Caterina Valente – A Date With Caterina Valente (1955)

FrontCover1Caterina Valente (born 14 January 1931, Paris, France) is an Italian singer, guitarist, dancer, and actress. She was born into an Italian artist family. Her father, Giuseppe, was a well-known accordion player; her mother, Maria, a musical clown. She had three siblings, one of whom, Silvio (as Silvio Francesco), was also active in show business.

In 1953, she made her first recordings with Kurt Edelhagen. Soon afterwards she achieved success with songs such as “Malagueña”, “The Breeze and I” (a global million-seller), and “Dreh dich nicht um” with the Werner Müller orchestra. In 1955, she was featured on The Colgate Comedy Hour with Gordon MacRae. In the mid 1960s, Valente worked with Claus Ogerman and recorded material in both Italian and English that he arranged/conducted and/or composed on the Decca  and London labels. She was a favorite of singer Perry Como making eight guest appearances on his NBC Kraft Music Hall television program from 1961 to 1966. Between 1966 and 1972 she was also a frequent guest on the Dean Martin Show.

In Germany she was a major performer of Schlager music. There she recorded Cole Porter’s I Love Paris under the German title Ganz Paris träumt von der Liebe, which sold more than 900,000 copies in 1954. Over the years, she has recorded or performed with many international stars, including Louis Armstrong, Chet Baker, Perry Como, Ella Fitzgerald, Benny Goodman, Woody Herman, Claus Ogerman, the Tommy Dorsey Orchestra, Sy Oliver, Buddy Rich and Edmundo Ros.


In 1959, she was nominated for a Grammy Award. Valente was a principal, along with Carol Burnett and Bob Newhart, on the short-lived CBS variety series The Entertainers (1964–65). A briglia sciolta, the Italian jazz CD recorded in 1989 and re-released in later years under the titles Fantastica and Platinum deluxe, was her best-selling CD worldwide. In 2001, she released a new album, Girltalk, with harpist Catherine Michel. (by wikipedia)


This is one of her many recordings from the 50´s and it´s a nice one … the early Valente recorded in the same year I was born … *smile* …

But this is not only “Schlager” music … sometimes it´s world music !


Caterina Valente (vocals)
Werner Müller & His Orchestra
Monaco Ball Orchestra
Paul Durand & His Orchestra

01. Temptation (Freed/Brown) 3.22
02. If Hearts Could Talk (Wise/Auric/Twomey) 3.13
03. The Breeze And I (Andalucia) (Stillman/Lecuona) 3.24
04. Malagueña (Lecuona) 3.06
05. My Lonely Lover (Gietz/Goell) 2.47
06. Fiesta Cubana (Gietz/Goell) 2.21
07. This Must Be Wrong (Gietz/Goell) 2.37
08. The Way You Love Me (Gietz/Goell) 2.47



Wolfgang Dauner, Charlie Mariano + Dino Saluzzi – Pas de trois (1992)

FrontCover1What a great trio !

Wolfgang Dauner (born 30 December 1935) is a German jazz fusion pianist, composer and keyboardist born in Stuttgart, Germany, probably best known for his work in the United Jazz and Rock Ensemble and with musicians such as Hans Koller, Albert Mangelsdorff, Volker Kriegel or Ack van Rooyen. Father of famous German drummer Florian Dauner, who is best known for his work with German hip-hop group Die Fantastischen Vier and electronic dance DJ Paul van Dyk, and is commonly referred to as Flo, the Flower, or the Fallopian.

Charlie Mariano (November 12, 1923 – June 16, 2009[1]) was an American jazz alto saxophonist and soprano saxophonist.

Mariano was born in Boston, Massachusetts, the son of Italian immigrants, Giovanni Mariano and Maria Di Gironimo of Fallo, Italy. He grew up in the Hyde Park neighborhood of Boston, enlisting in the Army Air Corps after high school, during World War II. After his service in the Army, Mariano attended what was then known as Schillinger House of Music, now Berklee College of Music. He was among the faculty at CharlieMariano01Berklee from 1965–1971. Mariano moved to Europe in 1971, settling eventually in Köln (Cologne), Germany, with his third wife, Dorothee Zippel.

