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VA - Jazz & Bossa Nova Masterpiece Best & More Series '2013

Jazz & Bossa Nova Masterpiece Best & More Series
ArtistVA Related artists
Album name Jazz & Bossa Nova Masterpiece Best & More Series
Country
Date 2013
GenreBossa Nova / Latin Jazz
Play time 04:17:43
Format / Bitrate Stereo 1420 Kbps / 44.1 kHz
MP3 320 Kbps
Media CD
Size 2,64 GB (+3\%rec.)
PriceDownload $8.95
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Tracks list

Tracks:



01. The Cannonball Adderley Quintet - The Happy People (1972)

A really unique little album from Cannonballs all-great late years at Capitol
– a session that features some strong influences from Brazilian music
– The Happy People – and production from the legendary David
Axelrod! The mix makes for a really unique little record – a set that
isnt really bossa, but isnt regular Cannonball funk either – kind of a
special hybrid of the two! Airto plays on the set, and contributed the great
groover The Happy People – a long bit of funky samba that features George
Duke on electric piano, and percussion and vocals by Airto himself.
The rest of the albums pretty darn great too – with some long tracks that
have a more open-ended groove than the usual Cannon funk – featuring more
piano by Duke, percussion by Airto and King Errison, cornet by Nat Adderley, and
guitar by David T Walker. Other titles include Ela, Maria Tres Filhos, and
Savior – and the album was recorded live, with a very lively feel!

01 - The Happy People
02 - Maria Tres Filhos
03 - Savior
04 - ELA

Cannonball Adderley - alto saxophone
Nat Adderley - cornet
George Duke - piano, electric piano
Walter Booker - bass
Roy McCurdy - drums
Airto Moreira - percussion, vocals
King Errison - percussion
Mayuto, Octavio - percussion (tracks 1, 2 & 4)
David T. Walker - guitar (track 3)
Chuck Rainey - electric bass (track 3)
Flora Purim - vocals
Olga James - vocals (track 3)



02. Guitars Unlimited - Quiet Nights & Brazilian Guitars (1966)

A few short years ago the rich, subtle rhythms of Brazils popular music swept
north to dazzle the American musical scene with a tantalizing new sound. Today
that sound has become a permanent part of our musical ways.
It is easy to see why, for Brazilian composers have a way of combining melody
and rhythm in a meld that gives a feeling of romance to every note, an amorous
message to every chord. And this is the spirit that Guitars Unlimited have
captured in their first recording … an album of contemporary moods styled
for listening today! No violins, no brass, no reeds, only soft guitars and
gentle rhythm … and a program of romantic statements as welcome as springs
first sunlight.
The musicians who weave these inspired sounds are unmistakably among todays
finest. And this, of course, explains much of the effortless grace and carefree
zest heard in their harmonious blends and solo passages. The arrangements of
Jack Marshall tell the rest of the story, for he has brought these artists
together with a skillful hand and a gifted feeling for the magical beauty of
this Brazilian music.
And together, Guitars Unlimited make a wonderful new kind of music that is the
essence of romantic moods, quiet nights and Brazilian guitars.

01 - The Girl From Ipanema
02 - Manha De Carnaval (Theme From Black Orpheus)
03 - Meditation (Meditacao)
04 - Here Lies Love
05 - Ho-Ba-La-La
06 - Bim-Bom
07 - Desafinado
08 - Quiet Nights Of Quiet Stars (Corcovado)
09 - One Note Samba (Samba De Una Nota So)
10 - These Are The Ways Of Love
11 - O Barquinho (Little Boat)

Jack Marshall - conductor, arranger, guitar
Howard Roberts, Bob Bain, Tony Rizzo, Al Hendrikson, Tommy Tedesco, Laurindo
Almeida, Rosinha de Valenca - guitar
Shelly Manne, Milton Holland - drums, percussion
Frank Flynn - bells
Joe Mondragon - bass



03. Stan Kenton - Artistry In Bossa Nova (1963)

This LP features the Stan Kenton Orchestra (during the period when it had a
mellophonium section) performing some of its familiar standards and a few newer
songs with a light Brazilian rhythm provided by percussionists Frank Guerrero
and Milt Holland (Larry Bunker fills in for Holland on three songs). Although
one might consider this project to be an example of Kenton jumping on the
bandwagon (since the bossa nova fad was at its peak at the time), the music is
quite enjoyable.
Kenton on piano is the main soloist throughout, with Conte Candoli having a
couple solos on trumpet and high-note trumpeter Bud Brisbois getting a few
spots. Kentons Brasilia is a charming piece deserving to be revived. Otherwise,
it is interesting to hear such songs as Interlude, Concerto to End All
Concertos, Eager Beaver, and even Artistry in Rhythm in this setting.

