Galo cantou

  

Coral Trovadores do Vale
Beira Mar Novo
1997

Tracks:

01) Bóia, Boiadeiro
02) Beira-Mar da Leonor
03) Paulista das Meninas de Salinas
04) Tirana do Limoeiro
05) Vilão
06) Roda da Margarida
07) Beira-mar dos canoeiros, da Lira
08) Batuques do Presépio
09) Bendito de São José
10) Incelências
11) Roda de Valentino
12) Galo cantou
13) Oi, pescador
14) Saudade de Taperoá
15) Você diz que eu tou doido
16) Eu não sou daqui
17) Dança da tecedeira
18) Cadê meu dedo
19) Coco da velha
20) Roda da carambola

 

Ficha Técnica:

Direção Musical e Regência: Ivan Vilela
Direção Artística e Produção Executiva: Maria de Fátima Marques, Miracy Pereira da Silva Sebastião Roque (Coral Trovadores do Vale)
Arranjos: Ivan Vilela e Alexandre Lunsqui
Arranjos para Percussão: Carlinhos Ferreira

 

Músicos Convidados:

 

Carlinhos Ferreira - Percussão; 

Esdras Rodrigues Silva – Rabeca; 

Josino Medina e Ivan Vilela - Violas; 

Jorge Sebastião Vieira dos Santos – Sanfona

 

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For this CD, was selected a vast repertoire of songs and dances. Chants of Labour, like the Cattle, of Weaver and Beira Mar. The latter sung by the boatmen. Also part of the hard dance parties and created to animate the souls of those who participate in them: Contra-dances, Dances of Villain, Circle Dances. In some of these dances the verses are played by one person or another circle. It also includes Paulista Dance, Weaver Dance and songs for religious reasons as Batuquinhos of Bethlehem, sung at Christmas in honor of the birth of baby Jesus and the Blessed and Incelências- songs ordering the soul of someone who left. The cultural proximity to the Northeast Valley is recorded by a Coco Stylish Bambelôs of Bahia, with its wild and contagious rhythms.

The repertoire of this CD are composed also of songs with beautiful melodies like Limon. Finally, a repertoire that brings the listener, back at times, at the time Blacks, Indians and Portuguese had not yet amalgamated as it is today perceived in the Brazilian culture "

(Text written by the poet, journalist, writer and photographer John the Evangelist Robinson extracted from the CD booklet SEASIDE NEW)

 

source

google tried to translate again :)

info

 

The members of the choir are of humble origin, all belonging to the community, are workers of different professions, barns, masons, shoemakers, artisans and business people, housewives, laundresses, teachers and students.

  

  

♥♥♥

...just another cd with *********** out of ten :)

tio Miguel

 

Guitarra, Tiple, Bandola, Requinto

  

De Medellin à Popayan

Les Guitares Des Andes Colombiennes

Colombia: Guitarra, Tiple, Bandola, Requinto
1995

Tracks:

1. Volando - Trio Morales Pino d'Alvaro Romero
2. Tunjuelito - Jorge Ariza
3. Atardecer - Trio Morales Pino d'Alvaro Romero
4. Mariquitena - Jorge Ariza
5. Flor De Romero - Trio Morales Pino d'Alvaro Romero
6. Maria - Trio Morales Pino d'Alvaro Romero
7. El Paisa - Virgilio Rojas
8. Radio Santa Fe - Trio Morales Pino d'Alvaro Romero
9. Esto Es Torbellino - Jorge Ariza
10. Esteros Del Camajuan - Jorge Ariza
11. Orquideas - Jorge Ariza
12. Torbellino Veleno - Jorge Ariza
13. Irradiacion - Trio Morales Pino d'Alvaro Romero
14. Vivita - Trio Morales Pino d'Alvaro Romero
15. Torbellino Chipateno - Jorge Ariza
16. Jorcasti - Jorge Ariza
17. Que Vivan Los Novios - Jorge Ariza
18. Reyesco - Jorge Ariza
19. Sobre El Humo - Trio Morales Pino d'Alvaro Romero
20. Esperancita - Trio Morales Pino d'Alvaro Romero

Personnel:

 

Trio Morales Pino d'Alvaro Romero (Guitarra, Tiple, Bandola)

Jorge Ariza (Requinto)

Virgilio Rojas (Guitarra)

  

