Sleeveface Contest

CDandLP.com Sleeveface™ Contest
During the whole month of June 2008, CDandLP.com invites you to participate in a fun Sleeveface™ contest in association with Sleeveface.com.
There are 600 euros worth of vouchers to win!
Find out more about the contest

"Tempos Diferentes" at Barnes & Noble

"O Maravilhoso Mundo Musical de Nelson Angelo: Tempos Diferentes", which includes tracks produced by Arnaldo DeSouteiro, is scheduled for release in the USA on June 3rd, according to the My Hound website:
http://www.myhound.com/saluki/product/6587808

And it's on pre-order sale at the famous NY store Barnes & Noble!
http://music.barnesandnoble.com/search/product.asp?ean=602517374010

"Tempos Diferentes" at Artist Direct

Nelson Angelo's "Tempos Diferentes" at Artist Direct
This new compilation includes tracks produced by Arnaldo DeSouteiro
http://ubl.artistdirect.com/nad/store/artist/album/0,,4536791,00.html

VHS of the Day - "Flora & Airto: Harvest Jazz"

VHS of the Day
Flora Purim & Airto Moreira: "Harvest Jazz" (Sony) 1986
Featuring: Kei Akagi, Keith Jones, Laudir de Oliveira and Larry Nass

Vinyl of the Day - "Raul de Souza: À Vontade Mesmo"

Vinyl of the Day
Raul de Souza: "À Vontade Mesmo" (RCA) 1964
(1980 Japanese LP reissue)
Featuring Cesar Camargo Mariano, Humberto Clayber and Airto Moreira

Single of the Day - "Flora Purim"

Single of the Day (33rpm, pic sleeve)
Flora Purim: "Flora" (RCA) 1967
Side A: Barquinho de Papel/Jeito Bom de Sofrer
Side B: Preciso Aprender A Ser Só/Gente
Featuring: Luiz Eça, Rosinha de Valença, Dom Um Romão, Manuel Gusmão et al.
(tracks reissued in the first official CD release of "Flora é M.P.M.", produced by Arnaldo DeSouteiro for BMG in 2001 and released worldwide)

"Opus Samba" at Vibe FM 98.5

http://www.vibe985.com/album/1209329

Fabio Fonseca Trio's "Opus Samba" was produced by Arnaldo DeSouteiro for JSR

"Opus Samba" at Billboard.com

http://www.billboard.com/bbcom/discography/index.jsp?JSESSIONID=tr0MLFGKGcCLvKh3rkyqlbSf3HZgwGd6n25LxnnX7QzLLvBTCptJ!958295375&pid=396369&aid=1081365

Album Review

Brazilian jazz isn't the first thing that comes to mind when one is discussing the Hammond B-3, an instrument closely identified with the gritty soul-jazz of organ masters like Jack McDuff, Richard "Groove" Holmes, Shirley Scott (who was also a fine pianist), Jimmy McGriff and, of course, the seminal Jimmy Smith. But Brazilian jazz and the B-3 are an appealing combination on Opus Samba, which Arnaldo DeSouteiro produced for organist Fabio Fonseca in Brazil in 2006. Fonseca (who is joined by Pedro Leão on electric bass and Mac William on drums and percussion) also plays some electric keyboards on this 54-minute CD, but his B-3 is the main attraction. An interesting variety of influences are heard on Opus Samba, ranging from Charles Earland (one of Jimmy Smith's most creative disciples) to Azymuth to percussionist Airto Moreira's Creed Taylor-produced CTI recordings of the '70s. DeSouteiro, in fact, has cited Taylor as a major influence, and Opus Samba is a melodic, samba-friendly album that -- although not overly slick -- is accessible and easy to absorb. Accessibility serves Fonseca well on his own compositions as well as an intriguing arrangement of Stevie Wonder's "Too High" (which has no problem lending itself to a Brazilian jazz/fusion setting), and it serves him well on "A Mulher de 15 Metros" (which features Brazilian singer Ithamara Koorax and is the only vocal offering on a mostly instrumental album). Taylor, of course, has his detractors, who complain that he had a tendency to overproduce in the '60s and '70s, and to be sure, there were times when Taylor was too slick for his own good. But when Taylor (who produced plenty of five-star classics for CTI) achieved the right balance of accessibility and jazz-minded spontaneity, he really excelled as a producer. And DeSouteiro, much to his credit, achieves that type of balance on Opus Samba, which demonstrates that the B-3 can be a major asset in Brazilian jazz. ~ Alex Henderson

"Opus Samba" in Denmark

Fabio Fonseca Trio's "Opus Samba" (produced by Arnaldo DeSouteiro) can be ordered in Denmark at "Music by Mail" through the link below:
Music By Mail - New arrivals - [ Traduzir esta página ]
... Fabio Fonseca Trio: Opus Samba. ... Opus Samba also delivers funk, jazz, fusion, thanks to the great rhythm ...www.musicbymail.dk/cds/new.htm - 259k -

Fabio Fonseca Trio: Opus Samba. Jazz Station Records. Fabio's playing Hammond, clavinet D6, ARP Omni, Sequential Pro-One synth and Fender Rhodes; although he vocalizes just a bit, the main focus here is on his soaring keyboard lines and on the nostalgic 70's! Opus Samba also delivers funk, jazz, fusion, thanks to the great rhythm section of Pedro Leão on electric bass and Mac William on drums as well as a few guests.

