SHM-CD of the Month - "Luiz Bonfá Plays and Sings Bossa Nova"

SHM-CD of the Month
Luiz Bonfá: "Composer of Black Orpheus Plays and Sings Bossa Nova with Lalo Schifrin & Oscar Castro Neves" (Verve)

Produced by Creed Taylor
Basic Tracks Arranged by Luiz Bonfá
Strings & Horns Arranged & Conducted by Lalo Schifrin

Featuring: Luiz Bonfá (acoustic guitar, vocals), Oscar Castro-Neves (acoustic piano & organ), Lalo Schifrin (acoustic piano), Iko Castro-Neves (acoustic bass), Roberto Pontes Dias (drums), Henry Percy Wilcox (electric guitar), Maria Helena Toledo (vocals)

Recorded at A&R Recording Studios, NY, on December 30 & 31, 1962, it was Bonfá's debut album on Verve. Creed Taylor (the artistic director of the label at that time) decided to sign him for Verve (previously, Bonfá had albums released in the USA through Capitol, Atlantic and Epic) soon after having attended the famous "Bossa Nova Concert" at Carnegie Hall. On that historic night of November 21, 1962, Bonfá was the only artist that received a standing ovation in the concert, when he performed "Manhã de Carnaval" twice. Firstly, he played the song (the first bossa nova international hit, thanks to its inclusion on the "Black Orpehus" movie) as an instrumental piece, backed by the Oscar Castro-Neves Quartet, and soon after reprised it with the original Portuguse lyrics, inviting singer Agostinho dos Santos to the stage.

Originally released on Verve (8522) in 1963, this album now re-appers in a SHM-CD release, but once again the label omitts the musician's names, except for Schfrin and Castro-Neves.

The first six tracks (five of them originally included in the Side A of the LP, plus "Domingo à Noite" used as the opening track of side B) were recorded in a single 6-hour session on December 30, 1962, with Bonfa playing acoustic guitar and singing backed by Oscar Castro-Neves (piano & organ) Iko Castro-Neves (bass), Roberto Pontes Dias (drums) and, in some tracks like "Vem Só", Henry Percy Wilcox (electric guitar).

Maria Helena Toledo, then Bonfá's wife and most constant lyricist, wrote the lyrics for "Sambalamento", "Tristeza" (not to be missed with the Haroldo Lobo/Niltinho samba) and "Silêncio do Amor", did her first recordings ever on "Tristeza" and "Silêncio do Amor". Many people think that Oscar arranged the basic tracks, but it's not true. "Bonfá himself arranged the small group sides," as stated by Mason Sargent in the original LP liner notes, included on this CD reissue.

In the following morning, on December 31, 1962, Bonfá and the group returned to the A&R studio to cut seven more tracks. The Argentinian genius Lalo Schifrin, not yet a household name, arranged & conducted the orchestra (flutes & strings sections) on "Manhã de Carnaval", "Ilha de Coral" (my personal favorie track, originally composed for the soundtrack of the Italian film "Le Ore Dell'Amore"), "Adeus" (another highlight) and "Bossa Nova Cha Cha". Maria Toledo is heard doing subtle wordless vocal counterlines on the delightful "Domingo à Noite" and the haunting ballad "Adeus", that Bonfá would re-record for the Chesky label in 1999, on the "Non-Stop To Brazil" CD.

Besides his own songs, the always very generous Bonfá also recorded tunes by Oscar Castro-Neves & Luvercy Fiorini ("Chora Tua Tristeza") and Chico Feitosa & Lula Freire ("O Amor Que Acabou", once again with Toledo's voice).

R.I.P.: Oscar Castro-Neves

CD Reissue of the Month - "Allan Holdsworth: FLATTire"

CD Reissue of the Month
Allan Holdsworth: "FLATTire - Music For A Non-Existent Movie" (MoonJune)

Produced by Allan Holdsworth.
Reissue Project Supervisor and Executive Producer: Leonardo Pavkovic
Recorded and mixed by Allan Holdsworth.
Recorded at "The House in Capistrano;" Mixed at "The Brewery."
Mastered by Chris Bellman, at Bernie Grundman Mastering.
Cover Photo: Don Megla
Repackaged and presented in eco-wallet format, with new liner notes written by Barry Cleveland.

Featuring: Allan Holdsworth (guitars, synthaxe) & Dave Carpenter (bass on tracks 3 & 8)

MoonJune Records should once again receive an award for re-releasing another classic Allan Holdsworth album, "FLATTire." The album is subtitled "Music From A Non-Existent Movie," and easily qualifies as one of his most mysterious, yet introspective works. Originally released in 2001, the CD had a small print run, received little notice and no fanfare. Comprised predominantly of performances played on his beloved SynthAxe, Holdsworth delivers a set of stunningly beautiful, emotional tunes. "I had just gone through a difficult divorce and was experiencing a lot of pain and feeling very lost and introspective," Holdsworth said, when reflecting upon the circumstances which preceeded his making the album.

