Various Artists – Folklore E Bossa Nova Do Brasil (1966)

Bossa nova is a relaxed style of samba developed in the late 1950s and early 1960s in Rio de Janeiro, Brazil. It is mainly characterized by a “different beat”[that altered the harmonies with the introduction of unconventional chords and an innovative syncopation of traditional samba from a single rhythmic division. The “bossa nova beat” is characteristic of a samba style and not of an autonomous genre. The bossa nova wave became popular around the world; this increased popularity helped to renew samba and contributed to the modernization of Brazilian music in general.

According to Brazilian journalist Ruy Castro, the bossa beat – which was created by the drummer Milton Banana – was “an extreme simplification of the beat of the samba school”, as if all instruments had been removed and only the tamborim had been preserved. In line with this thesis, musicians such as Baden Powell, Roberto Menescal, and Ronaldo Bôscoli also claim that this beat is related to the tamborim of the samba school.[

One of the major innovations of bossa nova was the way to synthesize the rhythm of samba on the classical guitar. According to musicologist Gilberto Mendes, the bossa nova was one of the “three rhythmic phases of samba”, in which the “bossa beat” had been extracted by João Gilberto from the traditional samba. According to the author Walter Garcia, the synthesis performed by Gilberto’s guitar was a reduction of the “batucada” of samba, a stylization produced from one of the percussion instruments: the thumb stylized a surdo; the index, middle and ring fingers phrased like a tamborim. (wikipedia)

And here´s a rare album with amazing Bossa Nova music, recorded for the legendary German label /Saba/MPS.

The documentary “Folklore E Bossa Nova Do Brasil” was compiled in Rio De Janeiro with the support of Varig Airlines for the Berlin Jazz Days and a European tour by Konzertbüro Lippmann-Rau.

The tour poster:

This album was originally released in 1967 on Saba Records, I have a re-release from 1971 from MPS/BASF records.

So … enjoy this exciting music !

Recorded November 14th, 1966 at MPS-Tonstudio Villingen/Black Forest/Germany

Personnel:

Rubens And Jorge:
Jorge Arena (percussion)
Rubens Bassini (percussion)
Chico Batera (agogô)

Rosinha de Valenca:
Jorge Arena (percussion)
Rubens Bassini (pendeiro)
Chico Batera (percussion)
Sergio Batera (bass)
João Theodoro Meirelles (saxophone)
Rosinha de Valenca (guitar)

Meirelles:
Jorge Arena (percussion)
Rubens Bassini (percussion)
Chico Batera (drums)
Sergio Batera (bass, reco-reco)
Salvador da Silva Filho (piano)
João Theodoro Meirelles (saxophone)

Salvador:
Chico Batera (drums)
Sergio Batera (bass)
Salvador da Silva Filho (piano)

Sylvia Telles:
Rubens Bassini (percussion)
Chico Batera (drums)
Sergio Batera (bass)
Salvador da Silva Filho (piano)
Sylvia Telles (vocals)
Rosinha de Valença (tambourine, guitar)

Edu Lobo:
Jorge Arena (percussion)
Rubens Bassini (percussion)
Chico Batera (drums)
Sergio Batera (bass)
Rubens Bassini (percussion)
Salvador da Silva Filho (piano)
Edu Lobo (guitar, vocals)
João Theodoro Meirelles (flute)

Musicians on Finale:
All musicians on this album

Tracklist:
01. Rubens And Jorge: Macumba (Traditional) 3.16
02. Rosinha de Valenca: Uma Volte (Codo) 1.39
03. Rosinha De Valenca: Tema Pro Luis (Pessoa) 2.38
04. Meirelles: O Oralho Vem Caindo (Rosa) 5.51
05. Meirelles: Barquinho (Menescal) 2.09
06. Salvador: Meu Fraco E Cafe Forte (Salvador) 3.44
07. Sylvia Telles: Dicussão (Jobim/Mendoza) 1.54
08. Edu Lobo: Upa Nequinho (E.Lobo/Guarnieri) 2.12
09. Edu Lobo: Pra Dizer Adeos (E.Lobo/Neto) 3.08

Finale:
10. Berimbau (Powell) 4.09
11. Cuica (Batera) / Cavaquinho (de Valenca) / Tristeza (H.Lobo/Nithinho) 3.47

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The original Saba labels from 1966:

Astrud Gilberto – ZDF Jazzclub (1988)

Astrud Gilberto (born Astrud Evangelina Weinert, 29 March 1940 – 5 June 2023) was a Brazilian samba and bossa nova singer. She gained international attention in the 1960s following her recording of the song “The Girl from Ipanema”.

Astrud Gilberto was born Astrud Evangelina Weinert, the daughter of a Brazilian mother and a German father, in the state of Bahia, Brazil. She was raised in Rio de Janeiro. Her father was a language professor, and she became fluent in several languages. She married João Gilberto in 1959 and had a son, João Marcelo Gilberto, who later joined her band. Astrud and João divorced in the mid-1960s. She has another son from a second marriage, Gregory Lasorsa, who also played with his mother. Later she began a relationship with her husband’s musical collaborator, American jazz saxophone player Stan Getz. She immigrated to the United States in 1963, residing in the U.S. from that time on.

She sang on two tracks on the 1963 album Getz/Gilberto featuring João Gilberto, Stan Getz, and Antônio Carlos Jobim. While it was her first professional recording, Astrud “wasn’t a complete novice. She grew up steeped in music (her mother Evangelina Neves Lobo Weinert played multiple instruments) and sang regularly with her husband in Brazil, including in a concert at the Faculdade de Arquitetura, part of one of Rio de Janeiro’s top universities.” Her “beguiling, whispery voice” and steadfast approach to singing played a significant role in popularizing “The Girl from Ipanema”, earning a Grammy for Song of the Year and a nomination for Best Vocal Performance by a female.

The 1964 edited single of “The Girl from Ipanema” omitted the Portuguese lyrics sung by João Gilberto, and established Astrud Gilberto as a Bossa Nova singer. It sold over one million copies and was awarded a gold disc. For the recording, it is reported Astrud only ever received the standard session fee, $120. However, according to Gene Lees in Singers and the Song II, Getz asked producer Creed Taylor to ensure she was paid nothing.[8] In 1964, Gilberto appeared in the films Get Yourself a College Girl and The Hanged Man. Her first solo album was The Astrud Gilberto Album (1965). Upon moving to the United States, she went on tour with Getz. Beginning as a singer of bossa nova and American jazz standards, Gilberto started to record her own compositions in the 1970s. She recorded songs in Portuguese, English, Spanish, Italian, French, German, and Japanese.

