Baden Powell – Love With Guitars (Le Monde Musical De Baden Powell) (1964/1966)

frontcover1Baden Powell is a Brazilian musician with a solid international reputation. A gifted instrumentalist and composer, he bridges the gap between classical artistry and popular warmth and was a key figure in the bossa nova movement. Born in the Varre e Sai district, he was baptized after his grandfather, a musician and conductor himself, whose father was an admirer of the Boy Scouts founder. When he was four months old, his family moved to the hill of São Cristóvão in the city of Rio. His father, the violonista Lino de Aquino, promoted regular get-togethers (rodas) of chorões at his home, at which famous names of Rio’s music used to play, such as Pixinguinha, his brother China, the sambista Donga, and so many others. At eight, his father took him to Rádio Nacional where Powell met Meira (Jaime Florence), a famous violonista at the time a member of Benedicto Lacerda’s regional. Powell would study violão with him for five years. Through Meira, a broad-minded musician, he discovered classics such as Segovia and Tarrega, along with Brazilian masters such as Garoto and Dilermando Reis. At nine, he presented himself at Renato Murce’s show Papel Carbono on Rádio Nacional, winning first place as a guitar soloist. At 13, he used to run from school, earning his first cachets at the neighborhood parties. After finishing high school, he joined the cast of Rádio Nacional as an accompanist. In that time, he traveled through Brazil with the radio’s singers. In 1955, he joined Ed Lincoln’s trio, playing jazz at the Plaza nightclub. The place was a focal point for musicians, journalists, and aficionados interested in jazz. It should be regarded as the second place where bossa nova was being generated (the first being Cantina do César, after Johnny Alf’s first appearances), contrary to the common notion of bossa being born at Zona Sul (South side’s) apartments. At that time, Powell began to compose “Deve Ser Amor,” “Encontro Com a Saudade,” “Não é Bem Assim,” and his first big hit, 1956’s “Samba Triste,” with lyrics by Billy Blanco and which would be recorded by Lúcio Alves in 1960.


Baden Powell, Vinicius de Moraes e Milène Demongeaut, Paris, 1964

In 1962, he met his future partner, Vinícius de Moraes, a composer, poet, singer, and diplomat. Their first song was “Canção de Ninar Meu Bem,” a great success from the beginning. Following that, they came up with “Samba em Prelúdio” (recorded still in 1962 by Geraldo Vandré/Ana Lúcia), “Consolação” (recorded by Nara Leão), “Samba da Bênção,” “Tem Dó,” “Só por Amor,” “Bom Dia, Amigo,” “Labareda,” and “Samba do Astronauta” (recorded by Powell in 1964). At this point, Powell was already a renowned musician and composer, with good connections on the artistic scene and wide exposure in the media. In that year, he accompanied Sílvia Telles at her famous show at the Jirau nightclub. In 1963, he recorded his first LP, Um Violão na Madrugada (Philips). In that year, he traveled to Paris where he presented himself at the Olympia theater with great success, using a repertoire of classical music and his own compositions. He also played regularly in a season at the Bilboquet nightclub and composed the soundtrack to the movie Le Grabuje.(by Alvaro Neder)

This first record for Barclay in 1964 is one of Baden´s most famous records in Europe, even the sound of the original record was never the best.


“Brazilian music is, as its country which is 16 times as big as France, diverse, varied, surprising, subtle and simple all at the same time. This music only asks, as Brazil, for regognition and love. With this album, which is the first he releases in Europe, the guitarist & composer BP presents us a complete palette of his musical world. From African rythms to his personal perceiving of classical european composers, and through delicate reminiscence of melodies from the Antilles, to negro american jazz accents: BP reminds all these influences on his guitar.

He’s 27 years old. Born in Rio. He played since 8 y.o. After having studied in Rio academy, where he improved his style and learned composition, he started like many other, in clubs with little rythmic entities. He eventually showed up in several Tv & radio broadcasts, and his compositions became very popular. He teamed with Tom Jobim, Carlos Lyra, Roberto Menescal for work and tours in several big cities in Brazil. He recorded with Herbie Mann and Jimmy Pratt just before his departure to the US. After some concerts in the Village Vanguard, his friend and poet Vinicius de Moraes made him come to Paris in the late of 63. He gave recitals and tv shows: Living room, musicorama etc… Asked for his guitaristic influences he answers: Segovia, Van Eps, Django are people that are part of the musical world i love. With this record you’ll be able to discover samples from this musical universe.

