Dec 6, 2016

RhoDeo 1649 Roots

Hello,

The music of Brazil encompasses various regional music styles influenced by African, European and Amerindian forms. After 500 years of history, Brazilian music developed some unique and original styles such as samba, bossa nova, MPB, sertanejo, pagode, tropicalia, choro, maracatu, embolada (coco de repente), mangue bit, funk carioca (in Brazil simply known as Funk), frevo, forró, axé, brega, lambada, and Brazilian versions of foreign musical genres, such as Brazilian rock and rap.


Today's artist is was born Astrud Evangelina Weinert, the daughter of a Brazilian mother and a German father, in the state of Bahia, Brazil. She was raised in Rio de Janeiro. She married João Gilberto in 1959 and emigrated to the United States in 1963, residing in the U.S. from that time. Astrud and João divorced in the mid-1960s and she began a relationship with her musical partner, American jazz saxophone player Stan Getz.... N'Joy

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The honey-toned chanteuse on the surprise Brazilian crossover hit "The Girl From Ipanema," Astrud Gilberto parlayed her previously unscheduled appearance (and professional singing debut) on the song into a lengthy career that resulted in nearly a dozen albums for Verve and a successful performing career that lasted into the '90s. Though her appearance at the studio to record "The Girl From Ipanema" was due only to her husband João, one of the most famed Brazilian artists of the century, Gilberto's singular, quavery tone and undisguised naïveté propelled the song into the charts and influenced a variety of sources in worldwide pop music.

Born in Bahia, Gilberto moved to Rio de Janeiro at an early age. She'd had no professional musical experience of any kind until 1963, the year of her visit to New York with her husband, João Gilberto, in a recording session headed by Stan Getz. Getz had already recorded several albums influenced by Brazilian rhythms, and Verve teamed him with the cream of Brazilian music, Antonio Carlos Jobim and João Gilberto, for his next album. Producer Creed Taylor wanted a few English vocals for maximum crossover potential, and as it turned out, Astrud was the only Brazilian present with any grasp of the language. After her husband laid down his Portuguese vocals for the first verse of his and Jobim's composition, "The Girl From Ipanema," Astrud provided a hesitant, heavily accented second verse in English.

Not even credited on the resulting LP, Getz/Gilberto, Astrud finally gained fame over a year later, when "The Girl From Ipanema" became a number five hit in mid-1964. The album became the best-selling jazz album up to that point, and made Gilberto a star across America. Before the end of the year, Verve capitalized on the smash with the release of Getz Au Go Go, featuring a Getz live date with Gilberto's vocals added later. Her first actual solo album, The Astrud Gilberto Album, was released in May 1965. Though it barely missed the Top 40, the LP's blend of Brazilian classics and ballad standards proving quite infectious with easy listening audiences.

Though she never returned to the pop charts in America, Verve proved to be quite understanding for Astrud Gilberto's career, pairing her with ace arranger Gil Evans for 1966's Look to the Rainbow and Brazilian organist/arranger Walter Wanderley for the dreamy A Certain Smile, a Certain Sadness, released later that year. She remained a huge pop star in Brazil for the rest of the 1960s and '70s, but gradually disappeared in America after her final album for Verve in 1969. In 1971, she released a lone album for CTI (with Stanley Turrentine) but was mostly forgotten in the U.S. until 1984, when "Girl From Ipanema" recharted in Britain on the tails of a neo-bossa craze. Gilberto gained worldwide distribution for 1987's Astrud Gilberto Plus the James Last Orchestra and 2002's Jungle.

Gilberto received the Latin Jazz USA Award for Lifetime Achievement in 1992, and was inducted into the International Latin Music Hall of Fame in 2002. In 1996, she contributed to the AIDS benefit album Red Hot + Rio produced by the Red Hot Organization, performing the song "Desafinado" along with George Michael. Although she did not officially retire, Gilberto announced in 2002, that she was taking "indefinite time off" from public performances.


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One of Gilberto's less impressive '60s Verve outings, primarily due to the more pop-oriented song selection. Much of this is just standard pleasant Gilberto: offhand vocals and a sumptuous Brazil pop-cum-U.S. orchestration feel (Ron Carter and Toots Thielemans are among the sidemen). And some of the pop choices work well, particularly Tim Hardin's gorgeous "Misty Roses." No vocals or arrangements, however, could save the criminally wrong-headed military march of "A Banda (Parade)," or the exasperatingly coochie-coochie duet between Gilberto and her six-year-old son on the Lovin' Spoonful's "You Didn't Have to Be So Nice." Which makes it all the more surprising when the next and concluding track, "Nao Bate O Corocao," has Gilberto cutting loose with confident, sassy scats, as she rarely did before or since. The CD reissue improves matters by adding five bonus cuts from A Certain Smile a Certain Sadness, recorded in 1966 in more authentically bossa nova-style arrangements, anchored by organist Walter Wanderley.



