David Matthews with Whirlwind, "Shoogie Wanna Boogie", CTI/Kudu [Japan] #KICJ 8366 (2001).[CD Reissue]


1. Shoogie Wanna Boogie (David Matthews/Patti Austin/Gwen Guthrie) 5:38
Char-Liz Music/BMI
2. My Girl (W. Smokey Robinson/R. White) 5:32
Jobete Music/ASCAP
3. You Keep Me Hanging On (Eddie Holland/Lamont Dozier/Brian Holland) 6:41 Jobete Music/ASCAP
4. California Dreaming (John Phillips/Michelle Phillips) 6:26
MCA Music Publishing/ASCAP
5. Gotta Be Where You Are (David Matthews/Gloria Nisseson) 6:58
Char-Liz Music/ASCAP
6. Just My Imagination Running Away With Me (Norman Whitfield/B. Strong) 4:57 Jobete Music/ASCAP

* * *
Liner Notes by Arnaldo DeSouteiro for the first official CD reissue of "Shoogie Wanna Boogie":

When Creed Taylor was considering to hire David Matthews as the new chief arranger for CTI, in 1975, he gave a call to renowned jazz historian Leonard Feather, asking his opinion. “Feather seemed surprised, because he was not familiar with Matthew’s work”, remembers CTI’s founder Creed Taylor. “So I told him that the David Matthews Band, actually a 12-piece combo, was performing all Monday nights at the Five Spot cafe, in New York. Two weeks later, Feather called me back to tell that he had attended two sets performed by Matthews’ Band, adding that he had become very impressed with his arrangements. In this meantime, I had already signed David, who told it to Mr. Feather, who couldn’t disguise how much he was surprised. Actually, many people in the jazz business were shocked when I signed Matthews. But I knew he was going to do everything well”.

Everything? Yes, everything. However, even today it is still hard to believe that the David Matthews who worked as arranger/conductor/musical director for funk legend James Brown in the early Seventies (on such albums as There It Is, Get On The Good Foot, Sho’ Is Funky Down Here, Hell and Reality) is the same David Matthews now very famous in Japan as the leader of the best-selling and poll-winners ensembles Manhattan Jazz Quintet and Manhattan Jazz Orchestra. Both groups recorded extensively in the Eighties on King Records, for which Matthews also worked as co-producer on albums led by Steve Gadd, Michel Camilo, and MJQ mates Lew Soloff and George Young, helping to increase their popularity in the Japanese jazz scene.

A tremendously versatile arranger, David Matthews (born April 3, 1942, in Sonora, KY) got the hard task to replace Bob James and Don Sebesky as the house arranger for CTI/Kudu. Both maestros were still signed to CTI. However, James seemed discontent with the label financial department, and was considering offers from other companies. And Creed was disappointed with the poor sales of Sebesky’s first CTI album as a leader, the superb and over-budget Giant Box, on which he had lavishly spent too much money. So, although Creed was planning another Sebesky solo album (The Rape of El Morro), as well as two albums that James owed to CTI, he decided to prepare David Matthews as the substitute of such illustrious predecessors.

Disco-music was then the new big thing in the musical market, and Matthews’ experience with James Brown seemed perfect to forge a mix of funk and r&b styles on disco-oriented albums, recorded for Kudu in 1975, by Hank Crawford (I Hear A Symphony), Idris Muhammad (House of the Rising Sun) and Ron Carter (Anything Goes). Plus: several George Benson sessions for CTI, also done in 1975, later released on the albums Good King Bad, Benson & Farrell, and Pacific Fire.

Finally, Creed Taylor offered to David Matthews the chance to cut his first solo album for Kudu, recorded soon after the arranger terminated his contract with Muse Records. The result was Shoogie Wanna Boogie, truly a typical disco-music album, although spiced with some real funky grooves (most specifically on the title track) and a few jazzy moods. Curiously, the basic tracks were recorded between March 20 and 22, in the same studio (Mediasound) and with the same engineer (Joe Jorgensen) and some of the same musicians (Anthony Jackson, Andy Newmark, Sue Evans, Jerry Friedman, John Tropea) employed on Lalo Schifrin’s debut album for CTI, Black Widow, recorded a week later.

At that time, Creed Taylor remained very attracted to Eumir Deodato’s work, still trying to capitalize on the success of his former protégé (and CTI best-selling artist ever), then signed to MCA. It was Creed’s idea to add the word Whirlwind in the album cover (pretending it was the name of Matthew’s band, who only became aware of such arbitrary decision after the album release), inspired by the title of Deodato’s debut album for MCA, Whirlwinds. As if it was not enough, soon later Creed Taylor suggested Lalo Schifrin to use Black Widow as the title of Lalo’s first album for CTI, that time inspired by the title of one of Deodato’s hits from his Very Together album, released on January 1976...

Throughout Shoogie Wanna Boogie, David Matthews succeeded in using an orgiastic vocal trio formed by Patti Austin, Vivian Cherry and the late Gwen Guthrie (1950-1999), fusing it with string and horn sections placed over contagious dancing grooves. The title track features a vocal riff written by Matthews, Austin and Guthrie, blessed by a killer bass line courtesy of Anthony Jackson, in one of his best recorded performances ever.

The underrated drummer Andy Newmark (a former member of Sly & The Family Stone, who later went on to record with Roxy Music, Pink Floyd and David Bowie) carries the beat and the late Joe Farrell (1937-1986) does the energetic tenor solo on a glamorous disco-version of My Girl, the Smokey Robinsin-penned Number 1 pop and r&b hit recorded by The Temptations in 1965, later covered by Michael Jackson on his Ben album (1972), and most recently rediscovered by jazz fans through Steve Gadd’s The Gadd Gang on the Here & Now album (1988).

Another architect of the Motown sound, Norman Whitfield wrote Just My Imagination, another hit for The Temptations in 1971. On Matthews’ version, that fine ballad gets another colours, with a baritone sax solo by seasoned studio veteran Ronnie Cuber.