Original front + backcover from 1964

Here are the themes: DEVE SER AMOR: was recorded using play back device. Baden first recorded the rythmic part with the bass & drums. Afterwards he recorded the melody. The same process was involved with BACHIANA.
CHORO PARA METRONOME is quite a challenge. The choro which was originally an improvisation over folkoric patterns, turns here into a guitar piece. The metronome replaces the whole rythm section. Fitting perfectly with this souless rythm, BP shows here its astounding technique.

The Albinoni ADAGIO and the Bach PRELUDE so seduced the guitarist, that he did want to give a respectful homage to these composers by playing these two pieces.
BERIMBAU is the name of a musical instrument looking like an arc, which is used in the Capoeira. This is a dance which partly look like wrestle, and is done by Nordeste youth, especially in the Bahia area. It is undoubtly of African inspiration.

SAMBA EM PRELUDIO is made of two distincts melodies. Baden plays the first which is in turn played by the orchestra. Then the guitar plays the second theme, and then the two parts are played together, and taken by cello and Francoise Waleh’s voice. CHANSON D’HIVER is the first song that Baden wrote when he came to Paris in December 63.

SAMBA TRISTE opens on a very dark climate and dramatic first part, then the repetitive rythm takes over and leads to the conclusive chords. BERCEUSE A JUSSARA is a delicate composition, dedicated to his little niece “Sobrinha” Jussara. EURIDICE is a Vinicius de Moraes composition, which illustrates the Orphee myth. BACHIANA is a piece written with, once again, Johann S. Bach in mind. GAROTA is a new composition from Tom Jobim and Vinicius. Baden takes it as a basis for a free improvisation, with a complete command on the instrument”  (original liner notes by Jacques Lubin)

My copy is a rare German pressing (released in 1966 – with liner notes written in German …. )


Alternate frontcovers

Alphonse Masselier (bass)
Arthur Motta (drums)
Baden Powell (guitar)
Silvio Silveira (percussion)
Francoise Waleh (vocals on 05.)
Paul Mauriat and his orchestra


01. Deve Ser Amore (Powell/De Moraes) 3.44
02. Choro Para Metronome (Powell) 2.48
03. Adagio (Albinoni) 3.03
04. Berimbau (De Moraes) 2.58
05. Samba En Preludio (Powell/De Moraes) 3.26
06. Chanson D’Hiver (Powell) 2.22
07. Samba Triste (Powell/Blanco) 3.29
08. Bercauses A Jussara (Powell) 2.33
09. Prelude (Bach) 2.49
10. Euridice (De Moraes) 3.00
11. Chaiana (Powell/De Moraes) 4.06
12. Garota De Ipanema (Jobim/Gimbel/De Moraes) 2.58




Leo Addeo & His Orchestra – A Sound Spectucular In Total Dynamics (1968)

frontcover1Addeo was one of RCA’s key house arrangers for most of the 1950s and 1960s. An Italian American from Brooklyn, Addeo’s specialty was Hawaiian music. He studied violin as a child, but switched to clarinet and saxophone in his teens when he noticed these instruments were in greater demand for local dance bands. He gradually moved from performing to arranging, working with Gene Krupa, Larry Clinton, and Frankie Carle.

Hugo Winterhalter hired Addeo as an orchestrator and brought him along when he moved to RCA in the early 1950s. Addeo was a steady producer for RCA, backing vocalists such as Vaughan Monroe and Don Cherry, arranging and conducting on numerous credited and uncredited instrumentals, and writing an occasional song. Addeo held down the marimba band corner for RCA’s “Living” series, producing a respectable knock-off of Julius Wechter’s Baja Marimba Band. (by

