Art: Front

(4:41)  1. Something to Live For
(3:11)  2. Confessin'
(3:15)  3. No More
(3:52)  4. Two Grey Rooms
(3:10)  5. Stars
(6:57)  6. Busy Being Blue
(4:46)  7. Just a Lucky so and So
(3:58)  8. Secret o' Life
(4:54)  9. If I Should Lose You
(5:12) 10. Minds of Their Own
(3:33) 11. Lazin' Around

The honest communication between two musicians in a performance setting can result in a very intimate and personal performance. This record features jazz vocalist Kate Reid with pianists Fred Hersch, Taylor Eigsti and guitarists Romero Lubambo, Paul Meyers and Larry Koonse. The material highlights Kate Reid in various 'feels' including swing, samba, bossa, ballad and contemporary. https://store.cdbaby.com/cd/katereid13

Personnel:  Kate Reid vocals;  Paul Meyers guitar (1,7);  Larry Koonse guitar (2,4);  Fred Hersch piano (3,9,11);  Romero Lubambo guitar (5,10);  Taylor Eigsti piano (6,8)

The Heart Already Knows

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Dianne Reeves - A Little Moonlight

Styles: Vocal 
Year: 2003
File: MP3@320K/s
Time: 62:55
Size: 145,3 MB
Art: Front

(4:24)  1. Loads Of Love
(5:20)  2. I Concentrate On You
(5:12)  3. Reflections
(6:52)  4. Skylark
(6:21)  5. What A Little Moonlight Can Do
(4:46)  6. Darn That Dream
(5:58)  7. I'm All Smiles
(5:35)  8. Lullaby Of Broadway
(7:25)  9. You Go To My Head
(4:35) 10. We'll Be Together Again
(6:23) 11. Make Sure You're Sure

With the meteoric success of Norah Jones' debut in the early 2000s, the message was clear: there's a real hunger for straightforward tunes with minimal froufrou. Jones' producer, Arif Mardin, has assembled another likely hit with A Little Moonlight, a collection of appealing standards. Empathically supported by Dianne Reeves' working trio, every track showcases her exceptionally rich and lovely instrument. Although longterm fans may consider her a bit subdued, her soulfulness is very much in evidence, and her voice, as always, goes down like mulled wine. There are samples of her trademark whimsical scatting, especially on the charming opener, "Loads of Love," "I'm All Smiles," and the grin-inducing "What a Little Moonlight Can Do." "I'm All Smiles" features a fine solo by the excellent pianist Peter Martin, who, like Ruben Rogers and Gregory Hutchinson, is terrific throughout. Peaks include two delicious duos with guest Romero Lubambo, the elegant Brazilian guitarist who's been on her last four albums: the airy "I Concentrate on You" and the yearning "Darn That Dream." Reeves' inspired pairing with Nicholas Payton on "You Go to My Head" has the intimate feel of closing time at a jazz club: the patrons are gone, the chairs are stacked on the tables, but the musicians still have something urgent and deeply personal to say. 

Even when the trio joins in, the after-hours atmosphere endures, with Payton scrolling around Reeves' lines and taking a magnificently misty solo. In "We'll Be Together Again," Reeves evokes the ghost of Sarah Vaughan another purely musical singer gifted with a flexible, velvety voice and soulful, natural phrasing. Double Grammy-winner Reeves had long been a genre-buster, so this straight-ahead album is a precedent for her; accessible and thoroughly enjoyable, it will undoubtedly gain her a whole new audience, while staying true to the banner of jazz. Recommended. ~ Judith Schlesinger https://www.allmusic.com/album/a-little-moonlight-mw0000321356

Personnel:  Dianne Reeves – vocals;  Romero Lubambo – guitar, arranger;  Reuben Rogers – bass;  Gregory Hutchinson – drums;  Peter Martin – piano, arranger;  Nicholas Payton – trumpet (track 9);  Billy Childs Trio – arranger