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This volume of the Musique du Monde series documents traditional music for string instruments (performed on guitarra, tiple, bandola, and requinto) performed by the Andean folk group Trio Morales Pino d'Alvaro Romero, and assisted by Jorge Ariza on requinto and Virgilio Rojas on guitarra. De Medellin à Popayan covers the heavily Spanish-influenced folk styles of this region: bambuco, pasillo, guabina, and torbellino. The music is energetic and celebratory and would typically be played in village gatherings. The instruments combine to create interesting textures, with the strings providing both rhythm and melody. An intriguing document of the rural highlands of Columbia, De Medellin à Popayan shows the lasting impact of Spanish colonization. ~ Stacia Proefrock, All Music Guide

  

Like its esmeralds, this a gem of Colombian music unknown to many but deeply appreciated by few. Listen once to this music and you will fall in love with it. Trio Morales Pino started around 1899, I recommend these albums: De Mi Tierra, Tiple Guitarra y Bandola, Recuerdos del Pasado, Colombia en Mi Violin, Meridiano Bogota. ~ Camilo

The Morales Pino Trío was a Colombian band. The trio was innovative in its use of Colombian traditional instruments: the Bandola, Tiple, and guitar. Its name was inspired by Pedro Morales Pino, one of the most beloved composers and musicians in Colombia.

The main members of the Morales Pino Trio were:

    * Álvaro Romero Sánchez - director, composer and guitarist
    * Diego Estrada Montoya - Bandola
    * Peregrino Galindo - Tiple

The trio developed a successful career in the Colombian musical scene, recording over 24 LP records with record label Sonolux.

Tiple, Bandola

more strings

♫

Rumba a la Patato

  

Marlon Simon and the Nagual Spirits
Rumba a la Patato
2000
 
Tracks:
 
1. Rumba A La Patato
2. Songo Pa Monk
3. Humble And Innocent
4. Ericka
5. Something For Carol
6. Easy Mood
7. Sandra Malandra
8. Belleza India
9. Clear To Take Off
 
Personnel:
 
Marlon Simon- drum set, batas, timbales, percussion;
Edward Simon, Luis Perdomo- piano;
John Benitez, Andy Gonzalez- bass;
Bobby Watson- alto saxophone, soprano saxophone;
Peter Brainin- tenor saxophone;
Brian Lynch, Michael Simon- trumpet;
Roberto Quintero- congas, bongo, guiro.

   

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"Pure pleasure best describes Venezuelan percussionist Marlon Simon' and the nagual spirits Rumba a la Patato cd. Nagual is the part of us for which there is not a description, no words, no names. This music reaches out to the" nagual" within each listener and touches the soul. The numbers are alive with emotions from the Joyful Songo Pa Monk to the sweet Ericka to the haunting Belleza India. The percussion on this recording moves as Simon himself and Roberto Quintero propel the songs forward. The pair are extraordinarie, and the numbers positively swing." Linette Tobin. Clave Magazine.

    

Venezuela-born percussionist/composer Marlon Simon is a veteran sideman with Jerry Gonzalez, Chucho Valdés, and Hilton Ruiz. Rumba a la Patato features bassists John Benitez and Fort Apache's Andy Gonzalez and pianists Ed Simon (Marlon's younger brother) and Luis Perdomo, highlighting the leader's skills as a composer of stateside jazz laced with Afro-Cuban rhythms. Simon's compositional style centers on singable melodies that overlay complex rhythmic signatures, which make for nice solo showcases. Alto saxophonist (and ex-member of Art Blakey's Jazz Messengers) Bobby Watson delivers his Birdlike soprano and alto sax lines on the moving midtempo piece, "Ericka," and the Thelonious Monk tribute, "Songo pa Monk." The title track, a riveting rumba with a 6/8 introduction, is written for the pioneering conguero Carlos "Patato" Valdes and is brightened by trumpeter (and Eddie Palmieri bandmate) Brian Lynch's clave-blooded solo. On "Sandra Malandra," Simon melds mainstream jazz with Cuban rhythm, and on "Something for Carol," the Trinidadian calypso and Dominican merengue are brought together under Simon's sexy groove flag. As this recording shows, Marlon Simon knows how put together Latin jazz for the head, hips, and heart. --Eugene Holley Jr.

   

RUMBA A LA PATATO is an exceptional first effort by Marlon Simon and the Nagual Spirits. Marlon Simon is following in the footsteps of great (Latin) Jazz bands like Jerry Gonzalez's Fort Apache Band and Ray Barretto's New World Spirit. The project is dedicated to the legendary Patato Valdes.
 
