The Lloyd McNeill Quartet - Asha (Asha One) (1969)
Quality: VBR ~320 kbps (Спектр выше 20000 Hz) Size: 156 mb
All compositions, poem, & jacket art by Lloyd G. McNeill
Lloyd McNeill, piccolo & flute Gene Rush, piano Steve Novosel, bass Eric Gravatt, percussion Paul Hawkins, Latin percussion
First press in color jacket, second in b/w.
1. Asha 2. As a Matter of Fact 3. Two-Third's Pleasure 4. Dig Where Dat's At! 5. St. Margaret's Church 6. Effervescence 7. Warmth of a Sunny Day
The Lloyd McNeill Quartet - Tanner Suite (Asha Two) (1969)
Quality: 320 kbps ( Спектр) Size: 98 mb
(monaural only; limited edition of 1,000; rec. July 20, 1969 for Smithsonian exhibit of painter Henry Ossawa Tanner)
All compositions & jacket art by Lloyd G. McNeill
Lloyd McNeill, flute Marshall Hawkins, bass
1. Black Expatriate 2. Tanner Blue 3. Daniel in the Lion's Den 4. The Banjo Lesson
The Lloyd McNeill Quartet - Washington Suite (Asha Three)(1970)
Quality: 256 kbps (CBR) Size: 77,6 mb
(rec. March 22 & March 31, 1970 for the Capitol Ballet Company)
All compositions by Lloyd G. McNeill
Lloyd McNeill, flute Marshall Hawkins, bass Eric Gravatt, percussion Eugene Rush, electric piano woodwind quintet:
Andrew White, oboe Orrin Olson, French horn William Huntington, clarinet Kenneth Pasmanick, bassoon Lloyd McNeill, flute
1. Home Rule 2. Just 71% Moor 3. 2504 Cliffbourne Pl. 4. Fountain in the Circle (woodwind quintet arr. Andrew White) 5. City Tryptych: - Sandra is in the City - The Black Mayor - Imani (Faith) 6. Fountain in the Circle (flute & piano)
Lloyd McNeill - Treasures (1976/1975)
Quality: VBR (где-то выше, где-то ниже 20000 Hz) Size: 101 mb
Lloyd McNeill, flute Dom Salvador, piano Cecil McBee, bass Brian Brake Portinho, drums Ray Armando, percussion
1. Griot 2. As a Matter of Fact 3. Salvation Army 4. You Don't Know What Love Is
Lloyd McNeill - Tori (1978)
Quality: VBR (где-то выше, где-то ниже 20000 Hz) Size: 105 mb
Lloyd McNeill, flute
Dom Salvador, Buster Williams, Victor Lewis, Howard Johnson, Dom Um Romao, John La Barbera, Amaury Tristao, Nana Vasconcelos w/thanks to Andrew White & others
1. O Mercado (Brazilian Market) 2. Tori (in 3 parts) 3. Tzigane 4. Sambinha 5. Time Still/Passaro--Pifaro (Flute Bird) 6. Tranquil
Lloyd McNeill - Elegia--for Elizabeth (1980/1979)
Quality: 192 kbps Size: 61,7 mb
Lloyd McNeill, flute, alto flute
Dom Salvador, Cecil McBee, Nana Vasconcelos, Susan Osborn (vocal), Portinho, Claudio Celso; jacket painting of Lloyd McNeill & design by Ron DiScenza
1. Samba for the Animals 2. Behind the Wind (Flute Solo) 3. Asha II 4. Elegiac Suite for Elizabeth - Time - The Mighty River - The Wind 5. Striped Pants (with Cadenza) 6. Memory Cycle
Dom Um Romao – Spirit Of The Times (Espirito Du Tempo)
Genre/Style: Latin Jazz / Fusion / Samba / Brazilian Traditions / Batucada / Bossanova / Jazz-Funk Dom Um Romão was a Brazilian jazz drummer and percussionist. Noted for his expressive stylings with the fusion band Weather Report, Romão recorded with varied artists such as Cannonball Adderley, Antonio Carlos Jobim, Sergio Mendes and Brasil '66 and Tony Bennett. He died in Rio de Janeiro shortly after suffering a stroke.