“The best sound around…the excitement of sound in motion” is what the album promises. It’s half a decade after the RCA Stereo Action series, and Leo Addeo is still going strong. With only ten tunes, A Sound Spectacular in Total Dynamics is a little light, but Addeo fans will not be disappointed. All tracks are at least good, and “Ain’t We Got Fun” is remarkable. While it must have been hopelessly square in 1968, there is a timelessness to these old standards. Freshness in the arrangements must be entirely the product of Addeo’s “space-age” enthusiasm. The barrels roll in “Beer Barrel Polka,” and “The Old Gray Mare” makes horsey sounds. Unnecessary as it may be to return to the Stereo Action experience, A Sound Spectacular in Total Dynamics is passable, at least if you like Leo Addeo. (by Tony Wilds)


Leo Addeo

Leo Addeo & His Orchestra


01. Beer Barrel Polka (Brown/Vejvoda) 2.12
02. Doodle Doo Doo (Kassel/Stitzel) 2.33
03. Gimme A Little Kiss (Will Ya, Huh?)  (Smith/Turk/Pinkard) 2.34
04. Ain’t We Got Fun (Kahn/Egan/Whiting) 2.26
05. Side By Side (Woods) 3.10
06. (Put Another Nickel In) Music! Music! Music! (Weiss/Baum) 2.19
07. Makin’ Whoopee! (Kahn/Donaldson) 3.12
08. Action Speaks Louder Than Words (Addeo) 2.34
09. The Old Gray Mare (Traditional) 2.55
10. Show Me tha Way To Go Home (King) 2.27


Klaus Doldinger & Passport – Down To Earth (1993)

klausdoldingerfrontcover1Passport was a German jazz/fusion group formed in 1971. Founded by Ace Saxeman, composer and arranger Klaus Doldinger along with Curt Cress (percussion), Kristian Schultze (keyboards), and Wolfgang Schmid (bass & guitar). This was the classic lineup that started with their 4th album “Looking Thru” in 1973, their first US release. I’m not familiar with their first 3 albums, but outside Klaus, the lineup was pretty different. This classic lineup continued through the next 5 albums. Utilizing spacey electronic jazz with rock and classical styles, this group was very groundbreaking. Klaus has a knack for coming up with some of the most beautiful saxe melodies you ever heard. Curt Cress was probably one of the first drummers to experiment with electronic drums. Bassist Wolfgang Schmid’s classical guitar adds a nice demension. And Kristian Schultze’s use of synth and mellotron gives them an expansive orchestral sound. After their 8th album, PASSPORT went through many different incarnations with only Klaus as the common denominator in all of them. In the 80’s, Klaus did other projects like motion picture soundtracks, most notably “Das Boot”. But PASSPORT still to this day records and performs (mostly in Europe, they came to the US only once) with various personnel. But it was the classic lineup that expanded their audience and gave them critical acclaim. (by progarchives)

This is the 22th album (!) of Klaus Doldinger & Passport and it´s another fine example of his high energy jazz-rock … with “Down To Eart” he won the Gold Jazz Award in Germany.

Klaus Doldinger is today 80 years old and … believe it or not … he´s still touring through Germany and Europe … A master of his own !


Klaus Doldinger (saxophone, flute)
Roberto Di Gioia (keyboards)
Wolfgang Haffner (drums)
Peter O’Mara (guitar)
Jochen Schmidt (bass)
Allen C. Cuffey (rap vocals on 07.)


01. Wise Up 5.25
02. Lowdown And Flyin’ High 6.55
03. Korako 6.32
04. Allemande Deux 6.32
05. Nighttime In The City 5.03
06. Esperanto 5.24
07. Passport’s In The House 5.01
08. Missing You 5.00
09. Ridin’ On A Rainbow 5.19
10. Never Ending Blues 6.55

All compositions by Klaus Doldinger





Big Country – Live Barrowland Glasgow (1983) (VHS rip)

frontcoverThis energetic show was recorded on New Year’s Eve 1983 in Glasgow, Scotland, near Big Country’s hometown. The show opens with the sounds of rain, thunder and lightning. After an earsplitting crash, the effects slowly fade, and the band breaks into “One Thousand Stars.” Big Country’s trademark guitars in their “bagpipe” mode cut through the song’s intro, leading into Adamson’s passionate vocals. The rest of the show is propelled by the band’s powerful rhythm section and the interplay between the twin guitar action of Adamson and Watson.