"Marlon Simon feels that the flow of creativity stems from the suffering pain, and violence we are inundated with on a daily basis. It is up to the artists to consolidate all of these negative happenings and convert them into positive ones." So states Peter La Barabara in the liner notes. Marlon Simon's music definitely has a spiritual feeling that is undeniable.
 
Marlon and crew serve up a variety of rhythms: Rumba, Songo, Mozambique, Calypso and even a little Merengue!
 
My favorite tracks thus far are RUMBA A LA PATATO, SONGO PA MONK and HUMBLE AND INNOCENT. The compositions are complex, rhythmic and full of masterful improvisations by the band members. Marlon Simon maintains a low profile on percussion but makes his presence felt throughout.
 

By     Thomas Pena

  

  

home & source of photo 

♥

King Conga

  

Johnny Blas

King Conga
1999

Tracks:

01-Con Ganas
02-King Conga
03-Mi Madre
04-The Sidewinder
05-The Beat of the Conga
06-Quien Sabe
07-Sobale
08-Socorro
09-Rican Conga
10-Inglesas
11-M.J.'s Mambo
12-Little Sunflower
13-Our Sound
14-Debbie's Mambo
15-Bomba Dance

Personnel:

Johnny Blas: Congas, percusión
Angelito Rodríguez: timbales, percusión, bongó, campana
Dan Weinstein: trombón
Kerry Loeschen: trombón
Humberto Ruiz: trombón
Edwin Blas: trombón
Mark Gutiérrez: piano
Paul Pérez: bajo
Terry Delgado: coro

Recorded at Private Island Trax, Hollywood, California on June 23 & 24, 1999. 

Includes liner notes by Dan Weinstein.

 

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This latest release from percussionist/bandleader Johnny Blas, his fourth as a leader, exhibits signs of growth and more depth in his and the group's musical interpretations and compositions. Propelled mainly by the triple threat of Johnny Blas on percussion and flute, Dan Weinstein on trombone and violin, and Mark Gutiérrez on piano and guitar, the group has hammered out their own style and sound, working together for years.

Also present in this recording as in previous releases is the healthy herd of four trombones, deploying monster brass colors, reminiscent of some of the early urban sounds of New York's Latin bands. Aside from the title track King Conga, a Dan Weinstein composition in the traditional Latin jazz genre, the CD also features many other compositions which fuse other Latin rhythms and styles with jazz. Mi Madre is a jazzy chachachá which pianist Mark Gutiérrez takes advantage of. The classic Lee Morgan composition The Sidewinder is transformed here into a boogaloo. Sobale, a Johnny Blas original, is a pachanga borderline descarga where everyone gets off. Another interesting composition is Socorro, composed and arranged by Dan Weinstein in the vein of the bossa nova and the bolero-chá. But my choice track is M.J.'s Mambo. Composed and arranged by Gutiérrez, the selection smokes with mucho sabor and commendable solos by Gutiérrez on piano and tres guitar, Johnny Blas on percussion, and Edwin Blas on the trombone.

Seven years into his career, percussionist Johnny Blas continued to propel the Latin jazz idiom further into the 21st century with some of the most exquisitely arranged, consummately executed music the genre had heard in some time. Not a major departure from his first two albums with Ubiquity's Cubop imprint (1997s Skin & Bones and 1998s Mambo 2000), King Conga nonetheless maintains the standards of those sets. Joining Blas once again are guitarist/pianist Mark Gutierrez and trombonist/violinist Dan Weinstein: linchpins of the percussionist's combo since his 1995 debut, A Night in L.A. In addition to lending their substantial improvisational skills to the date, they combine with Blas to form a formidable writing trio. Percussionist Angelito Rodriguez also makes impressive contributions, sharing credit with Blas on five cuts. It's worth noting that King Conga's eight originals (not counting the tasty percussion interludes sprinkled throughout) are more than capable of holding their own alongside Freddie Hubbard's "Little Sunflower" and Lee Morgan's "The Sidewinder," the second and third cover versions ever recorded by the group. Album highlights include "Sobale," an up-tempo track that adds both flute and violin to an otherwise trombone-heavy mixture; "Socorro," a soft-stepping ballad adorned with a rich string arrangement by Weinstein; and "Debbie's Mambo," a lively eight-minute track presumably dedicated to Blas' wife. The latter features an outstanding arrangement for the band's four trombones and an inspired (and slightly deranged) piano solo from Weinstein. This is Latin jazz (circa 1999) at its very best. 