Stanley Turrentine: Return Of The Prodigal Son. Blue Note. On CD for the first time are two 1967 tentet sessions by Stanley Turrentine, soulfully arranged by Duke Pearson with the locked-in rhythm section of McCoy Tyner, Bob Cranshaw & Ray Lucas. Seven of the ten selections have been previously issued in the LPs but they are now brought together in complete form here, totaling 59 minutes. Turrentine's soulful tenor sax is the prime voice throughout this program of hip bossa novas, blues, standards and pop tunes. His reading of Aretha Franklin's "Dr. Feelgood" (heard here in two takes) is an absolute killer.

http://64.233.169.104/search?q=cache:leCKlDP5wuIJ:www.musicbymail.dk/cds/new.htm+%22opus+samba%22+%2B+%22fabio+fonseca%22&hl=pt-BR&ct=clnk&cd=54&gl=br

Vinyl of the Day - "Fabio Fonseca"

Vinyl of the Day
Fabio Fonseca: "Fabio Fonseca" (WEA) 1988
The forgotten (and never reissued) debut solo album by one of Brazil's top arrangers, keyboardists and producers.
Featuring: Marcio Montarroyos, Armando Marçal, Marcos Lobato, Leo Gandelman, Nacho Mena, Liminha, Herbert Vianna, Serginho Trombone, co-producer João Barone, strings arranger Eduardo Souto Neto, Bidinho, Don Harris, Paul Lieberman (who used to play with Flora & Airto but decided to make Rio his home and later gave up his musical career), Zé Carlos Bigorna, Marcio Mallard, famous strings concertmaster Giancarlo Pareschi, the late Paschoal Perrota and dozens of other Rio studio cats.

Single of the Day - "Deodato: Star Trek"

Single of the Day
Eumir Deodato: "Theme from Star Trek/I Shot the Sheriff" (CBS-Sugar) 1976
Alexander Courage's epic "Theme from Star Trek" was covered by Deodato on the "Very Together" album. A radio-edited version (with 3m17s) released as a single became both a minor radio and dance hit in some European countries. The complete LP version is included in the 2007 CD compilation "Do It Again: The Fantastic Jazz-Funk of Eumir Deodato", which Arnaldo DeSouteiro produced for the Verve Music Group.

R.I.P.: Alexander Courage

R.I.P.: Alexander Courage
born Dec. 10, 1919, in Philadelphia, USA
died May 15, 2008 in Pacific Palisades, CA, USA

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Alexander 'Sandy' Courage, 88; Composer Wrote 'Star Trek' Theme
by Dennis McLellan
Los Angeles Times, May 30, 2008

Alexander "Sandy" Courage, who composed the soaring theme for the "Star Trek" TV series in the 1960s and was an Emmy Award-winning, Oscar-nominated arranger, has died. He was 88. Courage, who had been in declining health since 2005, died May 15 at an assisted-living facility in Pacific Palisades, said his step-daughter, Renata Pompelli.

After launching his 54-year career as a composer for CBS Radio in 1946, Courage became an orchestrator and arranger at MGM in 1948. Over the next dozen years, he worked on a string of classic musicals, including "Annie Get Your Gun," "Show Boat," "The Band Wagon," "Seven Brides for Seven Brothers" and "Gigi." He later was an orchestrator for musicals including "My Fair Lady," "Hello, Dolly!," "Doctor Dolittle" and "Fiddler on the Roof" -- as well as for films including "The Poseidon Adventure," "Jurassic Park," "Basic Instinct," "Hook" and "The Mummy."

"He made a very big contribution to the musical life of Hollywood from the end of the second World War to recent years," Oscar-winning composer John Williams told The Times on Thursday. "He was known to most musicians in the community as having been one of the architects of what we used to refer to as the MGM sound, which meant that most of the musical films from MGM had a particular style of orchestration, which was an extension and development of what was done in the theater in the 1920s," Williams said. "They actually took that to a very high art form, particularly in the musicals produced by Arthur Freed."

Composer Ian Fraser, who met Courage after he had moved to 20th Century Fox in the '60s, said Thursday that Courage's "knowledge of all the genres of music was really monumental."


"He was part of the wonderful music department at 20th Century Fox," Fraser said. "With the passing of [composer] Earle Hagen this week, the last of that group are gone, never to be replaced." In the late '50s, Courage scored nearly a dozen films, including director Arthur Penn's western "The Left Handed Gun" and Andre de Toth's western "Day of the Outlaw" -- as well as "Shake, Rattle and Rock!" and "Hot Rod Rumble."

He began composing for television in 1959 and wrote music for more than 350 episodes of series that included "The Untouchables," "Laramie," "Daniel Boone," "Judd for the Defense," "Lost in Space," "Land of the Giants," "The Waltons," "Eight Is Enough," "Falcon Crest," "Flamingo Road" and many others.

Then there was "Star Trek," the legendary science-fiction series that ran on NBC from 1966 to 1969.

Courage was no science-fiction fan when "Star Trek" creator Gene Roddenberry asked him to score the pilot episode in 1965. "I never have been" a sci-fi fan, Courage later told film music historian Jon Burlingame. But I thought, 'Well, what the heck. It's another show.'" Roddenberry, Courage recalled, said he didn't want the show's score to sound like "space music," nothing "far out."

"He wanted something that had some... drive to it," Courage recalled. "In fact, he told me to always write that way through the show, all of it."

The eight-note brass fanfare that Courage wrote to herald the starship Enterprise became one of the most familiar musical signatures in TV history. "I'd argue that it's the most famous fanfare in the world," Burlingame, who teaches film music history at USC, said Thursday. "It's been around 42 years -- and it's all around the world -- and when you hear those eight notes you immediately think of the Enterprise," he said.

Courage shared an Emmy in 1988 as a principal arranger for the ABC special "Julie Andrews: The Sound of Christmas." He also shared Oscar nominations with Lionel Newman for their adaptation scores for "The Pleasure Seekers" in 1966 and "Doctor Dolittle" in 1968.

Courage was born Dec. 10, 1919, in Philadelphia and moved to New Jersey as a boy. He began playing the piano when he was 5 and later played the cornet and horn. A 1941 graduate of the Eastman School of Music in Rochester, N.Y., he enlisted in the Army Air Forces in January 1942 and served as a band leader on bases in California and Arizona.