In 1982, Gilberto’s son Marcelo joined her group, touring with her for more than a decade as a bassist. In addition, he collaborated as co-producer of the albums Live in New York (1996) and Temperance (1997). Her son Gregory Lasorsa played guitar on the Temperance album on the song “Beautiful You”, which features singer Michael Franks.

Gilberto received the Latin Jazz USA Award for Lifetime Achievement in 1992 and was inducted into the International Latin Music Hall of Fame in 2002. In 1996, she contributed to the AIDS benefit album Red Hot + Rio produced by the Red Hot Organization, performing the song “Desafinado” (Portuguese for “slightly out of tune”, or “off-key”) along with George Michael at his invitation. Although she did not officially retire, Gilberto announced in 2002 that she was taking “indefinite time off” from public performances.

Her original recording of “Fly Me to the Moon” was edited as a duet using a recording of the same song by Frank Sinatra for the soundtrack of Down with Love (2003). Her recording “Who Can I Turn To?” was sampled by The Black Eyed Peas in the song “Like That” from the 2005 album Monkey Business. Her vocals on “Berimbau” were sampled by Cut Chemist in his song “The Garden”. Her recording of “Once I Loved” was featured in the 2007 film Juno. The “Astrud” track on Basia Trzetrzelewska’s 1987 album, Time and Tide, is a tribute to Gilberto.

Gilberto was an advocate of animal rights.

Gilberto died from undisclosed causes on 5 June, 2023 (wikipedia)

And here´s a rare and pretty good live recording with many of her well-known songs; she is accompanied by really great musicians:

So, sit back and enjoy !

Recorded live at the ‘ZDF Jazz Club’, Townhall, Leonberg/Germany – April 24, 1988 (excellent TV broadcast recording)

ZDF (short for Zweites Deutsches Fernsehen;  “Second German Television”), is a German public-service television broadcaster based in Mainz, Rhineland-Palatinate.

Personnel:
Jay Ashby (trombone)
William O’Connell (piano)
Eduardo da Fonseca (drums)
Astrud Gilberto (vocals)
Marcello Gilberto (bass)
Paolo Jobim (guitar, vocals)
Romero Lubambo (guitar)

Tracklist:
01. Girl From Ipanema (Jobim/de Moraes/Gimbel) 3.49
02. Pontejo (Lobo) 2.30
03. My Friend Flora (Jobim) 5.40
04. Adeus America (Jacques/Barbosa) 3.20
05. Duduka´s Mood (Feldman) 7.59
06. Canto De Ossamba 2:15
07. Band introduction / Samba De Soho (P.Jobim) 5:17
08. Mantiqueira (Jobim/Bastos) 6.12
09. Cumbia (Jobim) 4.23
10. Milkway (Jobim/Bastos) 4:51
11. Interview 7.37
12. Agua De Beber (Gimbel/Jobim/de Moraes) 4:35

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More from Astrud Gilberto in this blog:

The official (now deleted) website:

Astrud Gilberto – The Astrud Gilberto Album (1965)

Astrud Gilberto (born Astrud Evangelina Weinert, 29 March 1940 – 5 June 2023) was a Brazilian samba and bossa nova singer. She gained international attention in the 1960s following her recording of the song “The Girl from Ipanema”.

Astrud Gilberto was born Astrud Evangelina Weinert, the daughter of a Brazilian mother and a German father, in the state of Bahia, Brazil. She was raised in Rio de Janeiro. Her father was a language professor, and she became fluent in several languages. She married João Gilberto in 1959 and had a son, João Marcelo Gilberto, who later joined her band. Astrud and João divorced in the mid-1960s. She has another son from a second marriage, Gregory Lasorsa, who also played with his mother. Later she began a relationship with her husband’s musical collaborator, American jazz saxophone player Stan Getz. She immigrated to the United States in 1963, residing in the U.S. from that time on.

She sang on two tracks on the 1963 album Getz/Gilberto featuring João Gilberto, Stan Getz, and Antônio Carlos Jobim. While it was her first professional recording, Astrud “wasn’t a complete novice. She grew up steeped in music (her mother Evangelina Neves Lobo Weinert played multiple instruments) and sang regularly with her husband in Brazil, including in a concert at the Faculdade de Arquitetura, part of one of Rio de Janeiro’s top universities.” Her “beguiling, whispery voice” and steadfast approach to singing played a significant role in popularizing “The Girl from Ipanema”, earning a Grammy for Song of the Year and a nomination for Best Vocal Performance by a female.

The 1964 edited single of “The Girl from Ipanema” omitted the Portuguese lyrics sung by João Gilberto, and established Astrud Gilberto as a Bossa Nova singer. It sold over one million copies and was awarded a gold disc. For the recording, it is reported Astrud only ever received the standard session fee, $120. However, according to Gene Lees in Singers and the Song II, Getz asked producer Creed Taylor to ensure she was paid nothing.[8] In 1964, Gilberto appeared in the films Get Yourself a College Girl and The Hanged Man. Her first solo album was The Astrud Gilberto Album (1965). Upon moving to the United States, she went on tour with Getz. Beginning as a singer of bossa nova and American jazz standards, Gilberto started to record her own compositions in the 1970s. She recorded songs in Portuguese, English, Spanish, Italian, French, German, and Japanese.

In 1982, Gilberto’s son Marcelo joined her group, touring with her for more than a decade as a bassist. In addition, he collaborated as co-producer of the albums Live in New York (1996) and Temperance (1997). Her son Gregory Lasorsa played guitar on the Temperance album on the song “Beautiful You”, which features singer Michael Franks.

Gilberto received the Latin Jazz USA Award for Lifetime Achievement in 1992 and was inducted into the International Latin Music Hall of Fame in 2002. In 1996, she contributed to the AIDS benefit album Red Hot + Rio produced by the Red Hot Organization, performing the song “Desafinado” (Portuguese for “slightly out of tune”, or “off-key”) along with George Michael at his invitation. Although she did not officially retire, Gilberto announced in 2002 that she was taking “indefinite time off” from public performances.