He played with one of the Stan Kenton big bands, Toshiko Akiyoshi (his then wife), Charles Mingus, Eberhard Weber, the United Jazz and Rock Ensemble, Embryo and numerous other notable bands and musicians.

He was known for his use of the nadaswaram, a classical wind instrument from Tamil Nadu.

Mariano had six daughters, including four with his first wife, and musician Monday Michiru with his second wife. He had six grandchildren and two great-granddaughters. He died of cancer on June 16, 2009.

Dino Saluzzi (born May 20, 1935 Campo Santo, Salta Province, Argentina) is a Argentinian bandoneon player. He is the son of Cayetano Saluzzi and the father of guitarist José Maria Saluzzi.

Dino played the bandoneón since his childhood. Other than his father, he was influenced by Salta musicians such as Cuchi Leguizamón, and by the lyrical strain of the tango of Francisco de Caro and Agustin Bardi. Dino described the vividness of his musical sketches as “an imaginary return” to the little towns and villages of his childhood.

For much of his youth, Saluzzi lived in Buenos Aires, playing with the Radio El Mundo orchestra. He would play in orchestras for a living, while touring with smaller, sometimes jazz-oriented ensembles, developing a personal style that made him a leading bandoneonist in Argentine folklore and avant-garde music (especially since Ástor Piazzolla did not participate in projects other than his own). His record career doesn’t start until the 70s, along with Gato Barbieri, when he signed a couple of crazy lyricism albums under the name of Gaucho. Over this decade, he worked on many tours in South America and specially in Japan, but always associated to other names, as Mariano Mores or Enrique Mario Franchini.


Through word-of mouth publicity (mostly from expatriate musicians) he was invited to several European music festivals, and landed a contract with the ECM label. Several records have resulted, including Kultrum, 1982. From the beginning of the 1980s onwards, there were collaborations with European and American jazz musicians including Charlie Haden, Tomasz Stanko, Charlie Mariano, Palle Danielsson, and Al Di Meola.

ECM brought Saluzzi together with Charlie Haden, Palle Mikkelborg and Pierre Favre for Once Upon A Time … Far Away In The South, and subsequently with Enrico Rava for Volver. Rava had worked extensively in Argentina, and Haden’s sympathy for Latin American music was well-known; furthermore Palle Mikkelborg and Dino Saluzzi had worked together productively in George Gruntz’s band: there was a common ground on which an artistic exchange of ideas could take place. Saluzzi later played with ‘Haden’s Liberation Music Orchestra’, and the ‘Rava Saluzzi Quintet’ also toured.

In 1991, Saluzzi recorded an album with his brothers Felix and Celso and his son José María on guitar, kicking off his “family project”, which has since toured many countries. Mojotoro drew upon the full range of South American musics: tango, folk, candina music, candombe, the milonga music of the la Pampa province…

Anja Lechner and Dino have toured widely as a duo, too and US jazz magazine “Down Beat” declares the album that recorded together, Ojos Negros album of the year (best of 2007 list). (by wikipedia)

This is the second album of this trio (the first one is called “One Night in `88).

Dino Saluzzi whose musical antennae mtch the sensivities of Dauner and Mariano. The interplaya and sonorities sing out with brilliant consonance. Both albums are excellent with Pas De Trois having just the edge of focus and pith. (taken from “A Rough Guide To Jazz”)


Wolfgang Dauner (piano)
Charlie Mariano (saxophone)
Dino Saluzzi (bandoneón)


01.Randy (Mariano) 8.10
02. Plum Island (Mariano) 6.04
03. Lucas (Salizzi) 5.33
04. Se Va La Murga (Ross) 2.25
05. Trans Tanz (Dauner) 6.29
06. Y Amo A Su Hermano Hasta El Final (Saluzzi) 9.10


Gheorghe Zamfir – Pan-Pipe – Flute de Pan (1966)

FrontCover1Gheorghe Zamfir (Romanian pronunciation: [ˈɡe̯orɡe zamˈfir] (About this sound listen); born April 6, 1941) is a Romanian pan flute musician.

