Various Artists, "A Trip to Brazil, Vol. 2", EmArcy/Universal #545360-2 (1999) [2-CD Compilation Set].

Compiled, annotated, and produced by Arnaldo DeSouteiro.


Various Artists, "Brazilian Horizons, Volume 2", Milestone #MCD-47078 (1999).[CD Compilation]

Compilation Produced & Annotated by Arnaldo DeSouteiro in September and October, 1998.
Digitally Mastered at Fantasy Studios (Berkeley, California, USA) by Joe Tarantino on October 28, 1998.
U.S. Release Date: January 26, 1999.
Text (written by Terri Hinte, Milestone/Fantasy Records' publicist) for the back cover of the CD:

"This second release of Brazilian Horizons is an ideal companion to Milestone's earlier collection of (in the words of both sets' producer) "jazz-imbued Brazilian music and Brazilian-inspired jazz." Expertly compiled by Arnaldo DeSouteiro, music-rich Brazil's foremost jazz producer and journalist, this anthology offers a gliterring array of jazz and latin-jazz players and singers (Coltrane, Fitzgerald, Tyner and Tjader among them) and major figures of Brazilian music (including Antonio Carlos Jobim, Bola Sete, and Moacir Santos) interpreting the timeless songs of Jobim, Ary Barroso, João Gilberto, Luiz Bonfá, Ivan Lins, and Milton Nascimento, among others. While bossa nova is the widely represented idiom, pre- and post-bossa styles are well represented, too, in almost 73 minutes of poignant melodies, flowing solos, percolating rhythms, and poetic lyrics. Perhaps the most notable item here is Jobim's "Dreamer", previously available only on an obscure 45, featuring the composer on guitar and a wistful, Chet Baker-ish vocal by the late arranger/composer/vibist Gary McFarland."

Total Time 72:39


1 Dreamer - Gary McFarland with Antonio Carlos Jobim 2:34

2 Um Abraço No Bonfá (A Salute to Bonfá) - Charlie Byrd 2:23

3 Samba de Orfeu - Vince Guaraldi 5:41

4 Bahia - John Coltrane 6:17

5 Carnival Samba - Dave Pike with Clark Terry 4:28

6 Bluchanga - Mongo Santamaria featuring João Donato 7:58

7 Influência do Jazz - Bola Sete 2:38

8 A Little Tear [Razão de Viver] - Milt Jackson 3:23

9 Saudade Do Brasil - Bill Evans 5:45

10 Ligia - Stanley Turrentine 5:52

11 Manhã de Carnaval - McCoy Tyner with Freddie Hubbard 5:16

12 Nanã - Kenny Burrell featuring Moacir Santos 6:21

13 Madalena - Ella Fitzgerald with The Tommy Flanagan Trio 3:40

14 Tambu [Tombo in 7/4] - Cal Tjader & Charlie Byrd 6:15

15 Escravos de Jó - Dom Um Romão 4:03

Album credits and musician personnel:

Arnaldo DeSouteiro - Producer, Liner Notes, Compilation Producer
Al Aarons - Trumpet
Colin Bailey - Drums
Erroll Crusher Bennett - Percussion
Dick Berk - Percussion
Keter Betts - Bass
Phil Bray - Photography
Ray Brown - Bass
Dennis Budimir - Guitar
Monty Budwig - Bass
Kenny Burrell - Guitar, Producer
Charlie Byrd - Guitar, Performer
Joe Byrd - Bass (Electric)
Ron Carter - Bass
Paul Chambers - Bass
Julio Collazo - Drums
Charles Collins - Drums
Rudy Collins - Drums
John Coltrane - Sax (Tenor)
Mayuto Correa - Percussion
Ronnie Cuber - Sax (Baritone)
Paulinho da Costa - Percussion, Congas
Lew DelGatto - Clarinet, Flute
Pat Dixon - Cello
João Donato - Piano, Arranger
Bill Evans - Piano, Piano (Electric)
Ella Fitzgerald - Vocals, Performer
Tommy Flanagan Trio - Performer
Tommy Flanagan - Piano
Sonny Fortune - Sax (Alto)
Al Foster - Drums
Eric Gale - Guitar
Red Garland - Piano
Benny Golson - Arranger
Eddie Gomez - Bass
Norman Granz - Producer
Paul Griffin - Piano (Electric)
Vince Guaraldi - Piano, Producer
John Heard - Bass
Freddie Hubbard - Flugelhorn
Milt Jackson - Vibraphone
Jack Jeffries - Trombone
Antonio Carlos Jobim - Guitar
Reggie Johnson - Bass
Jimmy Jones - Conductor, String Arrangements
Helen Keane - Producer
Orrin Keepnews - Producer
Ulysses Kirksey - Cello
Steve Kroon - Percussion, Conga
Cal Lampley - Producer
Hubert Laws - Flute
Pupi Legarreta - Violin
Rolando Lozano - Flute (Wood), Wood Flute
Tom Malone - Trombone
Cuco Martinez - Timbales
Elliot Mazer - Producer
Cecil McBee - Bass
Lenny McBrowne - Drums
Gary McFarland - Vocals
Jack Nimitz - Flute, Saxophone
José Paulo - Percussion
Don Payne - Bass
Dave Pike - Vibraphone
Jamie Putnam - Artwork, Art Direction
Johnny Rae - Drums
Bill Reichenbach Sr. - Drums
Jerome Richardson - Flute, Saxophone
Claudio Roditi - Trumpet
Willie Rodriguez - Percussion
Dom Um Romão - Percussion, Drums, Producer
Alan Rubin - Trumpet
Dom Salvador - Vocals
Mongo Santamaria - Congas
Moacir Santos - Percussion, Congas, Vocals
Bola Sete - Guitar
Deb Sibony - Design
Jose "Chombo" Silva - Sax (Tenor)
Spencer Sinatra - Flute
Sivuca - Guitar, Vocals
Jimmie Smith - Drums
Mauricio Smith - Clarinet, Flute
Maurice Spears - Trombone
Mike Stephans - Drums
Joe Tarantino - Remastering
Art Taylor - Drums
Clark Terry - Flugelhorn
Ed Thigpen - Drums
Cal Tjader - Vibraphone
Stanley Turrentine - Sax (Tenor), Producer
McCoy Tyner - Piano
David Van De Pitte - Horn Arrangements, String Arrangements, Mixing
Célia Vaz - Arranger, Conductor, Vocals
Victor Venegas - Bass
Bob Weinstock - Supervisor
Chris White - Bass
Arnold Wise - Drums
Mike Wofford - Piano (Electric)
Michael Wolff - Piano (Electric)







JazzSambaVol2,%20cover).jpg  jazz-samba-vol2b.jpg

Various Artists, "Jazz Samba Vol. 2: The Finest in Samba and Bossa Nova", Fantasy #55139 (1999).[CD]

Musician personnel and Album credits:

Arnaldo DeSouteiro - Arranger, Producer
Alex Acuña - Drums
Azymuth - Performer
Chico Batera - Percussion
Roland Bautista - Guitar (Electric)
Dick Berk - Drums
Claudio Bertrami - Bass (Acoustic)
José Roberto Bertrami - Percussion, Piano, Piano (Electric)
Keter Betts - Bass (Acoustic)
Luiz Bonfá - Guitar (Acoustic)
Ray Brown - Guitar (Acoustic)
Erich Bulling - Arranger
Kenny Burrell - Guitar (Acoustic)
Charlie Byrd - Guitar (Acoustic)
Joe Byrd - Bass (Electric), Bass (Acoustic)
Ron Carter - Bass (Acoustic)
Oscar Castro-Neves - Guitar (Acoustic)
Dorival Caymmi - Vocals
Rudy Collins - Drums
Ariovaldo Contesini - Percussion
Ivan Conti - Drums
Mayuto Correa - Percussion
Ronnie Cuber - Sax (Baritone)
Paulinho da Costa - Percussion
Wilson das Neves - Drums
Phil DeLancie - Remastering Engineer
Lew DelGatto - Clarinet, Flute
Helio Delmiro - Guitar (Electric)
Aloysio de Oliveira - Producer
Buddy Deppenschmidt - Drums
Pat Dixon - Cello
João Donato - Arranger
Ella Fitzgerald - Vocals
Sonny Fortune - Sax (Alto)
Edson Frederico - Arranger, Conductor
Jerry Granelli - Drums
Vince Guaraldi - Piano (Acoustic)
Mitch Holder - Guitar (Electric)
Milt Jackson - Vibes
Paul Jackson, Jr. - Guitar (Electric)
Julie Janeiro - Vocals (bckgr)
Jack Jeffries - Trombone
Antonio Carlos Jobim - Guitar (Acoustic)
King Errisson - Conga
Ulysses Kirksey - Cello
Morris Kirshbaum - Cello
Peter Klam - Executive Producer
Steve Kroon - Percussion
Abraham Laboriel - Bass (Electric)
Mike Lang - Keyboards
Clarence MacDonald - Keyboards
Alex Malheiros - Bass (Electric)
Tom "Bones" Malone - Trombone
Jose Marino - Bass (Electric)
John Martin - Cello
Nilson Matta - Bass (Acoustic)
Gary McFarland - Vocals
Pascoal Meirelles - Drums
Airto Moreira - Percussion
Mark Murphy - Vocals
Thorne Nogar - Mixing Engineer
Joe Pass - Guitar (Electric)
José Paulo - Percussion
Don Payne - Bass (Acoustic)
Niels-Henning Ørsted Pedersen - Bass (Acoustic)
Luis Peralta - Percussion, Drums
Dave Pike - Vibes
Barry Powley - Executive Producer
Samuel Ramsey - French Horn
Bill Reichenbach - Drums
Claudio Roditi - Trumpet
Willie Rodriguez - Percussion
Dom Um Romão - Drums
Alan Rubin - Trumpet
Juan "Tito" Russo - Bass (Electric)
Dom Salvador - Piano (Acoustic)
Zoot Sims - Sax (Tenor)
Spencer Sinatra - Flute
Sivuca - Guitar (Acoustic), Vocals (bckgr)
Mauricio Smith - Clarinet
Dorothy Stall - Cello
Mike Stephans - Percussion, Drums
Joe Tarantino - Remastering Engineer
Clark Terry - Flugelhorn
Toots Thielemans - Harmonica
Cal Tjader - Vibes
Terry Trotter - Keyboards
Rudy Van Gelder - Engineer
Sarah Vaughan - Vocals
Franz Vlashek - Cello
Walter Wanderley - Organ, Synthesizer, Piano
Chris White - Bass (Acoustic)
Arnold Wise - Drums
Michael Wolff - Piano (Electric)
Jerry Yester - Engineer
Patrice Young - Cello

[1999 CD Reissue]

Raul de Souza, "Colors", Milestone #M-9061 (1975).[Original LP]
Raul de Souza, "Colors", Milestone/Original Jazz Classics CD #OJCCD 1025-2 (1999).[CD]
Raul de Souza, "Colors", Ace Records [UK] #______________ (2011).[CD Reissue]

CD Reissue Produced & Annotated by Arnaldo DeSouteiro for Milestone/Fantasy's "Original Jazz Classic" series in April, 1999.  Reissued again in the UK by Ace Records on August 12, 2011.


1. NANÃ 3:52 (Moacir Santos-Mario Telles) Bexhill Music-ASCAP

2. CANTO DE OSSANHA 3:55 (Baden Powell-Vinicius de Moraes) Duchess Music-BMI

3. WATER BUFFALO 4:35 (Raul De Souza) Good Morning Music-BMI

4. DR. HONORIS CAUSA 7:09 (Joe Zawinul) Zawinul Music-BMI

5. FESTIVAL 4:44 (Jack DeJohnette) DeJohnette Music-BMI

6. CRYSTAL SILENCE 11:21 (Chick Corea) MCA Music-ASCAP

7. CHANTS TO BURN 4:52 (Barry Finnerty) Good Morning-BMI

Total Time 40:52

Originally Produced by Airto.
Executive Producer: Orrin Keepnews.
Recorded by Don Cody at Fantasy Studios, Berkeley; October 1974.

Remastering, 1999 by engineer Kirk Felton (Fantasy).

Original LP art direction, design-Phil Carroll
Original silk screen-Jamie Putnam
Booklet photo-Phil Bray

Jack DeJohnette appears through the courtesy of Prestige Records.

RAUL DE SOUZA-trombone
TED LO-keyboards
KENNETH NASH (and others)-percussion

Horns (except on #3):
SNOOKY YOUNG, OSCAR BRASHEAR- trumpets, flugelhorns
GEORGE BOHANON, DON WALDROP- trombones, baritone horns
Horns arranged and conducted by J.J. JOHNSON
Guest soloist (#2 and 7 only):
* * *

Liner Notes written by by Arnaldo DeSouteiro for the first ever CD reissue of Raul de Souza's "Colors":

Raul De Souza's life can be seen as a one-of-a-kind story. Indeed, it would make a perfect novel or film script. It may not be as big a tragedy as 'Round Midnight or Bird, but it has drama, love, adventure, and great music.