“We recorded that show at a venue called Barrowlands in Scotland,” said Mark Brzezicki. “When we tour, the gig we always look forward to is the gig on our home turf. The response at that gig is always exceptional.” “I was aware that I had to play me arse off during that period,” Brzezicki adds, “because we were coming off an important tour for us. Everything kept getting moved during that gig. There was a surge of people from the front of the stage. Complete mayhem, and the hottest gig I have done ever.” “Angle Park,” “Lost Patrol,” “Fields Of Fire” and the signature “In A Big Country” are all here, making this recording a true testament to the quintessential Big Country live show of that era.

bigcountry01“The excitement going on in the room that night was really a Scottish thing,” says Watson. “We tried to make it a huge party, as much as possible. We had just gotten back after three months in America. We loved America but we were missing home. And this show was a homecoming.” The performance was held in a hired ballroom, or dance hall, similar to the legendary Roseland dance hall in New York City.

Steve Lillywhite (the platinum producer best known for his work with The Rolling Stones and U2) was the engineer on recording of the show. Lilywhite had produced the band’s first two albums, and wanted to be part of this historic performance. “We knew that the show was going to be taped and shot on video and it was going to be broadcast live around the world, and in the States on the King Biscuit Flower Hour,” says Stuart Adamson.(by

The best concert ever. we need it released. I was there and it was the best night of my life.(by h m forrest)


Stuart Adamson (vocals, guitar, piano)
Mark Brzezicki (drums)
Tony Butler (bass; background vocals)
Bruce Watson (guitar, vocals)
Dundonald & Dysart Pipe Band


01. One Thousand Stars (Adamson/Brzezicki/Butler/Watson) 4.25
02. Angle Park (Adamson/Watson) 4.32
03. Close Action (Adamson/Brzezicki/Butler/Watson) 4.13
04. Lost Patrol (Adamson/Brzezicki/Butler/Watson) 4.48
05. Wonderland (Adamson/Brzezicki/Butler/Watson) 4.10
06. The Storm (Adamson/Brzezicki/Butler/Watson) 5.16
07. Dundonald & Dysart Pipe Band Sequence (Traditional) 3.40
08. Porroh Man (Adamson/Brzezicki/Butler/Watson) 7.51
09. Chance (Adamson/Brzezicki/Butler/Watson) 5.56
10. Inwards (Adamson/Brzezicki/Butler/Watson) 05:54
11.  Fields Of Fire (Adamson/Brzezicki/Butler/Watson) 6.38
12. Harvest Home (Adamson/Brzezicki/Butler/Watson) 4.38
13. Tracks Of My Tears (Robinson/Moore/Tarplin) 3.15
14. In A Big Country / Auld Lang Syne (Adamson/Brzezicki/Butler/Watson/Traditional) 8.13





Free – Fire And Water (1970)

frontcover1Fire and Water is the third studio album released by English rock group Free. The album became the band’s breakthrough hit, reaching #2 in the UK charts and #17 in the US, making it the most successful Free album.[citation needed] The album contained the hit single “All Right Now” which they later played to a crowd of over 600,000 people at the 1970 Isle of Wight Festival, generating great popularity (by wikipedia).

If Fleetwood Mac, Humble Pie, and Foghat were never formed, Free would be considered one of the greatest post-Beatles blues-rock bands to date, and Fire and Water shows why. Conceptually fresh, with a great, roots-oriented, Band-like feel, Free distinguished itself with the public like Black Sabbath and Deep Purple did (in terms of impact, only) in 1970. Free presented itself to the world as a complete band, in every sense of the word. From Paul Kossoff’s exquisite and tasteful guitar work, to Paul Rodgers’ soulful vocals, this was a group that was easily worthy of the mantle worn by Cream, Blind Faith, or Derek & the Dominos . ( by Matthew Greenwald)