Courage, who was one of the founders of the Composers and Lyricists Guild of America, also was an award-winning photographer whose pictures appeared in Life, Collier's and other magazines.
His third wife, the former Shirley Pumpelly, died in 2005.

In addition to Renata Pompelli, he is survived by his other stepchildren, Raphael Pumpelly, Andrea Steyn, Lisa Pompelli; and six grandchildren. A memorial service is pending.

"Opus Samba" review - Prestige Audio Vidéo

Prestige Audio Vidéo n°130 (mai/juin 2008)

article concernant "Opus Samba" (Fabio Fonseca Trio), parus ce mois-ci dans le n° 130 de la revue Prestige Audio Vidéo

****

Mettez un orgue Hammond, un vrai, un B3, ou n'importe quel clavier (fender rhodes, hohner clavinet D6), ou synthétiseur (sequential pro-one, arp omni II) entre les mains d'un musicien brésilien de jazz comme Fabio Fonseca, ajoutez une basse (Pedro Leao), un batteur (Mac William), invitez l'une des plus belles voix jazz actuelles (Ithamara Koorax) et le musicologue-producteur Arnaldo DeSouteiro et vous aurez un jazz aux teintes brésiliennes, bien sûr, avec les inflexiones fragiles et sensuelles qui sont la caractéristique de cette musique envoûtante, mais avec aussi un tonus presque funky par moments.

Hommages à Dom Um Romao, à José Roberto Bertrami, à Renê Terra, se mêlent à des compositions dansantes et tonique du grande artiste qu'est Fabio Fonseca. Une vraie réussite.

- Michel Bedin

Notre avis: ****

"Opus Samba" at Congoo

Fabio Fonseca Trio: Opus Samba - Congoo
Comprehensive, Real-Time News And Information, Including Access To Top Subscription Sites.

"Opus Samba" at Claro Music Store

Fabio Fonseca Trio - Claro Music Store
Tradução Simultânea, 07:52, Fabio Fonseca Trio, $ 5,99* ... copie para um aparelho portátil ou grave em CD, segundo as regras de uso especificadas. ...
Downloads and ringtones from Fabio Fonseca's album "Opus Samba", produced by Arnaldo DeSouteiro for JSR, are now available at Claro Music Store. Just click on the above link.
Or below:
http://www.claromusicstore.com.ar/artista.aspx?ID=5815&T=1

CD of the Day - "Psychedelic Jazz"

CD of the Day
"Psychedelic Jazz: The Best Mindblowing Spaced-Out Jazz Grooves" (Verve JazzClub) 2008
Compiled by Götz Bühler, Felix Jobst & Stephan Steigleder
My personal favorite tracks: Gabor Szabo's creative reading of "Summertime" and the original version of his own "Mizrab" from the 1966 "Jazz Raga" LP for Impulse! on which he played both electric guitar and sitar, backed by Johnny Gregg on bass and Bernard Purdie on drums (later on he would re-record "Mizrab" as the title track of his CTI debut album in 1972 with Ron Carter and Billy Cobham).
Speaking of guitarists, Larry Coryell almost steals the show on Don Sebesky's "Guru-Vin" from the yet to be reissued on CD "The Distant Galaxy" (Verve), a longtime Mojo club favorite and a dancefloor-jazz anthem.
There's also Pierre Henry & Michel Colombier's "Psyche Rock", Dorothy Ashby's "The Moving Finger", Jimmy Smith's "Burning Spear" (arranged by Oliver Nelson with Carol Kaye on bass and Grady Tate on drums), Dave Pike's "Mathar" and Roy Ayers' "The Fuzz".
*********
available at www.dustygroove.com
That's what they say:
"Psychedelic Jazz galore -- a wonderful look at the hip blend of funky grooves and tripped-out production that emerged at the end of the 60s! The sounds here are every bit as amazing now as they were a few decades back -- a genre-busting blend of electric instrumentation, chunky rhythms, and weird techniques -- all mixing up elements from soul, funk, rock, Latin, and other sources into a really unique sort of groove! The work here is both from the US and overseas -- pulled from Universal-owned labels like MPS, Chess, and Philips -- and the package does a great job of mixing key examples of the genre with some other under-reissued gems. 16 tracks in all -- including "The Squire" by Mike Nock, "The Fuzz" by Roy Ayers, "Burning Spear" by Jimmy Smith, "Summertime" by Gabor Szabo, "Zoom" by Volker Kriegel, "Uwiii" by Wolfgang Dauner, "The Moving Finger" by Dorothy Ashby, "Big Family" by Free Orbit, "Love Me" by Johnny Teupen, "Ganges Delta" by Okko, "Misty Purple" by Kuhn Brothers & The Mad Rockers, "Guru-Vin" by Don Sebesky, and "Season Of The Witch" by Julie Driscoll & Brian Auger." ©Dusty Groove America, Inc.

"Tempos Diferentes" available in the USA at Dusty Groove

Dusty Groove America - Nelson Angelo: O Maravilhoso Mundo De ...O Maravilhoso Mundo De Nelson Angelo -- Tempos Diferentes ... Incredible work from Brazilian guitarist and composer Nelson Angelo -- a set of beautifully ...

