Folrence Brasil 2016

Two classic easy-listening albums by Paul Mauriat and His Orchestra, originally released in 1977 and 1978 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound.

Batida - Batida (1983) {2016 Japan Timeless Jazz Master Collection Complete Series CDSOL-6435}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 251 Mb | MP3 @320 -> 102 Mb
Full Artwork @ 600 dpi (png) -> 231 Mb | 5% repair rar
© 1983, 2016 Timeless Records / Solid Records Japan / Ultra-Vibe | CDSOL-6435
Jazz / Latin Jazz / Post Bop / Samba Jazz / Bossa Nova / Brazilian Traditions

Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. One of the first Dutch bands - if not the first - to perform purely Brazilian music, but not with the bossa nova's until then, but with his own compositions that radiate power and are compelling. Founders Josee Koning (vocals) and Peter Schön (keyboards, compositions) devise as a trademark for this approach: two percussionists on stage, live and in the mix on the record.

Through his soft, lush instrumentals of the 1950s and '60s, he essentially created what became known as easy listening.
Percy Faith was one of the most popular easy listening recording artists of the '50s and '60s. Not only did he have a number of hit albums and singles under his own name, but Faith was responsible for arranging hits by Tony Bennett, Doris Day, Johnny Mathis, and Burl Ives, among others, as the musical director for Columbia Records in the '50s.

Victor Assis Brasil was the best Brazilian jazzman of his generation, having being praised by international critics. Brasil showed early evidence of talent for music, excelling at the harmonica and the drums. At age 12 he gave his first concert at the harmonica. In 1961, at age 16, he was presented with an alto saxophone. In 1965, while already a professional, Brasil recorded his first album, Desenhos, with highly favorable reviews, consolidating his pioneering role as a Brazilian jazz musician. His next conquests were the achievement of third place at the 1966 International Jazz Contest in Vienna, Austria, and of the Best Soloist award in the Berlin Jazz Festival, which granted him a scholarship to the Berklee School of Music (Boston, MA). During the following four years he spent in the U.S., Brasil wrote most of his 400 works…

A wonderful early album from Victor Assis Brasil - one of Brazil's greatest saxophone players of the 60s and 70s, and an artist with a keen post-Coltrane approach to his work! The album's awash in modally grooving numbers that would have made Coltrane proud - soulfully swinging tunes that bounce along on tight piano, bass, and percussion - as Victor spins out some lean and exploratory lines on alto sax. The album features some nice work by a young Claudio Roditi, and the lineup shifts a bit from track to track - but Brasil's incredible tone and solo work on the alto sax really holds the whole set together, and offers up a new surprise at each track!

Victor Assis Brasil was the best Brazilian jazzman of his generation, having being praised by international critics. Brasil showed early evidence of talent for music, excelling at the harmonica and the drums. At age 12 he gave his first concert at the harmonica. In 1961, at age 16, he was presented with an alto saxophone. In 1965, while already a professional, Brasil recorded his first album, Desenhos, with highly favorable reviews, consolidating his pioneering role as a Brazilian jazz musician. His next conquests were the achievement of third place at the 1966 International Jazz Contest in Vienna, Austria, and of the Best Soloist award in the Berlin Jazz Festival, which granted him a scholarship to the Berklee School of Music (Boston, MA)…