"I had always wanted to compose music for movies, but had never been given the opportunity," he elaborated. "Whenever I watch a movie I like to imagine what sort of music I might compose for a scene, to create a particular kind of atmosphere, because when I see something I hear something. So, while recording FLATTire I tried to create these imaginary movies in my head and then write themes for them." In the same way that the more impressionistic and even orchestral-sounding compositions on "FLATTire" differ significantly from those on Holdsworth’s other albums, his performances and even his approach to playing his instrument also differed.

"Most of the things I played weren’t particularly technical in the sense of requiring exceptional dexterity," he explained. "They were all about the emotion and staying true to the concept of supporting visual images. That’s very different than making a normal record, where the focus is just on a piece of music and soloing within that."While for more than a decade the original release has lingered in relative obscurity, this re-release finally provides a unique, essential work -- from one of progressive music's greatest masters -- with the attention and distribution it deserves. 

The CD is presented in digipak format, with some new, engaging liner notes written by Guitar Player Magazine's prolific writer and editor (and MoonJune Records' recording artist), Barry Cleveland (portions of which were used herein).Featuring a guest appearance on two tracks by the late, great jazz bassist, Dave Carpenter, "FLATTire" is an album completely unique in the Allan Holdsworth discography -- highlighting an entirely different side of his creative persona, as well as his genius as an engineer and producer. Don't miss out on this intimate personal statement from one of progressive music's finest treasures.

Zhantra Dancers @ Kitchen 305, Tonight!

Tonight @ KITCHEN 305:
THE ZHANTRA DANCERS PERFORMING LIVE - 11PM
WEDNESDAY SEPTEMBER 25TH, 2013
NEWPORT BEACHSIDE HOTEL (16701 Collins Ave., Sunny Isles Beach, FL)
Ph: 305.749.2110

Based in South Florida, Zhantra Entertainment has become known nationally and internationally for providing the ultimate in talent. By providing sophisticated, professional trained dancers and performers, Zhantra has become synonymous with professionalism and quality. They pride themselves in suggesting the most unique themes, ideas, and costuming for their fans.

Consisting of more than 50 top performers from the country, they have selected only trained and accomplished professionals in order to provide “the best.”

Specializing in theme and production, the company is comprised of a wide array of professionals. From belly dancers to ballroom dancers, from stilt walkers to fire eaters and acrobats, Zhantra has some of the most sought-after (and most beautiful) specialty act talent in the country.

PLUS:
SOUNDS BY DJ HANA!
AND...DEBBIE TAYLOR BAND PERFORMING LIVE AT 8PM.
HAPPY HOUR 2X1 DRINKS FROM 530PM-730PM.
RSVP 305-749-2110

3D Blu-ray of the Month - "Quincy Jones, Herbie Hancock & Co.: Experience Montreux"

3D Blu-ray of the Month (2-disc set)
Quincy Jones, Herbie Hancock & Co.: "Experience Montreux" (Eagle Vision)

Filmed in July 2010, released now in September 2013
Directed by David Barnard
Produced by Chris Kraft

Total Time: 206 mins
Disc 1: 86 minutes; Disc 2: 120 minutes
Video: 1080i High Definition Widescreen 16x9
Audio: LPCM Stereo, DTS-HD Master Audio

Filmed in High Definition 3D, this 2-disc set brings together the award-winning "Experience Montreux" film plus concert performances by Herbie Hancock and Quincy Jones, all filmed at the 44th Montreux Jazz Festival in 2010.

The first disc contains full live tracks by a range of artists that reflects the breadth and eclecticism of the Montreux Fest, featuring Massive Attack, Joe Bonamassa, Elvis Costello, Angelique Kidjo and many others. Their performances are interspersed with interviews with festival founder Claude Nobs and many of the artists involved and are accompanied by stunning footage of the festival setting, the town of Montreux, Lake Geneva and the Swiss Alps.

Quincy Jones and Herbie Hancock have both been frequent visitors to Montreux over the years and it's fitting that their performances form a part of this 3D celebration of the magic of the Montreux Jazz Festival. The highlights on Quincy's set are provided by the young Cuban piano virtuoso Alfredo Rodriguez (a splendid musician who became Quincy's protégé and shines even playing Happy Birthday!!!) and veteran Brazilian percussion master Paulinho da Costa, a longtime associate of Quincy who has performed in 99% of his productions since the late 70s, including all his solo albums and the Michael Jackson classic trilogy "Off The Wall," "Triology" and "Bad." Hancock's band features bassist Tal Winkenfeld, drummer Vinnie Colaiuta, and an astonishingly beautiful vocalist named Kristina Train, who sings a creative rendition of John Lennon's "Imagine."

