May 9, 2017

RhoDeo 1719 Roots

Hello, after 15 months of Brazil, and as this country has been dominating the music scene in South America, we won't be seeing too much of the other countries. neighboring Uruguay is mainly known for it's soccer and liberal drug laws as well as a President that drives around in an old VW, but that one post here shouldn't be missed. On we go to Argentina the most European country on the continent more on that country next week, for now we look at one of it's most famous artists.... N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

Lalo Schifrin (born June 21, 1932) is an Argentinepianist, composer, arranger and conductor. He is bestknown for his film and TV scores, such as the "Themefrom Mission: Impossible ". He has received four Grammy Awards and six Oscar nominations. Schifrin, associated with the jazz music genre, is also noted for work withClint Eastwood in the late 1960s, 1970s and 1980s, par-ticularly the Dirty Harry films.

Schifrin was born in Buenos Aires to Jewish parents. His father, Luis Schifrin, led the second violin section of the orchestra at the TeatroColón for three decades. At the age of six, Schifrin began a six-year course of study on piano with Enrique Barenboim, the father of the pianist and conductor Daniel Barenboim. At age 16, Schifrin began studying piano with the Greek-Russian expatriate Andreas Karalis, former head of the Kiev Conservatory, and harmony with Argentine composer Juan Carlos Paz. During this time, Schifrin also became interested in jazz. Although Schifrin studied sociology and law at the University of Buenos Aires, it was music that captured his attention.

At age 20, he successfully applied for a scholarship to the Paris Conservatoire. At night he played jazz in the Paris clubs. In 1955, Schifrin played piano with Argentinian bandoneon giant Ástor Piazzolla, and represented his country at the International Jazz Festival in Paris.

After returning home to Argentina, Schifrin formed a jazzorchestra, a16-piece band that became part of a pop-ular weekly variety show on Buenos Aires TV. Schifrin also began accepting other film, television and radio as-signments. In 1956, Schifrin met Dizzy Gillespie and offered to write an extended work for Gillespie’s big band.Schifrin completed the work, Gillespiana, in 1958 (it was recorded in 1960).

Later that year Schifrin began working as an arranger for Xavier Cugat's popular Latin dance orchestra.While in New York in 1960, Schifrin again met Gillespie, who had by this time disbanded his big band for financial reasons. Gillespie invited Schifrin to fill the vacant piano chair in his quintet. Schifrin immediately accepted and moved to New York City. Schifrin wrote a secondextended composition for Gillespie, The New Continent, which was recorded in 1962. In 1963, MGM, which hadSchifrin under contract, offered the composer his first Hollywood film assignment with the African adventure Rhino!
Schifrin moved to Hollywood late that year. He also radically re-arranged the theme for the popularNBC-TV series  The Man from U.N.C.L.E., altering original composer Jerry Goldsmith's theme to a jazzy melody emphasizing flutes and exotic percussion, which wound up winning the Emmy award for Best TV Theme in1965.One of Schifrin’s most recognizable and enduring com-positions is the theme music for the long-running TV se-ries Mission: Impossible. It is a distinctive tune written inthe uncommon 5/4 time signature. Similarly, Schifrin’s theme for the hugely successful  Mannix private eye TVshow was composed a year later in a 3/4 waltz time; Schifrin composed several other jazzy and bluesy num-bers over the years as additional incidental music for the show. Schifrin’s“Tar Sequence” from his Cool Hand Luke score(also written in 5/4) was the longtime theme for the Eyewitness News broadcasts on NewYork station WABC-TV and other ABC affliates, as well as National Nine News in Australia. CBS Television used part of the the me of his St. Ives soundtrack for its golf broadcasts in the1970s and early 1980s.Schifrin’s score for Coogan’s Bluff in 1968 was the beginning of a long association with Clint Eastwood and di-rector Don Siegel. Schifrin’s strong jazz blues riffs were evident in
 Dirty Harry Schifrin’s working score for 1973’s  The Exorcist was re-jected by the film’s director, William Friedkin. Schifrin had written six minutes of difficult and heavy music for the initial film trailer, but audiences were reportedly frightened by the combination of sights and sounds.Warner Bros. ecutives told Friedkin to instruct Schifr in to tone it down with softer music, but Friedkin did not relay the message. Schifrin’s final score was thrown out in to the parking lot. Schifrin reported in an interview that working with Friedkin was one of the most unpleasant ex-periences in his life.

