Flac Bossa

Como todos sabemos, a Bossa Nova é um dos estilos mais maravilhosos e versáteis na história da música popular de todos os tempos. Em 1958 foi publicado o primeiro disco do género por João Gilberto, o qual despertou controvérsias e críticas dentro da sociedade brasileira que, inicialmente, se opôs à nova sonoridade por ser considerada "anti musical". Em 2008, cumprem-se 50 anos deste começo e, justamente, esta maravilhosa colectânea tripla começa com o tema "Desafinado", una clara resposta a essas críticas, por parte do próprio Gilberto e com autoria de Tom Jobim, talvez o compositor mais importante do género.

Como todos sabemos, a Bossa Nova é um dos estilos mais maravilhosos e versáteis na história da música popular de todos os tempos. Em 1958 foi publicado o primeiro disco do género por João Gilberto, o qual despertou controvérsias e críticas dentro da sociedade brasileira que, inicialmente, se opôs à nova sonoridade por ser considerada "anti musical". Em 2008, cumprem-se 50 anos deste começo e, justamente, esta maravilhosa colectânea tripla começa com o tema "Desafinado", una clara resposta a essas críticas, por parte do próprio Gilberto e com autoria de Tom Jobim, talvez o compositor mais importante do género.

The Best of Bossa Nova: The Girls from Ipanema culls work from both Brazilian artists and (mostly American) artists who dabbled in cool jazz and bossa nova. Stan Getz and Astrud Gilberto are those most frequently found on the album, including in their famous collaboration of "The Girl from Ipanema," the song that brought Gilberto to fame, but their other contributions capture the smooth loungey feel that bossa means to convey. Other tracks on the two-disc, 15-song compilation include Antonio Carlos Jobim's "Favela," Luiz Bonfá's "Domingo a Noite," Baden Powell's "Canto de Ossanha" and João Gilberto's "Samba da Minha Terra," which makes it, although not complete, a pretty good sampling of what the genre has to offer.

The Best of Bossa Nova: The Girls from Ipanema culls work from both Brazilian artists and (mostly American) artists who dabbled in cool jazz and bossa nova. Stan Getz and Astrud Gilberto are those most frequently found on the album, including in their famous collaboration of "The Girl from Ipanema," the song that brought Gilberto to fame, but their other contributions capture the smooth loungey feel that bossa means to convey. Other tracks on the two-disc, 15-song compilation include Antonio Carlos Jobim's "Favela," Luiz Bonfá's "Domingo a Noite," Baden Powell's "Canto de Ossanha" and João Gilberto's "Samba da Minha Terra," which makes it, although not complete, a pretty good sampling of what the genre has to offer.

The Best of Bossa Nova: The Girls from Ipanema culls work from both Brazilian artists and (mostly American) artists who dabbled in cool jazz and bossa nova. Stan Getz and Astrud Gilberto are those most frequently found on the album, including in their famous collaboration of "The Girl from Ipanema," the song that brought Gilberto to fame, but their other contributions capture the smooth loungey feel that bossa means to convey. Other tracks on the two-disc, 15-song compilation include Antonio Carlos Jobim's "Favela," Luiz Bonfá's "Domingo a Noite," Baden Powell's "Canto de Ossanha" and João Gilberto's "Samba da Minha Terra," which makes it, although not complete, a pretty good sampling of what the genre has to offer.

There are few World film composers that can boast the prolificacy of Piero Piccioni. Since the early 1950s Piccioni has been a truly innovative composer of film music. In the 1950s he composed under the pseudonym of Piero Morgan, and since his first soundtrack Il Mondo Le Condanna of 1952, many directors sought Piero Piccioni to score the soundtracks for their films: Luchino Visconti, Bernardo Bertolucci, Vittorio De Sica, Roberto Rossellini, Elio Petri, Francesco Rosi, Mario Monicelli, Alberto Lattuada, Alberto Sordi, Luigi Comencini, Antonio Pietrangeli, Lina Wertmuller, Tinto Brass, Dino Risi, are just some of the great directors for whom he scored more than 300 wondrous soundtracks. Swept Away, Le Mani sulla città’, Camille 2000, Colpo Rovente, The 10th Victim, Amore mio aiutami, More Than a Miracle,

44 original recordings from iconic Brazilian artists and American jazz & pop legends: Antonio Carlos Jobim, Stan Getz, Astrud Gilberto, João Gilberto, Flora Purim, Nacho Méndez, Dave Brubeck, Charlie Byrd, George Benson, Sarah Vaughan, Miles Davis, Dextor Gordon, George Duke, and many many more… 3CDs, housed in a fold out card digipack case.

There are few World film composers that can boast the prolificacy of Piero Piccioni. Since the early 1950s Piccioni has been a truly innovative composer of film music. In the 1950s he composed under the pseudonym of Piero Morgan, and since his first soundtrack Il Mondo Le Condanna of 1952, many directors sought Piero Piccioni to score the soundtracks for their films: Luchino Visconti, Bernardo Bertolucci, Vittorio De Sica, Roberto Rossellini, Elio Petri, Francesco Rosi, Mario Monicelli, Alberto Lattuada, Alberto Sordi, Luigi Comencini, Antonio Pietrangeli, Lina Wertmuller, Tinto Brass, Dino Risi, are just some of the great directors for whom he scored more than 300 wondrous soundtracks. Swept Away, Le Mani sulla città’, Camille 2000, Colpo Rovente, The 10th Victim, Amore mio aiutami, More Than a Miracle,