Zamfir is known for playing an expanded version of the traditional Romanian-style pan flute (nai) of 20 pipes to 22, 25, 28 and 30 pipes to increase its range, and obtaining as many as eight overtones (additionally to the fundamental tone) from each pipe by changing the embouchure.

He is known as “The Master of the Pan Flute”.

Zamfir came to the public eye when he was approached by Swiss ethnomusicologist Marcel Cellier, who extensively researched Romanian folk music in the 1960s. The composer Vladimir Cosma brought Zamfir with his pan flute to Western European countries for the first time in 1972 as the soloist in Cosma’s original music for the movie Le grand blond avec une chaussure noire. This was very successful,[citation needed] and since then, he has been used as soloist in movie soundtracks by composers Francis Lai, Ennio Morricone and many others. Largely through television commercials where he was billed as “Zamfir, Master of the Pan Flute”, he introduced the folk instrument to a modern audience and revived it from obscurity.

In 1966, Zamfir was appointed conductor of the “Ciocîrlia Orchestra”, one of the most prestigious state ensembles of Romania, destined for concert tours abroad. This created the opportunity for composition and arranging. In 1969, he left Ciocîrlia and started his own taraf (small band) and in 1970 he had his first longer term contract in Paris.


Zamfir discovered the much greater freedom for artistic adventure. His taraf consisted of: Ion Drăgoi (violin), Ion Lăceanu (flutes), Dumitru Fărcaș (tarogato), Petre Vidrean (double bass) and Tony Iordache (cymbalum) all number 1 soloists in their country. This taraf made some excellent recordings (CD Zamfir a Paris).[citation needed] He changed the composition of the band soon after: Efta Botoca (violin), Marin Chisar (flutes), Dorin Ciobaru and Pavel Cebzan (clarinet and tarogato), Petre Vidrean (bass) and Pantelimon Stînga (cymbalum). It is said that this change was made to increase the command of Zamfir and have more artistic freedom.[citation needed] A turning point was the recording of Zamfir’s composition “Messe pour la Paix” (Philips).[citation needed] His taraf joined a choir and a symphonic orchestra. This was evidence of the growing ambition.[citation needed] While the Philips recordings of that time were rather conservative, Zamfir preached revolution in the concert halls with daring performances.[citation needed] Some[who?] say that this short period was the highlight of his career. In 1977, he recorded “The Lonely Shepherd” with James Last. Zamfir put himself on the world map and since then his career became highly varied, hovering over classical repertoire, easy listening and pop music.



Zamfir’s big break in the English-speaking world came when the BBC religious television programme “The Light of Experience” adopted his recording of “Doina De Jale”, a traditional Romanian funeral song, as its theme.[citation needed] Popular demand forced Epic Records to release the tune as a single in 1976, and it climbed to number four on the UK charts.[citation needed] It would prove to be his only UK hit single, but it helped pave the way for a consistent stream of album sales in Britain. His song “Summer Love” reached number 9 in South Africa in November 1976.[3] In 1983, he scored a No. 3 hit on the Canadian Adult Contemporary chart with “Blue Navajo,” and several of his albums (including 1982’s Romance and 1983’s Childhood Dreams) have charted in Canada as well.

After nearly a decade-long absence, Zamfir returned to Canada in January 2006 for a seven-city tour with the Traffic Strings quintet. The program included a world premiere of Vivaldi’s Four Seasons for PanFlute and string quintet arranged by Lucian Moraru, jazz standards, and well-known favourites.

In 2009, Zamfir was sampled by Animal Collective in the song “Graze” on their EP Fall Be Kind.