"Tempos Diferentes", the brilliant Nelson Angelo compilation released by Dubas (including tracks produced by Arnaldo DeSouteiro) is now available in the USA through the great Dusty Groove store. You can visit the shop in Chicago or other the album through the link below:
http://www.dustygroove.com/item.php?id=tzyv8s9wdx&ref=browse.php&refQ=format%3Dcd%26amp%3Bsortfield%3Dveryrecent
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That's what the guys at DustyGroove say about the CD:

Incredible work from Brazilian guitarist and composer Nelson Angelo -- a set of beautifully complicated tunes that almost puts him in the same territory as Moacir Santos or Edu Lobo! Like Santos and Lobo, there's an approach to the music here that's quite personal and unique -- modes that possibly draw from the changes of bossa nova, but which extrapolate its ideals into rich new territory -- amazing tones and colors that emerge with almost effortless ease, and which have some sharper edges and darker qualities lurking right below the surface. The collection brings together work from Angelo's albums of the late 80s and 1990s -- and also includes a previously unreleased tune too. Nelso plays guitar, and sings a bit too -- but the main focus of the record is instrumental, as voices are often used almost in a wordless way. Titles include "O Caminho E A Paisagem", "Manha No Planeta", "Estacao Confrades", "Recife", "Coisas De Balada", "The Red Blouse", "Lullaby Of Birdland", and "Trombone". © 2008, Dusty Groove America, Inc.

R.I.P.: Walter Santos

R.I.P.: Walter Santos
Born: Walter Santos Souza on September 9, 1939, in Senhor do Bonfim, Bahia, Brazil
Died: May 29, 2008, in Sao Paulo, SP, Brazil

Guitarist, composer, singer, publicist and record executive. A close friend of João Gilberto since their childhood, when they founded the vocal group Enamorados do Ritmo in 1946 (while both lived in Juazeiro, Bahia), Santos was invited by Gilberto to perform as background vocalist on Elizeth's Cardoso seminal album "Canção do Amor Demais" in 1958, in Rio de Janeiro. Later he married lyricist Tereza Souza and moved to Sao Paulo, recording some singles and LPs for such labels as RCA, Audio Fidelity and Fermata.

The "Bossa Nova" album he cut for Audio Fidelity in 1963, backed by Walter Wanderley, Papudinho, Azeitona and Dinho, was reissued on CD by the Spanish label Ubatuqui/Blue Moon in 2001 under the title "Azul Contente", after the inclusion of his song "Samba Pro Pedrinho" (on which Hermeto Pascoal did his recording debut as a flutist) had been selected by producer Arnaldo DeSouteiro for the critically acclaimed compilation "Focus on Bossa Nova" (BMG), a worldwide release, attracting attention for Walter Santos' work specially in Europe.

Two other excellent songs are "Amanhã" (which received a fabulous recording by Zimbo Trio) and "Vem Balançar", included on Mario Castro-Neves' "Samba S.A." debut album for RCA in 1967 and produced for CD reissue by Arnaldo DeSouteiro in 2001. Elis Regina, Jair Rodrigues, Claudette Soares, Dick Farney, Isaura Garcia, Agostinho dos Santos, Marcia, Pery Ribeiro, Milton Banana, Cesar Camargo Mariano and the short-lived group Brazilian Octopus also recorded Walter Santos' tunes.

In 1974 he decided to concentrate in his work as a publicist, founding the recording studio and the company Nosso Estúdio, composing more than 3,000 jingles and developing a close partnership with the now-defunct Bamerindus Bank, to the point that a whole LP was released in 1981 ("O Som Brasileiro do Bamerindus") comprising some of those themes. That album came out as a special release on the Som da Gente label created that same year, and closed in the mid-90s. In 2003, he did the last recordings as a guitarist in three tracks for his daughter Luciana Souza "Brazilian Duos" album.

http://www.dicionariompb.com.br/verbete.asp?tabela=T_FORM_A&nome=Walter+Santos

R.I.P.: David Gahr

Great photographer; always hung out at sony . . . a real crazy, beautiful guy

ARTS / MUSIC May 29, 2008, NY Times
David Gahr, Photographer of Musicians, Dies at 85
By BRUCE WEBER Mr. Gahr turned his back on a promising career as a scholar and landed among the pre-eminent photographers of American folk, blues, jazz and rock musicians.

Jazz Safari Party Lenox Lounge, May 30 & 31 in NYC!

Antoinette Montague with the Bill Easley Quartet
Friday & Saturday, May 30 & 31, 2008
Jazz Safari Party
at the historic Lenox Lounge - Zebra Room

288 Lenox Ave • Malcolm X Boulevard • 124th & 125th St. NYC
(Elegant animal print party wear optional)
www.lenoxlounge.net 212-427-0253

Three sets 8:30 pm, 10:20 pm & 11:30 pm
Tickets: $20 plus 2 drink minimum (Reservations are recommended)
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The Lenox Lounge

The historic Lenox Lounge has been in the Harlem community since 1939, serving as the back drop for many jazz legends such as Billie Holiday, Miles Davis, and John Coltrane. The Jazz Club also known as the Zebra Room was once used by the Harlem Renaissance writes James Baldwin and Langston Hughes. It was also said to be a hangout for Malcolm X. The Lenox Lounge has been featured in magazines, music videos, photo shoots, and motion pictures. In 1999 it underwent a costly restoration process to bring it back to its original splendor. The Lenox Lounge was voted "Best of the Best" by the 2002 Zagat Survey Nightlife Guide and by the 2001 New York Magazine.
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Antoinette Montague

Born and raised in Newark, Antoinette Montague may have just released her first CD, "Pretty Blues" but she has had many invaluable musical experiences. She worked in gospel and R and B ensembles after college, serves as the vice president of the International Women in Jazz, and considers Carrie Smith, Etta Jones, Della Griffin and Myrna Lake to be her mentors. Antoinette has worked extensively in the New York area during the past decade with such musicians as Red Holloway, Benny Powell, Bill Easley, Winard Harper, Wycliffe Gordon, Frank Weiss, Dr. Billy Taylor, the Duke Ellington Orchestra and Mike Longo's New York State of the Arts Orchestra.