Free was nothing if not the proof that less is more; what distinguished them from their bloozerocking peers was the point that they didn’t need to shove themselves into overdrive to make their point. Minimalists in the best sense of the word, they set a legitimately funky rhythm section behind the strikingly simple but gripping guitar playing of the late Paul Kossoff and the thrusting vocals of Paul Rodgers and delivered as singular a hard bloozerock attack as could be found during their brief but bristling existence.
“Fire and Water” was their best selling album and still the album on which their reputation rests (though the predecessor, “Free,” was no less effective). The title track impressed Wilson Pickett enough to make a striking soul hit out of it. And “All Right Now” remains a masterpiece of pure rocking R and B fire; never mind Rodgers’s only too classic lyric of predatory obsession-compulsion (so he doesn’t get the girl in the sack, she’s too smart to fall for his jive, but you know damn well it isn’t going to stop him from hunting fresh prey and probably landing one less gullible), the chunky verse playing is relentless, and that classic midsection, piano and bass nudging Kossoff to his most memorably melodious solo (that’s saying something considering his consistency), is impossible to resist. The album cut has long since buried the hit single version (which contained a different rhythm guitar sound, shortened up that midsection a little bit, and eliminated the second verse coda entirely; it’s available on the new anthology of the band, and it’s worthy in its own right), and you probably know a few dozen “classic rock” bar bands who give it a whirl at least once a night and get a guaranteed round of applause with it after they’ve cranked out a little Bad Company to whet the appetite a bit. (by BluesDuke)


Andy Fraser (bass, piano)
Simon Kirke (drums, percussion)
Paul Kossoff (guitar)
Paul Rodgers (vocals)


01. Fire and Water (Fraser/Rodgers) 4.03
02. Oh I Wept (Rodgers/Kossoff) 4.29
03. Remember (Fraser/Rodgers) 4.29
04. Heavy Load (Fraser/Rodgers) 5:23
05. Mr. Big (Fraser/Rodgers/Kirke/Kossoff) 5.58
06. Don’t Say You Love Me (Fraser/Rodgers) 6.07
07. All Right Now (Fraser/Rodgers) 5:42
08. Oh I Wept (alternate vocal take) (Rodgers/Kossoff) 4.25
09. Fire And Water (new stereo mix (Fraser/Rodgers) 4.27
08. Fire And Water (live BBC session) (Fraser/Rodgers) 3.12
09. All Right Now (live BBC Session) (Fraser/Rodgers) 5.33
10. All Right Now (Single version) (Fraser/Rodgers) 4.18
11. All Right Now (first version) (Fraser/Rodgers) 3.31



I would like dedicate the song “Fire And Water” to a very special lady !


Ella Fitzgerald – Sings the Duke Ellington Song Book (1957)

frontcover1Ella Fitzgerald’s outstanding songbook series has become an institution unto itself. This 1957 effort is distinguished from Fitzgerald’s other songbooks in that it is the only album in which the composer whose work she is singing actively participates.

In fact, these recordings are packed with some of the key figures in 20th century jazz. As if Ella and Duke weren’t enough, Ellington’s arranger/composer Billy Strayhorn, guest musicians Dizzy Gillespie and Oscar Peterson, and brilliant record producer Norman Granz all have a hand in the proceedings.

And what better backing band could one want than Duke’s orchestra? The usual suspects — Jimmy Hamilton, Johnny Hodges, Paul Gonsalves, Harry Carney, and Sam Woodyard, among others — contribute fine performances throughout. Duke’s spectacular catalog dazzles, and his sprightly, lush textures are transfigured under Fitzgerald’s warm-timbred voice and elegant, precise delivery. Included here are classics like “Rockin’ in Rhythm,” “Caravan,” “Satin Doll,” “Sophisticated Lady,” “Prelude to a Kiss,” and “It Don’t Mean a Thing…,” each tune as familiar as it is delightful to hear in this new context. (by