A cop-show mood intro helps to set on fire one of Motown’s early hits by The Supremes, back in 1968: You Keep Me Hanging On, composed by the legendary production-team of Eddie Holland, his brother Brian Holland, and Lamont Dozier. The horn solo is by Fred Wesley (former James Brown’s trombonist), who began to record often as sideman for CTI after being recommended to Creed Taylor by David Matthews.

The next track is one of Creed’s favorite songs, The Mamas & The Papas huge hit California Dreaming (from their 1966 debut album, If You Can Believe Your Eyes And Years), which the producer had previously selected for albums by Wes Montgomery (California Dreaming – Verve, 1966) and George Benson (White Rabbit – CTI, 1971, and CTI Summer Jazz Live At The Hollywood Bowl – CTI, 1972). On David Matthews’ version, it is a showcase for bassist Jeff Berlin' stunning artistry.

The third bassist on the album, Will Lee, overdubbed his part on the most jazzy track, Gotta Be Where You Are, a David Matthews tune with lyrics by Gloria Nisseson. It is the only track on which David plays acoustic piano, doing a short but very interesting (and mysterious) solo over a conga/drums groove adorned by sinuous strings. Actually, it is the only track on which the leader plays any keyboard parts, since all others are performed by Don Grolnick, Pat Rebillot, Barry Miles and Kenny Ascher, with a vast use of the Hohner clavinet, a very fashionable instrument during the disco craze.

Shoogie Wanna Boogie didn’t became the commercial success it could have been. Anyway, David Matthews was kept as CTI’s main arranger until 1978, working on albums by Art Farmer (Big Blues, Something You Got), Urbie Green (The Fox, Senor Blues), Yusef Lateef (Autophysiopsychic), Hank Crawford (Tico Rico, Cajun Sunrise), Esther Phillips (Capricorn Princess), Grover Washington, Jr. (A Secret Place), John Blair (We Belong Together), Nina Simone (Baltimore) and many others.

He did a second and last album as a leader for CTI, Dune, an artistically successful project who turned out to be a commercial fiasco thanks to the imprudence of CTI’s legal management. Since CTI had not secured writer Frank Herbert’s authorization to use his novel Dune as the thematic centerpiece for the album, Herbert filed a law suit against CTI and won, forcing the label to delete it from catalog. For this reason, that magnificent album was never reissued in the USA, although a CD reissue came out in Japan by King Records in 1994. Now it’s time for Shoogie Wanna Boogie (for the first time available on CD) see again the light of the day!

Arnaldo DeSouteiro
London, May, 2001

Mr. DeSouteiro is Brazil’s leading jazz producer and CTI historian.
* * *

Muisician personnel and Album credits:

Arranged & Conducted by David Matthews

David Matthews: acoustic piano solo (5)
Don Grolnick: Hohner clavinet (1,2)
Barry Miles: Arp & Moog synths (1,5)
Pat Rebillot; Hohner clavinet (3,4,6)
Kenny Ascher: Rhodes electric piano, Hohner clavinet (5)
Anthony Jackson: electric bass (1,2,5)
Will Lee: electric bass overdub (5)
Jeff Berlin: electric bass (3,4,6)
Andy Newmark: drums (all tracks)
Sue Evans: percussion (all tracks)
Carlos Martin: congas (3,4,6)
Nicky Marrero: timbales & guiro (5)
Steve Khan: lead guitar (1), solo guitar (2)
Jerry Friedman: rhythm guitar (1,2,3,4)
Lance Quinn: rhythm guitar (3,4,6)
John Tropea: rhythm guitar (3), lead guitar (4)
Randy Brecker: trumpet (1,2,5)
Jon Faddis: trumpet (1,3,4,6)
Burt Collins: trumpet (2,5)
Alan Rubin: trumpet (2,5)
Joe Shepley: trumpet (2,3,4,5,6)
Sam Burtis: valve trombone (2,5)
Tom Malone: trombone (2,5)
Fred Wesley: valve trombone solo (3), trombone (4,6)
Dave Taylor: bass trombone (2,5)
Joe Farrell: tenor sax solo (2), alto flute (5)
Michael Brecker: tenor sax solo (5), tenor sax (1,3,4,6)
Ronnie Cuber: baritone sax (1,3,4,5,6)
Jim Buffington: French horn (2,5)
Peter Gordon: French horn (2,5)

Vocals on all tracks:
Patti Austin (solo on 5), Vivian Cherry & Gwen Guthrie

Strings on all tracks:
Harry Cykman, Max Ellen, Barry Finclair, Paul Gershman, Harry Glickman, Emanuel Green, Harold Kohon, Harry Lookofsky (concertmaster), David Nadien, Max Polikoff, Matthew Raimondi & Richard Sortomme: violin
Alfred Brown & Theodore Israel: viola
Seymour Barab, Jesse Levy, Charles MacCracken, Alan Schulman: cello

Reissue Supervised & Annotated by Arnaldo DeSouteiro for CTI Records' "Kudu Best 12" series.
Release Date in Japan: July 25, 2001.

Recorded at A&R (Don Hann, Enginner) and Mediasound (Joe Jorgensen, Enginner) Studios.
Basic tracks recorded on March 20-22, 1976
Overdubs (strings, horns & vocals) recorded on April 17-20, 1976

Cover photo by J. Alex Langley
Illustration retouching by Jack Taromina
Original album design by Rene Schumacher
Original album produced by Creed Taylor
Reissue supervised by Arnaldo DeSouteiro
Liner Notes by Arnaldo DeSouteiro
Original album release: KU-30


Grant Green, "Grant Green: The Main Attraction", CTI/Kudu [Japan] CD #KICJ 8367 (2001).[CD Release]

Reissue Supervised, Annotaded & Digitally Remastered by Arnaldo DeSouteiro for the "Kudu Best 12" series, released on July 25, 2001.


