C.& e European Legal Mater. Sup.2 Rel.4

Thelonious Monk - In Italy (1961) {Riverside OJCCD-488-2 rel 2006}
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© 1961, 2006 Riverside Records / Fantasy / Universal | OJCCD-488-2 / 00025218648820
Jazz / Bop / Hard Bop / Post Bop / Piano

Pianist-composer Thelonious Monk's final Riverside recording before signing with Columbia was cut during a concert in Italy, part of an extensive European tour that also resulted in recordings from Paris three days earlier. All eight of the songs (which include "Straight No Chaser," "Bemsha Swing," and "Rhythm-A-Ning") had been recorded in more definitive fashion earlier and, although Monk and his tenor Charlie Rouse sound fine, the bass and drum solos of bassist John Ore and drummer Frankie Dunlop on practically every song are consistently dull and unimaginative. This is not one of Monk's more significant dates, but his fans will still find moments to enjoy.

Gilberto Gil - Um Banda Um (1982) {Warner Music Brasil 092746040-2 rel 2002}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 458 Mb | MP3 @320 -> 167 Mb
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© 1982, 2002 Warner Music Brasil | 092746040-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop

Trapped in the sound of 1982, Gil's Um Banda Um album is covered with canned keyboards and synthesizer on virtually every track. And since it's not the best collection of songs he ever released, it's difficult for the listener to get into even after managing to focus on the songs. Though the joyous, nearly five-minute title track is a highlight, there's just a bit too much synthesizer on these songs. If it wasn't for Liminha's rather understated production, Um Banda Um would probably be rated even worse.

Cartola - Cartola (1974) {EMI–Discos Marcus Pereira 472569 2 rel 2005}
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© 1974, 2005 Discos Marcus Pereira / EMI Music Brazil | 472569 2
Latin / Brazilian Traditions / Samba / Brazilian Pop

Nearly 50 years after beginning his career, Cartola, the maestro of the samba, released his first album, and it exudes the quiet grace and rural charm that the samba featured decades before it was modernized later in the century. Of course, all the songs were written by Cartola himself (just 12 of the hundreds he composed), and most are by him alone. Those with limited knowledge of Brazilian music will find Cartola's vocal style closest to the quiet and husky growl of João Gilberto, with an accompanying slow groove and textured guitars. It's a vivid document of Brazilian roots music, featuring the instruments and stylings that all of the most famed artists of the '60s (Jobim, Gilberto, Veloso, Gil) would draw upon for their artistry.

Gilberto Gil - Extra (1983) {Warner Music Brasil 092746041-2 rel 2002}
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© 1983, 2002 Warner Music Brasil | 092746041-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop

Reflecting the then recent association with Jimmy Cliff, this Gilberto Gil album opens with the reggae "Extra," in which he exorcises the powers of political obscurantism invoking the liberating forces of mysticism. "E Lá Poeira" anticipated the crossover pop/Northeastern music made successful in the world music of the '90s. "Mar de Copacabana" has the old Gil, composer of melodies full of a refreshing feeling but at the same time with the two feet rooted in the samba tradition. "A Linha E O Linho" could be a minor pop ballad if it weren't for the sensitive and indigenous lyrics solution, where he used the metaphor of sewing to talk about two people united by a deep love.

Albert Ayler - Music Is The Healing Force Of The Universe (1969) {Impulse! 065 383-2 rel 2003}
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© 1969, 2003 Impulse! / Verve | 065 383-2
Jazz / Avant-Garde Jazz / Saxophone

One of the last records made by avant sax legend Albert Ayler – a really mind-expanding album that's unlike anything else he ever did! By the time of the record, Ayler had made a full round trip between the New York and European jazz scenes – leaving important influences wherever he went, and trying desperately to pick up new ones the further he moved on. Here, he's working in a style that's a bit like that of Archie Shepp at the time – still steeped in free jazz and new thing ideals, but infused with a free-thinking approach to the music that allows for bold new styles and sounds.

Tamma with Don Cherry & Ed Blackwell - Tamma (1984) {ODIN NJ 4014-2 rel 1997}
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© 1984, 1997 Odin Records | ODIN NJ 4014-2
Jazz / World Fusion / Afro-Fusion / World Music

Tamma (which means talking drum in Gambian) is a percussion and horn jazz group founded by Gambian master drummer Miki N'Doye and brought to Norway where he enlisted the aid of that country's musicians in forming an open-ended music that would engage European cultures in the music of the African Diaspora. A quintet, they feature a proper trap kit drummer, saxophonist, trumpet, an electric bassist, and N'Doye. All members play some percussion and sing (more like chant). They make an ethereal, moody, high-lonesome kind of rhythm-based Afro-jazz. Performing live at the Mode International Jazz Festival, they were joined for two days by the late trumpeter and douzongouni player (African guitar), and the late drummer Ed Blackwell both men at that time were members of Old and New Dreams and former bandmates in the Ornette Coleman Quartet.