 

~ Nathan Bush

 

 

♥

Hands in Motion

  

Giovanni Hidalgo & Michel Camilo
Hands of Rhythm
1997

Tracks:
  
1. And Sammy Walked In - Camilo    5:53
2. Footprints - Shorter    5:07
3. Amo Esta Isla - Milanes    4:22
4. Softly, As in a Morning Sunrise - Romberg, Hammerstein    4:15
5. My Soul Beat - Hidalgo    4:10
6. Papa Boco - Acosta, Chapuseaux, Chapuseaux    4:50
7. Blue Monk - Monk    3:47
8. If You Knew... - Camilo    5:14
9. En Mi Viejo San Juan - Estrada    4:05
10. Hello and Goodbye - Camilo    6:17
11. Hands in Motion - Hidalgo    3:02

Personnel:

Giovanni Hidalgo 

(floor tom, bongoes, congas, timbales, wood blocks, cymbals, chimes, cricket guiro, cowbell, goat nails, jawbone, tambourine, shakers, shekere, vibratone, cascaras, maracas, sound effects);
Michel Camilo 

(piano)

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Could a collaborative effort between piano virtuoso Michel Camilo and Giovanni Hidalgo, who is commonly known as the finest living conguero, possibly live up to the expectations? The answer Hands of Rhythm offers is nothing short of "All that and them some, baby." The beautiful thing about hearing both Camilo and Hidalgo in a rare duo format is that unlike larger band contexts, their genius does not compete for sonic space with anyone. Every note, every stroke is clearly audible, and crystal clear. Almost as fantastic as the instrumental performance was the repertoire chosen. In fact, the overall flavor is not what one might expect from two players known well for blistering speed. A haunting, sensitive rendition of "Footprints" and the reminiscent "En Mi Viejo San Juan" are welcome surprises from a percussion lead duo. "Softly as in the Morning" and "Blue Monk" are swinging from start to finish. With these jazzy selections, the bossa nova-at-its-best "If You Knew," and the merengue "Papa Boco," Hands of Rhythm shies away from the clave-driven music that made these two men famous. And yet, they prove themselves as adept in any one idiom as the other. Hidalgo and Camilo make up for their small numbers with both taste and sheer brilliance. Hands of Rhythm is required listening for both these musician's loyal fan bases, and the Latin jazz listening public alike. 

~ Evan C. Gutierrez, All Music Guide

  

Widely acknowledged among the greatest congueros of his generation, Giovanni Hidalgo was born in San Juan, Puerto Rico, in 1963, first taking up the drums five years later; the son of the noted percussionist Jose "Manengue" Hidalgo, he was educated in Latin rhythms from childhood onward, and as a teen regularly walked to local gigs with his congas strapped to his back. He soon caught the attention of the legendary Dizzy Gillespie, touring in his United Nations All-Star Orchestra for four years; Hidalgo also became a noted session player, recording with Freddie Hubbard, Paul Simon, and Mickey Hart's Planet Drum project.
In 1992, he recorded his debut solo LP, Villa Hidalgo; Worldwide followed a year later, and for 1997's Hands of Rhythm, a collaboration with pianist Michel Camilo, Hidalgo earned a Grammy nomination in the Best Latin Jazz Album category. His Greatest Hits collection followed the next year. 
~ Jason Ankeny, Rovi 

 
An exciting and high-powered virtuoso pianist, Michel Camilo came from a very musical family (with all nine of his uncles being musicians). Originally playing accordion, he switched to piano when he was 16. After moving to New York in 1979, his song "Why Not?" became a hit for the Manhattan Transfer and caught on as a standard, and "Caribe" entered the repertoire of Dizzy Gillespie. Camilo, who worked with Paquito d'Rivera's band for three years (cutting an album with "Why Not?" as the title cut), recorded for Electric Bird (sessions reissued by Evidence) and Columbia, and worked as a leader beginning in the mid-'80s. He has released numerous albums under his own name, including Spirit of the Moment in 2007.
~ Scott Yanow, Rovi

♫

Mas Congas

 

The Conga Kings

Giovanni Hidalgo - Candido - Patato Valdes

2000

Tracks:

01. Tumbando Caña
02. Elube Chango
03. Guaganc¢ Pa' Las Tumbadoras
04. Nagüe
05. Avísale A Mi Contrario
06. Tuna Se Quemó
07. Descarga De Los Reyes
08. Duet I: Temporal
09. Duet II
10. Duet III
11. Conga Kings Grand Finale

Personnel:

Giovanni Hidalgo - Conga, Vocals
Candido Camero - Conga, Vocals
Carlos "Patato" Valdes - Conga, Vocals

Guillermo Edghill - Bass
Joe Gonzalez - Bongos Mauricio
Smith - Flute
Nelson Gonzalez - Vocals, Tres

José Francisco Valdés: Claves
Hermengildo Olivera: Vocals
Nelson González III: Coro
Luis Rosa: Coro

Ray Santos: director musical

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These guys are the undisputed kings of conga. All three of the main players are the undisputed kings of Afro-Cuban drumming. They are Candido Camerera (the old master who can still belt them out with the best of them), Patato Valdes (the technician who is a master of unique combinations and rhythms) and Giovanni Hildalgo (the young gun, a child prodigy turned world-class musician).

This CD, which was recorded in a St. Peter's Episcopal Church in Manhattan and supervised by musical director Ray Santos, who had worked independently with each of the Kings. The CD was/is the brainchild and pet project of Chesky Records owner David Chesky who also served as the producer). The Conga Kings were recorded live with each player's drums fed directly into one microphone which was then digitized. Upon further production, it is possible to hear the individuality that each drummer personifies.

Backed-up by a veritable who's who of Latin musicians, The Conga Kings is more than an album about drumming. The music here is layered in such a way that it is possible to hear all of the players: the high-pitched (and sometimes piercing) flute supplied by Mauricio Smith, the bass of Guillermo Edghill, Nelson Gonzalez on tres and coro, John Benthel on second tres, Jose Francisco Valdes on claves, Herman Olivera Jr. on coro, Luis Rosa on coro and Joe Gonzalez on bongos.

Each piece is beautifully arranged to show off the mastery of one, two and even all three of the Kings, but the most moving and amazing offering on the disc is the final track, "The Conga King's Grand Finale" which showcases the talents of each of these wonderful drummers and attests to the appreciation and affinity that these men feel toward each other.

This Conga Kings recording is a testament to the genre. 

source

mas info

 

♥

Conguero

  

Francisco Aguabella

h2o
1999

Tracks:

1. Short Story   3:30
2. Quien Eres Tu   5:12   
3. Wood Place   4:24   
4. Nena   4:57   
5. Cavalie   3:18   
6. Son To Any Kid   4:55   
7. Intensity   4:02   
8. Vencido   4:31

9. Caito   4:46   
10. Danzonete   4:56
  
Personnel:

 Congas, Percussion - Francisco Aguabella

Bongos - David Romero
Double Bass - Jonathan Pintoff
Drums - Ed Smith
Lead Vocals - Nengue Hernandez
Piano - Joe Rotondi Jr.
Saxophone - Charles Owens
Trombone - Danny Weinstein
Trumpet - Luis Gonzalez
  

Remastered, remixed edition of 1986 release on Olm.

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There is no shortage of conguero-led Afro-Cuban and Latin jazz groups in the world. With so many household names like Poncho Sanchez and Ray Barretto to choose from, why stop and take notice of the slightly below the radar Francisco Aguabella? All questions will be answered and doubt will disappear at the first listen to 1999's H2O. While other percussionist/bandleaders have their roots firmly in the mambo dance craze of the '50s and '60s, Aguabella's music is born of rhumba. The difference is palpable. From his distinct, clear, sharp tone to his enigmatic, quinto-driven phrasing, Francisco, though a staple of the New York scene for many decades, never left Havana. Producer Orlando "Cachaito" Lopez, a Latin jazz headliner himself, managed to capture the raw, no-frills energy of Aguabella's style on H2O beautifully. Sonically, the record has the closeness and intensity of first-row seats in a small, smoky club. Stylistically a little less folkloric than Francisco's first release, Agua de Cuba, there's a dance sensibility that drives the record. The arrangements are plenty jazzy, but without losing the visceral punch that so many bandleaders sacrifice. The selections with vocals are definitely salsa, but without being homogenized or slick, maintaining the funky quality so often sacrificed in preference toward shiny production. If there is such a thing, Aguabella is both the modern master and original gangster of Afro-Cuban music.
~ Evan C. Gutierrez