Track Listing:
Disc One
1) Massive Attack: Risingson; 2) Sophie Hunger: Invisible; 3) Mumford & Sons Roll: Away Your Stone; 4) Angelique Kidjo: Saduva; 5) Martina Topley Bird: Sandpaper Kisses; 6) Yacht: The Afterlife; 7) Quincy Jones And The Global Gumbo All-Stars: Watermelon Man; 8) Broken Bells: The Ghost Inside; 9) Leszek Mozdzer: Fijo; 10) Nas & Damian Marley: As We Enter; 11) Elvis Costello: Slow Drag With Josephine; 12) Maccabees: Bag Of Bones; 13) Joe Bonamassa: Last Kiss; 14) Herbie Hancock: Chameleon; 15) Macadam Jazz Band: Bei Mir Bist Du Schön

Disc Two:
Part One - Quincy Jones And The Global Gumbo All-Stars
1) Bonatology 2) Eyala 3) Crossing The Border 4) Nonvignon 5) Paulinho da Costa Solo 6) Happy Birthday / Brokeback Concerto 7) Lullabye Of Birdland / Somewhere Over The Rainbow 8) Airmail Special 9) Watermelon Man
Line-up: Quincy Jones (musical director); Richard Bona (electric bass, vocals); Lionel Loueke (electric guitar, vocals); Alfredo Rodriguez (acoustic piano); Paulinho da Costa (percussion, congas, vocals); Francisco Mela (drums); Nikki Yanofsky (vocals)
With special guests: Greg Phillinganes (acoustic piano, keyboards); Herbie Hancock (keyboards)

Part Two - Herbie Hancock: The Imagine Project:
1) Actual Proof 2) Imagine 3) Seven Teens 4) Watermelon Man 5) Tamatant Tilay / Exodus 6) Court And Spark 7) Chameleon 8) Chameleon
Line-up: Herbie Hancock (acoustic piano, keyboards); Vinnie Colaiuta (drums); Lionel Loueke (electric guitar); Greg Phillinganes (keyboards); Kristina Train (vocals); Tal Wilkenfeld (electric bass)

Films of the Month (DVD) - "Carnival of Crime / The Hostage"

Movies of the Month (DVD release)
"Carnival of Crime / The Hostage" (Crown International Pictures)

Film Noir Double Feature on "Crime Time Collection"
Distributed by BCI Eclipse Company, LLC (Newbury Park, California)

"Carnival of Crime" (1964/B&W/91m) - A four-alarm murder mystery, aka "Sócio de Alcova," this nerve-tingling story (filmed in Brazil in 1962 and later released here in the USA in 1964) is about a dashing, prominent builder who is mistakenly accused of killing his wife, but because of it learns the truth about the woman he thought he knew. Starring Jean-Pierre Aumont (one of France's most famous leading men, "Day for Night"), Tonia Carrero and Alex Talton.

Directed & Produced by George Cahan aka George M. Cahan
Screenplay: Bill Barret based on a novel by Winston Graham
Assistant Director: Angel Acciaresi

Executive Producer: Federico J. Aicardi
Associate Producers: Juan D'Angelo, Joaquín Franco, Herbert Richers & Arnaldo Zonari
Production Supervisor: Victor Lima
Production Manager: Oscar Uboldi

Original Soundtrack Composed by Luiz Bonfá
Music Performed by Luiz Bonfá (who also appears on the movie) & Nicea Martins
Sound: Alberto Vianna

Cinematography by Américo Hoss

Film Editing: José Serra
Production Design: Alexandre Horvat
Makeup Department: Olga Olavegoscocheva (makeup artist), Leonor Picone (hair stylist),

Cast: Jean-Pierre Aumont, Alix Talton, Tônia Carrero, Luis Dávila, Alberto Dalbés, Nathán Pinzón, Jardel Filho, Norma Bengell, Norma Blum, Alicia Bonet, Laura Suarez, Paulo Monte, João Goulart, Agildo Ribeiro, Francisco Dantas, Sadi Cabral, Noelia Noel , Billy Davis, Oscar Uboldi, Ángel Zavalia
********
"The Hostage" (1967. color, 82m) - A shocking tale of terror about a six-year-old boy, whose incurable curiosity lands him in a locked moving van with a psychotic killer and his weakling cohort. When the boy stumbles onto their grisly secret, his life is in immediate danger. Starring Harry Dean Stanton ("Alien," "Paris Texas"), horror veteran John Carradine, and Don O'Kelly.