In 2012, Zamfir performed at the opening ceremony of the 11th Conference of Parties to the Ramsar Convention at the Palace of the Parliament in Bucharest, Romania (by wikipedia)

And this is his first album … recorded as a totally unknown young musician And we hear this beautiful, unadulterated Sound of the pan flute …

Enjoy this Music, too


Gheorghe Zamfire (pan flute)
Orchestra Florian Economu


01. Doină De Jale 5.17
02. Frunzuliţă Lemn Adus 1.33
03. Cîntec De Nuntă 2.47
04. Păscui Calul Pe Răzoare 1.33
05. Doină De La Vişina 5.15
06. Mîndra Mea Din Băduleşti 2.46
07. Mîndrele 1.49
08. Sîrba Bătrînească 2.62



Os Brasileiros – Na Europa (1957)

FrontCover1An all-star ensemble that was equally adept in samba, forro and choro. Trio Irakitan provide earnest vocals in front of a band that featured Abel Ferreira – clarinet, Sivuca on accordion, and solid samba rhythms by Pernambuco do Pandeiro and drummer Dimas, along with some percussion by the Irakitan crew. (by

A joyful, upbeat album by an all-star ensemble that was equally adept in samba, forro and choro. Trio Irakitan provide earnest vocals in front of a band that featured Abel Ferreira – clarinet, Sivuca on accordion, and solid samba rhythms by Pernambuco do Pandeiro and drummer Dimas, along with some percussion by the Irakitan crew. It’s all really fun stuff; in some ways I prefer the instrumental numbers where Ferreira and Sivuca deftly meld choro and forro. This album documents one of the numerous tours of Brazilian artists in Europe, and inspired the group to record at least one other album. Be great to see this in digital reissue some day!  (by

Trio Irakitan

Abel Ferreira (clarinet)
Pernambuco do Pandeiro (percussion)
Sivuca (accordion, guitar )
Trio Irakitan (vocals):
Edson Reis de França – Paulo Gilvan – João Manoel de Araújo Costa Netto


01. Maracangalha (Caymmi) 2.11
02. Brasileirinho (Azevedo) 2.00
03. A Fonte Secou (Monsueto/Lauar(Marcléo) 2.46
04. Carrapicho (Teixeira) 2.30
05. No Paraiso das Mulatas (de Morais) 1.45
06. Vai na Paz de Deus (Alves/Domingues) 2.39
07. Nega (Gomes/Teixeira) 2.47
08. Vai Com Jeito (de Barro) 1.49
09. O Baião Em Paris (Teixeira) 2.08
10. Zezé (Teixeira/da Rocha) 3.24
11. Mulata Mulata (Martins/Amorim) 2.16
12. Fantasia Carioca (Santiago/Vermelho) 1.43



Severino Dias de Oliveira popularly known as Sivuca




Loreena McKennitt – The Mask And Mirror (1994)

FrontCover1The Mask and Mirror is an album by Loreena McKennitt. Released in 1994, the album has been certified Gold in the United States.


Like most of Loreena McKennitt’s albums, The Mask and Mirror is heavily influenced by her travels. Her experiences in Spain and Morocco, specifically, serve as the inspiration for this album.

As her introduction to the album, McKennitt wrote:

I looked back and forth through the window of 15th century Spain, through the hues of Judaism, Islam, and Christianity, and was drawn into a fascinating world: history, religion, cross-cultural fertilization….For some medieval minds the mirror was the door through which the soul frees itself by passing…. for others the pursuit of personal refinement was likened to polishing the mirror of the soul. From the more familiar turf of the west coast of Ireland, through the troubadours of France, crossing over the Pyrenees, and then to the west through Galicia, down through Andalusia and past Gibraltar to Morocco….the Crusades, the pilgrimage to Santiago, Cathars, the Knights Templar, the Sufis from Egypt, One Thousand and One Nights in Arabia, the Celtic imagery of trees, the Gnostic Gospels…who was God? and what is religion, what spirituality? What was revealed and what was concealed…and what was the mask and what the mirror?