Antoinette's recent appearances include Dizzy's Club Coca Cola at Jazz at Lincoln Center, Starry Nights Jazz at the Rose Center at the American Museum of Natural History, the inaugural concert of the Flushing Town Hall Queens Jazz Orchestra, under director Jimmy Heath and the legendary Blue Note.

"She has a powerful voice, the ability to hold long notes without wavering, and a knack for making every song sound bluesy. Antoinette Montague's delivery is heartfelt, infectious and memorable."
— Scott Yanow, Los Angeles Jazz Scene

Recording and releasing "Pretty Blues" on the Consolidated Artists label raised her profile and has given her fame beyond the East Coast. On this highly enjoyable CD, Antoinette Montague is featured belting out blues, interpreting sensitive ballads, combining passion and sophistication, and making every song sound fresh, infectious and topical.
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Bill Easley

"Whether the genre is blues, rhythm & blues, or hard bop, Bill Easley remains a versatile and often silent practician of musical mastery. . .Easley has certainly perfected his craft." — All About Jazz

A brilliant and versatile reed player, Bill Easley performs equally forcefully on alto, tenor, and baritone saxes as well as flute, piccolo, and clarinet. Easley is a renowned session player who has worked with Isaac Hayes and done sessions at Stax. He has performed with the Duke Ellington Orchestra, Benny Carter, George Benson, Jimmy Smith, Ruth Brown, Bill Mobley, Victor Gaskin, Mulgrew Miller, Ron Carter, and Grady Tate, among others. Bill Easley has also recorded highly acclaimed sessions as a leader on the Sunnyside, Milestone, and Evidence labels. His latest release is "Business Man's Bounce" on the 18th and Vine Records label.

"Seeking Profits Beyond CD Sales" - NYT

Seeking Profits Beyond CD Sales
By STEVE SMITH
Universal Classics and Jazz, the worldwide market leader inclassical CD sales, announced on Wednesday the formation ofUniversal Music Classical Artists Management andProductions.
http://www.nytimes.com/2008/05/29/arts/music/29labe.html?th&emc=th

Upcoming Reissues: Mario, Lennie and Djalma

Three more long-awaited CD reissues coming out in June:

Mario Castro-Neves & His Orchestra: "Brazilian Mood" (Decca/Dutton Vocalion CDSML 8443)

"Brazilian Mood" marked the British recording debut of Rio de Janeiro-born composer, arranger, conductor and keyboardist Mario Castro-Neves. Originally produced in 1973 by Franklyn Boyd for Decca's 'Phase 4' series of quadraphonic recordings, it features a band consisting of a stellar cast of UK session musicians plus, on some tracks, a chorus including the sublime vocals of Norma Winstone.
By the time of this recording, Mario - brother of Oscar, Leo and IKo Castro-Neves – was already established as one of Brazil's leading musical talents. In the 1960s he had recorded the legendary "Mario Castro-Neves & Samba S.A." for RCA's Brazilian division (its CD reissue was produced by Arnaldo DeSouteiro for BMG in 2001, adding four previously unreleased bonus tracks) and had scored music for various Brazilian films and TV series. He attended the country’s prestigious music conservatory - Seminários de Música Pro-Arte - where he studied arranging and composition.
In "Brazilian Mood" Mario brings all his experience and expertise to bear, crafting an album of up-to-date, '70s style Latin American music that's full of vitality, pulsing rhythms and modern instrumentation including electric bass, electric guitar, xylophone (instead of the most usual vibes), percussion and acoustic piano (played by Mario himself) plus trombones, baritone sax, bass clarinet, violas and cellos (no violins!) Seven of the ten tracks are by Castro-Neves and range from the funky, infectious groove of "Xaxado Blues" to the touching charm of "Helena and I" and "The Whole Mess", two songs he eventually would re-record in 2004 for his acclaimed "On A Clear Bossa Day" CD, produced by Arnaldo DeSouteiro for the JSR label.
The lovely bossa-ballad "Hold My Hand" was co-written by Mario and his wife in London at that time, Helena Castro-Neves (born Helena Valladares, former wife of Fernando Sabino and daughter of Benedicto Valladares, who had been Governor of the Minas Gerais State.) Helena also inspired the album highlight, "Helena and I", a track included on the 2-CD set compilation "A Trip To Brazil Vol.2: Bossa & Beyond", produced by Arnaldo DeSouteiro for EmArcy Records/Universal in 1999.
Mario also comes up with beautiful, modern Latin arrangements of tunes by Michel Legrand & Norman Gimbel (Watch What Happens), Burt Bacharach & Hal David (The Look of Love) and Antonio Carlos Jobim (Wave). As well as displaying Mario Castro-Neves musical gifts, "Brazilian Mood" is an excellent example of how by the 1970s bossa-jazz-influenced Brazilian music had reached new levels of extraordinary sophistication becoming "universal music".
As Arnaldo DeSouteiro wrote in 2004 in the liner notes for "On A Clear Bossa Day":
"Firstly, “2004 Thanks” to the legendary Brazilian music historian and radio DJ, Simon Khoury, for introducing me to Mario Castro-Neves’ artistry, back in 1973, through Castro-Neves’ “Brazilian Mood” LP. His superb orchestrations on that masterpiece album would be enough to place Mario Castro-Neves among the best arrangers in the music history, alongside Sebesky, Ogerman, Mancini, Legrand, Schifrin, Mandel, Gil Evans, Deodato and Gaya. It is a privilege and a great honor to work with him! Mr. Khoury used to give airplay, at JB-AM radio station, to such songs as “Helena And I” and “The Whole Mess” (both from “Brazilian Mood”). I could never dream that, thirty years later, I would produce new versions of these gorgeous tunes".
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"Lennie Dale & O Sambalanço Trio" (Elenco/Universal KK 194)
Featuring: Cesar Camargo Mariano, Humberto Clayber and Airto Moreira.


