ロン・リディム Little Tempo

This is a soundtrack record; I highly recommend the film, which is not so much a biopic as a musical portrait of one of Brazil’s national treasures. On this record, as in the film, Paulinho performs alongside old friends and new as well as a few solo pieces. A purist to the core, he works through some classic samba and a little bit of choro with guests like Zeca Pagodinho, Cristina Buarque, and Elton Medeiros (with whom he started his career).

Lew Tabackin - What A Little Moonlight Can Do (1994) {Concord Jazz CCD-4617}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 341 Mb | MP3 @320 -> 136 Mb
Full Artwork @ 300 dpi (jpg) -> 8 Mb | 5% repair rar
© 1994 Concord Jazz | CCD-4617
Jazz / Post Bop / Hard Bop / Saxophone / Flute

The deep, smooth tenor sax tones of Ben Webster and Coleman Hawkins are clearly the models that Lew Tabackin patterns his playing after on this album featuring his quartet. The sax giants' influence can clearly be seen on "What a Little Moonlight Can Do," on which Tabackin plays above the melody, concluding with Webster's patented fluttering, whispering tone. Tabackin's playing throughout this session, irrespective of the tempo, is contemplative, exploring every nook and cranny, every nuance, every subtlety of the tune.

Joe Cocker's debut album holds up extraordinarily well across four decades, the singer's performance bolstered by some very sharp playing, not only by his established sideman/collaborator Chris Stainton, but also some top-notch session musicians, among them drummer Clem Cattini, Steve Winwood on organ, and guitarists Jimmy Page and Albert Lee, all sitting in. It's Cocker's voice, a soulful rasp of an instrument backed up by Madeline Bell, Sunny Weetman and Rossetta Hightower that carries this album and makes "Change in Louise," "Feeling Alright," "Just Like a Woman," "I Shall Be Released," and even "Bye Bye Blackbird" into profound listening experiences. But the surprises in the arrangements, tempo, and approaches taken help make this an exceptional album. Tracks like "Just Like a Woman," with its soaring gospel organ above a lean textured acoustic and light electric accompaniment, and the guitar-dominated rendition of "Don't Let Me Be Misunderstood" – the formal debut of the Grease Band on record – all help make this an exceptional listening experience.