Jorge Ben

This rare album from singer/pianist Tânia Maria, backed by bassist Hélio and drummer Boto, documents that in the mid-'70s, the swinging samba-jazz interpreter was already developed - even if still closely emulating Elis Regina. The album opens with the heavy pounding of "Samba de Orly" (Vinícius de Moraes/Chico Buarque de Hollanda), and the same atmosphere follows with a Jorge Ben medley, giving room to the lyrical "Até Quem Sabe" (Lysias Ênio/João Donato). "Abre Alas" traces very closely Elis Regina's take. Another Ben classic, "Fio Maravilha" (which was written in homage to the celebrated soccer player Fio, from Botafogo, who later sued Ben for using his name, which is the reason why this song is currently interpreted as "Filho Maravilha") restores that heavy swing…

Bossa Nova was Brasil´s cool answer to the American Jazz in the 60's. The style has enjoyed several revivals by successive generations. Young lounge DJs have made the bossa nova (now called Brasilectro) modern & attractive again. In Brasil itself, with the success of brazilectro in Sao Paulo and Rio de Janeiro, the youth have fused classic bossa nova with house, hip hop, drum'n'bass and downbeat. The results are what make up this collection. On the lounge-side, DJ Ralph "von" Richthoven compiled his all-time-favorites of the Bossa Nova by Astrud Gilberto, Jorge Ben, Marcos Valle, Gal Costa, Tamba Trio, Os Ipanemas, Sabrina Malheiros, Katia B. and others. The club-side unites primarily the modern grandchildren of the bossa nova: Brazilectro, Brazil-House and Brasil Drum n Bass, like DJ Patife, Bazeado, Nicola Conte, Borbolettas, Bebel Gilberto and more.

This historic album recorded live an important moment in Brazil, not only in music. Two months after the military coup that instituted the dictatorship in 1964, it was realized at São Paulo's Teatro Paramount. It greatly propelled bossa's penetration in Brazil's larger city and biggest consumer market; opened the gates for Elis Regina's highly successful regular TV show under the same name; was the first time when a bossa show gathered 2,000 people; was the first professionally managed show in that movement, with all artists receiving their cachets for their presentations; and was responsible for instituting São Paulo as an important focal point for bossa, until then restricted to Rio…

Welcome to Latin House Sessions, a panoramic perspective on Latin-influenced music with a party twist courtesy of Future World Funk DJ’s Russ & Cliffy. Over two hours of hand-selected tracks ranging from firing boogaloos to cookin’ bossas, from Latin house to Brazilian drum & bass.

Gilberto Gil - Refazenda (1975) {Warner Music Brasil M995136-2 rel 2000)
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 226 Mb | MP3 @320 -> 89 Mb
Full Artwork @ 300 dpi (png) -> 41 Mb | 5% repair rar
© 1975, 2000 Phonogram / Warner Music Brasil / WEA | M995136-2
Música popular brasileira / MPB / Brazilian Pop / Tropicalia / World Music

Recorded the same year as Gil e Jorge, his brilliant collaboration with Jorge Ben, Refazenda keeps up the pace, but in a completely different way. Instead of the acoustic Brazilian folk of Gil e Jorge, Gil focuses on breezy pop. "Jeca Total," "Ê, Povo, Ê," "Tenho Sede," and the title track are dominated by flute, accordion, horns, and gentle strings. Gil is in excellent voice, whether he's delivering a driving song like "Essa é Pra Tocar No Rádio" or more intimate ballads like the last two tracks, "Lamento Sertanejo" and "Meditação." Though "Pai e Mãe" and a few other tracks are slightly reminiscent of the Gil e Jorge LP, Gil reasserts himself here as the pop star whom all of Brazil had expected him to be.