Odeon 57

Paulinho da Viola - Paulinho da Viola (1968) {Odeon–EMI 8525032 rel 1996}
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© 1968, 1996 Odeon / EMI Music Brasil | 852503 2
Jazz / Brazilian Jazz / Samba / Brazilian Pop / MPB

Classic samba by the master of classic samba, Paulinho da Viola. Having recorded and album called 'Samba de Madrugada' with his friend and partner Elden Medeiros a few years previous, this is actually Paulinho's first disc released under his own name. The liner notes contain a big chunk of autobiographical writing from Paulinho, talking about the first Carnaval blocos he formed in his neighborhood of Botafogo and his trajectory through which he eventually came into contact with the Portela samba school and began working around people like Candeia, Casquinha, Monarco and others, and eventually hanging around the bar 'Zicartola' with the likes of Cartola, Elton Medeiros, Nelson Sargento, Nelson Cavaquino, Elizete Cardoso….

El Pali - Antología (2001) {4CD Set EMI-Odeon 7243 5 32843 2 9 rec 1974-1988}
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© 1974-88, 2001 Hispavox / EMI-Odeon | 7243 5 32843 2 9
World / Flamenco / Sevillanas / Western European Traditions

Francisco de Asís Palacios Ortega (Paco to his friends), better known as the "Pali", born May 22, 1928 in the central neighborhood of La Casa de la Moneda de Sevilla and dies in the same city in 1988 Andalusian at age 60. The nickname seems to be that it is because in his youth was thin as a "stick" nothing to do with the image that is identified in the photographs of his albums since "The Pali" eventually gained weight and had to overcome their myopia with glasses whose lenses were increasing the so-called "bottle-ass." Your fat and glasses gave him that peculiar aspect which remind people of Seville, and who disappeared in 1988 and was buried as said on one of their Sevillanas "With my flag of Spain."

Bill Nelson - Return To Tomorrow (2012) {Discs Of Ancient Odeon DOAO CD 007}
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© 2012 Discs Of Ancient Odeon / Bill Nelson | DOAO CD 007
Rock / Alternative / Art Rock / Ambient

This is volume one in a series of albums designed to gather together rare and previously unreleased home recordings from the ‘80s onwards under the series title 'THESE TAPES REWIND'. From the mid ‘80s and into the early '90s my home studio, ('The Echo Observatory'), used a reel-to-reel analogue 16-track recorder. I mixed down via an analogue desk onto a very early SONY PCM F1 digital stereo machine. Whilst I released several albums recorded this way, there was a huge amount of material left 'on the shelf’.

Born in Rio de Janeiro to a family deeply rooted in the samba tradition, Paulinho met and befriended much of Rio's samba elite as a child. His father César Faria was a guitar player, and musicians such as Pixinguinha and Jacob do Bandolim would often come to his house for rehearsals, which Paulinho watched for hours on end. After the rehearsals, Paulinho would pick up his father's guitar and strum the few chords he knew. Later, as a teenager, he was frequently seen at jams at mandolin master Jacob do Bandolim's house, quietly and attentively observing the older, more experienced musicians. He began writing his own songs as a teenager, but never considered a career as a professional musician until he met poet Hermínio Bello de Carvalho in 1964. By then, Paulinho was working as a teller at a bank in Rio de Janeiro, and recognized Hermínio from the jam sessions at Jacob do Bandolim's house.

Both underappreciated masters of jazz improvisation, Odean Pope and pianist Dave Burrell dish up some beautiful music throughout the nine original compositions found on this disk. This may seem like a somewhat subdued set for the label and these two giants, but anyone who has followed their careers knows that, although both musicians are identified as players pushing the edge, neither one of these fellows is a scorcher…

Following two patchier albums filled with cheery East End tales, Argy Bargy (1980), emerged as their crowning achievement. Now reissued along with some of the band's later efforts, it remains a masterpiece of kitchen sink pop, possibly second only to the follow up, East Side Story. Chris Difford, and Glenn Tilbrook, the band's Lennon and McCartney had already proven themselves adept at gritty, witty tableaus like Up The Junction or Slap And Tickle. Added to this was their technical sheen. There's Tilbrook's underrated ability to pull tasty (and apt) solos out of the hat like a younger George Harrison - the solo at 1.46 on Pulling Mussels (From The Shell) is one of the best - and also one of the best drummers in the business in Gilson Lavis. All this briefly made Squeeze world-beaters.