Accompanying all the selections, as the liner remarks, are some of the entries in a traveler’s log that McKennitt kept all throughout her journey.

The album’s cover uses a collage made from the medieval The Hunt of the Unicorn tapestries.

Loreena McKennitt
Photo by Donna Griffith

Press play and enter the world of Loreena McKennitt, where walls dissolve into thick, billowing mists as the ground beneath your feet turns to compacted earth and the sky above opens up to reveal a black cloak dotted with shimmering stars draped beneath silk-like clouds. Were McKennitt’s composing and songwriting abilities lacking of any luster (as they most certainly are not), her voice would still possess the strength to hold her fifth album, The Mask and Mirror, up on its own. But the combination of this talented woman’s vocal prowess and songwriting ability makes her all the more similar to her work — ethereal and almost unbelievable in its level of quality. A mythical menagerie, The Mask and Mirror contains songs that lift the veil to reveal the soul of McKennitt’s work in eight dreamlike, Celtic-inspired tracks.

The opening track, “The Mystic’s Dream” (featured on the TNT movie The Mists of Avalon, based on the novel by Marion Zimmer Bradley), is a haunting tune that features McKennitt at her most heavenly peak as a vocalist, evoking the spirits of the instruments and Gregorian chant-like background vocals that accompany her on the track. The album excels at conjuring up mythical visions in the listener’s imagination, as with the gypsy-like tune “Marrakesh Night Market,” which echos of the picturesque scene the title invokes. The soul-searching “Full Circle” best exhibits McKennitt’s ability to transpose the true meaning of the lyrics into her songs.


Even after the song ends, the somber mood lingers softly in the air. The balalaika (a three-stringed triangular-shaped instrument), the bouzouki (an eight-stringed instrument), and the hurdy-gurdy (a stringed instrument that also has keyboard and percussion parts) are among the rare, strange instruments introduced on many of the songs, including the lighthearted, uplifting “Ce He Mise Le Ulaingt? (The Two Trees),” on which these instruments demonstrate their incredible quality and prowess. The lyrics of this track are none other than the words of the poem of the same name by William Butler Yeats. McKennitt’s unique use of the lyrical words of William Shakespeare, combined with her skillful adaptation of the words to the heavenly, undulating music, make the final track, “Prospero’s Speech,” an inspiration in itself. (by Kerry L. Smith


Anne Bourne (cello, background vocals)
Al Cross (drums)
Nigel Eaton (hurdy gurdy)
Ofra Harnoy (cello)
Brian Hughes (guitar, oud, balalaika, sitar)
Patrick Hutchinson (Bagpipes, pipe)
George Koller (bass, tambura, cello, esraj, tambura)
Rick Lazar (drums, percussion, udu)
Donal Lunny  (bouzouki, bodhrán)
Hugh Marsh (fiddle)
Loreena McKennitt (vocals, keyboards, goblet drums, accordion, piano,pipe)
Ravi Naimpally (tabla)
Abraham Tawfik (oud)
background vocals:
Victoria Scholars Choir conducted by Jerzy Cichocki
strings (on 07.2.)
Adele Armin – Andy Benac – David Hetherington – David Miller –  Douglas Perry –  Fujico Imajishi – Heinz Boshart – Kent Teeple – Mark Sabat – Marie Berard – Morry Kernerman – Sharon Prater – Susan Lipchak – Sylvia Lange


01. The Mystic’s Dream (McKennitt) 7.43
02. The Bonny Swans (Traditional) 7.21
03. The Dark Night Of The Soul (Traditional/St. John Of The Cross) 6.44
04. Marrakesh Night Market (McKennitt) 5.30
05. Full Circle (McKennitt) 5.57
06. Santiago (Traditional) 5.59
07. 1. Cé Hé Mise Le Ulaingt? (“Who Am I To Bear It”) (Hutchinson) 1.31
07.2. The Two Trees (Traditional/Yeats) 7.35
08. Prospero’s Speech (Traditional/Shakespeare) 3.23


