Alaíde Costa

A great production from the glorious days of Brazilian popular music. There are fast, medium-paced and slow tracks. On Catavento, she also scats, and though she doesn't always have perfect pitch and seems somewhat uncomfortable doing it, it does contribute to the album's versatileness.

Alaide Costa - Canta Suavamente (1960) {RCA}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 159 Mb | MP3 @320 -> 82 Mb
Full Artwork @ 300 dpi (png) -> 22 Mb | 5% repair rar
© 1960 RCA / Sony BMG Brazil | 88697320222
Latin / World Music / Bossa Nova / Jazz / Vocal Jazz

Very nice early album from a bossa nova singer who still hasn't gotten her due! One of the best there was. Alaíde Costa is an important interpreter who had great success in the '60s. Her obstinate adherence to her delicate style, especially suited to the sensitive Brazilian genre modinha, made her be put aside by the cultural industry and she remained forgotten by the masses until her reappearance in Milton Nascimento's Clube da Esquina. She has been performing and recording erratically, but always with a high standard of quality in her dense interpretations. As a composer, she wrote music and lyrics for Afinal, and had partnerships with several important creators, such as Vinícius de Moraes and Geraldo Vandré.

Contains lots of very catchy and easy-to-dance-to tracks, including an interesting remake of Deodato's classic "Also Spracht Zarathustra" as well as a good rendition of classics like "Aquelas Coisas Todas" and "Chove Chuva". Quality package compiled by Dingwalls stalwart DJ Patrick Forge.

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…