Astrud Gilberto – The Astrud Gilberto Album (1965/2014) FLAC (tracks) 24-bit/192 kHz | Time – 28:17 minutes | 1,24 GB | Genre: Jazz Studio Master, Official Digital Download – Source: HDTacks | @ Verve Records Recorded January 27-28, 1965 at RCA Studios, Hollywood.
The Astrud Gilberto Album is the first solo album by Brazilian singer Astrud Gilberto. Recorded after the unexpected success of the single “The Girl from Ipanema” on the album Getz / Gilberto, Astrud Gilberto recorded a solo album with some of the same musicians from Getz / Gilberto (including the incomparable Antonio Carlos Jobim). Astrud’s sweet, fragile voice was perfectly suited for singing Brazilian bossa nova repertoire, and the album featured beautiful string arrangements by Marty Paich; and talented musicians Bud Shank (flute), Joao Donato (piano), and Antonio Carlos Jobim (guitar). (more…)
Bebel Gilberto – Tudo (2014) FLAC (tracks) 24 bit/96 kHz | Time – 44:54 minutes | 890 MB | Genre: Bossa Nova Official Digital Download – Source: Qobuz | Booklet,Cover | @ Portrait – Sony Masterworks
La fille de Joao Gilberto sort de ses cinq ans de silence discographique avec ce superbe Tudo, beau kaléidoscope de sa vision très personnelle de la musique brésilienne. Bebel Gilberto retrouve ici Mario Caldato Jr. qui avait produit son impeccable premier album, Tanto Tempo, en 2000. Alternant le portugais, l’anglais et même le français, la chanteuse fusionne ici, avec délicatesse et raffinement, tous les répertoires qui la touchent et l’ont formés, qu’il s’agisse de compositions signées de son illustre père mais aussi d’Antonio Carlos Jobim ou même de Neil Young. Elle convie également Seu Jorge à un superbe un duo. A l’arrivée, Tudo s’avère être sans doute son opus le plus attachant. (more…)
Although the name Stan Getz (tenor sax) was initially synonymous with the West Coast cool scene during the mid-to-late 1950s, he likewise became a key component in the Bossa Nova craze of the early 1960s. Along with Astrud Gilberto (vocals), Getz scored a genre-defining hit with the “Girl From Ipanema,” extracted from the equally lauded Getz/Gilberto (1963). While that platter primarily consists of duets between Getz and João Gilberto (guitar/vocals), it was truly serendipity that teamed Getz with João’s wife Astrud, who claims to have never sung a note outside of her own home prior to the session that launched her career. Getz Au Go Go Featuring Astrud Gilberto (1964) was the second-to-last album that he would issue during his self-proclaimed “Bossa Nova Era” — the final being Getz/Gilberto #2 [Live] (1964) concert title from Carnegie Hall. In many ways, that is a logical successor to this one, as both include the “New Stan Getz Quartet.” The band features a young Gary Burton (vibraphone), Kenny Burrell (guitar), Gene Cherico (bass), and Joe Hunt (drums). As is typical with jazz, there are a few personnel substitutions, with Helcio Milito (drums) and Chuck Israels (bass), respectively, filling in on nearly half the effort. As the name of the disc intimates, this recording hails from the venerable Greenwich Village venue, the Café Au Go Go, in mid-August of 1964 — two months after “Girl From Ipanema” became a Top Five pop single. However, the focus of Getz Au Go Go steers away from the Brazilian flavored fare, bringing Astrud Gilberto into the realm of a decidedly more North American style. That said, there are a few Antonio Carlos Jobim compositions — “Corcovado (Quiet Nights of Quiet Stars)” and “One Note Samba” — both of which would be considered as jazz standards in years to follow — as well as the lesser-circulated “Eu E Voce.” Getz and crew gather behind Richard Rodgers and Oscar Hammerstein’s “It Might as Well Be Spring,” and the scintillating instrumental “Summertime,” from Porgy & Bess. Other equally engaging cuts include affective vocal readings of “Only Trust Your Heart,” and the diminutive, yet catchy “Telephone Song.” There is also some great interaction between Getz and Burton on “Here’s to That Rainy Day.” Getz Au Go Go is highly recommended for all dimensions of jazz enthusiasts. –Lindsay Planer (more…)
Originally released in March of 1964, this legendary collaboration between saxophonist Stan Getz and guitarist Joao Gilbertocame at the end of the bossa nova craze Getz had sparked in 1962 with Jazz Samba. In fact, Getz had to push for the release of Getz/Gilberto as his record company didn’t want to compete with their own hit. The album ended up spending 96 weeks on the charts and won four Grammy Awards. Getz/Gilberto remains one of those rare cases in popular music where commercial success matches the artistic merit.
Blu-ray Pure Audio Discs:
Audio is taken from the original master tapes and mastered in 24-bit/96kHz resolution with a choice of three sound formats: PCM, Dolby True HD, or DTS-HD Master Audio. You can finally enjoy the music in the fidelity originally experienced in the studio.
Stan Getz And Joao Gilberto Getz/Gilberto Track Listing:
1. The Girl from Ipanema
3. P’ra Muchucar Meu Coracao
6. So Dance Samba
7. O Grande Amor
8. Vivio Sonhando
Mastered by George Marino at Sterling Sound from the original analog master tapes to vinyl and PCM. The DSD was sourced from the PCM. George listened to all of the different A/D converters he had before he chose which to use, and he felt the George Massenburg GML 20 bit A/D produced the best and most synergistic sound for the project.