Her original recording of “Fly Me to the Moon” was edited as a duet using a recording of the same song by Frank Sinatra for the soundtrack of Down with Love (2003). Her recording “Who Can I Turn To?” was sampled by The Black Eyed Peas in the song “Like That” from the 2005 album Monkey Business. Her vocals on “Berimbau” were sampled by Cut Chemist in his song “The Garden”. Her recording of “Once I Loved” was featured in the 2007 film Juno. The “Astrud” track on Basia Trzetrzelewska’s 1987 album, Time and Tide, is a tribute to Gilberto.

Gilberto was an advocate of animal rights.

Gilberto died from undisclosed causes on 5 June, 2023 (wikipedia)

The Astrud Gilberto Album (with Antonio Carlos Jobim) is the debut studio album by Astrud Gilberto. With Antonio Carlos Jobim on guitar and the arrangements by Marty Paich, it was released via Verve Records in 1965. It peaked at number 41 on the Billboard 200 chart. In 2017, NPR placed it at number 73 on the “150 Greatest Albums Made by Women” list.(wikipedia)

Astrud Gilberto became an accidental success when her fragile command of English made her the de facto choice to sing “The Girl from Ipanema” at a session led by Stan Getz and her husband, João Gilberto. Of course, despite its overwhelming success, it wasn’t clear that she could sustain a career when she recorded her first solo LP, The Astrud Gilberto Album. She had sounded more like an amateurish novelty act than a recording professional, her voice was sweet but fragile, and the Getz/Gilberto album had featured two strong voices, with Gilberto herself an afterthought (albeit a commercially effective afterthought). But The Astrud Gilberto Album was at least as good as Getz/Gilberto (despite what jazz fans say), for several reasons.

The Brazilian repertoire plays particularly well to traditionally weak vocalists, her voice was yet more sweet than had been heard previously, and as before, the record featured two strong leaders — arranger Marty Paich and the incomparable Antonio Carlos Jobim. Paich’s strings positively coated the album with radiance, and his choices for lead instrumental voices — Bud Shank’s flute, João Donato’s piano, Jobim’s guitar — complemented her vocals perfectly. Gilberto sounded beautiful on a range of material, from the sentimental “Dindi” to the playful “Agua de Beber,” and as long as intelligent musicians were playing to her strengths (as they do here), the results were splendid. (by John Bush)

Personnel:
Milt Bernhart (trombone)
João Donato (piano)
Astrud Gilberto (vocals)
Joe Mondragon (bass)
Bud Shank (saxophone, flute)
Stu Williamson (trumpet)
+
Antônio Carlos Jobim (guitar, vocals on 02.)
+
Guildhall String Ensemble

Tracklist:
01. Once I Loved (Gilbert/Jobim/de Moraes 2.11
02. Água de Beber (Gimbel/Jobim(de Moraes) 2.19
03. Meditation (Gimbel/Jobim/Mendonça) 2:42
04. …And Roses And Roses (Caymmi/Gilbert) 2:37
05. O Morro (Não tem Vez) (Jobim/Moraes) 2:59
06. How Insensitive (Gimbel/Jobim/Moraes) 2:51
07. Dindi (Gilbert/Jobim/de Oliveira) 2:44
08. Photograph (Jobim) 2:12
09. Dreamer (Jobim/Lees) 2:03
10. Só Tinha de Ser Com Você (Jobim) 2:22
11. All That’s Left Is To Say Goodbye (Gilberto/Jobim/Moraes) 3:13

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More from Astrud Gilberto:The official (now deleted) website:

Baden Powell – Swings With Jimmy Pratt (Developtments) (1963)

Baden Powell de Aquino (6 August 1937 – 26 September 2000), known professionally as Baden Powell, was a Brazilian guitarist. He combined classical techniques with popular harmony and swing. He performed in many styles, including bossa nova, samba, Brazilian jazz, Latin jazz and MPB.

He performed on stage during most of his lifetime. Powell composed many pieces for guitar, such as “Abração em Madrid”, “Braziliense”, “Canto de Ossanha”, “Casa Velha”, “Consolação”, “Horizon”, “Imagem”, “Lotus”, “Samba”, “Samba Triste”, “Simplesmente”, “Tristeza e solidão”, and “Xangô”. (wikipedia)

Baden 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. (by Alvaro Neder)

One of the greatest Baden Powell albums of the 60s — a beautiful little set that’s co-crafted by the bossa guitarist and Brazilian drummer Jimmy Pratt! The arrangements are a bit unusual for Powell — and feature lots of small combo woodwinds grooving around the tight percussion of Pratt — as a sad and sweet flute or oboe line sets the pace for most of the tracks, followed-up by Baden’s jaunty work on acoustic guitar. The whole thing’s got a style that adds a bit of west coast chamber jazz to the bossa — and features tracks that include “Coisa No 1”, “Manequim”, “Nao E Bem Assim”, “Tema No 1”, and “Deve Ser Amor”. (by dustygroove.com)

1963, Jimmy Pratt, an US american jazz drummer was in Rio to play with Caterina Valente as he met Powell. He ask if he could play and arrange an album and so the collaboration came together. The songs are beautiful latin jazz with a great variety of instruments among others clarinet, flute & sax. It’s the first record on the Elenco label and it’s an essential one, five compositions are by Baden Powell. (by Mekkipuur)

From the heydays of the Bossa wave comes this successful cooperation between Brazilian Guitarist Baden-Powell and US-American drummer Jimmy Pratt. One shouldn’t take the suggestion “Swing” too literally. It’s predominantly Bossa Nova, but here and there, Pratt purports a shift to a jazzy phrasing of the beat.
What distinguishes this recording are the musicians’ enthusiasm for playing and the unusual instrumentation. Even three woodwinds are used. This is an early opportunity to hear the great Moacir Santos. Not only can he be heard with his typical baritone saxophone, but two of his best-known compositions were also recorded: Coisa nº 1 and Coisa nº 2, great versions, too. Other notable tunes are Tom Jobim’s Samba de uma nota só and Geraldo Vandré’s Canção do amor sem fim. (by John_s_Guide2Music)