1.      The Main Attraction (D. Matthews / A. Newmark / D. Grolnick / S. Kahn / W. Lee) 19:28
2.      Future Feature (D. Matthews) 7:44
3.      Creature (G. Green) 10:17

Total Time 37:39

* * *

Liner Notes by Arnaldo DeSouteiro:

During his brilliant career as one of the best producers in the music history, Creed Taylor (born in Lynchburg, Virginia, on May 13, 1929) has worked with some of world’s greatest guitarists: from Barry Galbraith (1919-1983) and Mundell Lowe, who took part in the Creed Taylor Orchestra albums (Lonelyville, Shock!, Ping Pang Pong) for ABC-Paramount in the late Fifties, to smooth jazz virtuoso Steve Laury, who was signed for CTI in 1995.

In between, Creed produced memorable albums for two of the best jazz guitarists ever, Wes Montgomery and George Benson, applying his Midas touch to transform them in best-selling stars. There were also the acoustic guitarists he paired with Stan Getz on legendary bossa nova albums: Charlie Byrd, Joao Gilberto, Luiz Bonfa and Laurindo Almeida. And the list goes on and on: Jim Hall, Eric Gale, Joe Beck, Jack Wilkins and Larry Coryell.

Not to mention Grant Green (June 6, 1931- January 31, 1979), the St. Louis-born unsung jazz guitar hero, who was one of the main influences on George Benson’s career, and played with Jimmy Forrest, John Coltrane, Lou Donaldson, Yusef Lateef, Herbie Hancock, Jack McDuff, Lee Morgan, Hank Mobley, Jimmy Smith and Stanley Turrentine, among many others. As a leader, he recorded many albums for the Blue Note (nothing less than nine LPs only in 1961!) and Verve labels in the Sixties, although personal problems with drugs took him off the scene many times.

According to renowned jazz historian Douglas Payne, eleven years before The Main Attraction (Kudu KU-29), Grant Green and Creed Taylor had worked together at Verve a few times in 1965: on Johnny Hodges/Wild Bill Davis’ albums Joe’s Blues (V6-8617) and Wings & Things (V6-8630), as well as on Green’s own album as leader, His Majesty, King Funk (V6-8627, with Larry Young). There is also a never released session that Creed produced for Grant Green, on August 5, 1965, that has similar tunes to Green’s 1967 recording eventually issued on Muse Records under the title Iron City. Later on, the guitarist appeared in one of the first albums issued by CTI, Black Out, a session led by tenorist Fats Theus in July 1970.

For such a spontaneous musician like Grant Green, accustomed to record in a very relaxed way, sometimes cutting an entire album of six or eight tunes in a 6-hour recording session, and often playing in a jam-session atmosphere, the recording process of The Main Attraction (on March 1976) for sure represented a completely new experience for him.

When Grant Green arrived for the sessions at Van Gelder’s studio, in Englewood Cliffs, New Jersey, two of the basic tracks had been already done. All he needed to do was to add his guitar on the top of them. Detail: he had never heard those songs before! Only the third track, Creature, was recorded with all the musicians together in the studio, although even on that tune Creed insisted that Green should overdub his guitar solo, in order to correct a few flaws and achieve a truly perfect performance.

David Matthews was very busy on March, 1976, preparing his debut solo album for Kudu, Shoogie Wanna Boogie, as well as starting to record the basic tracks for the Benson & Farrell album on CTI. Not surprisingly, both albums feature the same musicians who took part in the rhythm section of Grant Green’s The Main Attraction: Don Grolnick (Fender Rhodes electric piano & Hohner clavinet), Will Lee (electric bass), Andy Newmark (drums) and Steve Khan (rhythm guitar). All members of the horn section also perform on Shoogie Wanna Boogie. And percussionists Sue Evans & Carlos Charles can be heard on Lalo Schifrin’s debut album for CTI, Black Widow, also recorded on March 1976!

The 19-minute long title tune, The Main Attraction, which occupied the entire Side A of the original LP issue, is not exactly a composition. We can’t say it was composed. Actually, it was built! David Matthews came in with two main riffs, played by Don Grolnick on the electric piano, and later doubled by the horn section. Don started to play those riffs, and then the other musicians joined him. That’s why, on the LP back cover, there were special thanks to Andy, Don, Steve and Will for the inspiration and groove on The Main Attraction. In fact, David Matthews credited them as co-authors.

The groove is solid like a rock, but the guest soloists seem to fly like seagulls over the cliffs. Hubert Laws, the supreme jazz flutist, plays with his usual facility and sublime tone. Michael Brecker impresses by his technical dexterity. And leader (who said leader?) Grant Green goes through the motions on this tune with impeccable phrasing. On the congas, Carlos Charles (aka Carlos Martin) interacts well with the miscellaneous percussion instruments of his partner Sue Evans (not related to Gil Evans, although a member of Gil’s Orchestra for several years). Above them all, the horn section attacks with infallible precision.

More r&b riffs and funky grooves can be found on Future Feature, a pretty happy tune very similar to the songs written by David Matthews for the Benson & Farrell album. Some critics used to call it funkzak. But, what’s wrong? The last track, Creature, the only one composed by Grant Green, is a hip blues that fascinates for its unpretentiousness, inspiring Green, Laws and Brecker to perform their sexiest solos on the album.

It’s a shame that Grant Green recorded only The Main Attraction (his first album in four years) for Kudu. With serious health problems, he was hospitalized soon after recording Easy in April 1978, dying a year later from a heart attack in Harlem. Now, his son Greg (aka Grant Green, Jr.) himself a gifted guitarist, tries to preserve his father's legacy. This 2001 reissue of The Main Attraction is another good way to honor his artistry.

Arnaldo DeSouteiro
LA, May 25, 2001

Mr. DeSouteiro is Brazil’s top jazz producer and CTI historian.