Over the next decade, Schifrin would score films like The Cincinnati Kid, Bullitt, Cool Hand Luke, Dirty Harry, and Enter the Dragon. As a jazzer, he wrote the well-received "Jazz Mass" suite in 1965, and delved into stylish jazz-funk with 1975's CTI album Black Widow. Schifrin continued his film work all the way through the '90s; during that decade, he recorded a series of orchestral jazz albums called Jazz Meets the Symphony, and became the principal arranger for the Three Tenors, which complemented his now-dominant interest in composing classical music.

xxxxx xxxxx xxxxx xxxxx xxxxx

The one and only album by Dino & Montevideo Blues deserves to be a serious contender as one of the most important, and as it happens, most grooving, records ever released in Uruguay. But there is another reason that the album has attained exalted status: the incisive power of the lyrics, which are all the more impressive considering the national turmoil out of which they were created. Montevideo Blues was founded by Uruguayan song-writing legend Gastón “Dino” Ciarlo as a way to fuse the rawness of rock music with obscure native Uruguayan rhythms like malambo, milonga and chamarrita—a logical direction to pursue after Dino had attempted pop/candombe fusions in his solo recordings.

“At the time, we were revolutionary and looking for change,” said Dino. Montevideo Blues demonstrated an unyielding and combative attitude. During live shows in 1971, Dino often criticized the government—a level of political commitment reflected in the lyrics of the songs, some of the most radical ever set to music. Eduardo Mateo, the sacred monster of modern Uruguayan music, was succinct: “You have decided to prune the tree,” he said to Dino. The album opens with one of Dino’s most famous songs ‘Milonga de Pelo Largo’ (‘Milonga of the Long Hair’), a sinuous song transformed by the arrival of the dictatorship into a hymn of Uruguayan popular resistance. The rest of the album tracks have an edgy, atonal quality, with terrific unconventional angular guitar and a kind of ragged glory, all driven along by insistent grooving rhythms, whether from native drums or the clicking of drumsticks. Bonus tracks include beat-rockers ‘Sendero de Rosas’ and ‘Rubio es el color,’ from the rare “La Juventud” compilation album, as well as both sides of Dino’s two early singles for RCA Vik. A 32-page booklet is packed with photos, detailed band history, and lyrics for this important Uruguayan band

Dino and Montevideo Blues - Montevideo Blues (flac  177mb)

01 Milonga De Pelo Largo 3:40
02 Para Hacer Mùsica, Para Hacer 5:05
03 Pongamos Muchas Balas Al Fusil 3:51
04 Si Te Vas 2:28
05 Montevideo Blues 3:50
06 Hermano Americano 3:23
07 Sentimiento 2:46
08 Un Color 3:37
09 Chamarrita El Chiquero 3:25
10 Hay Veces / Canta, Canta, Canta 5:08

    (ogg   mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Lalo = Brilliance (subtitled The Piano of Lalo Schifrin) is an album by Argentine composer, pianist and conductor Lalo Schifrin recorded in 1962 and released on the Roulette label. The album was one of Schifrin's earliest solo albums and features musicians from Dizzy Gillespie's band. He made his name with Dizzy Gillespie, joining the trumpeter in his quintet after he had disbanded his big band. His own individual talent was immediately obvious, leading to a contract with MGM. Mixing new material (he wrote four of the right tracks on display) with cover versions, the album is very much Latin influenced, as one might expect, but there is a soothing jazz undercurrent to keep the listener interested throughout. Bossa Nova New Brazilian Jazz was released during the height of the popularity of bossa nova music in the early 1960s and was one of Schifrin's earliest solo albums after leaving Dizzy Gillespie's band. Brazilian Jazz possesses that familiar fast tempo of the gone-by Carmen Miranda era, a time when Brazilian music was new to U.S. audiences. Castro-Neves’ “Chora Tua Tristeza,” for example, loses its original sad feeling with a fast samba approach. The same annoying speed is found in Paulo and Madrid’s “Bossa em Nova York.” It is clear that there is a fixation with fast drumming and lots of hissing percussion in Brazilian Jazz. Quite frankly, you will find yourself running out of breath at the end of this album because of its fast pace.