Personnel:
Sergio Barroso (bass)
Rubens Bassini (percussion)
Jorge “Jorginho” Ferreira Da Silva Copinha (flute)
Sandoval de Oliveira Dias (clarinet)
Baden Powell (guitar)
Jimmy Pratt (drums)
Moacir Santos (cello, saxophone)

A German re-issue from 1974 called “Developments”:

Tracklist:
01. Deve Ser Amor (de Moraes/Powell) 2.27
02. Coisa No. 1 (Santos) 3.03
03. Rosa Flor (Powell) 2.52
04. Tema No. 1 (Powell) 2.54
05. Encontro Com a Saudade (Powell) 2.17
06.  Manequim 46 (Powell) 1.55
07. One Note Samba (Hendricks/Jobim/Mendonça) 1.39
08. Coisa No. 2 (Powell) 2.51
09. Nao E Bem Assim (Powell) 2.16
10  Canção Do Amor Sem Fim (Powell) 3.21

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More from Baden Powell:

Wanda de Sá – Wanda Vagamente (1964)

Wanda Maria Ferreira de Sá (born July 1, 1944) (also Wanda de Sah) is a Brazilian bossa nova singer and guitarist, active from 1964 to the present day.

Her first guitar teacher, when she was 13, was Roberto Menescal. Later, she worked with Sérgio Mendes in his group Brasil ’65’ and also with Marcos Valle and Kátya Chamma. Francisco Tenório Júnior and Ugo Marotta played on her debut album Vagamente in 1965.

She was married to songwriter Edu Lobo from 1969 until 1982.

In 2011, she made her first appearance in the United States since 1999, playing with Marcos Valle at Birdland in New York City. The Wall Street Journal described her as “legendary”. National Public Radio called her “one of Brazil’s best-kept musical secrets”. (wikipedia)

When at 13 she enrolled at Roberto Menescal’s guitar academy, Wanda Sá (also known as Wanda de Sah), a successful bossa nova artist, was spotted by Ronaldo Bôscoli and invited to appear on the programs Dois no Balanço (TV Excelsior) and O Fino da Bossa (TV Record). Starting her professional career at 19 with Wanda Vagamente (1964), one of the earliest arranging assignments by Eumir Deodato, Sá launched “Inútil Paisagem” (Tom Jobim/Aloysio de Oliveira) and the earliest compositions by Edú Lobo, Francis Hime, and Marcos Valle.

The album, launched at the Fino da Bossa show (at the Paramount Theater in São Paulo), was a success (having been reissued in Japan in the decade of the 2000s) and had a hit with “Vagamente” (Roberto Menescal/Ronaldo Bôscoli). By the end of the same year, she joined Sérgio Mendes’ Brasil ’65 (with Rosinha de Valença and Jorge Ben Jor), realizing successful shows in Brazil and the U.S., where Brasil ’65 was recorded (with the participation of Bud Shank and the Sérgio Mendes Trio).

She also recorded in the U.S. the solo Softly and performed both in Brazil and the U.S. with the Sérgio Mendes Trio. In 1966, she returned to Brazil where she did shows with Baden Powell, Vinícius de Moraes, Mièle, Luís Carlos Vinhas, and the Bossa 3. In 1969, Sá participated in Paul Desmond’s Hot Summer. Married to Edú Lobo from 1969 to 1982, a period in which she left the scene, Sá returned in the late ’80s, performing shows with Roberto Menescal and Mièle, recording Brasileiras in 1994 with Célia Vaz. In 2000, she recorded with Luís Carlos Vinhas, Tião Neto, and João Cortez the CD Wanda Sá & Bossa Três with bossa nova classics and new compositions. Four successful seasons at the Sabbata Tokyo turned the CD Wanda Vagamente into a hit, having reached second place on the top charts. In 2001, she participated with Roberto Menescal, Marcos Valle, and Danilo Caymmi in the Fare Festival (Pavia, Italy). (by Alvaro Neder)

And here´s her first solo-album.:

A beautiful vocal bossa jazz album featuring songs by Edu Lobo, Vinicius De Moraes, Roberto Menescal and Marcos Valle, among others. The backing band was formed by top Brazilian musicians led by Luis Carlos Vinhas, Tenorio Jr. and Menescal himself.

This is the first solo album by Wanda Sá, who was to join Sergio Mendes’ Brasil 65 shortly afterwards. This fantastic album, one of Eumir Deodato’s earliest arrangements, is highly sought after. (press release)

A stunning early bossa session by Wanda Sa – the singer who recorded for Capitol in the US under the name Wanda De Sah – but who sounds even better here in her native Brazil! Roberto Menescal put the session together, and it’s filled with all of the inventive twists and turns of his own 60s work on Elenco – bits of organ, piano, flute, and percussion all sliding around magically underneath the vocals – played by a variety of groups led by Menescal, Tenorio Jr, Luiz Carlos Vinhas, and Deodato! But even more than the instrumentation, Wanda’s vocals are really the star of the set – a bit breathy and nicely restrained – almost like Nara Leao in her youth, and perfectly recorded in the best RGE tradition! (dusty groove.com)

Personnel:
Henri Ackselrud (flute)
Octavio Bailly Jr (bass)
Sergio Barroso (bass)
Celso Brando (guitar)
Francisco Tenório Cerqueira (piano)
Eumir Deodato (piano)
Paulo Gusmão (bass)
Edison Machado (drums)
Ugo Marotta (vibraphone)
Roberto Menescal (guitar)
João Palma (dums)
Pedro Paulo (trumpet)
Dom Um Romao (drums)
Luiz Carlos Vinhas (piano)

Tracklist:
01. Adriana (Menescal) 1.49
02. E Vem O Sol (M.Valle/S.Valle) 2.43
03. Encontro (Motta/Sá) 2.20
04. Só Me Fez Bem (Lobo/de Moraes) 2.14
05. Mar Azul (Hime) 2.51
06. Também Quem Mandou (Lyra/de Moraes) 3.01
07. Tristeza de Nós Dois (Einhorn/Ferreira) 2.50
08. Vivo Sonhando (Jobim) 2.18
09. Sem Mais Adeus (Hime/de Moraes) 2.44
10. Inútil Paisagem (Jobim/de Oliveira) 2.58
11. Tristeza de Amar (Roberts/Vandro) 2.36
12. Vagamente (Menescal) 2.03
+
13. So Nice (Samba de Verão) (Gimbel/M.Valle/S.Valle) 2.13
14. Quiet Nights Of Quiet Stars (Corcovado) (Jobim/Lees) 2.03
15.To Say Goodbye (Pra Dizer Adeus) (Hall/Lobo/Neto) 3.59