"The Hostage Theme" composed by Roland Hanna and sung by Steve Smith

Historical CD of the Month - "George Benson: Impressions 1975, Live at Carnegie Hall"

Historical CD of the Month
George Benson: "Impressions 1975" (GFR)

Recorded Live @ Carnegie Hall (New York City, NY) on July 3, 1975 during the Newport Jazz Festival promoted by George Wein

Featuring: George Benson (electric guitar & vocals), Jorge Dalto (acoustic piano, Hohner clavinet & synthesizers), Ronnie Foster (Fender Rhodes & synthesizers), Stanley Banks (electric bass), Marvin Chapell (drums), David Diggs (percussion)
Special Guest: Milt Jackson (vibes)

Vocal Jazz CD of the Month - "Eugenie Jones: Black Lace Blue Tears"

Vocal Jazz CD of the Month
Eugenie Jones: "Black Lace Blue Tears" (EJ)

Produced by Eugenie Jones
Arranged by Eugenie Jones, Bill Anschell, Eugene Bien & Darin Clendenin
Engineered by David Lange
Mastered by Ross Nyberg
Photos: Steve Korn
Artwork: Matt Jorgensen
Dress Designer: Beth Ann Galloway
Make-ip: Hanna Mazur

Featuring: Eugenie Jones (vocals), Bill Anschell (acoustic piano), Clipper Anderson (acoustic bass), Mark Ivester (drums) & Michael Powers (guitar)

Instrumental Jazz CD of the Month - "Geof Bradfield: Melba!"

Instrumental Jazz CD of the Month
Geof Bradfield: "Melba!" (Origin)

Produced by Geof Bradfield
Recorded by Scott Steinman @ Studiomedia (Evanston, IL) on Sept 9 & 10, 2012
Mixed & Mastered by Rich Breen @ Dogmatic Sound (Los Angeles, CA)
Cover Photo: Alex Duthi
Album Design: John Bishop

Featuring: Geof Bradfield (tenor & soprano saxophones, bass clarinet), Victor Garcia (trumpet, flugelhorn, percussion), Joel Adams (trombone), Jeff Parker (guitar), Ryan Cohan (piano), Clark Sommers (bass), George Fludas (drums, percussion), Maggie Burrell (vocals)
All tunes composed by Geof Bradfield
Dedicated to Melba Liston and Randy Weston

Single of the Month - "Hubert Laws: The Chicago Theme / I Had A Dream"

7" Single of the Month
Hubert Laws: "The Chicago Theme / I Had A Dream" (CTI)

Produced by Creed Taylor
Engineered by Rudy Van Gelder
Arranged by Hubert Laws ("I Had A Dream") and Bob James ("The Chicago Theme)

Featuring: Hubert Laws (flutes), Bob James (Fender Rhodes), Don Grolnick (Fender Rhodes solo and clavinet on "I Had A Dream"), Dud Bascomb aka Doug Bascomb, Jr. (electric bass), Steve Gadd (drums), Ralph MacDonald (percussion), Joe Beck & Phil Upchurch (electric guitars), David Sanborn (alto sax), Randy Brecker (trumpet), Harry Lookofsky (strings concertmaster, violin) et al

DVD of the Month - "Deodato & Co.: Live at Etapa Music Festival"

DVD of the Month
Deodato & Co.: "Live at Etapa Music Festival 2012" (Etapa)

Featuring: Eumir Deodato (keyboards), Marcelo Mariano (electric bass), Renato Massa Calmon (bass), Claudio Roditi (piccolo trumpet), Roberto Sion (piccolo) et al

Gina Saputo live in LA, tonight

R.I.P.: Jimmy Ponder

(born May 10, 1946 - died September 16, 2013 in Pittsburgh, Pennsylvania)

Just heard the sad news about Jimmy Ponder's passing at age 67. I was introduced to Ponder's artistry through Lonnie Smith's "Mama Wailer" LP, recorded in 1971 for Creed Taylor's Kudu label. Curiously, exactly fourty years later I had the honor to produce, in 2001, a CD reissue of that album, having remastered it from the original master tapes, and having invited the renowned jazz historian Douglas Payne to write the liner notes. Ponder's performance on the 17-minute long album centerpiece "Stand," the classic tune by Sly Stone, is simply stunning.