Lalo Schifrin - Lalo = Brilliance + Bossa Nova   (flac  344mb)

01 The Snake's Dance 3:30
02 An Evening In Sao Paulo 2:45
03 Desafinado 3:19
04 Kush 6:15
05 Rhythm-A-Ning 4:33
06 Mount Olive 4:38
07 Cubano Be 3:14
08 Sphayros 4:02

Lalo Schifrin - Bossa Nova New Brazilian Jazz

09 Boato (Bistro) 2:27
10 Chora Tua Tristeza 2:37
11 Poema Do Adeus 3:17
12 Apito No Samba 2:49
13 Chega De Saudade 5:19
14 Bossa Em Nova York 1:52
15 O Amor E A Rosa 3:34
16 O Menino Desce O Morro (Little Brown Boy) 2:28
17 Menina Feia 2:25
18 Ouça 3:56
19 Samba De Uma Nota So 3:44
20 Patinho Feio (aka Ugly Duckling) 3:01

 Lalo Schifrin - Lalo = Brilliance + Bossa Nova   (ogg   144mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

While he’s best known as a composer of music for films and television, Lalo Schifrin is also a jazz pianist, once in the employ of iconic trumpeter Dizzy Gillespie in the late-1950s and early-‘60s. Released in 1962, BOSSA NOVA finds the Argentina-born Schifrin paying tribute to the Brazilian style with lush, elegant strings and his lyrical piano. There are bossa nova standards, three originals, and some songs by American composers given the romantic bossa treatment.

 Lalo Schifrin ‎– Piano, Strings And Bossa Nova   (flac  193mb)

01 The Wave 2:41
02 Insensatez 2:19
03 You And Me (Voce E Eu) 1:45
04 Lalo's Bossa Nova (Samba Para Dos) 2:13
05 Silvia 3:09
06 Murmurio (Murmur) 1:56
07 Maria 2:27
08 Rapaz De Bem 2:32
09 Samba No Perroquet (Parrot Samba) 2:01
10 Rio After Dark 2:30
11 Time For Love 2:24
12 I'm Looking Over A Four Leaf Clover 1:51

  (ogg  mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

This excellent album must be appreciated also for its incredibly fine sound. You get some of the greatest music ever composed by Latins [Eduardo Leucona of Cuba !] played in the hot, sensual but jazzy Lalo Schifrin style, and the arrangements are very exciting. I wish liner notes listed the terrific musicians who perform on these blazing arrangements. I havn't heard exciting piano and Latin music like this since Carmen Cavallaro's recordings of yesteryear.

Lalo Schifrin - Piano Español  + Argentinian In Paris (flac  279mb)

01 Frenesi 3:18
02 The Breeze And I 2:47
A3 Capricho Espanol 3;20
04 My Shawl 2:44
05 Caravan 3:12
06 Malaguena 2:10
07 Cha Cha Cha Flamenco 2:52
08 Warsaw Concerto 2:01
09 Hulablues 3:09
10 Jungle Fantasy 2:32
11 All The Things You Are 3:14
12 El Cumbanchero 2:34

Lalo Schifrin - Argentinian In Paris

13 Moulin Rouge 3:29
14 Les Oignons 2:44
15 Fascination 3:44
16 Cabello Rojo 3:02
17 Mon Homme 3:36
18 Mambop 3:00
19 Pigalle 3:06
20 Serenade Mediterraneenne 2:47

Lalo Schifrin - Piano Español + Argentinian In Paris (ogg  313mb)

xxxxx xxxxx xxxxx xxxxx xxxxx


Anonymous said...

hi... i just worked out how to post a comment. Just wanted to thank you for alot of music you've enlightened me to over the years. For some reason i like the layout of your blog and everything is displayed clearly without distraction, and the music reviews usually give a clear indication of what sounds are to be expected from each album/artist... and the same goes with some of the other stuff posted. Anyway... i just made an extra effort to work out how to post a comment, because i loved the Dino and Montevideo album. Cheers!

Guitarradeplastico your favorite musician said...

many thanks