A Little Moonlight

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Jay Lawrence - Sonic Paragon

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 71:13
Size: 200,2 MB
Art: Front

(6:38)  1. Full Moon in Havana
(5:07)  2. What'll I Do
(7:31)  3. Vamonos
(7:06)  4. Slide
(5:38)  5. Maria
(6:51)  6. Dayspring
(4:18)  7. From Nadir to Zenith
(6:26)  8. Sonic Paragon
(5:16)  9. Tchoupitoulas
(5:58) 10. Golden Ratio
(4:41) 11. Crosstown Traffic
(5:39) 12. My Winsome Consort

"Drummer Jay Lawrence gathered together an impressive all-star group to perform swinging originals (all but one are his with one being co-written) and inventive versions of two standards and Jimi Hendrix’s “Crosstown Traffic” (turned into a straight ahead uptempo romp). The colorful music covers a variety of moods and tempos ranging from the rhythmically catchy “Tchoupitoulas” and the cheerful “My Winsome Consort” to an infectious modernized version of “Maria.” Among the most memorable moments are Renee Rosnes’ sly Monkish solo on “My Winsome Consort,” Terrell Stafford’s riotous plunger mute chorus on “Slide,” Romero Lubambo pushing the rhythm on “Maria,” and the leader’s drum breaks on the Latinish “Vamonos.” Harry Allen’s tenor is a major part of the group’s sound throughout, the three guitarists each have spots to shine, and how can one beat John Patitucci on bass? Sonic Paragon is worthy of many listens; there is a lot to discover in this music."~ Scott Yanow, jazz journalist/historian and author of 11 books

Jay Lawrence, (freelance musician, composer, educator) operates LIJA Music Inc., is the percussionist for the MT Pit Orchestra, co-owns the Jazz Hang record label with colleague Ray Smith, and is the drummer for the Salt Lake City Jazz Orchestra. Lawrence graduated from Utah Valley University with a Bachelor of Science degree - Summa Cum Laude. He has been a member of the adjunct faculties at Brigham Young University (1996 to present), University of Utah (24 years), Snow College (1998 to present), and other Universities. His vast professional experience began when Lawrence joined The Musicians Union (A. F. of M.) at the age of fifteen. In Reno, Lake Tahoe and Las Vegas, Nevada hotel/casino show bands, Jay performed with many celebrities, including: The 5th Dimension, Paul Anka, Vikki Carr, Cher, Roy Clark, The Coasters, Natalie Cole, Vic Damone, Sammy Davis Jr., Barbara Eden, Michael Feinstein, Andy Gibb, Englebert Humperdink, Tom Jones, Ben E. King, Gladys Knight, Rich Little, Loretta Lynn, Ann Margret, Maureen McGovern, Shirley MacLaine, Liza Minnelli, The Moody Blues, Anthony Newley, Lou Rawls, Charlie Rich, Linda Ronstadt, Frank Jr. and Nancy Sinatra, Red Skelton, Dionne Warwick, Raquel Welch, Mary Wilson, and many others. Former President of the Salt Lake Jazz Society, Lawrence has also performed with many jazz artists, including: Shelly Berg, Brian Bromberg, Kenny Burrell, Cyrus Chestnut, Pete Christlieb, Dee Daniels, Eddie Daniels, Carl Fontana, Al Grey, Don Grolnick, Roy Hargrove, Milt Jackson, Hank Jones, Carol Kaye, Mark Levine, James Moody, Andy Narell, New York Voices, Nicholas Payton, John Pizzarelli, Tom Scott, Bobby Shew, Byron Stripling, Tierney Sutton, Clark Terry, Stanley Turrentine, and Phil Woods. Many award-winning recordings have been recorded by Jay, including albums with Bob Mintzer, Andy Martin, Joey DeFrancesco, Mike Stern, Eddie Daniels, Chuck Findley, Ellis Hall, Natalie Cole, Rodney Jones, Reggie Thomas, Ron Blake, Rodney Whitaker and others. The Jay Lawrence trio’s Thermal Strut on OA2 Records featured Tamir Hendelman and Lynn Seaton and received critical acclaim in Percussive Notes, Jazz Times, and other magazines. Jay’s 2012 recording, Sweet Lime, released on Jazz Hang Records, reached number 7 on the Jazz Week Radio Airplay charts. It features Bob Sheppard and John Clayton. Lawrence also soloed on Kaskade’s Grammy Nominated album Atmosphere. He has toured throughout the U.S.A., Canada, Europe, the South Pacific and the Caribbean with luminaries such as Chris LeDoux, James Moody, Liberace, Enoch Train, and The Osmonds. Lawrence has recorded film scores and trailers for the following motion pictures: The Sandlot, 101 Dalmatians, Army of Darkness, Double Impact, Eulogy, Flubber, Frank and Jesse, Gettysburg, Hercules, Huck Finn, Jumanji, Mighty Ducks 2, Nightmare on Elm Street- Part VII, Stargate, Surviving Picasso, The Swan Princess, The Three Ninjas Kick Back, U-57, and Saturday's Warrior. https://store.cdbaby.com/cd/jaylawrence