Later on, I listened to the dates he did for Milestone in the early 80s, as a sideman with Hank Crawford and Jimmy McGriff, as well as on two Bob Porter-produced albums that Ponder recorded as a leader in 1983 and 1984: "Down Here On The Ground" (yes, the same title of that famous Wes Montgomery LP for A&M/CTI, titled after the Lalo Schifrin tune written for the "Cool Hand Luke" movie soundtrack) and "So Many Stars" (titled after Sergio Mendes' gorgeous bossa-ballad).

Ponder also often recorded & performed with such artists as Charles Earland, Houston Person, Etta James, Joe Thomas and Stanley Turrentine. Rest in Peace.

Below is the link for an insightful obituary.
http://www.fretboardjournal.com/blog/jazz-guitarist-jimmy-ponder-1946-2013

And here's the link for a great Jimmy Ponder discography compiled by jazz connoisseur Doug Payne, who also wrote these words:
http://www.dougpayne.com/ponder.htm

JIMMY PONDER is one of jazz's finest and most consistent, however consistently underrated, guitarists. He sprang onto the national scene in the late 1960s as a session player in the august company of Lou Donaldson, Johnny Hodges and fellow Pittsburgher Stanley Turrentine. He has also worked extensively - and most effectively -with such organists as Charles Earland and Jimmy McGriff. Self taught and exceedingly melodic, Ponder possesses a beautifully mellifluous tone and knows how to swing a tune, particularly a funkyone. 

Ponder derives his style from his greatest influence, Wes Montgomery; however, he most often resembles the sound - and occasional singing - of George Benson, another fellow Pittsburgher. Though it's worth stating there is nothing imitative about Jimmy Ponder. One listen to his best solos (Turrentine's "Buster Brown", John Patton's "I Want To Go Home", Jimmy McGriff's "Pisces" or Houston Person's "Preachin' and Teachin'", for example) and you know you're in the hands of a practiced practitioner, a consummate communicator and a master musician. 

As someone who grew up and spent most of his formative years in Pittsburgh, I'm partial to my hometown heritage. I'm very proud to be from the same city that produced Stanley Turrentine, Horace Parlan, George Benson, Art Blakey, the subject of this discography, Jimmy Ponder, and so many, many other wonderful and enduring musicians and artists. I had the pleasure of attending the University of Pittsburgh, where Nathan Davis often presented concerts that allowed me to hear local and international jazz talents, and my first real "career" job was a college internship in the PR department at WQED, which placed me right next door to Mister Rogers' Neighborhood, home to guitarist Joe Negri and pianist Johnny Costa - the very folks who introduced me to jazz. The outline below comes from WQED's Multimedia site from an article that originally appeared in Pittsburgh magazine (with credit due to the writer). Enjoy!

North Side bassist Dwayne Dolphin calls him "a Pittsburgh treasure." North Side drummer Roger Humphries calls him "one of the great pioneers of the guitar coming out of Pittsburgh -- he and George Benson." They're both speaking of internationally known guitarist Jimmy Ponder.

"Jimmy has been recognized in jazz circles all over the world and has been a major influence on a lot of the young players I have run into. Many of them emulate his style," agrees North Side-based and nationally recognized jazz organist Gene Ludwig.

The respect that some young musicians have for Ponder was captured in a recent letter he received from a former student, Ofer Ganor, now living in Tel Aviv: "You have been and will continue to be a wellspring of inspiration in my life as a musician and as a human being." Ganor had been with the Thelonious Monk Institute of Jazz at the New England Conservatory of Music and had come to Pittsburgh to study under the self-taught Ponder, who has taught and played internationally, nationally and locally (at Duquesne University).

Ponder's roots in music go back to his days growing up in Beltzhoover, where he played with R & B groups as a teenager. He recalls winning citywide talent shows at both Knoxville Junior High School and Schenley High School (though he later graduated from South Hills High School). He got the jazz bug from staying at night and listening to the guitar sounds of Wes Montgomery, his musical hero.

"Wes Montgomery always has been and always will be my greatest musical influence," Ponder says, and recalls a 1960s session. "I sat seven feet from Wes and witnessed unbelievable guitar-playing. It changed my whole concept in jazz guitar-playing."

You can still catch Ponder locally. He plays a solo engagement on the second and fourth Thursdays of the month from 7 to 10 p.m. at the Church Brew Works. He usually appears at The James Street Tavern on a monthly basis with bassist Mike Taylor and drummer George Heid.


"Pittsburgh is a blessed with so many great musicians," says Tony Mowod, executive producer/jazz host at WDUQ and our Harry Award winner in 2000. "Jimmy Ponder continues this great tradition by being one of the finest jazz guitarists in the country."