01 - Artistry In Rhythm
02 - Opus In Chartreuse
03 - Interlude
04 - Kentonova
05 - Eager Beaver
06 - Concerto To End All Concertos
07 - Brasilia
08 - Painted Rhythm
09 - Opus In Pastels
10 - Jump For Joe
11 - Loco-Nova
12 - Artistry In Bossa Nov

Stan Kenton - piano, leader, arranger



04. The Sergio Mendes Trio & Wanda De Sah - Brasil 65 (1965)

Thats Brasil 65, not Brasil 66 – a distinction that marks a key early
stage for the great Sergio Mendes – heard here on one of his first albums
to mix together bossa jazz and vocals! The approach here is a bit more like
vintage bossa dates from Brazil – or a bit like some of the Verve bossa
records too – as Sergios core trio is at the heart of every tune, playing
with a great jazzy approach – then augmented in different ways by alto
and flute from Bud Shank, guitar from Rosinha De Valenca, and vocals from the
lovely Wanda De Sah! Production is perfect – really in a classic Elenco
Records mode – and titles include Let Me, Consolacao, Tristeza Em Mim,
Muito A Vontade, Reza, Berimbau, and Aquarius.
In 1965, Sergio Mendes and his trio conducted their first out-of-Brazil
experiment: They recorded in L.A. for the first time in what proved to be their
first major move into the U.S. market and their embrace of the new bossa nova
sound. Accompanying the Mendes band were then-great vocalist Wanda de Sah and
guitarist Rosinha de Valenca. This is deeply swinging bossa; it is crisp and
pops out at the listener in every conceivable way. It features exotic and
pioneering rhythmic work, smooth accessibility, and sophisticated melodies, many
of which were written by the hottest talents in Brazil, such as Marcos Valle
(Samba de Verão [aka So Nice]), Baden Powell and Vinícius de Moraes
(Berimbau), João Donato (Muito a Vontade), Edú Lobo (Reza), and of course
Antonio Carlos Jobim (One Note Samba and Shes a Carioca). Also adding to the
jazzed-out nature of the new bossa flavor was Bud Shank blowing alto on So Nice
and other cuts, which had its lyric – -as did One Note Samba and a few
others – translated into English. But the appeal of Shanks appeal with
this band cannot be overrated. Shank took the shimmering mist that Getz
contributed to bossa nova and punched it up and gave it an edge and some raw
emotion. This stands with Mendes best work from Brazil and is truly one of his
American highlights.

01 - So Nice (Samba de Verao)
02 - Favela
03 - Berimbau
04 - Tristeza Em Mim
05 - Aquarius
06 - One Note Samba
07 - Shes A Carioca
08 - Muito a Vontade
09 - Let Me (Deixa)
10 - Consolacao
11 - Reza

Sergio Mendes - piano
Sebastiao Neto - bass
Chico Batera - drums
Wanda De Sah - vocals
Rosinha De Valenca - guitar
Bud Shank - flute, alto saxophone



05. Wanda De Sah - Softly! (1965)

A lost bossa classic from Wanda De Sah – aka Wanda Sa, the wife of Edu
Lobo, and a singer who worked with Sergio Mendes in his pre-Brasil 66 days! The
albums got a wonderfully laidback feel – languid, yet jazzy, with the
feel of some of Astrud Gilbertos best work on Verve, yet with vocals that are
possibly better – thanks to Wandas pedigree in Brazilian pop. Recordings
were done in California, not Rio – and arrangements are handled by the
great Jack Marshall – whos got a strong ear for keeping things
interesting with a mix of strings, Latin rhythms, and Capitol pop shadings.