Astrud Gilberto - Beach Samba (flac 275mb)

01 Stay 2:41
02 Misty Roses 2:36
03 The Face I Love 2:06
04 A Banda (Parade) 2:07
05 Oba, Oba 1:59
06 Canoeiro 1:32
07 I Had The Craziest Dream 2:25
08 Bossa Na Praia (Beach Samba) 2:48
09 My Foolish Heart 2:47
10 Dia Das Rosas (I Think Of You) 2:21
11 You Didn't Have To Be So Nice 2:41
12 Nao Bate O Coracao 1:35
Bonus Tracks
13 Goodbye Sadness 3:34
14 Call Me 3:20
15 Here's That Rainy Day 2:44
16 Tu Meu Delirio 3:39
17 It's A Lovely Day Today 2:39

Astrud Gilberto - Beach Samba      (ogg  107mb)

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While assembled from seemingly disparate sessions arranged by Eumir Deodato, Don Sebesky, and Pat Williams, Windy nevertheless proves one of Astrud Gilberto's most consistent and sublime efforts, artfully straddling the division between Brazilian bossa nova and American sunshine pop. Credit the aforementioned arrangers for much of the LP's appeal -- from a percolating rendition of the Association's title cut to a neo-classical reinvention of the Beatles' "In My Life," the songs possess a lithe, shimmering beauty that perfectly complements Gilberto's feathery vocals. Still, she can't quite skirt the cloying sweetness that undermines so many of her mid-period Verve LPs -- son Marcelo, who first joined his mother on the previous Beach Samba for an excruciating duet version of the Lovin Spoonful's "You Didn't Have to Be So Nice," resurfaces here for a reading of The Jungle Book's "The Bare Necessities," proving yet again that children should be seen and not heard.



Astrud Gilberto - Windy   (flac  174mb)

01 Dreamy 2:05
02 Chup, Chup, I Got Away 2:04
03 Never My Love 2:37
04 Lonely Afternoon 3:16
05 On My Mind 2:41
06 The Bare Necessities 2:39
07 Windy 2:45
08 Sing Me A Rainbow 2:05
09 In My Life 2:35
10 Crickets Sing For Anamaria 1:35
11 Where Are They Now? 3:09

     (ogg   mb)

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Astrud Gilberto had begun tackling '60s vocal pop crossovers on her Windy album from earlier in 1969, but her final record (of three) from that year found her stretching out not just on material but on arrangements. The production and arrangements by Brooks Arthur and Albert Gorgoni, respectively, attempt to push Gilberto into the type of groovy "now sound" that everyone from Harry Nilsson to Andy Williams was employing in the late '60s. Of course, Gilberto was an easy fit for this type of sound, and the only missteps here come when the songs don't fit her occasionally limited talents. "Light my Fire" is at the top of that list, while the Bee Gees' "Holiday" and Nilsson's "Don't Leave Me, Baby" appear very high as well. Highlights do crop up, with the opener "Beginnings" working very well except for its long coda, and the one Brazilian song, "Let Go (Canto de Ossanha)" charting the perfect balance between timeless pop and late-'60s crossover appeal.



Astrud Gilberto - September 17 1969   (flac  269mb)

01 Beginnings 8:08
02 Holiday 3:11
03 Here There And Everywhere 2:25
04 Light My Fire 2:54
05 Let Go (Canto De Ossanha) 3:05
06 Let's Have The Morning After (Instead Of The Night Before) 4:04
07 Think Of Rain 2:46
08 A Million Miles Away Behind The Door 2:27
09 Love Is Stronger Far Than We 3:40
10 Don't Leave Me Baby 2:30
11 Summer Sweet 6:29

Astrud Gilberto - September 17 1969    (ogg  99mb)

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Astrud's voice and laid-back delivery are better here then on her earlier (and better-known) Verve albums. Stanley Turrentine is all over this record, and his solos are soulful, strong, and melodic as always. However, the real treasures of this ablum though are the outstanding arrangements by Eumir Deodato, who once again proves he is the master of this type of music. Nearly every track is full of interesting, complex, yet beautiful instrumentation. He blends mellow low strings with lots of Fender Rhodes electric piano, plenty of electric and acoustic guitar, and a wide variety of Brazilian percussion instruments. It's just a rich tapestry of sound that never fails to intrigue



Astrud Gilberto - Gilberto With Turrentine (flac  257mb)

01 Wanting Things 2:35
02 Brazilian Tapestry 5:10
03 To A Flame 3:17
04 Solo El Fin (For All We Know) 3:10
05 Zazueira 3:40
06 Ponteio 3:35
07 Travelling Light 3:25
08 Vera Cruz 5:05
09 Historia De Amor (Love Story) 3:29
10 Where There's A Heartache 3:10
Bonus Tracks
11 Just Be You 2:29
12 The Puppy Song 3:21
13 Polytechnical High 2:48

Astrud Gilberto - Gilberto With Turrentine  (ogg 107mb)

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