Cristina Morrison live in NY, Aug. 30

Elected one of the Top 5 vocalists of the year in the 34th Annual Jazz Station Poll, when her "I Love" album also appeared among the best vocal jazz releases of 2012, Cristina Morrison will be doing a rare NY gig tonight, August 30th, at the East Village club Nublu, located @ 62 Avenue C (between 4/5th street.) She will be backed by Misha Piatigorsky (the great pianist who recorded the "Never Let Me Go" CD with Mark Murphy), Edward Perez (bass) & Willard Dyson (drums).

This is music inspired by the cross winds, crashing waves and birdsongs of Galapagos where Cristina resides part of the year in her waterfront home-and idyllic spot in Isabela Island, her previous home for 6 years before moving to America.

The result is an exotically honest sound that strikes pure chords which then lackadaisically mellow out. Akin to the high and low energies of a stroll along a beach in Galapagos or to the dawn or dusk sounds of nature. Never has a jazz artist been able to draw inspiration from the raw nature of Galapagos and inject it with such ease and gusto into her ballads.

Cristina Morrison was born in Miami, Florida. She's a multi- cultural woman not only because of her background that is a mix between Latin America and the United States but also from her "gypsy" life experiences. She has lived in Quito, Miami, Rome, Los Angeles, the Galapagos Islands and currently, New York City.

Cristina's first love was the piano and then she soon grew up to discover performing arts were her passion. Her acting debut onstage was at the age of sixteen and started singing in cover bands, as well. Cristina, for many years, lived between Miami and Quito and after finishing high school moved with her mother to Rome where she attended drama school at "La Scaletta".

Here she learned fluent Italian and had her first encounter with playwrights like Tennessee Williams, Arthur Miller, Anton Chekhov and fell in love with the theatre. Meanwhile, she also started listening to jazz: to musicians like Chick Corea, Keith Jarrett and standard tunes, that her father listened to from the American Song Book.

In the early 90's she auditioned and was accepted into the prestigious American Academy of Dramatic Arts, she moved to Los Angeles and graduated a few years later. Since then Morrison has worked mainly as a lead actress in many television films and series based on Ecuadorian literature, she has opened a performing arts theatre that ran until 2003, has played characters of written works by Beckett, Brecht, Fassbinder, Shepard and Bashevis Singer among others. She has also worked as an assistant director for TV and written articles on entertainment.

Musically, Cristina was the lead vocalist of her jazz-blues band called "The Baroness and her Lovers". Her latest work in New York is the recording at Bennett Studios of her first original jazz solo album titled, "I Love". Here she showcases her talent as a singer-songwriter and is accompanied by some great jazz musicians.

Currently, in repertoire, she's portraying five different women roles throughout three generations in the staging of "The Aging of the Plum" written by the Argentine Aristides Vargas. The play has been invited to various theatre festivals to countries like Mexico and Brazil among others to be announced. Cristina also holds under her sleeve a future film production project based on a journalistic chronicle which she bought the rights for.

The press has defined Morrison as an analytical, charismatic, creative, and a free spirited woman and as a chameleonic and versatile actress who works her characters at depth being able to reach her audience. As a singer, she's equally impressive. Check it out!

Gina Saputo: Friday Night @ Steamers

After a sucessful appearance today on "Good Day LA," Gina Saputo has a show tomorrow night, August 30th, at Steamers Jazz in Fullerton, CA.
http://www.reverbnation.com/c./poni/224430141

One of our favorite vocalists in the contemporary jazz scene, LA-based young diva Gina Saputo likes to sing in Portuguese, scatting and phrasing in a very creative way, sometimes sounds like the missing link between Carmen, Basia (check his own groovy "Explain," on which she also emulates Billie), Flora and Tierney. Tonight, she will be backed by Matt Politano (piano), Blake White (bass) & Ramon Banda (drums), with special guest Larry Salzman on percussion. Not to be missed.

Saputo usually writes the setlist by hand about an hour before the show, but it will probably include such songs as "I’ve never been in love before," "Cheek to cheek," "Call me," "Until I met you," "Fool on the hill," "They can’t take that away from me," "Bye bye blackbird," "Chega de saudade," "My man’s blues," "Exactly like you" and "'Round midnight." She promises more surprises too.

Gina Saputo is a vocalist, entertainer, clinician and arranger who has already established herself as one of the rising young stars on the scene. From there, Gina attended USC’s prestigious Thornton School of Music. Gina was among seven musicians chosen by Herbie Hancock, Terence Blanchard, and Wayne Shorter to study at the Thelonius Monk Institute. During her time with the institute, she performed for the State Department in Washington, D.C., and toured Vietnam with Hancock, Shorter and Nnenna Freelon.