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More from Wanda de Sá:

Ida Landsberg – Acoustic Bossa Nova (2013)

Ida Landsberg is a singer, pianist and songwriter. Born in Berlin, after some years of classical singing lessons with Renate Dasch (mother of the opera singer Annette Dasch), she studies music from 1998 to 2000 at the Berlin University of Arts with Jutta Schlegel (voice), Marek Bobéth (piano), Martin Ripper (flute), Jolyon Brettingham-Smith and Bodo Bischoff (music theory), Harald Schwarz (choir direction) and moves to Tuscany in 2000, initially for a student exchange but emigrates definitly to Italy because of sentimental reasons. She takes lessons at the Siena Jazz School, studies jazz improvisation, ear training and participates at different master classes and workshops held by Marco Tamburini, Cheryl Porter, Carl Verheyen, Greg Koch, Robben Ford and other. Since 1998 Ida plays gigs as a jazz and bossa nova singer in clubs and venues, theatres, in the radio, at festivals and events both in Germany and Italy.

Just to name some of them, she sang at the “Villa Celimontana Festival” (Rome), “Cantiere Musica” (Anguillara), “Note di Montecucco” (Campagnatico), “Festival del Giornalismo” (Orbetello), Teatro Eliseo, Teatro Anfitrione (Rome), “Disma Music Show” (Rimini), “Capalbio Libri” with Tony Renis, at Massimo Nunzi’s radio programme “Jazz a Nota Libera” together with Lino Patruno and many clubs all over Italy. She performs with different groups, from the minimal duo with her long time guitarist – and now husband – Simone Salvatore to the whole big band. In the past years she had the honour to collaborate with many excellent musicians such as Frank Gambale, Marco Guidolotti, Francesco Poeti, Ferruccio Spinetti, Emilio Soana, Andy Gravish, Mirco Mariottini, Piero Borri, Giampiero Grani, Angelo Olivieri, Marco Caudai, Stefano Bagnoli, Angelo Ferrua, Romano Pratesi, Olivier Renne, Lello Pareti, Matt Smith, Alessio Buccella, Katie Mullins, Michele Makarovic, Michele Santinelli and many others.

EQ Music Singapore released her first two solo albums “Jazz Moments” with piano player Francesco Moraca, “Acoustic Bossa Nova” with guitarist Simone Salvatore – that was published again by Hitman Jazz (Thailand) – and innumerous compilations. Futhermore she published different soundtracks for the iPhone game “1112″ (Episode 02 and 03) together with the skilled sound designer Dimitri Pachkov and for the Italian national TV (RAI), as well as some electronical music with DJ Nicko Vee and 11 Inch released by the independent labels Salto Recordings, Aux Audio and Tenor Recordings. IRM

A records just published her album “Cherry Tree Lane”, the first one with unedited songs.

And here´s her first soloalbum,

Ida Landsberg (vocals)
On this album we hear acoustic versions of well-known songs from rock and soul history … what a great voice, light as a feather … what great solo contributions on the guitar.

This album is a little sensation … highly recommended.

Personnel:
Ida Landsberg (vocals)
Simone Salvatore (guitar)

Tracklist:
01. You Are The Sunshine Of My Life (Wonder) 4.23
02. (I Can’t Get No) Satisfaction (Jagger/Richards) 2.39
03. I Heard It Through The Grapevine (Whitfield/Strong) 3.02
04. Venus (v. Leeuwen) 2.38
05. The Look Of Love (Bacharach/David) 3.50
06. It’s Too Late (King/Stern) 3.19
07. Walk On The Wild Side (Reed) 3.37
08. Sunny (Hebb) 3.43
09. Maniac (Sembello) 4.36
10. Jammin’ (Marley) 3.14
11. Fragile (Sumner) 3.49
12. You Are Not Alone (Kelly) 3.44

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The official website:

Wanda de Sah & The Sergio Mendes Trio – Brasil `65 (1965)

Wanda Maria Ferreira de Sá (born July 1, 1944) (also Wanda de Sah) is a Brazilian bossa nova singer and guitarist, active from 1964 to the present day.

Her first guitar teacher, when she was 13, was Roberto Menescal. Later, she worked with Sérgio Mendes in his group Brasil ’65’ and also with Marcos Valle and Kátya Chamma. Francisco Tenório Júnior and Ugo Marotta played on her debut album Vagamente in 1965.

She was married to songwriter Edu Lobo from 1969 until 1982.

In 2011, she made her first appearance in the United States since 1999, playing with Marcos Valle at Birdland in New York City.[3] The Wall Street Journal described her as “legendary”. National Public Radio called her “one of Brazil’s best-kept musical secrets”. (wikipedia)

When at 13 she enrolled at Roberto Menescal’s guitar academy, Wanda Sá (also known as Wanda de Sah), a successful bossa nova artist, was spotted by Ronaldo Bôscoli and invited to appear on the programs Dois no Balanço (TV Excelsior) and O Fino da Bossa (TV Record). Starting her professional career at 19 with Wanda Vagamente (1964), one of the earliest arranging assignments by Eumir Deodato, Sá launched “Inútil Paisagem” (Tom Jobim/Aloysio de Oliveira) and the earliest compositions by Edú Lobo, Francis Hime, and Marcos Valle.

The album, launched at the Fino da Bossa show (at the Paramount Theater in São Paulo), was a success (having been reissued in Japan in the decade of the 2000s) and had a hit with “Vagamente” (Roberto Menescal/Ronaldo Bôscoli). By the end of the same year, she joined Sérgio Mendes’ Brasil ’65 (with Rosinha de Valença and Jorge Ben Jor), realizing successful shows in Brazil and the U.S., where Brasil ’65 was recorded (with the participation of Bud Shank and the Sérgio Mendes Trio).

