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Many Fantastic Colors

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Main » 2011 » August » 30

Shamefully forgotten for years, this sumptuous album is an essential classic in terms of several tracks. Historically, it is one of the first Bossa Nova records to be recorded in Europe, Paris to be precise, the welcoming spot and creative home for a major Brazilian Diaspora.
Amongst them, we find the musician Silvuca, behind a large majority of the shimmering arrangements on this record, perfectly showcasing Laura Villa’s warm and enveloping voice. Born Emilie Laura Facetti in Italy, she would discover Bossa Nova’s captivating melodies when in Lisbon at the end of the 50’s. At the time, the Portuguese capital was the European port entry for newly arrived Brazilians, and as such, it was here that the songs composed by Dorival Caymmi, João Gilberto, Antônio Carlos Jobim, Vinícius de Moraes and Luiz Bonfa received their first rapturous reception.

With her pianist husband Alex Biancheri, she was under Bossa’s spell on her return to Paris, and decided to spread the good Brazilian word. Signing to Polydor gave her the means to form a full-scale orchestra (partly made up of Brazilian musicians) and to record in 1962 this classics-filled album also comprising original material.

A shining declaration of love for Brazilian rhythms, a veritable manifesto of proud and uninhibited European Bossa, this timeless masterpiece brimming with bright and generous songs lit up the way to Brazil’s infinite softness at the dawn of the 60’s. A path that will be taken by many more to come.

Laura Villa w/ Sacha Distel

Alex Biancheri" (piano)
Laura Villa (vocals)
a bunch of unknown studio musicians

01. Desafinado (Jobim/Mendonca) 2.31
02. O Vento (Biancheri/Barbosa) 2.28
03. Samba De Uma Nota So (Jobim/Mendonca) 2.23
04. Errinho A Toa (Menescal/Boscoli) 2.15
05. Chega De Saudada (Jobim/DeMoraes) 2.57
06. Nunca Mas (Lincoln/Cézar) 2.05
07. Barquinho (Menescal/Boscoli) 2.33
08. Chica Chica Boum (Verlane) 2.25
09. O Bossa Nova (Barbosa/Garro) 2.15
10. Maria Orgulhosa (Secicias/Barbosa/Cempos) 2.45
11. Nos E O Mar (Menescal/Boscoli) 2.05
12. Corcovado (Jobim) 2.27
13. Rosinha (Sivuca) 2.00
14. Fala Amor (Ferreira/Antonio) 2.39

ARMU 0075
Views: 1761 | Added by: Riffmaster | Date: 2011-08-30 | Comments (40)

Albert King is truly a "King of the Blues," although he doesn't hold that title (B.B. does). Along with B.B. and Freddie King, Albert King is one of the major influences on blues and rock guitar players. Without him, modern guitar music would not sound as it does -- his style has influenced both black and white blues players from Otis Rush and Robert Cray to Eric Clapton and Stevie Ray Vaughan. It's important to note that while almost all modern blues guitarists seldom play for long without falling into a B.B. King guitar cliché, Albert King never does -- he's had his own style and unique tone from the beginning.

Albert King plays guitar left-handed, without re-stringing the guitar from the right-handed setup; this "upside-down" playing accounts for his difference in tone, since he pulls down on the same strings that most players push up on when bending the blues notes. King's massive tone and totally unique way of squeezing bends out of a guitar string has had a major impact. Many young white guitarists -- especially rock & rollers -- have been influenced by King's playing, and many players who emulate his style may never have heard of Albert King, let alone heard his music. His style is immediately distinguishable from all other blues guitarists, and he's one of the most important blues guitarists to ever pick up the electric guitar. (
by Stephen Thomas Erlewine)

This is an excellent FM broadcast recording featuring Dickey Betts from The Allman Brothers Band ... hey ... let´s jam together !

Albert King (guitar, vocals)
Dickey Betty guitar on
a bunch of unknown musicians


01. Intro Jam (King) 5.19
02. Born Under A Bad Sign (Jones/Bell) 6.54

03. Oh Pretty Woman (King) 5.00
Blues Power (King) 12. 34
05. Jam (King/Betts) 12.28
06. Crosscut Saw/Closing Jam (Ford/King) 9.46

ARMU 0074
Views: 2368 | Added by: Riffmaster | Date: 2011-08-30 | Comments (0)

A masterful meeting of Eric Dolpy and The Latin Jazz Quintet -- a record that shows a rare Latin side of Dolphy's talents, but one that's totally great!

The core group here are the ensemble led by conga player Juan Amalbert with vibes, piano, bass, and percussion -- a group who helped push the Latin jazz style of earlier 50s work into much hipper territory during the 60s -- usually by adding in a reedman like Dolphy! Eric's blowing here on alto, flute, and bass clarinet -- showing a great sensitivity to the core groove of the record, but also managing to cut in these edgier moments that really open things up!

The mix of vibes and Dolphy alone is worth the price of admission -- especially when heard in an "inside" way that's quite different than his later meeting with Bobby Hutcherson -- but the overall groove really holds the record together wonderfully, and makes it appealing for fans of both Latin and modern jazz!
(by dusty groove)

Recorded at Rudy Van Gelder Studio, Englewood Cliffs, NJ, August 19, 1960

Juan Amalbert (percussion)
Gene Casey (piano)
Eric Dolphy (saxophone, clarinet,flute)
Bill Ellington (bass)
Manny Ramos (drums, percussion)
Carlie Simons (vibraphone)

01. Caribe (Casey) 10.05
02. Blues In 6/8
(Amalbert/Ricci) 5.45
03. First Bass Line (Casey) 4.05
04. Mambo Ricci
(Amalbert/Ricci) 6.55
05. Spring Is Here (Rodgers/Hart) 5.06
06. Sunday Go Meetin' (Casey) 5.50  

ARMU 0073
Views: 1315 | Added by: Riffmaster | Date: 2011-08-30 | Comments (2)

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