* * *
Musician personnel and Album credits:

Grant Green: lead guitar and all guitar solos
Don Grolnick: electric piano (1,2,3), clavinet (1,2)
Will Lee: electric bass
Andy Newmark: drums
Sue Evans: percussion (1,2,3)
Carlos Charles: percussion and congas (1,2)
Steve Khan: rhythm guitar
Hubert Laws: flutes
Michael Brecker: tenor sax solos
Joe Farrell: tenor sax (1,2)
Ronnie Cuber: baritone sax (1,2)
Jon Faddis: trumpet (1,2)
Burt Collins: trumpet (1,2)
Sam Burtis: valve trombone (1,2)

Arranged by David Matthews

Basic tracks recorded at A&R Recording Studios, New York
Engineer: Don Hahn
Overdubs (Brass Section, Percussion and Grant Green) recorded at Van Gelder Studios, New Jersey
Engineer: Rudy Van Gelder
Recorded March 14, 15 & 19, 1976
Mixed and Mastered by Rudy Van Gelder at Van Gelder Studios, NJ

Original album produced by Creed Taylor
Album photo: J. Edward Bailey
Album design: Rene Schumacher
Reissue supervisor: Arnaldo DeSouteiro
Liner Notes: Arnaldo DeSouteiro
Original LP release: KU-29


Ron Carter, "Anything Goes", CTI/Kudu [Japan] #KICJ 8369 (2001).[CD Reissue]


1. Anything Goes (Cole Porter) 5:24

2. De Samba (Ron Carter) 5:49

3. Baretta’s Theme (Dave Grusin / Morgan Ames) 5:06

4. Can’t Give You Anything (Hugo Peretti / Luigi Creatore / George David Weiss) 5:10

5. Quarto Azul (Ron Carter) 6:55

6. Big Fro (Ron Carter) 5:06

Total Time 33:42

* * *

Liner Notes (included below) by Arnaldo DeSouteiro for his 24Bit Remastering Japanese CD reissue of Ron Carter: "Anything Goes":

Ronald Levin Carter (born Ferndale, Michigan, on May 4, 1937) needs no introduction. Let’s just say that he is the bassist’s bassist. On Ron’s hands, the bass and the man become the same entity, the same person. Played by Ron Carter, the acoustic bass sounds like... Ron Carter! That’s why he is one of the three top bassists in the music history.

However, if Ron needs no introduction, his Anything Goes album does. Recorded on June & July, 1975, at Van Gelder’s Studio, it is completely different from all the other three albums (Blues Farm, All Blues, Spanish Blue) that Ron Carter had already recorded for CTI. It was also entirely dissimilar of the fourth and last album he would record for CTI in 1976, Yellow & Green.

Anything Goes, Ron Carter’s only album issued on CTI’s subsidiary Kudu label, was more reminiscent of some of the early sessions he did for Kudu in the early Seventies, playing electric bass on albums by Hank Crawford (Help Me Make It Through The Night), Grover Washington, Jr. (Inner City Blues), as well as on Deodato’s unforgettable fusion version of Baubles, Bangles And Beads, from the CTI best-selling album ever, Prelude. Not to mention CTI Summer Jazz Live At The Hollywood Bowl, recorded in 1972, which liner photo shows Ron playing electric bass seated beside George Benson.

It doesn’t mean that Ron plays electric bass on Anything Goes. He only uses acoustic bass and, for some solo overdubs, the piccolo bass, an instrument that, like he explained on Leonard Feather/Ira Gitler’s Encyclopedia of Jazz In The Seventies, “is three-quarters the size of a three-quarter bass... tuned like a cello upside down.” But the Anything Goes atmosphere is electric and electrifying. Thanks to Creed Taylor’s production orientations, David Matthews’ funkfied arrangements, and specially Eric Gale’s frenetic r&b guitar playing.

It is very important to note that the Ron Carter/CTI association was a two-way street. For sure Ron was already an acclaimed player when he signed as a solo artist for CTI in 1973. But, thanks to Creed Taylor’s Midas touch, who put him as sideman on so many CTI sessions as possible between 1970 and 1973, and also allowed him to record, on January 1973, his debut album for the label (Blues Farm), Ron’s popularity increased enormously. To the point that, on December 1973, Ron was, for the first time, voted Best Acoustic Bassist on Down Beat’s Readers Poll.

Ron Carter had become Creed Taylor’s favorite bassist in the Mid-Sixties, during Creed’s years as A&R at Verve (on albums by Wes Montgomery, Astrud Gilberto and Kenny Burrell) although they had worked before on Gil Evans’ Out Of The Cool masterpiece for the Impulse! label in 1960. Later on, during the A&M/CTI period, Ron recorded with everyone, from Artie Butler to Nat Adderley, from Paul Desmond to J&K and the Soul Flutes group.

Then, in the early Seventies, Ron’s musical aplomb, aristocratic attitude and stunning virtuosity became and integral part of CTI’s success, leaving his trademark on some of the label’s most memorable albums by Freddie Hubbard (Red Clay), Stanley Turrentine (Sugar), Hubert Laws (The Rite of Spring), George Benson (White Rabbit), Milt Jackson (Sunflower), Chet Baker (She Was Too Good To Me) and Jim Hall (Concierto). For sure, Ron’s contributions for sure helped a lot to lead CTI to be voted the No.1 jazz label by Billboard magazine in 1974.

Focusing back on Anything Goes, all its basic tracks were recorded on June 1975, the same month on which arranger David Matthews was working on Kudu sessions for Hank Crawford (I Hear A Symphony) and Idris Muhammad (House of the Rising Sun). This time, however, there is no strings section. Just a solid rhythm team (with late keyboardists Don Grolnick and Richard Tee) and a small but fiery horn section, which includes Phil Woods, whose association with Creed dates backs from 1958, when he began to record as a member of the Creed Taylor Orchestra in such albums as Lonelyville, Once Around The Clock (with singer Patricia Scot) and Shock! Phil’s latest session for Creed was on CTI’s all-star project Rhythmstick, in 1989.

The album musical direction becomes clear in the opening track, a surprising soul-disco version of Cole Porter’s standard Anything Goes. Hubert Laws plays the melody, with Eric Gale (using the wah-wah pedal) and Ron Carter (on the piccolo bass) taking the solo spots. Steve Gadd is on the drums, with three female singers (Patti Austin among them) doing the backing vocals.