01 - Ho Ba La La
02 - Sweet Happy Life (Samba De Orfeu)
03 - Quiet Nights (Corcovado)
04 - Aruanda
05 - The Dreamer
06 - So Danco Samba (Jazz n Samba)
07 - Once I Loved
08 - Who Knows
09 - Tem Do
10 - With Feeling
11 - Agua De Beber

Wanda De Sah - vocals
with strings, orchestra and Latin rhythm arranged and conducted by Jack Marshall



06. Clare Fischer - Manteca! (1966)

 One of our favorite albums ever from the great Clare Fischer – and one
of the first to really show his special talents at their best! The sound here is
a wonderful blend of jazz, Latin, and Brazilian modes – and in addition
to piano, Clare plays plenty of organ on the date – which bristles with
this cool, clear sound amidst larger backdrops that have a very driving feel!

Theres lots of percussive energy at the bottom of the bigger group tracks
– thanks to work from Latin percussionists Carlos Vidal, Cuco Martinez,
Chino Valdes, and Rudy Calzado – and some of the other cuts feature a
smaller group, but still with lots of great percussion! Clares organ has this
feel thats very different than the usual Hammond jazz style – and really
sounds great throughout – on a batch of tracks that includes a key
reading of his classic Morning – plus the cuts Manteca, Favela, Afro
Blue, Dulzura, and Negrita.

01 - Manteca
02 - El Toro
03 - Morning
04 - Afro Blue
05 - Favela
06 - Marguerite (Suegra)
07 - Dulzura
08 - Sway (Quien Sera)
09 - Negrita

Clare Fischer - piano and organ
Conte Candoli, Bobby Bryant, Don Smith, A.D. Brisbois - trumpet
Gil Falco, Bob Edmondson - trombone
Ernie Tack - bass trombone
Ralph Peña - bass
Nicholas Cuco Martinez - timbales
Adolfo Chino Valdes, Carlos Vidal - conga
Rudy Calzado - cencero and güiro
Richard West - bass



07. Bud Shank & Clare Fisher - Bossa Nova Jazz Samba (1962)

A sublime little set all the way through – an early 60s date from the
west coast scene – and one that was almost as important to that side of
the country as the Verve bossa records were to New York! Bud Shanks in the lead
on alto sax – no flute at all this time around – blowing sharp and
soulfully, in a way thats even more deft than most of his other albums! But the
equal star here is the young Clare Fischer – who plays piano in the
group, and also contributed a host of original tunes to the set – fresh
numbers that are way different than the usual bossa-ized standards, or American
remakes of Brazilian classics. Ralph Pena is a key member of the group on bass
– and Larry Bunker plays some vibes as well. Titles include Joao,
Pensativa, Samba Guapo, Samba Da Borboleta, and Que Mais?.

01 - Samba Da Borboleta
02 - Illusao
03 - Pensativa
04 - Joao
05 - Misty
06 - Que Mais_
07 - Wistful Samba
08 - Samba Guapo

Bud Shank - alto saxophone
Clare Fischer - piano
Ralph Pena - bass
Larry Bunker - vibes, drums
Bob Neel, Milt Holland, Frank Guerrero - percussion



08. Bud Shank, Clare Fischer, Joe Pass - Brasamba! (1962) 

One of the greatest albums of Brazilian jazz that Bud Shank ever recorded
— done with a style thats a lot more like some of the best bossa albums
from Rio at the time! Buds recorded in other bossa settings before — but
theres something about this record that really gets the whole thing right
— as Shanks alto and flute come into play with a killer combo that
includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on
guitar, and Milt Holland and Chuck Flores on percussion.
The added percussion really brings a lot to the set — and gives it a
strongly bossa-driven groove that really lets Shank take off on alto and flute
solos. Fischers piano is remarkably strong — caught at that clear early
point in his career when he was such a fresh voice on the scene. The whole
things wonderful overall — and if you think you might have it under
another name, check the song listings — because we bet you dont! Titles
include Sambinha, Gostoso, Elizete, O Barquinho, Brasamba, and Otem A Note.

01 - Brasamba
02 - Otem A Note
03 - Autumn Leaves
04 - Sambinha
05 - Gostoso
06 - If I Should Lose You
07 - OBarquinho
08 - Serenidade
09 - Elizete
10 - Samba De Orfeu

Bud Shank - alto saxophone, flute
Clare Fischer - piano
Joe Pass - guitar
Ralph Pena - bass
Larry Bunker - vibraphone, drums
Chuck Flores, Milt Holland - percussion

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