Her first CD, “Gina Saputo,” which featured pianist Gerald Clayton, was recorded with vocal sessions produced by Grammy award nominated vocalist Tierney Sutton, who said, “Gina has the talent as well as the passion to stretch and think outside the box.” After two successful tours of Japan, her CD has climbed to #3 on the prestigious Swing Journal charts, and has received rave reviews. She performed (at the Once In A Blue Moon club in Seoul) and taught (as a guest professor at Gwangju University) in South Korea, toured Japan a second time with Grammy nominated pianist Bill Cunliffe, performed in Oregon with pianist Benny Green, at Club Nokia at LA Live, and at the Skywards Dubai International Jazz Festival. Gina sings regularly at Steamers Jazz Club (10 years!), The Hip Kitty, Ambrosia and First & Hope Supper Club.

Steamers Jazz Club and Cafe
138 W. Commonwealth Ave
Fullerton, CA 92832
RSVP recommended: (714) 871-8800
jazz@steamersjazz.com
www.steamersjazz.com

Donatelli & Keezer live in LA, tonight!

Tonight! 8pm! "The Art of the Duo" live @ Vitello's Jazz and Supper Club (4349 Tujunga Ave.). A perfect match! Join us and, besides the great music, get some good Italian food and wine.

R.I.P.: Luiz Claudio "Sandalia Dela"

R.I.P.: Luiz Claudio de Castro

(born March 22, 1935 in Curvelo, Minas Gerais, Brazil;

died August 28, 2013 in Guaratinguetá, São Paulo, Brazil)

Regarded as a "singers' singer", one of the most beautiful voices in the history of Brazilian music, Luiz Claudio de Castro passed away a few hours ago in the small city of Guaratinguetá (the land of São Frei Galvão, the first Brazilian Saint, in the State of São Paulo), where he lived for the past three years, after he decided to move from Rio de Janeiro and retire from the professinal career. He is survived by Heloisa Helena, his wife for more than 50 years.

Luiz Claudio, also an acoustic guitarist and great composer ("Deixa A Nega Gingar" aka "Sandalia Dela" received many recordings by such artists as Elza Soares, Elizeth Cardoso, Ithamara Koorax and Duke Pearson with Flora Purim), recorded many albums for the Columbia, RCA, Musidisc and Odeon labels. His legendary rendition of "Este Seu Olhar," done for Columbia in 1958, was arranged by Antonio Carlos Jobim and featured João Gilberto on the guitar. Moacir Santos, Paulo Moura, Wagner Tiso and J.T. Meirelles also appeared on his albums.

Although he devoted most of his life to romantic songs, applying his warm tone and velvet-like voice to Brazilian ballads, cantigas, toadas, modinhas and folk-oriented songs from his native Minas Gerais, Luiz Claudio's most popular composition all over the world is a simple & pretty sambalanço (or "samba-jazz" or "bossa-jazz", you name it) titled "Deixa A Nega Gingar," written in April 1962 and recorded in Brazil by Toni Vestane, Waltel Branco, Elizeth Cardoso, Elza Soares, Celso Murilo, Orlann Divo (aka Orlandivo), and Claudio himself for RCA (with an arrangement by trombonist Astor Silva). In recent years, the song was recorded by Ithamara Koorax, Clara Moreno and Clémentine.

Curiously, this song became a cult hit in the jazz world after Flora Purim recorded "Deixa A Nega Gingar" in 1969 on Duke Pearson's "How Insensitive" LP for Blue Note. Actually, Flora was the one who suggested Pearson to include it on the album. But she didn't remember Luiz Claudio's name neither the correct song title, and it was released under the title "Sandalia Dela" with no mention to the composer. The radio DJs fell in love with the song which started to receive instant airplay all over the USA. But nobody knew the author's name and many thought it was a Brazilian folk song of public domain.

http://youtu.be/6IsskAdN6EA 

At that same year (1969), Flora sang "Sandalia Dela" (sorry, "Deixa A Nega Gingar") during an European tour with Stan Getz, and a Paris concert was eventually released as an unofficial album titled "Major Generale." Once again under a wrong title and with no credits to Luiz Claudio. Both albums were reissued on CD, but Claudio remained uncredited. And there's also the fantastic video on youtube (link above) of Getz & Flora -- plus Stanley Cowell, Miroslav Vitous and Ben Riley -- performing "Sandalia Dela."

Not to mention that, previously, another disaster had happened back in 1963, when Bola Sete recorded it under the title "Mambossa" (for the "Bola Sete, Vince Guaraldi and Friends" LP), and Claudio's name was omitted (what a curse!)