Personnel:  Jay Lawrence, drums;  John Patitucci, bass;  Renee Rosnes, piano;  Harry Allen, tenor saxophone;  Terell Stafford, trumpet;  Anthony Wilson, Yotam Silberstein, Romero Lubambo, guitars

Sonic Paragon

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Michael Franks - Rendezvous in Rio

Styles: Vocal
Year: 2006
File: MP3@320K/s
Time: 52:39
Size: 129,8 MB
Art: Front

(5:26)  1. Under the Sun
(5:36)  2. Rendezvous in Rio
(5:47)  3. The Cool School
(4:40)  4. Samba do Soho
(5:16)  5. The Critics Are Never Kind
(4:27)  6. Scatsville
(4:24)  7. The Chemistry of Love
(5:41)  8. Hearing 'Take Five'
(4:30)  9. The Question is Why
(6:46) 10. Songbirds

Michael Franks' laid-back vocals have made him the choice of a new generation of cool school attendees. With Rendezvous in Rio, his debut release for Koch Records, Franks continuously shows why he is still at the top of his game with brand-new songs that will soothe, undo your stresses, or put you in a romantic mood. The various musical styles on the CD include two Brazilian sambas, one titled "Under the Sun," pointing you toward the Southern Hemisphere and the warmth of Rio de Janeiro and Bahia. A master of phrasing and elongated notes, Franks tells his great stories in several tempos that literally have you wanted to take this journey with him. "Rendezvous in Rio" starts with Café's percussive whistle and the rhythmic flow of Romero Lubambo's guitar. Chris Hunter's sax and flute solos also heighten the imagery of Franks' sexy vocals. "The Cool School" starts with the beautiful guitar accompaniment of Chuck Loeb and continues under Franks' vocals with a hushed flow of cool/smooth riffs that make this song one of the best on the CD. With the artistry of such respected contemporary jazz artists as Jeff Lorber, Jimmy Haslip, Chuck Loeb, and Alex Al and the lilt of the carnival whistle, Michael Franks has conspired to entertain you, and has succeeded. You're sure to enjoy this very special Rendezvous in Rio. Recommended. ~ Paula Edelstein https://www.allmusic.com/album/rendezvous-in-rio-mw0000442477

Personnel: Michael Franks (vocals); Robbie Dupree (vocals, background vocals); Carmen Cuesta-Loeb, Larry Hoppen, Pamela Driggs (vocals); Chuck Loeb (guitar, piano, keyboards, programming); Dwight Sills, Marc Shulman, Mike DeMicco, Romero Lubambo (guitar); Gary Meek (flute, saxophone, tenor saxophone); Chris Hunter (flute, saxophone); Andy Suzuki (woodwinds); Roger Burn (piano, keyboards, vibraphone); Jeff Lorber (keyboards, programming, drum programming, percussion programming); Charles Blenzig (keyboards, programming); Scott Petito (keyboards); Jimmy Haslip (electric bass); Jerry Marotta (drums, percussion); Michael White , Michael White , Wolfgang Haffner, Brian Dunne, Vinnie Colaiuta (drums); Café (percussion); Leslie Ritter, Veronica Nunn, Beth Reineke (background vocals); Eric Marienthal (alto saxophone, tenor saxophone); David Sancious (piano, keyboards).