Picture this: a poor child grows up in Brazil working as a weaver and practicing trombone in conversations with a buffalo in the jungle, dreaming of someday becoming an internationally famous jazzman. Suddenly, this dream materializes: our hero arrives in the land of jazz, the U.S.A., and is soon playing with many of his idols. He feels as if he's living on a flying carpet. Then suddenly again, he leaves his family and job, returns to his homeland, and his career goes down- lull. Now, 20 years later, he looks for a new miracle, but it's not so easy.

These remembrances come apropos of this CD reissue of Colors, Raul's U.S. debut solo album, recorded when he was in his creative heyday and in the process of making his life long dream come true, when he started to be recognized as one of the world's greatest trombonists while living and working in the land of the best brass players.

Two angels were helping him at that time: singer Flora Purim and especially her husband, percussion genius Airto Moreira, two old Brazilian friends who had exchanged musical ideas with Raul in the exciting bossa scene of the mid- Sixties. They were members of the brilliant second generation of bossa nova artists, who developed the samba-jazz (or sambop) wave in memorable jam sessions at the legendary clubs (Bottle's Bar, Little Club) of the Beco das Carrafas (Bottle's Alley) in Copacabana. Although Rio de Janeiro was bossa~nova's general headquarters, the revolutionary style also flourished in Sao Paulo, where the Joao Sebastiao Bar became the meeting point for such young talents as Raul, Airto, Flora, and Jose' Roberto Bertrami.

While the first bossa generation-represented by Antonio Carlos Jobim, Luiz Bonfa', and mainly Joao Gilberto was cool, showcasing a soft aesthetic based essentially on guitar, voice, and unobtrusive percussion, the second one-which featured Sergio Mendes, Meirelles, Dom Um Romao, and many others-was hot, opting to play in trios, quintets, and sometimes even larger ensembles.

A decade later, Raul would be reunited with Flora and Airto in the U.S. But, in the meantime, many other things had happened in the life of this extraordinary self-taught musician, who was born Joao Jose' Pereira De Souza in Rio, on August 23,1934, and who had his earliest musical experiences in childhood playing tambourine in the church where his father was minister. Later on, he tried trumpet, tuba, flute, and tenor saxophone, finally opting for the trombone while still in his teens. However, his first professional job, at 16, was playing tuba in the band of Fabrica Bangu, the textile factory where he was employed. "It was one of the most important industries in Rio at that time," Raul remembers. "Our main job in the band was to play at the opening parties of the many stores the facto ry had all over Rio, as well as during soccer games to encourage the teams."

In the army, Raul met the legendary drummer Edison Machado, where both served at the Footguard Regiment. when Raul left, he started to win all the radio contests, and had the opportunity to meet such giants as Pivinguinha, Waldir Azevedo, and Aftarniro Carrtlho. "Back in 19551 recorded a couple of albums with an all-star group called A Turma da Gafieira, led by Carriho and featuring myself, Edison Machado, Ze' Bodega, and Baden Powell."

Sometime later, our hero accepted the invitation to join a Brazilian Air Force band, in Curitiba City, State of Parana', where he started his long-term friendship with Airto Moreira, then a bolero singer in local nightclubs.

After remaining in Curitiba for five years, Raul lived briefly in Sao Paulo, but soon moved back to Rio, joining Sergio Mendes's Bossa Rio, a phenomenal hard-bossa sextet that recorded a very famous album, "Voce Ainda Não Ouviu Nada". After touring Europe with Mendes in 1964, Raul became a member of Eumir Deodato's Os Catedraticos combo, cutting the Tremendão album.

It was a very busy year. When Flora Purim recorded her debut album, Flora é MPM, Raul was in the trombone section of a big band assembled by drummer Dom Um Romao, then Flora's husband. Several other sessions followed, including such LPs as Quarteto em Cy (the debut album by the vocal group) and Trio 3D Conviaa (as a guest with Antonio Adolfo's trio). Not to mention Raul's own solo debut, A VontadeMesmo, released by RCA in January 1965 with Airto (then a member of the Sambalan~o Trio) playing drums throughout the session.