The words “bossa nova” are often synonymous with the name Stan Getz. But North Americans might not have ever known the bright sound of bossa nova had it not been for Charlie Byrd. In 1961 Byrd returned from a tour of South America, where bossa nova music was thriving. The style was the invention of singer Joao Gilberto and songwriter Antonio Carlos Jobim – an adaptation of infectious Brazilian samba rhythms with the harmonic structures and “cool” surface of West Coast jazz. Byrd brought back records for Getz to hear, they planned a session, and the result was Jazz Samba – the first album of true bossa nova music by jazz artists and the one that broke the bossa nova wave in 1960s America.
Caetano Veloso – A Foreign Sound (2004) [2.0 & 5.1] PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 79:09 minutes | Scans included | 4,39 GB or FLAC 2.0 Stereo (converted with foobar2000 to tracks) 24bit/88,2 kHz | Full Scans included | 1,56 GB
When an international artist records an English-language album, crossover is usually in the cards. For Caetano Veloso, however, it’s an entirely different matter. The statesman of Brazilian pop, a musical giant who is on track to record more in his fifth decade of artistic striving than in any other (not to mention his accompanying exploits in literature), Veloso has no need to begin an American campaign. He also has shown no wish to. Caetano Veloso has never courted an American audience, though he has drawn a sizeable one because of his prescient, emotionally charged songwriting and a performance style that can be studied or unhinged depending on the circumstances required. A Foreign Sound is not only an English-language album but an American songbook, one that explores Veloso’s long fascination with the greatest composers in American history. It began when he was a child in the ’40s and ’50s enamored of American culture, was strengthened when his hero João Gilberto began championing the great American songbook, and has remained steady if not continuous through his artistic career. The record is perhaps his most ambitious project ever, a 22-song album that ranges for its material from emperors of Broadway to the denizens of folk music, from the cultured (Rodgers & Hart’s “Manhattan”) to the torchy (Jerome Kern’s “Smoke Gets in Your Eyes”) to the gritty (Nirvana’s “Come as You Are”). Veloso’s high tenor has only strengthened 30 years after his other English-language record — an eponymous 1971 LP, recorded in London as a forlorn postcard to the country he had been forcibly removed from by Brazil’s fascist-leaning government. Although few recordings in his discography (or any other’s) can rival that one’s emotional power, A Foreign Sound comes very close. Veloso transforms these standards by a clever combination of his subtle interpretive gifts, his precise, literate delivery, and his ability to frame each song with an arrangement that fits perfectly (usually either a small group led by his acoustic guitar or a small string group, though “Love for Sale” is given a spine-tingling a cappella treatment). Out of 22 songs, only Bob Dylan’s “It’s Alright, Ma (I’m Only Bleeding)” sounds like a mistake; every other performance here is nearly irresistible, the perfect valentine to a country with a strong songwriting tradition that Veloso unites and celebrates with this album. (more…)
Various Artists – Welcome To The Top Of The World (2010) [Audiophile Promo Sampler # UIGY-9036/7] PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 70:42 minutes | Scans included | 2,86 GB or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 1,26 GB
A sampler of SHM-SACD contains selected 10 tunes from genre of Rock/Soul/Jazz/Classical Music. Released in Japan in the start of SHM-SACD series. (more…)
Brazilian guitarist and composer Luiz Bonfa became world famous for his contributions to the soundtrack of the 1959 film Black Orpheus. He was one of the originators of the bossa nova sound and one of the greatest masters of Brazilian music popular of the 20th century. Even Elvis Presley recorded one of his songs! Luiz Bonfa Plays And Sings Bossa Nova, a classic of the genre from 1962, is notable for its romantic orchestrations by Lalo Schifrin, but there are also stripped down, acoustic numbers that showcase Bonfa’s musical virtuosity and subtlety. Also features fellow bossa nova pioneer Oscar Castro-Neves on guitar and keyboards and vocalist Maria Helena Toledo on several songs.
Jazz Samba is a bossa nova LP by Stan Getz and Charlie Byrd, released on the Verve label on April 20, 1962. Jazz Samba was the first major bossa-nova album on the American jazz scene. It was the real start of the bossa-nova excitement in America, which peaked in the mid-1960s. Though Stan Getz was the featured star of the album, it was very strongly inspired and designed by the guitarist Charlie Byrd. They were joined by two alternating bassists —Keter Betts and Charlie’s brother, Gene (Joe) Byrd— and two drummers —Buddy Deppenschmidt and Bill Reichenbach— for the recording at All Souls Church, Unitarian in Washington, D.C. on February 13, 1962, and it was released on April 20, that year as Verve LP V6-8432. Although it is often described as music by Brazilian composer Antônio Carlos Jobim, only two of the seven tracks on the album are Jobim compositions —”Desafinado” (Slightly Out of Tune) and “Samba de Uma Nota Só” (One Note Samba)— the rest being by other Brazilian composers and by Charlie Byrd. The two tracks composed by Jobim were released in Europe and the US as single (most commonly with “Desafinado” on the A-side). Getz won the Grammy for Best Jazz Performance of 1963 for the track “Desafinado”, and went on to make many other bossa nova recordings, most notably with João Gilberto and Astrud Gilberto, and most famously “The Girl from Ipanema”.