She also recorded in the U.S. the solo Softly and performed both in Brazil and the U.S. with the Sérgio Mendes Trio. In 1966, she returned to Brazil where she did shows with Baden Powell, Vinícius de Moraes, Mièle, Luís Carlos Vinhas, and the Bossa 3. In 1969, Sá participated in Paul Desmond’s Hot Summer. Married to Edú Lobo from 1969 to 1982, a period in which she left the scene, Sá returned in the late ’80s, performing shows with Roberto Menescal and Mièle, recording Brasileiras in 1994 with Célia Vaz. In 2000, she recorded with Luís Carlos Vinhas, Tião Neto, and João Cortez the CD Wanda Sá & Bossa Três with bossa nova classics and new compositions. Four successful seasons at the Sabbata Tokyo turned the CD Wanda Vagamente into a hit, having reached second place on the top charts. In 2001, she participated with Roberto Menescal, Marcos Valle, and Danilo Caymmi in the Fare Festival (Pavia, Italy). (by Alvaro Neder)

In 1965, Sergio Mendes and his trio conducted their first out-of-Brazil experiment: They recorded in L.A. for the first time in what proved to be their first major move into the U.S. market and their embrace of the new bossa nova sound. Accompanying the Mendes band were then-great vocalist Wanda de Sah and guitarist Rosinha de Valenca. This is deeply swinging bossa; it is crisp and pops out at the listener in every conceivable way. It features exotic and pioneering rhythmic work, smooth accessibility, and sophisticated melodies, many of which were written by the hottest talents in Brazil, such as Marcos Valle (“Samba de Verão” [aka “So Nice”]), Baden Powell and Vinícius de Moraes (“Berimbau”), João Donato (“Muito a Vontade”), Edú Lobo (“Reza”), and of course Antonio Carlos Jobim (“One Note Samba” and “She’s a Carioca”).

Also adding to the jazzed-out nature of the new bossa flavor was Bud Shank blowing alto on “So Nice” and other cuts, which had its lyric — -as did “One Note Samba” and a few others — translated into English. But the appeal of Shank’s appeal with this band cannot be overrated. Shank took the shimmering mist that Getz contributed to bossa nova and punched it up and gave it an edge and some raw emotion. This stands with Mendes’ best work from Brazil and is truly one of his American highlights. (by Thom Jurek)

Personnel:
Wanda de Sah (vocals)
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Sergio Mendes Trio:
Chico Batera (drums)
Sérgio Mendes (piano)
Sebastião Neto (bass)
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Bud Shank (saxophone, flute)
Rosinha De Valenca (guitar)

Tracklist:
01. So Nice (Samba De Verão) (M.Valle/S.Valle) 2.11
02. Favela (Somewhere In The Hills) (Jobim/de Moraes) 2.56
03. Berimbau (Powell/de Moraes) 3.19
04. Tristeza Em Min (Guimaraes/Tavares) 2.00
05. Aquarius (Donato/Mello) 2.24
06. One Note Samba (Samba De Uma Nota So) (Jobim/Mendonca) 2.22
07. She’s Carioca (Jobim/Gilberto/de Moraes) 3.25
08. Muito A Vontade (Donato) 2.59
09. Let Me (Deixa) (Powell/Gimbel) 2.50
10. Consolação (Powell/de Moraes) 3.11
11. Reza (Lobo/Guerra) 3.04

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More from Sergio Mendes:

Charlie Byrd Quartet – Let Go (1969)

Charlie Lee Byrd (September 16, 1925 – December 2, 1999) was an American jazz guitarist. Byrd was best known for his association with Brazilian music, especially bossa nova. In 1962, he collaborated with Stan Getz on the album Jazz Samba, a recording which brought bossa nova into the mainstream of North American music.

Byrd played fingerstyle on a classical guitar. (wikipedia)

And here´s another exciting Charlie Byrd album (recorded live).

And Charlie Byrd is doing his bossa jazz thing …

… tasteful, low-key, and ingratiatingly melodic, Charlie Byrd had two notable accomplishments to his credit — applying acoustic classical guitar techniques to jazz and popular music and helping to introduce Brazilian music to mass North American audiences.

What a great musician !

Recorded live at the Hong Kong Bar, Century Plaza Hotel, Los Angeles,
February 27 and 28, 1969

Personnel:
Charlie Byrd (guitar)
Gene Byrd (bass)
Mario Darpino (flute)
William Reichenbach (drums)

Tracklist:
01. Let Go (Canto De Ossanha) (Gimbel/Powell/Demoraes) 5.27
02. Medley: Mood Indigo (Ellington/Mills/Bigard) / Satin Doll (Mercer/Ellington/Strayhorn) 6.21
03. Blues 13 (Byrd) 4.44
04. Here’s That Rainy Day (Burke/Van Heusen) 2.51
05. Esperando O Sol (Pereira/Albanese) 6.20
06. Bird Of Paradise (Ellis) 12.06
07. How Long Has This Been Going On (Gershwin) 3.47
08. Promises, Promises (Bacharach/David) 5.35
09. Lonely Princess (Mancini) 2.43
10. This Guy’s In Love With You (Bacharach/David) 2.02

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Charlie Lee Byrd (September 16, 1925 – December 2, 1999)

Eliane Elias – Live At Festival Grenzenlos (2009)

Eliane Elias (born 19 March 1960) is a Brazilian jazz pianist, singer, composer and arranger.

Elias was born in São Paulo, Brazil. She started studying piano at age seven, and at age twelve she was transcribing solos from jazz musicians. At fifteen, she was teaching piano and improvisation. Her performing career began in Brazil at age seventeen with Brazilian singer-songwriter Toquinho and touring with the poet Vinicius de Moraes.

In 1981 she moved to New York City, where she attended The Juilliard School of Music. A year later she became part of the group Steps Ahead. In 1993 Elias signed with EMI Classics to record classical pieces, which were released on On the Classical Side.

In 2001, Calle 54 a documentary film by Spanish director Fernando Trueba included Elias performing “Samba Triste.” In 2002 she recorded The Lost Days with Denyce Graves, arranging two Brazilian classical pieces and writing an original composition especially for Graves entitled “HaabiaTupi.” In 2002, Elias signed with RCA/Bluebird, which Kissed by Nature, an album of mostly original compositions. Dreamer was released in 2004 and received the Gold Disc Award, as well as being voted Best Vocal Album in Japan. It reached No. 3 on the pop charts in France and No. 4 on the Billboard magazine charts in the U.S. Around the City was released by RCA Victor in August 2006.