In late 1965, Raul once again traveled to Europe, eventual ly playing with drummer Kenny Clarke in such Paris clubs as the Blue Note and Elephant Blanc. Back in Brazil, he joined RC7, the backing band for pop singer Roberto Carlos, which he left to found the Impacto 8 group, a short-lived entity. "I felt very disappointed with Rio's music scene, besides all the political problems in Brazil. So,I moved to Mexico in 1969."

Raul was living in Acapulco when fortune smiled on him. His old buddies Flora and Airto, then at the peak of their popularity, wanted him to work with them in the States. Three days after he got the phone call, in August 1973, Raul arrived in Los Angeles and immediately joined their group on tour as opening act for the Crusaders. when the tour was over, he settled for a while in Boston, studying at the Berklee College of Music.

Back in L.A. the following year, Raul resumed his partner- ship with Airto and Flora, fascinating the jazz world with astonishing solos on Flora's Stories to Tell album for the Milestone label. Many sessions followed with the intrepid couple: Flora's Encounter Nothing Will Be as It Was. Tomorrow ,Everyday Everynight , and Carry On; and Airto's Identity, Promises of the Sun, and I'm Fine, How Are You?.

Through his Brazilian guardian angels, Raul also signed with Milestone for this brilliant solo album, Colors. Recorded in October '74, it was produced by Airto, who received approval for the project from Milestone's A&R head, Orrin Keepnews, who'd been deeply impressed by Raul's performance on Flora's Stories to Tell. "Flora had just gone to jail," Raul recalls, "and Airto started to work as a producer because he needed money to pay the lawyers. He also needed to keep working all the time so he wouldn't think too much about what was going on."

There's no doubt that Raul was at his creative peak when cutting Colors, displaying his tremendous artistry in a way he was never able to do in subsequent projects. Still a new kid to on the block in L.A., he was incredulous as he watched Airto assemble a dream-team for the sessions. "I didn't believe it when he told me that two of my biggest idols ever were going to be involved," Raul says. One was trombone master J.J. Johnson, who arranged and conducted the phenomenal horn section comprised of such veterans as Snooky Young, Jerome Richardson, and even Sahib Shihab, who'd recorded with Coltrane, Monk, and Blakey, among many others. The other legend, Cannonball Adderley, acted as alto sax soloist on two tracks.

In the rhythm section were bassist Richard Davis, drummer Jack De Johnette, and the only newcomer, Hong Kong- born keyboardist Ted Lo, son of a Chinese mandarin and a colleague from Raul's days at Berklee. Airto himself played is percussion, although for contractual reasons his name didn't appear on the cover. ("Percussion by Kenneth Nash and others, was how the original credit read. By others, please understand Airto and Raul).

Sounding as contemporary today as when it was originally released in spring 1975, Colors dazzles for its organic conception and the magnitude of its content. "Everybody played their asses off, there was a high energy in the studio," testifies Raul. Although there are three songs by Brazilian composers in the repertoire, it can't be classified as a Brazilian (or a Brazilian-oriented) album, but as a ravishing jazz album.

Raul bewitches the listener with the depth and agility of his improvisations throughout the seven tracks. It's impossible to choose his best solo, even though his work on Baden Powell's "Canto de Ossanha" (a stunning rush of ideas rendered in short phrases and accurate attacks), and on Joe Zawinul's "Dr. Honoris Causa" (a song from Zawinul's days in Cannonball's combo) are particularly noteworthy.

Besides playing with his usual rhythmic fury, De Johnette also contributed "Festival," a calypso-tinged tune with an epic mood propelled by Airto's wild screams and percussion arsenal. Moacir Santos's masterpiece, "Nana," Raul's biggest hit on the European acid-jazz dancefloor scene, receives a funky treatment, while guitarist Barry Finnerty's "Chants to Burn" features an intensely vigorous approach blending fusion and hard-bop elements.

On the other hand, Chick Corea's ethereal ballad "Crystal Silence," from the Return to Forever book, showcases the lyrical side of Raul's artistry. His very expressive reading is suffused with soulful virtuosity, as is his performance on "Water Buffalo," Raul's only composition on the album. In his own words, the song is "a tribute to an old friend, a buffalo with whom I had many musical dialogues when practicing in the forest. I used to play long and loud phrases, and he always answered me with shouts while coming closer to me." After a reflective intro, backed by Ted Lo's Rhodes and Airto's chimes and whistles, Raul explodes in an eloquent performance.