Inlet02ACommunication … before we had the internet

Jacinta – Convexo (A Música De Zeca Afonso) (2007)

FrontCover1“Her approach to music is absolutely adult and mature. Jacinta is an assertive singer, solid, with excellent expression and musical sense” –All Jazz, Portugal

Critically acclaimed for her “warm, velvety and powerful voice” (Com・rcio do Porto, Portugal), Jacinta won “Best New Artist” honors in 2001 by Cinco Minutos de Jazz (Antena 1 since 1966) and was referred to as “The Portuguese Jazz Singer” by Jose Duarte

“Self-confident and knowledgeable” (Jornal de Noticias, Portugal), Jacinta’s singing has both the fleshiness, that bluesy quality, and also an incredible depth to the swing. Her amazing intonation and vocal command set her apart from the average jazz singer. From classic Bossa Nova and acrobatic Djavan tunes, or from her own Portuguese originals to swinging Monk tunes and soulful jazz ballads, Jacinta reveals a capacity to present a mixture of repertoire that is given structure by her well trained vocal instrument.

Coming from an unlikely background for a jazz singer–delving into classical training in composition and piano, and even heading up a progressive rock group–Jacinta’s boundless musical energies finally found full expression in the field of jazz.

A jazz vocal performance on a popular Portuguese television show propelled her to national fame and jump started her vocal career, eliciting numerous concert appearances.

Jacinta traveled to perfect her craft at the Manhattan School of Music where she was granted a full scholarship toward her Masters degree. Her study of improvisation continued with Chris Rosenberg of the Ornette Coleman Band and Peter Eldridge of the New York Voices.


Still in New York, Jacinta participated in workshops with renowned names of contemporary jazz, such as Maria Schneider, Ed Neumeister, Mark Murphy, Dave Holland and Annie Ross.

Later, during her four year residency in the San Francisco Bay Area, California, Jacinta performed regularly with several musical bands, with whom she appeared at top jazz venues such as Kimball’s East and Yoshi’s.

In 2001, invited by trumpeter/producer Laurent Filipe, Jacinta sings in a live concert series paying tribute to Bessie Smith. Jacinta was considered by the Portuguese critic as “One of the top vocalists of our day” (Blitz, Portugal), as having “a remarkable presence on stage, confident and graceful” (Correio da Manh・, Portugal), and as owner of a “strong and sovereign voice” (Sete, Portugal).

Jacinta02She is “an inspired and skilled jazz improviser” (Correio da Manh・, Portugal), with an incredible deep sense of groove and swing that is unlike any other singer. The success of this project culminated with its discographic edition on the prestigious Blue Note/EMI Portugal, in February 2003. This album, Tribute to Bessie Smith, reached the Portuguese national top sales and was warded a Gold Record for sales over 25.000 copies, something never before achieved in Portuguese jazz history.

After this big hit in the Portuguese musical scene, Jacinta looked for new ways and new approaches by dedicating herself to several satellite projects such as Jacinta Sings Monk and Jacinta Sings Brazil. In her study of Thelonious Monk music, the singer picks challenging ways preferring a more instrumental approach and highlighting not only the swing but also the angular melodies and the less obvious harmonies.

The project Jacinta Sings Monk was premiered in jazz Quintet format and later enlarged for jazz Quartet with classical orchestra. Amongst the several orchestras with whom the singer worked, the Lisbon Metropolitan Orchestra stands out. In this project, just as noticeable are the directors Gra・a Moura, Vasco Pierce de Azevedo, Rui Massena and the arranger Paulo Perfeito.

The project Jacinta Sings Brazil emerges from the singer’s need to explore sonorities and swings which are distinct from the American jazz. Here, the singer revisits and deepens an already experimented style with her American bands. The repertoire of this project is marked mostly by Jobim and Djavan tunes, presented with jazz Quintet.