This ultra-rare and highly sought-after piece of Latin jazz history has finally been reissued for the world to experience! This CuBop re-release corrected previous mix problems; and the album was completely remixed and remastered     "Francisco Aguabella's H2O, originally released on the Olm label in 1986 and long out of print, is the kind of forgotten gem that all too often stays that way. So Latin-jazz fans should thank their lucky stars that Cubop has seen fit to reissue it in all its fiery glory. H2O is a white-hot recording that showcases precisely why Aguabella, a master percussionist who was born in Matanzas, Cuba, and who has been a driving force in Latin jazz and Afro-Cuban music since his U.S. arrival in 1957, is a certified living legend. Bristling with tight salsa arrangements that spotlight Aguabella's topnotch ensemble (including Nengue Hernandez on timbales and vocals and trombonist Dan Weinstein, who's also appeared with Aguabella to great effect on 1999's Agua de Cuba), H2O still leaves plenty of room for Aguabella to shine. "Wood Place" intertwines a delicious piano montuno with some thrilling interplay between Aguabella's congas and the horn section, "Nena" boasts some tricky unison vocal work from Hernandez, Aguabella, and Orlando Lopez, and "Danzonette" presents Aguabella's riveting take on the classic Cuban danzon style. About the only quibble with H2O is its woeful lack of information in the packaging--surely not Cubop's fault, as the album was licensed from a small, fly-by-night label, but missed nonetheless. Still, as anyone who hears this will agree, that's a minor point: the music here is enough."
-Ezra Gale, Amazon.com

home

wiki

  

  

"Aguabella is the John Coltrane of the Conga Drums.”
~ Dizzy Gillespie
  

♫

some more :)

Conga y mas...

  

John Santos & Machete

Tribute to the Masters
1999
 
Tracks:

01 - Tin Tin Deo   
02 - Lyesa
03 - So What
04 - Himno De La Razas    
05 - Descarga lyawo    
06 - Itim    
07 - Moose The Mooch    
08 - Chango    
09 - Syeeda's Song Flute       
10 - Matters Not    
11 - Foreign Exchange       
12 - Salt Peanuts    
13 - Obalufon
 
Personnel:
 
John Santos - Percussion, Arranger, Conga, Gong, Synthesizer Programming, Wind Chimes, Waterphone, Guiro, Shaker, Quinto, Bata, Chekere, Claves, Piano
Israel "Cachao" López - Bass
Rebeca Mauleón - Piano, Arranger, Keyboards, Vocals
Wayne Wallace - Trombone, Arranger, Keyboards, Adaptation, Synthesizer Programming, Mixing
Bill Ortiz - Trumpet
Melecio Magdaluyo - Sax (Alto), Sax (Tenor)
Rev. Ron Stallings - Sax (Soprano)
Orestes Vilató - Bongos, Timbales, Bells
Yosvany Terry - Sax (Alto)
Paul Wageningen - Drums (Snare)
John Calloway - Flute
Ron Stalling - Sax (Tenor)
David Belove - Bass
John Calloway - Flute, Piano, Arranger
Jeff Cressman - Trombone, Engineer, Mixing Advisor, Flugelhorn

   

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John Santos is one of the foremost proponents of Afro - Latin music in the world today. This tribute to acknowledged masters of Afro - Latin and jazz features Israel “Cachao” Lopez, Orestes Villato, Wayne Wallace and more. The new John Santos & Machete album is titled "Tribute to the Masters" and salutes acknowledged masters of the jazz and Afro - Cuban worlds. Cubop is proud to have released this recording on February 8th, 2000.

  

Most of the selections on this CD, the third from John Santos' Machete Ensemble, are from 1998 - 1999, but there are also four cuts from 1989 - 1990. Ranging from Latin bop (including "Tin Tin Deo," "Moose the Mooche," and "Salt Peanuts") and folkloric chant pieces to Latinized versions of Miles Davis' "So What" and John Coltrane's "Syeeda's Song Flute," the music is continually intriguing and inspiring. The key soloists include trombonists Wayne Wallace and Jeff Cressman, Melecio Magdaluyo on various reeds, pianist Rebeca Mauleon, and many percussionists. Recommended. 

~ Scott Yanow, All Music Guide

    

Percussionist John Santos and his Machete Ensemble have won a devoted following in their native San Francisco Bay Area and among Latin - jazz aficionados the world over with their wide - ranging excursions into Afro - Caribbean music. Tribute to the Masters finds Santos and company paying tribute to individual icons like John Coltrane ("Syeeda's Song Flute"), Dizzy Gillespie ("Salt Peanuts"), and Miles Davis  ("So What") as well as to various Afro - Cuban religious music and to different Latin styles in general. Aside from a musical career that includes work with Gillespie, Eddie Palmeiri, Tito Puente, and Francisco Aguabella, Santos has long been known for his scholarly contributions to the field of Afro - Latin music as a writer and historian. In that sense, Tribute to the Masters  is a kind of historical survey of Latin music and a natural for Santos. The beauty of the disc, though, is that he and his breathtaking ensemble -  - which includes legendary guest musicians like bassist Israel "Cachao" Lopez and timbale player Orestes Villato -  - breathe life into homages to Afro - Cuban Santeria saints ("Chango" and "Iyesa") and fiery Latin - jazz workouts like "Moose the Mooche." ~ Ezra Gale

 

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John Santos (photo by Tom Ehrlich)

John Santos: “What is Latin Jazz?”