After the release of Colors, Raul recorded as a sideman on significant dates with Cal Tjader (Amazonas), Azar Lawrence (Summer Solstice), and most notably Sonny Rollins (Nucleus). "Rollins invited me to do the promotional tour of the album, but I had been trampled, my legs were broken, and I had to stay over three months in a hospital," he recalls with regret. However, another dream came true during a ben efit concert for him: Frank Rosolino, his first influence as a trombonist, and naturally a big idol ever since, appeared at the concert and played some duets with Raul, who still was in a wheelchair. "I cried my heart out that night, when Rosolino gave me a kiss and a warm embrace at the end." On a happier occasion, the two trombonists once again joined forces at a memorable concert at the 1978 Sao Paulol Montreux Jazz Festival.

The year before, after having recorded with fusion group Caldera on their self-titled debut album, Raul signed with Capitol and released two best-selling jazz-pop-funk-r&b albums produced by George Duke (Sweet Lucy, Don 't Ask My Neighbors), and one disco-oriented flop produced by Arthur Wright in '79 ('TiI Tomorrow Comes). The association with Duke also led him to his playing on several dates by the keyboardist (Reach for it, A Brazilian Love Affair).

Unexpectedly, destiny once again intervened, this time changing things for the worse. After performing in Rio in August 1980 with an all-star ensemble (George Duke, Stanley Clarke, Airto, Ndugu, and Roland Bautista), Raul shocked everybody by deciding not to return to the U.S. He abandoned not only his international career, but also his American wife who had traveled to Brazil with him and went back to Los Angeles alone.

During the Eighties, Raul's career went downhill. Living in Sao Paulo, he performed only occasionally and recorded a couple of insignificant albums, doing sporadic studio work with Alex Merck, Gilberto Gil, Toninho Horta, and most recently, in the Mineties, with Maria Bethânia, Lisa Ono, Salena Jones, Leny Andrade, Taiguara, Nelson Angelo, and on Antonio Carlos Jobim's last album, the Grammy-winning Antonio Brasileiro. Also ensuring that the jazz world would not forget him completely, some unreleased sessions from the Seventies with Airto and Flora (Colours of Life, Aqui Se Puede, Samba de Flora) eventually came out.

Currently, Raul divides his time between Paris and Rio. Previously unreleased mid-Seventies sessions with Georgie Fame came out in Europe (The In-Crowd), and a new great album, Rio, co-led by trombonist Conrad Herwig in the style of the J.J. Johnson / Kai Winding collaborations, was issued in 1998. But he has yet to equal the mastery of his golden years. And for this reason Colors stands out in Raul De Souza's discography as his masterpiece.

Mr. De Souteiro is Brazil's leading jazz producer and journalist.


Various Artists, "Tributo a Chico Buarque", Movieplay #BS-313 (1999).[CD]

Includes the track "Retrato Em Branco e Preto", produced by Arnaldo DeSouteiro, and performed by Ithamara Koorax with Ron Carter & Sadao Watanabe.


 1.. Folhetim (Buarque) – Jane Duboc
 2.. Anos Dourados (Buarque/Jobim) – Brazilian Tropical Orchestra
 3.. Beatriz (Buarque/Lobo) – Tom da Terra
 4.. Sabiá (Buarque/Jobim) – Zimbo Trio
 5.. Retrato em Branco e Preto (Buarque/Jobim) – Ithamara Koorax w/ Ron Carter & Sadao Watanabe
 6.. Olha Maria (Buarque/Jobim/de Moraes) – Paulinho Nogueira
 7.. Morena de Angola (Buarque) – Luciana Rodrigues
 8.. Gente Humilde (Buarque/Garoto/de Moraes) – Trio Caiowás
 9.. A Volta do Malandro (Buarque) – Catavento
 10.. Piano na Mangueira (Buarque/Jobim) – Zimbo Trio
 11.. João e Maria (Buarque/Sivuca) – Jane Duboc
 12.. Roda Viva (Buarque) – Brazilian Tropical Orchestra
 13.. As Cartas (Buarque) – Ana de Hollanda/Chico Buarque
 14.. Meu Caro Amigo (Buarque/Hime) – Grupo Vou Vivendo