David Sanborn’s very influential alto sax sound carries Baretta’s Theme, the TV cop show tune written by Dave Grusin and Morgan Ames. However, the sax soloist is tenorist Michael Brecker, whose muscular approach fits well with David Matthews’ basic sketches for the rhythm section. On Big Fro (probably the only disco-tune ever written by Ron Carter), Eric Gale plays his ass off, contributing with a bluesy solo attached to irresistible r&b horn riffs.

Can’t Give You Anything But My Love (please, not to be confused with the Jimmy McHugh-Dorothy Fields standard I Can’t Give You Anything But Love, Baby) is a pop hit written for The Stylistics’ album Thank You Baby. Its composers Hugo Peretti, Luigi Creatore and George David Weiss are the same trio who wrote Can’t Help Falling In Love for Elvis Presley. Under the name Hugo & Luigi, that RCA staff production duo also conceived some of the main hits of the early rock & roll era.

Besides the more commercial stuff, there are two seductive Brazilian-oriented songs penned by Ron Carter: De Samba and Quarto Azul, both enlightened by melodic solo statements by Hubert Laws (using electric flute on the bossa nova Quarto Azul) and Randy Brecker, on flugelhorn. Eric Gale plays an amplified acoustic guitar, Ralph MacDonald doubles on congas and percussion, and drummer Jimmy Madison (a member of David Matthews’ Big Band on CTI albums by Art Farmer and Urbie Green) reveals the influence of Dom Um Romao.

Quarto Azul and De Samba display Ron Carter’s passion and affinity for Brazilian rhythms, which led him to become the top choice bassist for many Brazilian masters such as Antonio Carlos Jobim (Wave, Tide, Stone Flower, Matita Pere, Urubu, Miucha & Jobim, Antonio Brasileiro), Astrud Gilberto (Beach Samba, Windy, Gilberto with Turrentine), Dom Um Romao (Hotmosphere), Eumir Deodato (Prelude), Luiz Bonfa (Sanctuary, The New Face of Bonfa), Hermeto Pascoal (Hermeto, Slaves Mass), Ithamara Koorax (Red River, Ithamara Koorax Sings The Bonfa Songbook), Milton Nascimento (Angelus), Airto Moreira (Natural Feelings, Seeds On The Ground, Free) and Flora Purim (Stories To Tell, 500 Miles At Montreux, Open Your Eyes You Can Fly, Encounter). Since then, Ron Carter has continued to write many Brazilian-oriented songs, like Ah, Rio (from his 1980 album Patrao, for Mliestone Records) and the title track of a recent Blue Note album, Mr. Bow Tie. For this and the other aforementioned reasons, Anything Goes remains, for better or for worse, depending of each listener’s taste, an one-of-a-kind album on Ron Carter’s discography.

Arnaldo DeSouteiro
May 26, 2001

Mr. DeSouteiro is Brazil’s top jazz producer and CTI historian.

* * *
Musician personnel:

Ron Carter: acoustic bass, piccolo bass (1,6)
Don Grolnick: electric piano
Richard Tee: organ
Steve Gadd: drums (1)
Jimmy Madison: drums
Ralph MacDonald: congas & percussion
George Devens: percussion
Arthur Jenkins: percussion
Eric Gale: acoustic guitar (2,5), electric guitar
Hubert Laws: flute, electric flute (5)
Randy Brecker: trumpet, flugelhorn (2,5)
Alan Rubin: trumpet, flugelhorn
David Sanborn: alto sax (3)
Phil Woods: alto sax
Michael Brecker: tenor sax
Patti Austin: backing vocal (1,6)
Marilyn Jackson: backing vocal (1,6)
Maeretha Stewart: backing vocal (1,6)

Reissue Supervised by Arnaldo DeSouteiro for CTI/Kudu for the "Kudu Best 12" series.
First CD Reissue ever, released on July 25, 2001.

Album credits:

Arranged by Ron Carter & David Matthews

Recorded at Van Gelder Studios
Engineer: Rudy Van Gelder
Recorded June & July, 1975

Original album produced by Creed Taylor
Album photos: Alen MacWeeney
Album design: Richard Mantel
Reissue supervisor: Arnaldo DeSouteiro
Liner notes: Arnaldo DeSouteiro
Original catalog number: KU-25

Sister-Bossa-front.png  Sister-Bossa-back.png

Various Artists, "Sister Bossa Vol.2 - Cool Jazzy Cuts with a Brazilian Flavour", Irma Records CD #499611-2 (2001).[CD Compilation]

Compiled by Fabrizio Carrer, Released on April 3, 2001.
Includes the track "Mas Que Nada", performed by Dom Um Romão and produced by Arnaldo DeSouteiro.


1. Drummer Boy - Italian Secret Service 4:42

2 Rhodes to Bahia - Francesco Gazzara 5:44

3 Mas Que Nada - Dom Um Romão 3:33

4 Segundo - Del Gaudio, Rossi & D'Angelo 3:09

5 Rua Escondida - Black Mighty Orchestra 4:03

6 Kharmalion - Bossa Nostra 4:41

7 Nylito's Way - Jaymz Nylon 6:57

8 Sombre Guitar - LTJ X-Perience 6:01

9 One Note Samba - Montefiori Cocktail 2:56

10 Matumbana - Maurizio Belladonna 6:02

11 Sueno de Bahia - Don Carlos 6:29

12 Tropical Wave - Mysterious Traveller 6:03

13 Good Morning Sunshine - Guglielmo Bottin 4:24

14 London Bossa - Sam Paglia 5:04
Musician personnel and Album credits:

Arnaldo DeSouteiro - Producer
Maurizio Belladonna - Producer
The Black Mighty Orchestra - Performer
Bossa Nostra - Performer
Guglielmo "Will" Bottin - Producer
Don Carlos - Producer
Stefano Carrara - Producer
Fabrizio Carrrer - Compilation Producer
Annibale Catania - Back Cover Photo
Cesare Cera - Producer
D'Angelo - Performer
Umbi Damiani - Cover Art Concept
Felice Del Gaudio - Producer
Enrico Farnedi - Producer
Elena Fiumi - Artwork
Francesco Gazzara - Keyboards, Producer
Paolo Gotti - Cover Photo
Italian Secret Service - Performer
Ithamara Koorax - Vocals
Montefiori Cocktail - Performer
Francesco Montefiori - Producer
Jaymz Nylon - Guitar, Producer, Performer
Sam Paglia - Producer
Dom Um Romão - Drums
Paolo Scotti - Producer
Luca Trevisi - Producer