Ella Fitzgerald has been responsible for many classic vocal jazz albums, most of which on Norman Granz’s Verve label and this 1957 classic is no exception. Half of the tracks here were recorded with Duke Ellington and his orchestra which include legends like Billy Strayhorn, Paul Gonsalves, Johnny Hodges and on Take The A Train, the High Priest of Bop Dizzy Gillespie even drops in to deliver an extra sermon. The other half were recorded with small groups which include heavyweights such as Barney Kessel, Stuff Smith, Oscar Peterson, Herb Ellis, Ray Brown and the ever warm Ben Webster. Ella is clearly at home with such legendary company and turns in one winning performance after another.
On Rockin’ In Rhythm, she scats with skill and bravado which ensures she’s in command of the illustrious company present. When it’s time to Day Dream, she croons away with an ethereal tone and such emotional maturity that the listener is dreaming of his or her unrequited love too, not forgetting a tip-top solo from Mr Hodges here. When the aforementioned A Train arrives, it’s a jam session of the first rank with all the passengers frontcoversongbookswinging away; giving the listener a first-class trip to Harlem. Perdido and The E & D Blues are top-class jams from Ella and her fellas too which make any listener lost in jazz heaven. I’m Beginning To See The Light and Blip-Blip are such great expressions of joy & exuberance you can’t help but start snapping your fingers and tapping your feet too. On I Got It Bad, Ella cries her heart out making any listener weep along too.
The small group sides also provide legendary moments too. Cotton Tail, It Don’t Mean A Thing, In A Mellow Tone and Squatty Roo provide the listener more opportunities to experience Ella and her fellas to show off their A star credentials in swing. On Satin Doll, Ella takes things a step further, she swaps the Mercer lyrics with her own and a winner is produced. Just Squeeze Me is Ella at her sassiest. On Rocks In My Bed, Ella and Ben really make the listener feel the blues of having to sleep with rocks in one’s bed (Ben’s sax solo here is just iconic). Do Nothin’ Till You Hear From Me, Sophisticated Lady and Prelude To A Kiss give Ella and her fellas the chance to take the listener to a jazz club at 2am in the morning; every minute of these performances is filled with warmth, soul and class. Ella and Barney Kessel take things a step further on Solitude, Azure and In A Sentimental Mood, these tracks are saturated with so much intimacy and sincerity that this delightful duo could be crooning away right in your own living room at 4am in the morning. Lush Life gives the listener a chance to hear Ella & Oscar sigh as they pour their woes of repeated brushes with unrequited love out.

All in all, a timeless recording that any jazz or Ella fan ought to purchase & THE place to introduce someone to jazz or Ella Fitzgerald. Arguably, Lady Ella’s best album.(by Le Real Luc Ow)

In other words: a masterpiece.

I include the songbook “Ella sings Ellington” from 1959 as a pdf file.


William “Cat” Anderson (trumpet)
Ray Brown (bass)
Harry Carney (clarinet)
Willie Cook (trumpet)
Duke Ellington (piano)
Herb Ellis (guitar)
Ella Fitzgerald (vocals)
Frank Foster (saxophone)
Paul Gonsalves (saxophone)
Jimmy Hamilton (clarinet, saxophone)
Johnny Hodges (saxophone)
Quentin Jackson (trombone)
Barney Kessel (guitar)
Joe Mondragon (bass)
Ray Nance (trumpet, violin)
Oscar Peterson (piano)
Russell Procope (clarinet, saxophone)
John Sanders (trombone)
Paul Smith (piano)
Stuff Smith (violin)
Alvin Stoller (drums)
Billy Strayhorn (piano)
Clark Terry (trumpet)
Ben Webster (saxophone)
Jimmy Woode (bass)
Britt Woodman (trombone)
Sam Woodyard (drums)
Dizzy Gillespie (trumpet on 24.)