With this specific program, Jacinta appeared seven nights at the Winter Garden of the S・o Luiz Theatre, selling out every performance. The singer’s rhythmic sense stands out once again showing total indulgence and an intrinsic musical knowledge providing the listener with a sense of lightness and great naturalism.

In March 2006, Blue Note/EMI Portugal releases Day Dream, Jacinta’s new studio album. This is a new musical phase, where the singer rediscovers Duke Ellington and enlarges her musical spectrum when including tunes of very distinct styles. The greatest challenge came from Greg Osby, saxophonist, arranger and producer of the project, by proposing the inclusion of composers as diversified as Djavan, Cole Porter, Tom Jobim, Duke Ellington, Zeca Afonso, Martin and Monk.

Rui Caetano

This record could be considered a landmark by the way instrumentalists play and expand creatively, in constant dialog between themselves and with the singer who, in turn, interacts with the band, approaching the melodies with the fluidity of a wind instrument. This approach results in fresh music, marked with a strong mainstream jazz swing but of contemporary flow. Osby suggested the inclusion of adaptations of some of the songs to Portuguese language, in an effort to bring this music style closer to the Portuguese public. In the Day Dream tour, a series of 20 huge box-office success concerts throughout Portugal, Jacinta was enthusiastically welcomed by an euphoric and appreciative audience.

In 2007, Jacinta dedicated herself to new projects, including a homage show to Zeca Afonso (Portuguese traditional singer-songwriter) in Trio format, which resulted in her third album Convexo [the music of Zeca Afonso]. In this new work, Jacinta takes this strongly flavored Portuguese traditional music and transforms it with a cool jazz approach. The new harmonies and the strong rhythmical concept develop these compositions and give them freshness and modernity.

Again, with Convexo, Jacinta sells over 18.000 copies and carries out an amazing 20 venues Tour, around the country, between March and May 2008.

”Convexo reveals an unorthodox repertoire of the author (Zeca Afonso), far from the cliches where Jacinta develops and explores, recreates and expands the music of the author… “ (by


Zeca Afonso;
José Manuel Cerqueira Afonso dos Santos, known as José Afonso, Zeca Afonso (Portuguese pronunciation: [ˈzɛkɐ aˈfõsu]) or just Zeca (2 August 1929 – 23 February 1987), was born in Aveiro, Portugal, the son of José Nepomuceno Afonso, a judge, and Maria das Dores. Zeca is among the most influential folk and political musicians in Portuguese history.

He became an icon among Portuguese left-wing activists due to the role of his music in the resistance against the dictatorial regime of Oliveira Salazar, resistance that triumphed in 1974 with the pro-democratic leftist military coup of the Carnation Revolution. His song “Grândola, Vila Morena” is closely associated with the revolution, since it was chosen to be the password transmitted by radio for the beginning of the movement that toppled the dictatorship.

In the ensuing revolutionary process, Zeca was a very active musician and continued composing political and folk songs, often criticizing the post-revolutionary changes. Years after his death, Zeca Afonso is still widely listened to, not only in Portugal, but also abroad. (by wikipedia)

Zeca Afonso

Rui Caetano (piano)
Jacinta (vocals)
Bruno Pedroso (drums)


01. Adeus Ó Serra Da Lapa 4.51
02. O Homem Voltou 5.42
03. A Formiga No Carreiro 4.40
04. Era Um Redondo Vocábulo 5.17
05. Cantigas De Maio 5.33
06. Tenho Um Primo Convexo 4.09
07. Se Voaras Mais Ao Perto 3.28
08. A Morte Saiu À Rua 4.10
09. Que Amor Que Me Engana 5.40
10. De Não Saber O Que Me Espera 5.32
11. Coimbra Do Mondego 4.43

All Songs written by Zeca Afonso



Jimmy Shand Jnr. – Invites You To Come To The Dance (1969)

FrontCover1Jimmy Shand, who has died at the age of 92, was the musical icon of Scotland’s tartan sub-culture. Over more than half a century, his name was synonymous with a certain style of Scottish music and with a nostalgic image of Scotland which has proved eminently marketable around the world

His recordings sold by the million and, from the 1940s to the 1970s, the name of Jimmy Shand and his Band would fill halls throughout the United Kingdom as well as in any centre of the Scottish diaspora, New York’s Carnegie Hall included. In 1955, his Bluebell Polka was one of the most unlikely top 20 entrants of even that eclectic musical era.