Lennie Dale's second album as a "singer", it was produced by Aloysio de Oliveira in studio after a long engagement of Lennie with the São Paulo-based Sambalanço Trio at the "Zum Zum" nightclub in Rio. Previously reissued only on vinyl format (back in 1994 by the Japanese label Lexington on its "New Balanço" series supervised by Minoru Wakasugi), includes superb renditions of "The Lady is a Tramp", "O Pato" and "That Old Black Magic".
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Djalma Ferreira: "Help Yourself to the Brazilliance of Djalma" (Dot/Universal KK 3088)

Recorded in 1968, it's the best album recorded by Brazilian organ player Djalma Ferreira (Rio 1913-LA 2004) in the USA, for Paramount's subsidiary label Dot Records (Luiz Bonfá and Lalo Schifrin were also under contract to Dot by that time). Nowadays, the late Djalma is best remembered as the composer of the bossa nova standard "Recado Bossa Nova", recorded by many jazzmen like Zoot Sims, Al Cohn, Hank Mobley, Tito Puente, Laurindo Almeida, Mel Tormé, Marty Paich and The Hi-Lo's in the 60s and most recently revisited by Ithamara Koorax ("Wave 2001"), Manhattan Jazz Quintet ("MJQ Plays Blue Note") and Paula Faour ("Cool Bossa Struttin'"). A close friend of Djalma, Laurindo also recorded "Foi A Saudade" on his "Collaboration" album with the Modern Jazz Quartet for the Atlantic label. And Djalma appeared as special guest, along with Fafá Lemos, on Laurindo Almeida's Grammy-winning album "Guitar of Ipanema" (Capitol), which includes Djalma's "Izabella".
"Recado" is included on this Dot album, along with Neal Hefti's "The Odd Couple" plus "Help Yourself", "Where Is Love?", "Soul Limbo", "Cabo Frio", "Pulpa De Tamarindo", "Zorba", "Second Hand Rose" and "Lamento".
Btw, Djalma Ferreira was the real pioneer of "independent releases" in Brazil, when, in the late 50s, he founded his own Drink label (Drink was also the name of the nightclub he owned in Rio de Janeiro) to release his albums.
You can pre-order it at Amazon:
http://www.amazon.com/dp/B00164PODM/ref=nosim/?tag=onmeta2-20&creative=380333&creativeASIN=B00164PODM&linkCode=asn

R.I.P.: Wilfrid Mellers

Wilfrid Mellers
(b: 26.Apr.1914, Leamington Spa, Warwickshire/England; d: 16.May 2008, Scrayingham, North Yorkshire/England)

The British composer and musicologist Wilfrid Mellers died May 16th at the age of 94. Mellers had been teaching since the 1940s and always was most interested in what he called "living art", something to which he counted Bach and Beethoven, Debussy and Stravinsky, but also folk music and jazz -- an aesthetic attitude which is reflected in both his compositions and his publications. Obituary: Independent, Guardian.

R.I.P.: Jimmy Slyde

Jimmy Slyde
(b: 1927, Atlanta/GA; d: 16.May 2008, Hanson/MA)

The tap dancer Jimmy Slyde died May 16th at his home in Hanson, Massachusetts, at the age of 80. Obituary: New York Times.

Henry Flynt live on May 31

WIN TICKETS TO HENRY FLYNT'S FIRST US SHOW SINCE 1983
This Saturday, May 31st, maverick composer-philosopher Henry Flynt will play his first show in the States in 25 years, performing with Libby Flynt as the Flynts, along with Blues Control who open the night! We've one pair of tickets up for grabs. To enter, email tickets@othermusic.com. They'll be notifying the winner this Friday morning.
SATURDAY, MAY 31
GLASSLANDS: 289 Kent Avenue
Williamsburg, Brooklyn

R.I.P.: Jimmy McGriff

Born on April 3, 1936 in Philadelphia, USA
Died on May 24, 2008 in New Jersey, USA

One of my personal favorite Hammond players (and, surely, one of the world's best organists in the jazz history), Jimmy McGriff passed away.
Two obituaries (one in German and the other from the NY Times) follow.
I'll pay my tribute to him by listening to my big archive of McGriff's albums, which includes rare dates with Fats Theus and the complete collection of his sessions that Bob Porter produced for Milestone. Many of them paired Jimmy with Hank Crawford on such albums as "Soul Survivors", recorded at the Van Gelder Studio in 1986 featuring George Benson (on a soulful take of Tony Bennett's hit "Because of You"), Mel Lewis (on "Frim Fram Sauce"), Bernard Purdie (groovin' like no one else on Neal Hefti's "After Supper") and Jim Pittsburgh on "One Mint Julep".
It's also a joy to watch Jimmy McGriff performing on the all-star "Rhythmstick" session for Creed Taylor, filmed live at Van Gelder's in 1989 and released in 1990 on LaserDisc, VHS and CD by CTI, but not yet issued on DVD.

More obituaries: Los Angeles Times, Washington Post, Independent.
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Jimmy McGriff gestorben

Laurence Hammond war ein Tüftler. Sein Ziel war eine elektrische Orgel, endlich unabhängig vom Gebläse der Kirchenorgel, die sich mit künstlerischer Tonerzeugung möglichst umfangreich sollte einsetzen lassen. Anno 1934 stellte er das erste Exemplar seiner Hammondorgel vor und schon rund zwei Jahrzehnte später trat das Instrument seinen Siegeszug jenseits der Gotteshäuser und Gospelmessen durch die damals populäre Musik an.

Der Pionier des Ungetüms im Jazz war Jimmy Smith, sein Pendant auf der deutlich mehr durch Blues und Soul geprägten Seite Jimmy McGriff. Geboren am 3. April 1936 in Philadelphia, hatte er als Kind zunächst Klavier gelernt, später dann die verschiedensten Instrumente gelernt, spielte unter anderem Bass und begann schließlich im Anschluss auf seine Militärzeit 1956, sich für die Hammond Orgel zu interessieren. Dabei ging es mehr als um ein Hobby, McGriff studierte unter anderem an der Juilliard School und ging auch bei Meister Jimmy Smith selbst in die Lehre.