Musician personnel and Album credits:

Chico Buarque – Vocal

Paulinho Nogueira – Guitar (Acoustic)

Zimbo Trio – Performer

Ithamara Koorax – Vocal

Ron Carter – Bass (Acoustic)

Arnaldo DeSouteiro – Producer

Sadao Watanabe – Sax (Alto)

Pascoal Meirelles – Drums

Catavento – Performer

Paulo Malaguti – Piano, Arranger

Jane Duboc – Vocal

Zimbo Trio – Performer

Hamilton Godoy – Piano

Antonio Pereira - Producer

Luiz Chaves – Bass (Acoustic)

Ana de Hollanda – Vocal

Brazilian Tropical Orchestra - Performer

Rubens Barsotti - Drums

Jorge Gambier – Producer, Compilation Producer, Selection

Luciana Rodrigues – Vocal

Tom da Terra – Performer

Iranfe Maciel - Producer

Produced by Jorge Gambier, Arnaldo DeSouteiro, Iranfe Maciel and Antonio Pereira.

Street%20Angels%20(CD%20cover).jpg  Street%20Angels%20(CD%20cover,back).jpg

Various Artists, "Street Angels", Mr. Bongo #STA1/MRBCD016 (1999).[CD]

A benefit album for the street children of Brazil

Liner notes from the back cover:
This is a benefit recording for the AMADA* Project in Itapuã, Salvador, Bahia, Brazil. All recordings are exclusive to this album and have been donated by the artists.
In northeast Brazil, more than 77% of the population live below the poverty line. 30% of children below the age of five suffer from malnutrition and 2 million children receive no education.
These children also face the threat of execution at the hands of hired killers and policemen.
Amnesty International lists street execution as the third largest cause of death for Brazilian children.
*AMADA: Associação Beneficente dos Moradores Amigos de Dona Aurora
Charity Reg. No. (Brazil): CGC 34.306.456/0001-04


1. Danilo Caymmi & Marcelo Salazar: "Street Angels" (Marcelo Salazar/Danilo Caymmi)
2. José Carlos Ramos: "Porangaba" (J.C. Ramos/Fernando Moraes)
3. Clave de Soul: "Think About the Children" (Gerson King Combo/Clave de Soul/Mr. Bongo)
4. Joyce: "Maracangalha" (Dorival Caymmi)
5. Otto: "O Celular de Nanã" (Otto)
6. Filhos do Capoeira: "Capoeira Um" (DR)
7. Ithamara Koorax: "Cala Boca Menino" (Dorival Caymmi)
8. Batucada Groove: "Brazilian Grace" (Marcelinho DaLua/Marcelo Salazar)
9. Dom Um Romão: "Sem Terra" - Ben Mitchell Remix (Dom Um Romão)
10. Pingarilho: "Samba Tempo" (Carlos Pingarilho/Marcos Vasconcelos)
11. Ile Aye: "Batmacumba" (Gilberto Gil)
12. Arakatuba & Fila Brazilia: "Sócrates" (Arakatuba)
13. Luiz Bonfá & Lord K: "Strange Messages" - Mad Monkey Mix (Luiz Bonfá/Lord K/Teddy Kumpel)
14. Billie Godfrey featuring Mr. Hermano Band: "Where Are We Gonna Go?" (Ben Mitchell/Billie Godfrey)