 

Want to learn more? Click here to download a list of resources for further listening and reading (discography & bibliography).

 

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Congas y mas

 

Ray Armando & His Playground Quintet
Mallet Hands
2000

Tracks:

1. Con Mi Guaguanco
2. Boxer
3. Eighty One
4. Mallet Hands
5. Take The 'A' Train
6. Soko
7. Elizete
8. In Sid's Thing
9. As We Were

Personnel:

Ray Armando (whistles, congas, percussion);
Ben Clatworthy (saxophone);
Jorge Valentin Griffin, Theo Sanders (piano);
Eddie Resto (bass);
Enzo Todesco (drums);
Robertino Melendez (bongos, shekere, bells);
Jose "Papo" Rodriguez (bongos, bells).

    

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By Egidio Leitao

Ray Armando has appeared on some of the greatest jazz and Latin albums of all time and has played with Duke Ellington, Stan Getz, Antonio Carlos Jobim, Joao Gilberto, Nina Simone, Gato Barbieri, Tito Puente and Lionel Hampton, just to name a few. After all these years-he started his involvement with Latin percussion at age 8-he finally has an album of his own.

Mallet Hands, produced by Bobby Matos, is a collection of nine original compositions featuring heavyweight players Ben Clatworthy (tenor sax), George Griffin and Theo Sanders (piano), Eddie Resto (bass), Enzo Tolesco (drums) and Robertito Melendez and Jose "Papo" Rodriguez (bongos). These players do some incredible work. Clatworthy's tenor solos are stunning, and his interplay with Griffin and Sanders is a knockout on the delectable closing track, "Con Mi Guaguanco."

Despite all the talented sidemen, however, your attention is never far from Armando's awesome percussive pyrotechnics. Billy Strayhorn's classic "Take the 'A' Train," for example, is transformed into an infectious, swinging samba. Armando's use of a Brazilian cu¡ca is astounding.

Mallet Hands is a roller-coaster trip of rhythms.

source

 

Born on January 27, 1939 in Brooklyn, the young Armando would listen closely to his father’s Machito and Arsenio Rodriguez records and to the voice of his mother, a professional singer, dancer, and actress. While his dreams of becoming a baseball player were never realized, he did manage to become skilled on the conga drums at an early age.

He was first involved with Latin percussion through his uncle at the age of 8. His first real influence and teacher was Mongo Santamaria, who lived across the street from his family. At the age of fifteen, he went on the road with Elmo Garcia’s Big Band. After paying his dues with Garcia, he went on to work with the Mambo King himself, Tito Puente, with whom he would play at the legendary Palladium in New York City. After his stint with Puente, he continued his studies in percussion instruments and guitar compositions, delving into elements of harmony, theory and counterpoint.

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Cavaquinho

  

Júlio Pereira

Cavaquinho
1981

Tracks:

01. Vira Minhoto - Popular/Júlio Pereira
02. Laurindinha - Popular/Júlio Pereira
03. Cantar Galego - José Afonso/Júlio Pereira
04. S.Gonçalo de Amarante - Popular/Júlio Pereira
05. Modo do Entrudo - Popular/Júlio Pereira
06. Saias do Freixo - Popular/Janita/Júlio Pereira
07. Viva o poder Popular - José Afonso/Júlio Pereira
08. Não vás ó mar, Tóino - Popular/Júlio Pereira
09. Venho de colher macela - Popular/Júlio Pereira
10. Chula de Barqueiros - Popular/Júlio Pereira
11. Terra do Bravo - Popular/Júlio Pereira
12. Cavaqueio - Orlando Costa/Júlio Pereira
  

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In 30 years of a career as multi-instrumentalist, composer and producer, Júlio Pereira has guided his artistic concern by parameters that have the universality of cultural events as reference.

This, in no way contradicts the importance of his work in the scope of the traditional Portuguese music and the ethnic consideration of sounds and their roots. His work has always aimed to the incorporation of Portuguese tradition in aesthetic currents that mark the successive "contemporarities".

