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
Personnel: Alex Biancheri" (piano) Laura Villa (vocals) + a bunch of unknown studio musicians
Tracklist: 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
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 !
Personnel: Albert King (guitar, vocals) Dickey Betty guitar on + a bunch of unknown musicians
Tracklist: 01. Intro Jam (King) 5.19 02. Born Under A Bad Sign (Jones/Bell) 6.54 03. Oh Pretty Woman (King) 5.00 04. Blues Power (King) 12. 34 05. Jam (King/Betts) 12.28 06. Crosscut Saw/Closing Jam (Ford/King) 9.46
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
Personnel:
Juan Amalbert (percussion) Gene Casey (piano) Eric Dolphy (saxophone, clarinet,flute) Bill Ellington (bass) Manny Ramos (drums, percussion)
Carlie Simons (vibraphone)
Tracklist: 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
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! 