Credits (in alphabetical order):
Nelson Ângelo - Arranger, Keyboards
Apollo 9 - Producer
Arakatuba - Performer
Ile Aye - Performer
Mick Ball - Trumpet
Toninho Barbosa - Recorder, Co-Producer, Mixing
Paulinho Black - Drums
Luiz Bonfá - Guitar (Electric)
João Carlos - Cello
Jorjão Carvalho - Bass (Electric)
Danilo Caymmi - Flute, Arranger, Vocals
Clave de Soul - Performer
DJ Marcelinho da Lua - Turntables
Hudson Delduque - Keyboards
Bosco de Oliveira - Percussion, Drums
Arnaldo DeSouteiro - Percussion, Arranger, Producer
DJ Soul Slinger - Co-Producer
Brian Dunne - Drums
Elliot Erwitt - Cover Photo
Paula Faour - Synthesizer, Keyboards
Marcelo Ferreira - Guitar (Electric)
Fila Brazillia - Performer
Gesiel - Trumpet
Anne Marie Gilkes - Vocals
Billie Godfrey - Vocals, Vocals (bckgr)
Mauro Gomes - Percussion
Jovi - Percussion
Joyce - Guitar (Acoustic), Arranger, Vocals
Ithamara Koorax - Vocals
Teddy Kumpel - Guitar, Arranger, Co-Producer
Dave Laudat - Vocals (bckgr)
Luciano Lopes - Bass (Electric)
Rodrigo de Castro Lopes - Mastering Engineer
Lord K - Percussion, Arranger, Guitar (Electric), Vocals
Junior Mansilva - Trumpet
Anne Marie - Vocals (bckgr)
Tinho Martins - Sax (Alto)
Ulisses Martins - Vocals (bckgr)
Marcio Matias - Percussion
Ricardo Mendes - Guitar (Electric)
Cesar Miquiles - Vocals
Zé Paulo Miranda - Cavaquinho
Mr. Bongo (Dave Buttle) - Executive Producer, Liner Notes
Mr. Hermano - Performer
Ben Mitchell - Percussion, Co-Producer, Remixing
Fernando Moraes - Piano, Arranger
Klaudia Moras - Vocals (bckgr), Co-Producer
Neco (Daudeth Azevedo) - Guitar (Acoustic)
Otto - Percussion, Vocals
Jorge Pescara - Bass (Electric), Stick
Carlos Pingarilho - Guitar (Acoustic), Arranger, Vocals
José Carlos Ramos (Zé Bigorna) - Flute, Arranger, Sax (Soprano), Sax (Tenor)
Fernando Rebelo - Recording Engineer
Dom Um Romão - Percussion, Drums, Vocals (bckgr)
Richard Sadler - Sax (Baritone)
Marcelo Salazar - Percussion, Arranger, Programming, Co-Producer
Tony Scherr - Bass (Electric)
Marco Valério - Mixing Engineer
Erasto Vasconcelos - Percussion
Naná Vasconcelos - Percussion
Jeff "The Funkmaster" Walker - Bass (Electric), Guitar (Electric)
Richard Wargent - Sax (Tenor)
Pete Z - Keyboards

Produced by Arnaldo DeSouteiro for Mr. Bongo
Recorded in Rio de Janeiro & Bahia (Brazil) and London (UK)
Recorded at Jazz Station Studios, Banco Musical Studios and Can Can Studios
Mastered at Visom Studios (Rio, Brazil) and Masterpiece Studios (London, UK)


Eumir Deodato, "Tremendão", Bomba Records [Japan] #22104 (1999).[First Japanese CD Reissue]

Release Date: September 26, 1999.
Reissue Produced by Eumir Deodato & Arnaldo DeSouteiro.


1          Tremendão (New Digital Mix)    2:10     
2          Começou De Brincadeira (New Digital Mix)    2:58     
3          Gente (New Digital Mix)    2:21     
4          Amélia (New Digital Mix)    2:27     
5          Menina Flor (New Digital Mix)    1:50     
6          Champagne & Quail (From "The Pink Panther") (New Digital Mix)    3:07  (Mancini)  
7          My Manne Shelly (New Digital Mix)    1:58   (Mancini)
8          Imenso Do Amor (New Digital Mix)    3:07     
9          Fora De Tempo (New Digital Mix)    3:20     
10          Da-Me Um Martelo (New Digital Mix)    2:58     
11          De Presente (New Digital Mix)    2:06     
12          Labareda (New Digital Mix)    2:30     
13          Tremendão          
14          Começou De Brincadeira          
15          Gente          
16          Amélia          
17          Menina Flor          
18          Champagne & Quail  (Mancini)  
19          My Manne Shelly (Mancini)
20          Imenso Do Amor          
21          Fora De Tempo          
22          Dá-Me Um Martelo          
23          De Presente          
24          Labareda   

Album credits:

Arranged By - Eumir Deodato
Liner Notes - Luiz Bonfá , Humberto Reis
Reissue Producer - Eumir Deodato , Arnaldo DeSouteiro
Remastered By - Phil Cohan
First official CD release in Japan, with 12 bonus tracks
1-12: New Digital Mix (digitally remixed from the original 3-track master tapes at Music Box Studios - Los Angeles, CA, USA, in June 1997)
13-24: Original Analog Mix (by Jairo Pires at CBS Studios in 1964)

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