Quality: VBR Size: 34 mb
1. Shakin' (Ginga Gingou) 2. Wait On The Corner 3. Lamento Negro 4. Highway 5. The Angels 6. The Salvation Army 7. Kitchen (Cosinha)
Paulo Moura - Confusão Urbana, Suburbana e Rural
Genre/Style: Latin Jazz / Fusion / Samba / Brazilian Traditions / Batucada / Bossanova / Jazz-Funk AMG: "One of Brazil's best proponents and keepers of the gafieira tradition (popular ballrooms historically linked to the Carioca folklore tradition of highly artistic and swinging dancing and playing) and one of the best choro players, Paulo Moura is an internationally awarded musician whose high standards make it easy for him to cross boundaries between classical and popular music, both performing and arranging in small ensembles or large symphonic orchestras. As a conductor, orchestrator, and arranger for famous Brazilian singers, he includes in his resume works for Elis Regina, Fagner, Taiguara, Milton Nascimento, and Marisa Monte. Moura was born in a musical family. His father, Pedro Moura, was an amateur bandleader and clarinetist himself, but was a carpenter by profession. Paulo's brothers, Jose and Alberico, are trumpet players and Valdemar, a trombonist. At nine, Paulo started to study the piano and at 13, was already playing in his father's band at parties and balls. Moving to Rio with his family, at 18 he began his studies at the National College of Music. Completing the seven-year course in only two years, he continued his studies of theory, harmony, and counterpoint with the famous master Paulo Silva. He also studied harmony, counterpoint, and fugue with fundamental Brazilian composer/orchestrator/conductor Guerra Peixe. On the popular side, he took arrangement lessons with internationally acclaimed Brazilian saxophonist/composer/arranger Moacir Santos and with saxophonist/composer/arranger Maestro Cipo. In 1951, Moura joined Osvaldo Borba's orchestra. Later, he also joined Zacarias e Sua Orquestra. His first recording gig, the song 'Palhaco' (Nelson Cavaquinho), was as sideman for the extremely popular singer Dalva de Oliveira. At 19, he debuted as a soloist, playing Weber's 'Concertino for Clarinet and Orchestra,' accompanied by the Orquestra Sinfonica Nacional. Hired by the Orquestra Ary Barroso, he toured Mexico in 1953. Soon after, he joined the group of great trombonist Maciel. Hired by Radio Tupi, he played there with the Orquestra Cipo. In 1954, he joined the Conjunto Guio de Morais, which was a regular act at the famous Regine's nightclub. His first album as soloist (a 78 rpm for Columbia) was recorded in 1956: Paganini's Moto Perpetuo. In 1957, he organized his first gafieira orchestra, performing with it at the gafieira Brasil Dancas. In that same year, he recorded Paulo Moura e Sua Orquestra Para Bailes (Sinter). In 1958, Moura was hired by Radio Nacional as an orchestrator and arranger, working there for two years. Also in 1958, he recorded the LP Paulo Moura Interpreta Radames Gnatalli (Continental), accompanied by the Radames Gnatalli Quartet, and became the musical director for Brazilian all-stars Dolores Duran, Nora Ney, Jorge Goulart, Maria Helena Raposo, and the Conjunto Farroupilha. Touring through Soviet Union and other countries, he conducted the Symphonic Orchestra of Moscow. In 1959, he was hired as first clarinetist for the Orquestra do Teatro Nacional, working for 17 years in that position. In 1960, he joined popular conductor Severino Araujo's orchestra, touring Argentina, and recorded for Chantecler the LP Tangos e Boleros. In 1962, he recorded with Brazilian violao master Baden Powell, performed at the historic jazz/bossa nova nightclubs of Rio's Beco das Garrafas and, as an altoist, he joined Sergio Mendes' Conjunto Bossa-Rio, performing at the historic Carnegie Hall Bossa Nova Festival. In 1964, Moura accompanied as saxophonist the great drummer Edson Machado's LP for CBS, Edson Machado e Samba Novo. In 1968, he recorded for Equipe the LP Paulo Moura Hepteto; the next year, Paulo Moura Quarteto; and in 1971, Fibra, also