BMG(Bonfa,Introspectioncover).jpg  BMG(Bonfa,Introspection,liner).jpg

Luiz Bonfá, "Introspection", RCA/BMG CD #74321872492 (2001).[CD Reissue]

Reissue Produced by Arnaldo DeSouteiro (Jazz Station Productions) and released worldwide by BMG (as part of the "RCA 100 Anos de Musica" Series) in 2001.


1. Enchanted Mirror

2. Summertime Love

3. Reflections

4. Concerto for Guitar

5. Rain

6. Leque

7. Missal (Estudo)

8. Adventure in Space

All songs written and performed (solo) by Luiz Bonfá


Liner Notes written by Arnaldo DeSouteiro for the first ever official CD reissue of Luiz Bonfa's "Introspection":

Oito obras-primas formando uma obra de arte composta e executada por um gênio. Sem exagero algum, “Introspection” poderia ser assim definido. Mas este sublime CD, o terceiro gravado por Luiz Bonfá (1922-2001) para a RCA norte-americana, em outubro de 72, nunca editado em LP no Brasil, merece aclamação por muitos outros motivos. Cultuado mundialmente como um dos melhores álbuns de violão-solo na história da música, revela uma verdadeira música universal (favor não confundir com a empulhação da world-music) criada, da forma mais original e pessaol possível, por um artista que nunca admitiu fronteiras para a sua arte. E que, ao viajar para os EUA em 57, pagou um preço muito caro por tudo isso, sendo tratado com desprezo, e até deboche, pela mídia brasileira.

Deveria, mas não poderia ter sido diferente. Como suportar, sem inveja ou rancor, o sucesso internacional de alguém que, sem fazer parte de panelinhas, sem mendigar atenção das gravadoras, em suma, sem precisar do Brasil para viver, conseguiu se tornar um dos maiores compositores e violonistas do mundo? Bonfá lançou mais de 50 discos. Trabalhou com Tony Bennett, Elvis Presley, Frank Sinatra, Mary Martin, Julie Andrews, Lalo Schifrin, Eumir Deodato, Dom Um Romão, George Benson, Bobby Scott e Maria Helena Toledo. Além destes, também Sarah Vaughan, Carmen McRae, John McLaughlin, e, mais recentemente, Os Três Tenores (Domingo/Carreras/Pavarotti) gravaram algumas de suas 500 canções.

Entre elas, “Manhã de Carnaval” (um hino extra-oficial brasileiro) e “Samba de Orfeu”, ambas compostas para a trilha sonora de “Black Orpheus”, Oscar de melhor filme estrangeiro e Palma de Ouro no Festival de Cannes, em 1959. Ou seja: muito antes de ouvir bossa nova, o mundo já ouvia Luiz Bonfa! Não por acaso, foi o único artista aplaudido de pé no célebre concerto de bossa no Carnegie Hall, em 62. Claro: a única música já conhecida da platéia americana, dentre todas as tocadas naquela noite, era “Manhã de Carnaval”. E Bonfá continuou sendo ouvido cada vez mais, por conta de sucessos como “Menina Flor” (faixa de seu LP com Stan Getz, “Jazz Samba Encore!”, que permaneceu três meses na parada POP da Billboard em 63), “The Gentle Rain” (do filme homônino, em 65, transformado em jazz standard gravado por Benson, Oscar Peterson, Joe Pass, Jimmy Smith e Diana Krall), e “Almost in Love”, tema principal do filme “Live a Little, Love a Little”, estrelado por Elvis Presley em 68. Sim, Bonfá foi o único autor brasileiro gravado pelo Rei do Rock!

Outras proezas? Escreveu trilhas para 20 filmes (de “Os Cafajestes”, de Ruy Guerra, em 62, até “Prisoner of Rio”, sobre a vida de Ronald Biggs, em 89), excursionou pela Europa, EUA e Austrália, dividiu palcos com Dave Brubeck e Ron Carter, e, nas horas de folga, namorou atrizes como Ava Gardner e Catherine Deneuve. Cada vez mais ignorado no Brasil e reverenciado no exterior, foi agraciado com um modelo de violão desenhado especialmente para ele pela Ovation, em 82. Bateu o recorde de público do clube de jazz Fat Tuesday’s (NY) durante uma temporada em 87. Gravou os elogiadíssimos CDs “Non-Stop To Brazil” (em 89, faturando 4 estrelas e meia na Down Beat), “The Bonfá Magic” (Top 40 nas rádios de jazz dos EUA em 93) e “Almost in Love” (em dupla com Ithamara Koorax, Top 15 na parada japonesa em 96), além de atuar em dois discos de Toots Thielemans, “Brazil Project Vols.1 & 2”.

Sempre atual, porque atemporal, sua obra conquistou adeptos também na cena européia de acid-jazz, gerando faixas para diversas coletâneas. Em 96, a gravação de Koorax para “Empty Glass” ganhou um trip-hop remix. No ano seguinte, o grupo londrino Smoke City sampleou o violão de Bonfá, fazendo groove em “Bahia Soul”, para seu maior hit, “Underwater Love”, que virou jingle da Levi’s. O Planet Hemp sampleou “Jacarandá” na música “Se Liga”. Lord K, roqueiro iconoclasta, adicionou letra à vários temas de Bonfá, além de comporem três novas músicas juntos! O diretor Greg Motolla usou a gravação de Bonfá & Getz para “Sambolero” como tema principal do filme “Daytripper”, exibido no Brasil como “Um dia em Nova Iorque”. Para completar, Tom Cruise selecionou “Manhã de Carnaval”, cantada por Tori Amos, para a trilha de “Missão Impossível 2”. Já debilitado por sérios problemas de saúde, emocionava-se com o permanente interesse por seu trabalho.