Thus, his ouevre, comprising 17 LPs, after reflecting the importance of the 70s musical innovation, starts to focus in recovering and renovating the sounds of "almost lost" traditional instruments – of that, the most paradigmatic examples are Cavaquinho (1981), Braguesa (1982), and  O meu bandolim (1992) – as well, especially since the 90s, the combination of these sounds with (always) new acoustic solutions – as Rituais (2000) documents significantly. All this places him, beyond his key role in the
Portuguese music scenario of the 20^th century last decades, also as a musician of the new century.

Although Júlio Pereira’s work, since the album Cavaquinho (1981), didn’t extend to the composition of music for lyrics, his poetic selectivity led him to produce an album – Faz de conta - which intersects with core Portuguese speaking authors, such as Eugénio de Andrade and Vinicius de Moraes.

In Graffiti, his new album, to be heard from the beginning of the new year, the words’ sound is back associating the most significant voices of World Music to his work after Geografias (2007), which definitely marked the composer’s universality and the stage return of the instrumentalist.

Julio Pereira’s experience and musical testimony are attested by almost an hundred discs where he performed as an instrumentalist, orchestrator or producer. Mention must be made to the importance of his close ties to the career of José Afonso, since the late 70s, as well as his participation in joint works with Pete Seeger and The Chieftains and also Kepa Junkera, Chico Buarque, Dulce Pontes, Sara Tavares, Carlos do Carmo, etc.

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Cavaquinho

  

Waldir Azevedo
Cavaquinho maravilhoso
Continental LPP 3005 - 1957

Tracks:

1. Veraneando (Waldir Azevedo)
2. Noturno (F. Chopin)
3. Ai que saudades da Amélia (Ataulfo Alves, Mário Lago)
   Atire a primeira pedra (Ataulfo Alves-Mário Lago)
4. Luar em Paquetá (Hermes Fontes, Freire Júnior)
5. Carinhoso (Pixinguinha, João de Barro)
6. Ciscando (Chiquinho, Waldir Azevedo)

7. Serra da boa esperança (Lamartine Babo)
   Rancho fundo (Ary Barroso-Lamartine Babo)
   Favela (Roberto Martins-Waldemar Silva)
8. Ternura (Waldir Azevedo)
9. Sentimento chinês (Waldir Azevedo)
10. Só para dois (Waldir Azevedo)
11. Torna sorriento (E.Curtis, O. Curtis)
12. Teus olhos (Waldir Azevedo)

 

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Waldir Azevedo nascimento 27/01/1923 falescimento 21/09/1980

Compositor e cavaquinista que mais contribuiu para a divulgação do choro nos anos 50, foi o compositor dos clássicos "Brasileirinho", "Pedacinhos do Céu" e o baião "Delicado", que alcançou enorme sucesso nos Estados Unidos na versão do maestro Percy Faith, entre muitos outros choros. Criado nos subúrbios do Rio de Janeiro, aprendeu flauta, violão e cavaquinho na infância. Mais tarde trabalhou na companhia de energia Light, emprego que abandonou em 1945 para ocupar a vaga de cavaquinho no regional de Dilermando Reis, na Rádio Clube do Brasil. No final de 1949 lançou o disco que continha "Brasileirinho", um enorme sucesso comercial em todo o mundo. Azevedo excursionou pela Europa, Japão e Estados Unidos tocando suas músicas. Algumas dessas turnês eram bancadas pelo Itamaraty, numa iniciativa de divulgar a música brasileira. Com mais de 20 LPs gravados, mudou-se para Brasília em 1971, onde viveu até a sua morte.
  

Waldir Azevedo (Rio De Janeiro, January 23, 1923 - São Paulo, September 21, 1980) was a choro conductor and performer. He wrote 130 compositions during his lifetime and played the cavaquinho. He is considered by many to be the first Brazilian cavaquinho shredder ever.

Bio

   

Cavaquinho
  

The Cavaquinho is also in Brazil (where it enjoys a bigger popularity then in Portugal), being present in all
regional groups of choros, emboladas, bailes pastoris, sambas, ranchos, chulas, bumbas-meu-boi,
cheganças de marujos, cateretês, etc
  

For more information read The Cavaquinho - Dr. Ernesto Veiga de Oliveira, from the book "Instrumentos Populares Portugueses", published by Fundação Calouste Gulbenkian (Translated by: Francisco Pires) 

  

 
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Spinning in Air - this one is for you :)