for Equipe. In that year, Moura toured Greece with his quartet. In 1975, he recorded in the U.S. with Brazilian guitarist Tiago de Melo. In the next year, he recorded his classic masterpiece Confusao Urbana, Suburbana e Rural, which granted him an extremely popular two-month tour throughout Japan with full press coverage. In the '80s, he recorded his classic album Mistura e Manda (Kuarup) and with the Brazilian violao master Raphael Rabello, he recorded the album Dois Irmaos, which was bent toward the choro side while also including Raphael's flamenco-influenced guitar style and bossa nova themes. He also recorded several modern erudite albums with Brazilian classical pianist Clara Sverner. In 1981 came another classic LP, ConSertao, an ecumenic production with internationally awarded classical pianist Artur Moreira Lima, Brazilian jazz guitarist Heraldo do Monte, and folksinger/composer Elomar. Following this, he formed a trio with internationally renowned classical violonista (acoustic guitar player) Turibio Santos and Artur Moreira Lima. As a soloist, he performed at New York's Lincoln Center, appeared at the Music Festival of Guadalupe in Mexico, and created the first saxophone orchestra. He also soloed concerts with the Orquestra Sinfonica Brasileira and Orquestra Sinfonica do Estado de Sao Paulo. In 1985, his choro trio performed at the Brazil Festival, at Juan-les-Pins (Antibes, France), and his gafieira orchestra opened the France-Brazil Cultural Interchange at the Zenith Theatre, in Paris, France. In 1988, Moura conducted the Orquestra Sinfonica de Brasilia, performing his own piece for percussion and orchestra commemorating the centennial of the abolition of slavery in Brazil. Since then, he has been guest conductor at a series of concerts in Porto Alegre, Salvador, and Espirito Santo. In 1992, he wrote the piece 'Suite Carioca' for jazz rhythm section, symphonic orchestra, and children's choir. Also in that year, he was awarded as Best Soloist at Moscow's Mozart Festival. In 1996, he arranged all of the music and performed the clarinet and saxes at the Os Batutas' show Pixinguinha at Teatro Carlos Gomes (Rio). An all-star choro group, Os Batutas takes his name from Pixinguinha's seminal group and is formed by Jorge Simas (violao), Marcio (cavaquinho), Jorginho (pandeiro), Jovi (percussion), Marcal (percussion), Ze da Velha (trombone), and Joel do Nascimento (bandolim). The show was recorded live and released the next year on the Velas CD Pixinguinha. It won Brazil's Premio Sharp for Best Instrumental CD and Best Instrumental Group in 1997. The CD presents 16 tracks of classic choro music by one of Brazil's most important composers of all time, Alfredo da Rocha Viana Junior, Pixinguinha. In 1996, he was also awarded with the Premio Sharp as Best Popular Instrumentalist. Other awards received by him include Premio Jose Sarney, Villa-Lobos, Brahma Extra Prizes, and Honorary Citizenship in Rio de Janeiro. Four years later, he was awarded a Grammy for Best Brazilian Roots/Regional Album for Pixinguinha at the first Latin Grammy Awards and the sizzling album Tempos Felizes was released in early 2001."
Quality: VBR ~ 320 kbps (Спектр выше 20000 Hz) Size: 91,4 mb
1. Espinha da Bacalhau 2:36 2. Noticia 2:21 3. Bicho Papao/Tema da Cuica 6:57 4. Carimbo Do Moura 2:17 5. Se Algum Dia 3:57 6. Peguei a Reta 3:57 7. Amor Proibido 2:59 8. Dois Sem Vergonha 3:14 9. Eu Quero E Sossego 3:09 10. Dia de Comicio 1:54 11. Pedra da Lua 2:28
Paulo Moura - Clarinet, Sax (Alto) Wagner Tiso - Organ, Piano Rosinha de Valenca - Violin Toninho Horta - Violin Neco - Cavaquinho Mane Do Cavaco - Cavaquinho Zeca DaCuica - Percussion Doutor - Percussion Eliseu - Percussion Serginho - Percussion Marcal - Percussion Paulinho - Percussion Geraldo Bongo - Percussion Elifas Andreato - Capa Maurilio - Metais Toninho - Metais Nivaldo - Metais Pirulito - Metais Marcio Montarroyos - Metais Altamiro Carrilho - Metais Miucha - Vocals
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