Shand remained a most unlikely figure of show business celebrity. While the band, led by his own button-key accordion, produced music to set even the most reluctant toes tapping, their stage appearance often bordered on the funereal. Shand would allow himself little more than a shy grin and a few words. His was really a band for dancing to, and it was his strict sense of timing, as well as his technical skill, that set him apart. Phil Cunningham, one of the most innovative of present-day Scottish accordion players, described him as “a human metronome”.

Shand’s contribution to popularising Scottish music was immense, although it also did much to channel perceptions of it into a particular style. There is a contradiction between the free-flowing ceilidh tradition and strict tempo dance music. Shand had thousands of superb imitators – tartan jackets and all – but few, until recently, broke out of the limiting format of two accordions, piano, fiddle, double-bass and drums; the stereotype was reinforced by BBC television’s White Heather Club series of the 1960s, built around him.

JimmyShand01Like many talented and successful Scots, Shand came from a mining background. He was born at East Wemyss, in Fife, left school at 14 and went straight into the local pit. Conditions were terrible, and the 1926 general strike brought his career as a miner to an end. He spoke movingly in later life of his decision not to go back down the pit, though his bond with the mining communities of Fife remained extremely strong.

Since childhood, he had been picking up tunes on his father’s melodeon, a close relative of the button-key accordion. When he visited a music shop in Dundee, the owner gave him a job as a salesman. He thus got to know which of the better-off families bought sheet music, and sought out their houses so that he could listen to them playing and add to his knowledge.

In 1933, he made his first record, and by the following year was broadcasting for the BBC Scottish Home Service. His reputation grew steadily, but it was only after the war that he put together the Jimmy Shand Band.

The former Labour MP, Willie MacKelvey, recalls that his father was the “second box” player. The MacKelveys lived in a spacious new council house in Dundee, which, because it accommodated a piano, became the practice place as the band prepared for an increasingly hectic schedule of one-night stands, television appearances and overseas tours. The neighbours would hang out of their windows to listen.


Whenever possible, Shand would head back home to Auchtermuchty, in Fife, after gigs – sometimes from as far away as the south of England. He had been a motorcycle racer in his youth and retained a love of fast vehicles and white-knuckle driving. Otherwise, his lifestyle was modest. Whatever international hotel they might be in, he would famously order for the band: “Sausage, egg and chips for six”.

In retirement, honours were showered upon him, culminating in a knighthood last year. There was never any sign of this affecting Shand. He was a shrewd, dignified, Scottish gentleman whose greatest ambition was to be at home in Auchtermuchty among his own people.

He is survived by his wife Anne, whom he married in 1936, and their two sons.

He was a strict-tempo hero of Scottish musical nostalgia. (Brian Wilson)

And here´s a compilation album with his favorites tunes … tunes from good ol´ Scotland.


Jimmy Shand (accordeon)
many other muscians

01. Set Of Reels 4 x 32 Bars 2.19
02. Alyth Burn-Jig 2.20
03. Geordie Medley 1.57
04. International Marches 2.40
05. Forty Shades Of Green 2.55
06. The Edzell Waltz 2.20
07. West Country Barn Dance 1.45
08. The Glens Of Angus 2.27
09. Jaws Harp Selection 1.21
10. Dance With A Dolly 1.49
11. Pride Of Erin Waltz 2.42
12. Folk Waltz Selection 3.10

All songs are Traditionals