01. Cotton Tail (Ellington) 3.26
02. Do Nothin’ Till You Hear From Me (Ellington/Russell) 7.44
03. Just A-Sittin’ And A-Rockin’ (Ellington/Gaines/Strayhorn) 3.34
04. Solitude (DeLange/Ellington/Mills) 2.09
05. Rocks in My Bed (Ellington) 3.59
06. Satin Doll (Ellington/Mercer/Strayhorn) 3.29
07. Sophisticated Lady (Ellington/Mills/Parish) 5.21
08. Just Squeeze Me (But Don’t Tease Me) (Ellington/Gaines) 4.11
09. It Don’t Mean A Thing (If It Ain’t Got That Swing) (Ellington/Mills) 4.15
10. Azure (Ellington/Mills) 2.23
11. I Let A Song Go Out Of My Heart (Ellington/Mills/Nemo /Redmond) 4.12
12. In A Sentimental Mood (Ellington/Kurtz/Mills) 2.48
13. Don’t Get Around Much Anymore (Ellington/Russell) 5.02
14. Prelude To A Kiss (Ellington/Gordon/Mills) 5.29
15. Mood Indigo (Bigard/Ellington/Mills) 3.28
16. In A Mellow Tone (Ellington/Gabler) 5.12
17. Love You Madly (Ellington) 4.41
18. Lush Life (Strayhorn) 3.41
19. Squatty Roo (Hodges) 3.41
20. Rockin’ In Rhythm (Carney/Ellington/Mills) 5.20
21. Drop Me Off In Harlem (Ellington/Kenny) 3.51
22. Day Dream (Ellington/Latouche/Strayhorn) 4.00
23. Caravan (Ellington/Mills/Tizol) 3.55
24. Take the “A” Train (Strayhorn) 6.41
25. I Ain’t Got Nothin’ But The Blues (Ellington/George)
26. Clementine (Strayhorn) 2.41
27. I Didn’t Know About You (Ellington/Russell) 4.13
28. I’m Beginning To See The Light (Ellington(George/Hodges/James) 3.28
29. Lost In Meditation (Ellington/Mills/Singer/Tizol) 3.28
30. Perdido (Drake/Lengsfelder/Tizol) 6.13
31. I’m Just A Lucky So And So (David/Ellington) 4.15
32. All Too Soon (Ellington/Sigman) 5.02
33. Everything But You (Ellington/George/James) 5.29
34. I Got It Bad (And That Ain’t Good) (Ellington/Webster) 6.15
35. Blip-Blip (Ellington/Kuller) 3.04
36. Chelsea Bridge (Strayhorn) 3.24
37. The E and D Blues (E for Ella, D for Duke) (Ellington/Strayhorn) 4.51




Luis Alberto Del Parana Y Los Paraguayos – The Paraguayos´Golden Hits (1962)

frontcover1Los Paraguayos is a music group consisting of musicians from Paraguay. Since its foundation in the 1950s, the group has featured many singers and musicians, playing guitars, bongo drums and a Paraguayan harp, including Luis Alberto del Paraná, Reynaldo Meza, Angel “Pato” Garcia and Carlos Espinoza. The group performs many South American and Mexican tunes and songs, including classics, such as Guantanamera, El Cóndor Pasa and La Bamba. Having had many changes in their line-up, the group has retained its popularity, selling many albums and appearing at many concerts throughout the world. In 2007, Los Paraguayos played a world tour, including appearances in The Netherlands and Israel.

Alberto y Los Trios Paraguayos was a trio from Paraguay formed by Luis Alberto del Paraná, with Digno García (1919-1984) and Agustín Barboza. They toured the UK in the late 1950s and early 1960s, and released a number of UK records in the 1960s. The band leader, del Paraná, died in England in 1974. (by wikipedia)


Original front+back cover

This is an early sampler (available over many years with different sleeve art and titles such as “Golden Hits” or “Greatest Hits”) with songs from this Paraguayan folk/Latin music group, recorded during the late Fifties and the early Sixties and if you like music from South America … get it !


Carlos Espinoza (guitar, vocals)
Angel “Pato” Garcia (harp, vocals)
Reynaldo Meza (guitar, vocals)
Luis Alberto del Paraná (guitar, vocals)


01. Malaguena (1961) (Ramirez/Galindo) 3.32
02. Cieliti Lindo (1957) (Mendoza/Reep) 2.38
03. Besame Mucho (1961) (Velazquez) 3.36
04. Historia De Un Amor (1958) (Almarán) 3.28
05. Ay, Ay, Ay (1961) (Freire) 3.36
06. Caminito (1961) (de Filiberto/Penaloza) 2.19
07. Maria Dolores (1961) (Garcia/Morcillo) 4.00
08. Mexico (1961) (Lopez/Vincy) 4.01
09. Amor, Amor (1962)  (Ruiz/Mendes) 3.15
10. La Cumparsita (1961) (Rodriguez/Marino/Conturai) 2.35
11. Pajaro Choqui (1962) (Pitaguá) 2.21
12. Me Voy Pa’l Pueblo (1961) (Valdés) 2.36




Front + backcover from the GDR (Amiga Records)


This is another highlight from the grey goose collection !