Como certamente se emocionaria ao saber desta reedição em CD, pela primeira vez oficialmente, de “Introspection”, um de seus discos favoritos. Captado em outubro de 72 nos estúdios da RCA em NY, derruba vários mitos. Entre eles, o de que Bonfá não era um virtuose. Se não fosse, não conseguiria compor nem tocar nenhum dos temas de “Introspection”...Só não era exibicionista. Dava um show de técnica, sem ruídos, sem esbarrar, sem “trastejar”, mas não fazia da técnica o show. Por isso, seus detratores, tendo como parâmetros mestres do porte de Baden Powell e Rafael Rabello, de pegada forte e rústica, tida equivocadamente como a única “escola do violão brasileiro”, nunca conseguiram compreender a sonoridade límpida e aveludada, o toque sutilíssimo, a execução classuda, a concepção harmônica ultra-sofisticada de Bonfá. Em entrevista a Tribuna da Imprensa, em 89, o Deus do violão declarou: “Eu evito as posições convencionais, as progressões de acordes. Prefiro saltear, usar o oitavado disfarçado. Meu objetivo sempre foi enriquecer mais os acordes, sem malabarismos, e isso não depende só de técnica, é um conjunto de coisas”.

Depois de passar pelos selos Capitol, Atlantic, Philips, Verve, Epic, Mercury e Dot, Bonfá assinou com a RCA em 70. Gravou “The New Face of Bonfá” e, em 71, “Sanctuary”, com Ron Carter, Gene Bertoncini e Airto. Dois discos supimpas, mas de pouca repercussão. Sabia que o terceiro LP também seria o último, porque a RCA não renovaria seu contrato. Então radicalizou. Em dois meses, preparou todas as peças de “Introspection”, que podem ser entendidas como partes de uma suite, por ele próprio definida como “descritiva-impressionista, influenciada por Debussy e Ravel”. Nada de sambinhas, nem de bossa nova, nem de improvisos jazzísticos. Com seu violão, Bonfá pinta paisagens sonoras que conduzem o ouvinte a uma viagem por um santuário sonoro, um passeio ao paraíso.

A análise minuciosa de cada faixa daria um livro. Mas é impossível deixar de ressaltar a aula de dinâmica na execução de “Reflections”. As sutilezas da refinada harmonia de “Concerto for Guitar”. A transformação do violão numa orquestra em miniatura em “Rain” e “Leque”. O humilhante domínio do violão de 12 cordas (uma “craviola” fabricada pela Giannini) em “Summertime love”, de transbordante lirismo, e no transcendental “Missal”, de dimensão celestial. O uso de pedais de efeitos em “Enchanted Mirror”. Por fim, a engenhosidade arquitetônica de “Adventure in Space”, talvez o ponto alto do disco, com passagens de imensa dificuldade técnica, incluindo um tremolo que simula o motor de um foguete em propulsão. Em resumo, oito obras de arte formando uma obra-prima. Em duas palavras, Luiz Bonfá.

Arnaldo DeSouteiro
Amsterdam, 21 de Julho de 2001

(Produtor musical, historiador de jazz e MPB, jornalista e educador, membro da IAJE – International Association of Jazz Educators)


Album credits:

Recorded in RCA's Studios A, B and C, New York City (1972)
Produced by Pete Spargo
Reissue Produced by Arnaldo DeSouteiro (2001)
Recording Engineer: Ray Hall
Cover Painting: Don Ivan Punchaz
Art Director: Acy Lehman
Original Liner Notes by Tom Paisley
Additional Liner Notes for CD reissue by Arnaldo DeSouteiro
Original Album released as RCA LP # FSP-297 (USA) in 1972
Digitally Remastered by Carlos Freitas & Jade Pereira at Classic Master Studio (São Paulo, Brazil, 2001)
Techincal Supervision: José Roberto Cruz
General Coordination: Adriana Ramos
Production Coordination: Hugo Pereira Nunes
CD Reissue Artwork: André Teixeira & Claudia Bandeira
Original cover artwork provided by Luiz Novaes Bonfá

Text for the tray card:

Gravado em 1972, em New York, no período em que o violonista e compositor fazia parte do cast da RCA norte-americana, "Introspection" é uma das obras-primas na discografia de Luiz Bonfá (1922-2001), um gênio que antecipou e depois transcendeu a bossa nova. Como provam as irrotuláveis brilhantes composições deste álbum, cultuado como um dos melhores discos de violão-solo na história da música.
Primeira reedição mundial em CD.


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Carlos Lyra, "Saravá!", RCA/BMG CD #74321891392 (2001).[CD Reissue]

Reissue Produced by Arnaldo DeSouteiro for Jazz Station Productions for the "RCA 100 Anos de Música" Series.



Quien te Manda?

Para No Decir Adios

Solo Tu No Vienes



El Jacal

Paz Sin Amor

Viene Del Amor

Lugar Bonito

Samba de La Bendición (Saravá)


Liner Notes written by Arnaldo DeSouteiro for the first ever CD reissue of Carlos Lyra's "Saravá", released by BMG in 2001 (part of the critically acclamimmed "RCA 100 Years of Music" Series) and later distributed worldwide by Sony-BMG:

Qualquer estrangeiro desavisado que passasse pela Cidade do México, entre 1968 e 1971, poderia achar que era ali, e não Buenos Aires, a verdadeira capital do Brasil. Pelo menos em termos de música, tal a quantidade de artistas brasileiros de passagem ou até mesmo residindo temporariamente na acolhedora cidade. Entre muitos outros, nomes como Luiz Eça (liderando seu conjunto A Sagrada Família, que incluía Joyce, Nelson Angelo, Novelli, Vitor Manga, Rose etc), o Tamba 4 (Laércio de Freitas, Bebeto, Ohana e Dorio Ferreira, volta e meia transformado em sexteto acrescido por Flora Purim & Lennie Dale), Luiz Carlos Vinhas & Bossa 3 (com Octavio Bailly e Ronnie Mequita), Leny Andrade, Pery Ribeiro, Osmar Milito, Breno Sauer, Ely Arcoverde e os grupos “Alegria Alegria” de J.T. Meirelles, e “Brasilia 71” de Papudinho com a cantora Zezinha Duboc.