Der Erfolg ließ nicht lange auf sich warten. Bereits 1962 schaffte er den Sprung in die Top 20 der US- Hitparaden, mit seiner Hammond-Version von Ray Charles "I Got A Woman". Von da an ging es zügig voran, mit zahlreichen eigenen Aufnahmen und, trotz technischer Neuerungen, weiterhin an den Tasten der Hammond. Er bildete eine feste Band mit dem Saxofonisten Hank Crawford, wahlweise auch mit Kollege Illinois Jacquet, oder reiste in der Gruppe von Buddy Rich durch die Lande. Jimmy McGriff war einer der maßgeblichen und vielgesampleten Initiatoren des Hammond-Comebacks in den Neunzigern und starb am 24.Mai in New Jersey im Alter von 72 Jahren.
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Jimmy McGriff, Jazz and Blues Organist, Dies at 72
http://www.nytimes.com/2008/05/28/arts/music/28mcgriff.html?_r=1&ref=obituaries&oref=slogin

By BEN RATLIFF
Published: May 28, 2008

"Jimmy McGriff, who since the early 1960s was one of the most popular jazz and blues organists, died on Saturday in Voorhees, N.J. He was 72 and lived in Voorhees.

Like other jazz organists of his time, Mr. McGriff spent much of his career working in the clubs of the East Coast organ circuit, including the Golden Slipper in Newark, a club he owned in the early ’70s. He played jazz as dance music, whether it was music by Count Basie, Charlie Parker, Ray Charles or James Brown. Over swing, shuffle and funk rhythms, he played in a focused blues language that built gospel-like intensity through his solos.

Mr. McGriff was born in the Germantown neighborhood of Philadelphia, which became a jazz organ mecca in the 1950s and ’60s. His father played piano, and Mr. McGriff learned it from an early age; he went on to play saxophone and bass before settling on the Hammond organ, which became a common instrument in small-group jazz instrument only in the mid-’50s, largely because of the example of another Philadelphian, Jimmy Smith.

During the Korean War, Mr. McGriff served as a military policeman; returning home, he spent more than two years on the Philadelphia police force. Encouraged by his friend Richard (Groove) Holmes, another Philadelphia organist, he took up the organ, playing around Philadelphia, sometimes with the tenor saxophonist Charles Earland, who himself switched over to the organ soon thereafter and became another one of that instrument’s great players.

His first hit, in 1961, was a 45-r.p.m. single of Ray Charles’s “I’ve Got a Woman,” a local jukebox success that was featured on the radio. It led to a full album for the Sue label; it also quickly led to another hit single, “All About My Girl.”

From the mid-’60s through the 1970s, his records were produced by Sonny Lester, on the Solid State, Blue Note and Groove Merchant labels; his own 1971 live album, “The Black Pearl,” as well as another with the blues singer Junior Parker, were recorded at his own club in Newark. He also played with Buddy Rich’s band for a stretch in the late ’60s and early ’70s.

In 1986 he started working regularly with the saxophonist Hank Crawford, making records and touring; he continued to record as a leader for the Milestone label and made his last recording in 2006, a live album done at the Manhattan jazz club Smoke. He stopped playing in 2007.

In addition to his wife, Margaret, Mr. McGriff is survived his mother, Beatrice, and brother, Henry, both of Philadelphia; his sisters, Jean Clark of Amherst, Va., and Beatrice Evans of Philadelphia; two children, Donald Kelly of Philadelphia and Holiday Hankerson of the Newark area; and five grandchildren. "

Lou Caputo's Big Band live, tonight, in NYC!

Join us for another spectacular evening of swinging jazz you’ll never forget this evening, May 27, at the John Birks Gillespie Auditorium in the New York City Baha'i Center at 53 East 11th Street (between University Place & Broadway), when saxophonist Lou Caputo brings his swingin’ Big Band to the stage. There are 2 shows: 8:00 and 9:30 p.m.

Lou Caputo, a native of Williamsburg, Brooklyn, has been a professional musician for over thirty years. He has done almost every kind of job that a musician can be asked to do. A multi-instrumentalist (saxophones, clarinets and flutes) he has performed in show bands with the likes of Lou Rawls, Frankie Valli, Shirley Basey, Jack Jones, Bobby Short, Frankie Avalon, and a host of others. As well as the many of the famous Motown acts like the Temptations and the Four Tops. Aside from this he has performed along side of Salsa legends like Candido, Bobby Sanabria and Lou Perez.

However, playing jazz is really closest to Lou’s heart. He has had the opportunity to perform with people like trumpeter Richard Williams, pianists Duke Jordon and Jaki Byard, drummers Walter Perkins and Mousey Alexander (in his short-lived big band), vocalist Joe “BeBop” Carroll and Dakota Staton, bassist Chris White (including a Carnegie Hall appearance). He has spent time in the Glen Miller band under the direction of Clem DeRosa as well as the Harry James Big Band. He has had the good fortune to record with jazz legend Dr. Billy Taylor on guitarist Ray Rivera’s album Night Wind.

Lou has had the pleasure of performing in the Richie Cole Octet. Another high point is playing Birdland with the Ellington Band under the direction of Paul Ellington and Jack Jeffers. Through the years Lou has appeared in many of the area’s leading jazz clubs as both a leader and side man. He also played for former President Bill Clinton on the occasion of Clinton’s 50th birthday.

