Escape Carlos Goshn

Brazil's towering figure of bossa nova, both as a performer and, even more importantly, as a composer.
It has been said that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil, and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source.

Carlos Perón was the founder of globally renowned cult act Yello, initiator of the world’s first ever video clip, ‘The Evening’s Young’ from the group’s second album “Claro Que Si”. Following the fifth Yello album “You Gotta Say Yes To Another Excess”, which was released as the world’s first ever Compact Disc in 1983, Carlos left the group to embark on an ambitious solo career. After "Impersonator I" and "Die Schwarze Spinne", "Nothing Is True; Everything Is Permitted" was the 3rd solo release by Carlos Perón.

Los Angeles, June 2021 - An abounding reunion amongst Latin-Jazz luminaries, long-time music collaborators & friends embodied a gathering in the studio with a mission to record tracks for the long-awaited new album from Colombian native, Juan Carlos Quintero…

By 1967, bossa nova had become quite popular within jazz and traditional pop audiences, yet Frank Sinatra hadn't attempted any Brazil-influenced material. Sinatra decided to record a full-fledged bossa nova album with the genre's leading composer, Antonio Carlos Jobim. Arranged by Claus Ogerman and featuring Jobim on guitar and backing vocals, Francis Albert Sinatra & Antonio Carlos Jobim concentrated on Jobim's originals, adding three American classics - "Baubles, Bangles and Beads," "Change Partners," and "I Concentrate on You" - that were rearranged to suit bossa nova conventions. The result was a subdued, quiet album that used the Latin rhythms as a foundation, not as a focal point. Supported by a relaxed, sympathetic arrangement of muted brass, simmering percussion, soft strings, and Jobim's lilting guitar, Sinatra turns in an especially noteworthy performance…

Issued nearly a year after Jobim's death, this three-CD set is ground zero, the place to start if you don't have any Jobim in your collection or for anyone who wants a single package of his multifaceted art. The set encompasses not only Jobim's own sporadic work for Verve from 1963 until his final 1994 Carnegie Hall concert and the two A&M albums of 1967 and 1970, but also sessions led by Stan Getz, Joao, and Astrud Gilberto in which Jobim appeared as a sideman. Guitarist Oscar Castro-Neves, who selected the music for this set, follows a unique game plan, devoting disc one to vocal renditions of Jobim's songs, disc two to instrumental versions, and disc three to multiple comparisons of a few Jobim standards by different performers…