Rendezvous in Rio

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Romero Lubambo - Só - Brazilian Essence

Styles: Guitar Jazz
Year: 2014
File: MP3@320K/s
Time: 57:08
Size: 131,3 MB
Art: Front

(4:18)  1. Aquarela Do Brasil
(3:36)  2. Brigas Nunca Mais
(4:20)  3. Paquito in Bremen
(4:05)  4. Pedra Bonita
(4:01)  5. Voce E Eli
(4:56)  6. Song For Kaya
(3:03)  7. Luisa
(3:43)  8. Coisa Mais Linda
(5:56)  9. Insensatez
(5:39) 10. Samambaia
(5:13) 11. By The Stream
(4:01) 12. A Felicidade
(4:12) 13. Laura

Since his arrival in the States from Rio nearly three decades ago, Romero Lubambo has served as a sideman and session hand to the likes of Dianne Reeves, Luciana Souza and numerous others; as a leader in the studio; and as a member of Trio da Paz. But he’s always shined brightest as an unaccompanied solo guitarist. Só: Brazilian Essence is that and nothing more-Lubambo alone, taking it back home-and it sure is delicious. Lubambo’s virtuosity is absolute; his command of his instrument is total, his execution flawless. But what makes him so engaging is that, although he could simply exploit his skillfulness and be done with it, he’s most decidedly not about that. Unearthing the essence of a melody-understanding the song’s intent and using that as his jump-off point-is his first order of business, and only after he’s comfortable in a song’s skin does he begin to develop and embellish. On the opener, Ary Barroso’s “Aquarela do Brasil,” Lubambo dives in boldly, establishing his approach with elaborate filigrees that tease at flamenco with their dramatic, classically informed flourishes. Meshing his own leads throughout with perfect rhythmic counterpoint, he tosses theatrical flares into the air, calms it all down deftly, and then shoots more fireworks. It’s a tool he employs often on Só, but it’s one that never gets old. Of Lubambo’s three self-penned tunes (and one dually composed piece), the peaceful, soothing “Song for Kaya” is a highlight, and his nimble touch on the Raksin-Mercer standard “Laura” exposes the song’s intrinsic tenderness. Jobim is represented with a pair, including the oft-interpreted and always welcomed “Insensatez,” given a straightforward, unadorned treatment that downplays its bossa rhythm in order to more openly reveal the heartbreak of the melody.~ Jeff Tamarkin https://jazztimes.com/reviews/albums/romero-lubambo-so-brazilian-essence/

Personnel:  Guitar – Romero Lubambo;  Vocals – Romero Lubambo (tracks: 8)           

Só - Brazilian Essence

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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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Romero Lubambo - Brazilian Routes

Styles: Guitar Jazz, World 
Year: 2002
File: MP3@320K/s
Time: 40:24
Size: 92,7 MB
Art: Front

(5:47)  1. Love for Sale
(6:49)  2. Pamela Elaine
(4:26)  3. Route 66
(6:32)  4. O Que é Amar
(6:30)  5. Sally's Tomato
(5:31)  6. Correnteza
(4:47)  7. Luisa