Elias returned to Blue Note/EMI in 2007 with Something for You, which won Best Vocal Album of the Year and the Gold Disc Award in Japan. This was her third consecutive recording to receive these awards, and her fourth overall. Something for You reached No. 1 on the U.S. jazz charts, No. 8 on Billboard, and No. 2 on the French jazz charts. In 2008, she recorded Bossa Nova Stories to celebrate the 50th anniversary of bossa nova.

In 2009, EMI Japan released Eliane Elias Plays Live. Light My Fire, released in 2011, features four compositions written or co-written by Elias and includes covers of songs by the Doors, Stevie Wonder, and Paul Desmond. In September 2011, her song “What About the Heart (Bate Bate)” was nominated for a Latin Grammy in the category of Best Brazilian Song. In 2012 she collaborated with bassist Marc Johnson on the album Swept Away, the Editor’s and Critic’s choice in 2012 Downbeat and Jazztimes magazines, respectively. Her 2013 release, I Thought About You, reached No. 1 on the U.S. and French Amazon.com websites; No. 2 on iTunes U.S., France and Brazil; and No. 4 on Billboard.

Made in Brazil, was followed by Dance of Time, which debuted at No. 1 on two Billboard: jazz and world music. Both Made in Brazil and Dance of Time debuted at No. 1 on iTunes in seven countries and won Grammy awards for Best Latin Jazz Album of the Year.

Elias is of Lebanese descent. She was married to American trumpeter Randy Brecker, with whom she has a daughter, the singer/songwriter Amanda Elias Brecker, born in 1984. She is married to Marc Johnson, who plays bass in her band and co-produces her recordings. (by wikipedia)

And here´s an excellent broadcast recording from Germany and it´s time to discover this wonderful lady … and if you like this great mixture between Boss Nova and Jazz … this recording is a must !

Personnel:
Rafael Barata (drums)
Rubens de La Corte (guitar)
Eliane Elias (piano, vocals)
Marc Johnson (bass)

Tracklist:
01. Chega de Saudade (Jobim/de Moraes) 11.58
02. They Can’t Take That Away From Me (G.Gershwin/I.Gershwin) 4.05
03. Por causa de voceÌ (Ben) 4.38
04. So danco samba (Jobim/de Moraes/Gimbel) 5.53
05. Tangerine (Mercer/Schertzinger) 6.11
06. Introductions by Eliane Elias 1.32
07. The Girl From Ipanema (Jobim/de Moraes) 3.17
08. Fotografia (Jobim/Gilbert) 6.45

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Henri Salvador – Reverence (2006)

Henri Salvador (18 July 1917 – 13 February 2008) was a French Caribbean comedian and singer.

Salvador was born in Cayenne, French Guiana. His father, Clovis, and his mother, Antonine Paterne, daughter of a native Carib Indian, were both from Guadeloupe, French West Indies. Salvador had a brother, André, and a sister, Alice.

He began his musical career as a guitarist accompanying other singers. He had learned the guitar by imitating Django Reinhardt’s recordings, and was to work alongside him in the 1940s. Salvador recorded several songs written by Boris Vian with Quincy Jones as arranger. He played many years with Ray Ventura and His Collegians where he used to sing, dance and even play comedy on stage.

He also appeared in movies including Nous irons à Monte-Carlo (1950), Nous irons à Paris (Jean Boyer’s film of 1949 with the Peters Sisters) and Mademoiselle s’amuse (1948).

He is known to have recorded the first French rock and roll songs in 1957 written by Boris Vian and Michel Legrand — “Rock’n Roll Mops”, “Rock hoquet, Va t’faire cuire un oeuf, man” and “Dis-moi qu’tu m’aimes rock” — under the artist name of Henry Cording (a play on the word “Recording”). Despite this historical aspect, he never ceased to claim that he disliked rock and roll and even refused to talk about this subject later on.

In the 1960s, Salvador was the host of several popular television variety shows on French TV. In 1964, he scored a hit with “Zorro est arrivé”, which was inspired by The Coasters’ U.S. hit “Along Came Jones”. He is also famous for his rich, catchy laugh, which is a theme in many of his humorous songs. In 1969, Henri Salvador recorded a variation of “Mah Nà Mah Nà” entitled “Mais non, mais non” (“But No, But No” or “Of Course Not, Of Course Not”), with lyrics he had written in French to Piero Umiliani’s music.

Henri Salvador and his song “Dans mon île” (1957) were thought to be an influence on Antônio Carlos Jobim in formulating the Brazilian bossa nova style.

Caetano Veloso, a famous Brazilian composer and singer, made Henri Salvador famous to Brazilian audiences with the song “Reconvexo”, in which he says “quem não sentiu o swing de Henri Salvador?” (“who hasn’t felt the swing of Henri Salvador?”). Veloso also recorded a version of Salvador’s song “Dans mon île”.

At the age of 70, Salvador was the voice-over of the crab Sebastian in the 1989 French dubbing of Disney’s The Little Mermaid. Recordings of “Embrasse-la” (“Kiss the Girl”) can be found on YouTube.

Salvador discovered singers Keren Ann and Art Mengo.

He died of a ruptured aneurysm at his home in the early hours of 13 February 2008. He was 90 years of age. He was buried next to his wife Jacqueline in Père-Lachaise Cemetery.

He was known as a supporter of Paris Saint-Germain F.C. He obtained four seats for life in the Parc des Princes.

Henri Salvador continues to be popular today among French communities in Canada. In 2000, Virgin Records released a CD featuring popular hits such as “Jazz Mediterrannée”, which continues to receive regular air play. In 2002, his album Chambre avec vue sold over two million copies. In 2005, Salvador was awarded the Brazilian Order of Cultural Merit, which he received from the acclaimed singer and Minister of Culture, Gilberto Gil, in the presence of President Luiz Inácio Lula da Silva for his influence on Brazilian culture, particularly on bossa nova, to whose invention he contributed. That same year he took 52nd place in the election of Le Plus Grand Français (The Greatest Frenchman).