The oddest thing is that Luiz Claudio only became aware of all this craziness when we talked in March 2000, when I was supervising and writing the liner notes for a CD reissue of Bola/Guaraldi's album for Fantasy Records. "I never received one cent for any of these recordings in the USA," Claudio stated. After the CD release, since I corrected the info about "Mambossa," Bola Sete's widow (who probably never had heard about Claudio) tried to sue Fantasy Records. But, fortunately, Luiz Claudio provided us with all the documents that proved that he was the real composer.

In Brazil, Claudio built a beautiful career that started in 1949 as a member of the vocal group Trovadores do Luar, in Belo Horizonte. Moving to Rio de Janeiro, he did his first solo recording (a 78rpm) for the Sinter label in 1952. Three years later, he signed with Columbia and started to receive many awards, becoming a star on live radio shows.

More awards followed in radio and magazine contests, and he jumped to RCA in 1960, and later recorded only one album for the small Musidisc label in 1966, "Luiz Claudio Entre Nós," with his old music teacher Moacir Santos as special guest (an item reissued on CD by the UK label What Music in 2004) on two of his compositions: "Coisa Nº 10" (later covered by Sivuca on "Live at the Village Gate" for Vanguard in 1975) and "Jequié" (recorded by Airto in 1972 during the "Free" sessions for CTI, and later included as bonus track on the 2003 CD reissue of that album). Other musicians on "Entre Nós" included Wagner Tiso, Paulo Moura and Durval Ferreira.

But it was at the Odeon label (lately known as EMI-Odeon and now part of the Universal Music Group), that he recorded (from 1968 to 1979) the most beautiful albums (all out-of-print, of course...) of his entire career, perfecting a subtleness that can be heard on such precious items as "Intimidade," "Cantiga," "Reportagem" and "Viola de Bolso." During the 70s, many tracks from those albums received heavy airplay at JB-AM, the best radio station in Brazil around that time, thanks to the sensitivity of such people as Luiz Carlos Saroldi and Simon Khoury, who were among the biggest fans of Claudio's artistry alongside Luiz Bonfá, Antonio Carlos Jobim, João Gilberto, Gaya and Stellinha Egg.

During his Odeon years, he worked with such arrangers and musicians as Marcos de Castro, Ubirajara Cabral, Eduardo Souto Neto, Paulo Moura, Antonio Adolfo, Wagner Tiso & the Som Imaginário group, Lindolpho Gaya (aka Maestro Gaya), J.T. Meirelles, Chiquito Braga, Luizão Maia, Wilson das Neves, Alberto Arantes and many others. After his deal with Odeon ended, he still released a special LP/book project, "Minas Sempre-Viva" in 1983.

Another highly recommended CD is the compilation "Este Seu Olhar," released by the Revivendo label in 2005. Producer Leon Barg managed to license 18 gems from the Columbia, RCA and Odeon vaults, starting with the title track composed & arranged by Antonio Carlos Jobim, with João Gilberto (uncredited!) on acoustic guitar. There are also two wondrous Luiz Claudio's songs after poems by Guimarães Rosa ("O Galo Cantou Na Serra") and his friend & admirer Carlos Drummond de Andrade ("Viola de Bolso").

Other highlights include Tito Madi's waltz "Quero-Te Assim" (recorded in 1957 for Columbia), João Chaves' "Amo-Te Muito" (that he learned from his friend Stellinha Egg), Bach's "Jesu, Joy of Man's Desiring" (with Portuguese lyrics by Vinicius de Moraes) and Caetano Veloso's "Onde Eu Nasci Passa Um Rio." I only regret that his sublime version of Luiz Bonfa/Antonio Carlos Jobim's "Correnteza" (Claudio was the first one to record it in 1973) wasn't included on that compilation.

His last concert was at the CCBB Auditorium (Centro Cultural Banco do Brasil) on August 12, 2000, sharing the stage with his friend & idol, Tito Madi. In his very last years, Luiz Claudio (an architect who also loved to paint) did some exhibitions of his work as a painter. Some of his work can be seen on this site:
http://anacrislobo.blogspot.com.br/2011/05/exposicao-de-quadros-luiz-claudio-de.html
Rest in Peace. We'll continue savouring your music.

DJ Yvonne Black in LA tonight @ Los Globos

"Fascination Tuesdays" are back this evening!" The best in house, disco and electronica.
My dear friend DJ Yvonne Black will be playing tonight, August 27th @ Los Globos (3040 W Sunset Blvd.) here in Los Angeles. Plus Josef Cristofer, Kelly Divan, Angel Spade, Erick Armas. Reservations: (323) 666-6669. Let's party!