Guitarist Romero Lubambo lays down a smooth set of Brazilian jazz working here in a setting that includes a bit of Fender Rhodes, bass, drums, and percussion plus guest vocals by Pamela Driggs on one track, and a solo by Mauro Senise on another. The production's pretty slick, but there's an easy and relaxed feel to the set that's quite nice a strong counterpoint to the production, and which gives the CD a jazzy edge that you wouldn't expect. Titles include "O Que E Amar", "Sally's Tomato", "Correnteza", "Luisa", and "Love For Sale". (Out of print.)  © 1996-2018, Dusty Groove, Inc. https://www.dustygroove.com/item/858835/Romero-Lubambo:Brazilian-Routes

Brazilian Routes

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Romero Lubambo - Setembro

Bitrate: MP3@320K/s
Time: 53:52
Size: 123.3 MB
Styles: Guitar jazz
Year: 2015
Art: Front

[5:44] 1. Influencia Do Jazz
[3:29] 2. Darn That Dream
[5:04] 3. Meditation
[3:44] 4. Joanna Francesa
[6:11] 5. Muriqui
[4:15] 6. Setembro
[3:16] 7. All The Things You Are
[5:12] 8. Nira
[4:08] 9. Lukinha
[4:35] 10. Love Letters
[5:26] 11. The Days Of Wine And Roses
[2:43] 12. Eu Preciso Aprender

It can be argued that the country that has most influenced the development of jazz, apart from the United States, has been Brazil. The sound of 1950s jazz, especially that of the cool school (best represented by the music of Miles Davis), had a huge influence on the evolution of bossa nova, which, once exported to the States, became a sensation and cemented itself to the lexicon of modern jazz. This opened the door for other Brazilian styles and artists to become recognizable to music fans worldwide.

Brazilian guitarist and composer Romero Lubambo grew up in Rio de Janeiro in a household filled with song. This was where his devotion to music began. Between playing various instruments and singing with his family, classical guitar studies and his exposure to music of all sorts via the radio, Lubambo became increasingly devoted to developing his own skill as guitarist and interpreter of music that he loved, namely Brazilian, classical and jazz. Naturally, the best setting to hear Lubambo s incredibly varied and highly personal guitar style has been solo. In early 2014, he delivered the wonderful Só Brazilian Essence, where he explored exclusively Brazilian compositions on solo acoustic guitar. On his new recording, Setembro A Brazilian Under The Jazz Influence, Lubambo splits his focus between Brazilian and jazz music and between acoustic and electric jazz guitar.

Lubambo has long been known for his work with artists like Dianne Reeves, Diana Krall and Luciana Souza, and with his collaborative group Trio Da Paz. His musical vocabulary has been lauded for years, especially in blending jazz and Brazilian popular musical forms. Setembro brings his influences full circle, as he performs jazz standards, tunes from legendary Brazilian composers, and his own compositions. The recording begins with a hypnotic rendition of Carlos Lyra s Influência Do Jazz on acoustic guitar, which is followed by a deftly played electric version of the Van Heusen classic Darn That Dream. Jobim and Mendonça s Meditação follows with Romero on warm electric. Chico Buarque s Joana Francesa is a meditative masterpiece on acoustic guitar, while Lubambo s own Muriqui is a great example of advances in the Brazilian guitar tradition by one of its best adepts. The Ivan Lins and Gilson Peranzzetta classic Setembro is stripped down into a beautiful minimalist ballad. The Kern/Hammerstein jewel All The Things You Are is danceably percussive on acoustic and the guitarist s Nira slows down the proceeding with an ambient ballad on electric. Lukinha is another original that has a perfect balance between resonant restraint and dexterous pyrotechnics. Victor Young s Love Letters is gorgeously played on electric, as is the Mancini/Mercer gem Days of Wine and Roses. The recording concludes with Marcos and Paulo Valle s Preciso Aprender a Ser Só, a charming and slightly offbeat acoustic ballad.

Romero Lubambo s Setembro A Brazilian Under The Jazz Influence is a fabulous aural portrait of a musician that bridges the divide between jazz and Brazilian popular music. His fantastic ability to entrance a listener on whatever style and guitar that he chooses is on full and dynamic display.

Setembro mc
Setembro zippy

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