Admission is 15.00, 10.00 for students.
Tickets will be sold at the door, or call 212-222-5159 for reservations and information.
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Jazz Tuesdays
in the John Birks Gillespie Auditorium
The New York Baha'i Center
53 East 11th Street (between University Place & Broadway)
Two shows: 8:00 and 9:30 p.m.

"Electric Chick" at digiRama

digiRAMA - Chick Corea - Electric Chick (Jazz Club)

MUSIC > JAZZ > CHICK COREA > ELECTRIC CHICK (JAZZ CLUB) ... Produced by Arnaldo DeSouteiro for Verve

DVD of the Day - "Mahavishnu Orchestra at Montreux"

DVD of the Day
Mahavishnu Orchestra: "Live at Montreux 1984/1974" (Eagle Vision/ST2) 2008
After many bootleg issues, at long last comes the official release of the two apperances by John McLaughlin's Mahavishnu Orchestra in Montreux.
It's a 2-DVD set including a booklet with excellent liner notes by Kevin Le Gendre, pics from both concerts and reproductions of the original posters of the 1974 and 1984 Festivals.
Both concerts are superb, but the 1974 one is very special, despite the fact that we only have two long tunes on video: "Wings of Karma" and "Hymn to Him". The other four titles ("Power of Love", "Smile of the Beyond", "Vision Is A Naked Sword" and "Sanctuary") appear only as audio tracks, since the video tapes had seriously deteriorated.
It's impossible to describe the huge level of energy, passion, virtuosism and musicianship that abounds on the '74 concert. Jan Hammer, Jerry Goodman, Billy Cobham and Rick Laird, the original line-up of the group, had disbanded. That second Mahavishnu incarnation featured Gayle Moran (Mrs. Chick Corea) on Fender Rhodes, Hammond organ and an array of analog synths; Jean-Luc Ponty on electric violin, using the wah-wah pedal to provide unbelievable grooves to the other soloists when he is not in the spotlight; Narada Michael Walden playing on a two-bassdrum set; and the underrated Ralph Armstrong (whom would later join Ponty's band, taking part of the landmark "Aurora" album in 76). Five months after the July '74 concert, the Mahavishnu would return to NY to cut the "Visions of the Emerald Beyond" LP at Electric Lady Studios in December 1974.
The ultra-dynamic unit, which continued to develop McLaughlin's sound as the epitome of the jazz-rock aesthetic, was complemented on stage by a string quartet (dressed with hippie clothes, but clean ones...) and a horn section consisting of three reedman capable to play multiple instruments such as saxophones, flutes, trumpets and trombones. Among them, the forgotten Bob Knapp, who also played percussion and had previously replaced Flora Purim during one of the early Return to Forever tours in Europe. Some audio problems happened on stage, specially on Moran's keyboards, but it's not a real "problem" in the process of savoring that special performance.
A completely different approach dominates the 1984 concert. The master musician had just reformed Mahavishnu one year earlier and was in love with the Synclavier guitar. Leading Danny Gottlieb (drums), Jonas Hellborg (bass), Mitchell Forman (keyboard) and Bill Evans (tenor & soprano saxophones), McLaughlin continues to amaze the audience with a combination of technique and emotion that only the frustrated purists are unable to feel. The repertoire includes "Radio-Activity", "Nostalgia" and the frenetic "East Side, West Side" that, suddenly, transforms itself into a radiant reading of "Isn't She Lovely?" after McLaughlin had already quoted twice the Stevie Wonder song during his improvisation.
Ironically, the audio quality of the 1984 concert sounds not so good as in the 1974 tracks, maybe to the excess of compression in the mix done last year, in Monaco, by McLaughlin himself.
Anyway, one of the best DVD releases for 2008!

Vinyl of the Day - "Under Milkwood"

Vinyl of the Day
"Under Milkwood" (A&M/CTI SP 4226) 1969
Featuring: Clara Miles, Alphonse Barnet, Stephen Mallory, John Thornam and David Turner, Jr
Gorgeous cover photo by the master Pete Turner!

Single of the Day - "Ron Carter: Anything Goes/Big Fro"

Single of the Day (pic sleeve)

Ron Carter: "Anything Goes/Big Fro" (CTI/Kudu Germany) 1975

Wenn Ron Carter nicht schwarz wäre, hätte er bestimmt eine Weltkarriere als Bassist und Cellist gemacht. Der 38jährige - 1975 - Amerikaner hat so ziemlich alle DownBeat Polls als Bassist gewonnen, die es in der Jazz-Welt zu gewinnen gibt. Mit "Anything Goes" und "Big Fro" aus der LP "Anything Goes" zeigt Ron Carter. was ein guter Jazz-Bassist aus einem Pop-Titel machen kann.

"What A Wonderful Bossa World" released this week in Europe

Anna Ly & Marcio Correia's "What A Wonderful Bossa World" (produced by Arnaldo DeSouteiro for JSR) is being released this week in Europe, distributed by the Spanish label Regent Music

Anna Ly at CMT.com

CMT.com : Anna Ly : Desenrolando a Língua

CMT.com presents complete Anna Ly information including Discography, Message Board and more.

Both Anna Ly's "What A Wonderful Bossa World" (album produced by Arnaldo DeSouteiro) and "Desenrolando a Língua" (which contains a track co-produced by Arnaldo DeSouteiro) are now included on CMT.com files.

Who wins: The Jester or The Tyrant?

Return To Forever's loyal fans can expound upon any of the innumerable musical moments as their own favorite. Naturally the band has their favorites too. Chick Corea, who's back on the road with bandmates Stanley Clarke, Al Di Meola and Lenny Clarke this summer, says "Duel of the Jester and the Tyrant" was conceived as Romantic Warrior's centerpiece, "a grand suite that would feature each guy in the band."
Chick explains, "It was a fantasy conjuring-up of this duel between the jester and the tyrant. The idea behind that is that you've got a tyrant who's making big bully sounds and grunting and charging at y