Joao Selva Maré Vai Subir

The great Portuguese pianist Maria João Pires has issued some career-defining albums in the first years of the 21st century, and this 2013 album, covering perhaps Franz Schubert's two most ambitious sonatas, is certainly among them. It's a challenging yet sensuous performance with enough in it to reward many multiple hearings. The two sonatas are treated somewhat differently, but both readings find a midpoint between the big old-fashioned concert-hall Schubert and newer readings, often on historical instruments, that emphasize the intimate, somewhat intellectual nature of the circle for which Schubert composed a lot of his music.

Portugal doesn't get much credit for seemingly any of her accomplishments, but they are substantial, particularly in art. These absolutely lovely violin sonatas from two composers who worked in the 20th century not only rectify this oversight, they add unquestionably to an already rich violin repertoire. Monteiro and Santos have had my attention for quite some time now, this 2010 release is simply another success in a line of great releases. I've admired their artistry, but it really is a treat to hear them in music that is so clearly close to them.

Maria João Pires (b. 1944) recorded this recital some years ago; it is thankfully back in the catalog now, finally available again after so many years, thanks to Apex. There are many aspects of the recording which show their age considering the general approach to Bach on the piano in the year 2013—the slower tempos in the fast movements, the thicker orchestral textures, the expressive use of rubato, the numerous hairpin phrasings, especially in the strings. Yet the performances hold up well simply because Pires and Corboz are so in tune with the characters of each of these individual works.

Gilberto Gil - São João em Araras - ao Vivo (2021) {Gege Produções Artisticas}
FLAC (tracks) - 16bit/44.1kHz - Digital Download -> 367 Mb | MP3 @320 -> 143 Mb | Cover | 5% repair rar
© 2021 Gege Produções Artisticas
Jazz / Brazilian Jazz / MPB / Brazilian Traditions / Brazilian Pop

Singer and composer Gilberto Gil made available on all digital platforms this Friday (28) the album “São João em Araras – ao Vivo”, a virtual show held in 2020 as a form of homemade celebration of Festa Junina. The presentation has 18 songs in total, where the artist performed with the support of his band. In the track “Eu Só Quero um Xodó”, Gil had the special participation of the singer Preta Gil, one of his daughters.

Gilberto Gil - São João Vivo (2000) {Warner Music Brasil 092746052-2 rel 2002}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 482 Mb | MP3 @320 -> 182 Mb
Full Artwork @ 300 dpi (jpg) -> 37 Mb | 5% repair rar
© 2000, 2002 Warner Music Brasil | 092746052-2
Jazz / Brazilian Jazz / Música popular brasileira / Brazilian Traditions / Brazilian Pop

São João Vivo is the live version of As Canções de Eu Tu Eles, the Brazilian popular music legend Gilberto Gil's fine homage to Luiz Gonzaga and forro. This is basically the same album, though of course recorded live. Compared to the studio album, a few additional tracks have been added. Perhaps the most welcome of those tracks is Anastácia's romantic "Só Quero um Xodó," which Gil recorded with great success in the '70s. Gil also presents a different version of his own "Toda Menina Bahiana," another very fine '70s hit of his. To sum it up, though, São João Vivo is indeed a nice, enjoyable live album, but it is basically unnecessary for anyone who already owns the studio album As Canções de Eu Tu Eles.

Where’s João Donato? It’s a frequently asked question, referring simultaneously to the physical location and the musical moment he inhabits. A sampling of some of his more descriptive song titles suggests Donato’s comfort with musical hybrids: “Bluchanga,” “Sambolero,” and “Sambongo,” to name just a few. Lacking a name for his style of music, Donato’s is a distinct sound, immediately recognizable from the first few bars of any of his compositions. He was funky back when “funk” was a bad word (listen to either of his 1960s Brazilian LPs for proof). His compositions are deceptively simple, while his arrangements are harmonically complex, resulting in songs that are seemingly childlike, yet reveal their intricate details upon repeat listening.

With his own very personal view of jazz, João Mortágua has rapidly established himself as one of the most complete and challenging modern-day saxophonists in Portugal. His elegant compositions offer space both for solo improvisation and mesmerizing group dynamics. Mortágua recorded his first album “Janela” in 2014. Recently, he published “MIRRORS” (Live at Guimarães Jazz) and “AXES”.

This 1976 album by the late saxophonist Stan Getz is a reunion of sorts with Joao Gilberto, the great Brazilian guitarist and singer, and the music of Antonio Carlos Jobim (or Tom Jobim), along with the stylish and nonintrusive arrangements of Oscar Carlos Neves. The trio changed the world in the early 1960s with its Getz/Gilberto albums. With Neves, they almost did it again, but with all of the crap falling down around them in the musical climate of the mid-'70s - fusion, disco, overblown rock, and the serious decline of jazz - this disc was criminally overlooked at the time. Joining these four men in their realization of modern bossa and samba are drummers Billy Hart and Grady Tate, percussionists Airto, Ray Armando, and Ruben Bassini, bassist Steve Swallow, pianist Albert Dailey, and Heliosoa Buarque…

Since no others leap to mind, I would have to say that Joao Bosco is the greatest civil engineer turned singer/songwriter in the history of Brazilian popular music. He graduated with his degree in 1972 but since then has been concentrating on becoming one of Brazil's most formidable songwriters. For most of his early career he supplied Elis Regina with some of her best material, indeed it could be said that each one made the other's career, but since her death, Bosco has stepped into the performance limelight with a great degree of authority and has been one of the more compelling figures in Brazilian music for the last 25 years.