He was also a commander of the French Légion d’honneur and of the French National Order of Merit. In 2007, he released Révérence on V2 Records, featuring Gilberto Gil and Caetano Veloso. He then went on to perform the track “La vie c’est la vie” from that album on an episode of the BBC programme Later… with Jools Holland aired on 4 May 2007. (by wikipedia)

At 88 years old, Henri Salvador has been a popular figure in the French music world for quite a while (he started there in 1945). In 2000, he reinvigorated his career and reintroduced himself to the public with Chambre Avec Vue (re-released as Room with a View two years later) and since then has been going quite strong, coming out with Ma Chère et Tendre in 2003, and now Révérence in 2006. Recorded mostly in Brazil under the direction of Caetano Veloso’s — who makes an appearance here on a new version of “Dans Mon Île” — longtime producer and arranger Jaques Morelenbaum, Salvador continues his legacy as singer of the sweet melancholy. The quiet, breathy strings and soft bossa nova rhythms that are incorporated into many of the pieces on the album add to the overall poignancy of Salvador’s voice, which shows no sign of aging, still smooth and clean, reflecting the warmth of his native French Guyana.

It works especially well on the francophone version of the classic Vinicius de Moraes/Antonio Carlos Jobim song “Eu Sei Que Voi Te Amar,” retitled “Tu Sais Je Vais T’Aimer” here (it appears twice on Révérence actually, once as a solo track and once as a duet with Gilberto Gil), where the longing and suffering of love come through in the timbre of his voice, the hesitation in his phrasing. In “Italie (Un Tableau de Maître),” he riffs on a familiar Italian melody as he reminisces about the country, talking about it like a woman he loves, even slipping into its own language for a line or so, and in “Cherche la Rose,” one of three older tracks on the album, and done with Caetano Veloso, there’s a bittersweet hesitancy to the way he sings the song 40 years after its initial release that comes only from the experience and understanding he’s gained as he’s gotten older.

This is where he’s best, and most comfortable, and it’s what sounds the best, too, so it makes sense that most of Révérence stays in the adagio, in the reflection. In fact, it even seems a little out of place when Salvador moves into faster, jazzier pieces like the gospel-inspired “Alléluia! Je l’Ai dans la Peau” or the Frank Sinatra-esque “L’Amour Se Trouve au Coin de la Rue,” adding saxophones and bright drums and coming across slightly forced, albeit exuberant. Salvador has aged nicely, and settled down into his years, and the best bits of Révérence convey this perfectly, the life of an artist who has truly been inspired, and inspired countless others. (by Marisa Brown)

Henri Salvador is an 89-year-old with an extraordinary history. Born in French Guyana, he moved to France as a child, joined a dance orchestra as guitarist, and ended up working in Brazil, where his songs would later influence the work of the great Tom Jobim – the greatest composer of the bossa nova era of the late 1950s. Salvador also became a celebrity, and a TV personality back in France, and he now seems poised for unlikely international success. This new set was recorded in Paris, New York and (of course) Rio, where his producer was the great Jacques Morelenbaum, who has worked with everyone from Jobim to Mariza; they were joined by Brazilian stars Caetano Veloso and Gilberto Gil. It’s remarkable for Salvador’s effortlessly clear, perfect vocals and equally unexpected range. Many of the songs are gently charming laid-back ballads, but there’s also a swinging French-language treatment of Ray Charles, with Alleluia! Je l’Ai Dans la Peau. Alleluia, indeed. (by Robin Denselow)

Personnel:
Patrick Artero (saxophone, trumpet)
Marcelo Bernades (flute)
Bernardo Bessler (violone)
Paulinho Braga (drums, percussion)
Denner Campolina (bass)
Mino Cinelu (drums, percussion)
Michel Coeuriot (clarinet, keyboards, oboe, synthesizer)
Thomas Coeuriot (guitar, mandoline)
Marcelo Costa (percussion)
Guy Delacroix (bass)
João Donato (piano)
Phillip Doyle (tuba)
Claude Egéa (trumpet)
Laurent Faucheux (drums)
Michel Feugère (saxophone, trumpet)
Frederic Gaillardet (piano)
Luis Galvão (guitar)
Gilberto Gil (vocals)
Alain Hatot (flute, saxophone)
Didier Havet (rombone)
Jorge Helder (bass)
Denis Leloup (trombone)
Eduardo Morelenbaum (clarinet)
Jaques Morelenbaum (cello)
Katia Pierre (flute)
Hugo Vargas Pilger (cello)
Iura Ranevsky (cello)
Rob Reddy (saxophone)
Saul Rubin (guitar)
Marcello Isdebski Salles (cello)
Henri Salvador (vocals, percussion)
Paulo Sérgio Santos (clarinet)
Eric Seva (saxophone)
Billy Jay Stein (organ)
Caetano Veloso (vocals)
Jean-Christophe Vilain (trombone)
André Villéger (flute, saxophone)
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violone(violin:
Ricardo Amado – Rick Amado – Paul Prates Barbato – Michel Bessler – José Alves Da Silva – Daniel Guedes – Antonella Pareschi – Eduardo Pereira – Paschoal Perrota – Felipe Prazeres – Rogério Rosa – Maria Christine Springuel – Ricardo Taboada
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background vocals:
Jerry Barnes – Stephanie McKay

Tracklist:
01. La Vie C’est La Vie (Salvador) 2.24
02. Mourir à Honfleur (Salvador) 3.48
03. Dans Mon Île (Pon/Salvador) 4.56
04. Cherche La Rose (feat. Caetano Veloso) (Salvador) 4.57
05. L’ ‘Amour Se Trouve au Coin de la Rue (Salvador) 3.27
06. Tu Sais Je Vais T’Aimer (Jobim/de Moraes) 4.04
07. J’Aurais Aimé (Salvador) 2.37
08. Italie (Un Tableau de Maître) (Martinico/Salvador) 3.11
09. D’Abord (Salvador) 2.57
10. Les Amours Qu’on Delaisse (Salvador) 5.17
11. Alleluia! Je l’Ai Dans La Peau (Salvador) 2.50
12. Les Dernières Hirondelles (Salvador) 3.21
13. Tu Sais Je Vais T’Aimer (feat: Gilberto Gil) (Jobim/de Moraes) 4.05

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Henri Salvador (18 July 1917 – 13 February 2008)