Existiam ainda os conjuntos Vox Populi (Helvius Vilella, Normando Santos, Fernando Leporace, Guto Graça Mello) e Anjos do Inferno (com Leo Villar, Nanai, Roberto Paciencia etc). Sem falar de João Gilberto, que viajou em 69 com Miucha e Chico Batera para passar dez dias, mas ficou dois anos, chegando a gravar um antológico disco para o selo Orfeon, “Farolito - João Gilberto En México” (produzido por Mariano Rivera Conde), recentemente relançado como “Ela É Carioca”. Brasileiros residentes nos Estados Unidos, como Sergio Mendes (no comando do Brasil 66) e Walter Wanderley (liderando um trio com José Marino & João Palma), então no auge do sucesso, volta e meia davam uma esticada até o México para faturar uma grana extra. Até mesmo Milton Nascimento esteve por lá, participando do I Festival de Música Brasileira e Americana, em 1969, juntamente com Eumir Deodato, Airto Moreira e Bola Sete.

O motivo para tão fantástica acolhida? “No México, o povo adorava bossa nova, que já tinha saído de moda no Brasil”, resume o lendário baixista Manuel Gusmão, dos discos de estréia de Jorge Ben, Flora Purim e Dom Um Romão. “O mercado de trabalho estava péssimo, no Rio e em São Paulo, tanto em termos de gravações de discos como de shows. Para piorar, os festivais entraram em decadência, com a bossa substituída pela Jovem Guarda e pelo Tropicalismo nos programas de TV. Havia o terror do AI-5, muita gente queria fugir do Brasil por variados motivos. Então, quando descobrimos o interesse dos empresários e do público mexicano pelo nosso som, houve uma revoada de artistas”, explica Gusmão, que viveu durante quatro anos no México, tocando com músicos locais e liderando seu próprio trio com Edison Machado na bateria e Moacir Peixoto ao piano. “Fiquei muito amigo do principal empresário mexicano, Rogelio Villa Real, sócio da cadeia de hotéis Camiño Real e de um local maravilhoso chamado El Señorial, que abrigava nada menos que cinco salas de shows. Depois da Copa de 70, aí a coisa explodiu de vez, só dava Brasil”.

Quase todos os hotéis apresentavam grupos brasileiros em suas boates, mas o campo de trabalho estendia-se a outras frentes. Grupos teatrais como o Teatro de Arena montaram peças como Arena Canta Zumbi (de Augusto Boal & Gianfrancesco Guarnieri, com trilha de Edu Lobo), exibida no Teatro Municipal da Cidade do México. O bailarino Lennie Dale preparou um grande espetáculo de dança & música no Fiesta Palace. Carlos Eduardo Lyra Barbosa (carioca de 11 de maio de 1935) beneficiou-se da boa acolhida de múltiplas maneiras: compondo jingles para comerciais de TV, trabalhando como locutor e tradutor durante as Olimpiadas de 1968 (quando foi inaugurado o Canal 8, o primeiro a realizar transmissões a cores no México), escrevendo trilhas para cerca de dez filmes curta-metragem, e montando várias peças teatrais. Entre elas, “Ouviu Falar Em Dragão”, em 1970, que lhe deu os prêmios de melhor autor e diretor do ano. Fez tanto sucesso a ponto do título passar a dar nome a uma companhia teatral, que se tornaria uma das mais famosas no país.

Durante os preparativos para a montagem de outra peça, a famosa “Pobre Menina Rica” (texto e letras de Vinícius de Moraes, estreada no Rio em 63), Carlos Lyra conheceu sua futura esposa, a atriz, modelo e cantora norte-americana Katherine “Kate” Lyra. “Foi paixão à primeira vista, fulminante desde que a vi chegando para participar dos testes para o elenco”, conta Carlinhos. “A peça nem chegou a entrar em cartaz, mas isso não fez a menor diferença”, brinca. “Nos casamos em 69, no México, e ficamos por lá até 71, quando achei que era hora de voltar ao Brasil, que a Kate ainda não conhecia”. Na verdade, antes de fixar residência no México, o compositor já havia se encantado pelo país ao realizar uma turnê como violonista no grupo de Stan Getz. “Foi algo fundamental para despertar no Carlinhos a sua latinidad”, comenta Kate.

Em fins de 1969, muito em função do êxito do LP gravado um ano antes para o selo Capitol, Carlos Lyra atendeu a um convite da RCA local para registrar um segundo disco em território mexicano, “Saravá”, concluido em 1970 e agora finalmente lançado – pela primeira vez – no mercado brasileiro. (Na foto da capa, Kate Lyra aparece em segundo plano). Produzido por Rubén Fuentes, inclui onze faixas, nove delas compostas por Carlos. Ao violão, em contraponto com o cravo de Mario Patrón – desdobrando-se num baloiçante órgão ao estilo de Walter Wanderley - impulsiona “Vacilada”, conhecida no Brasil como “Até Parece” (com o sub-título “Um Abraço no João”). Cravo e flauta (de Rodolfo Sanchez) fornecem sutis comentarios a “Quien te Manda / Também Quem Mandou”, parceria com Vinicius de Moraes em 63, rivalizando com a linda gravação no álbum “The Sound of Ipanema” em dupla com Paul Winter.

Discreta seção de cordas envolve a marcha-rancho “Para Não Dizer Adeus” (letra de Walmir Ayala) e o samba-canção “Só Você Não Vem” (com Carlos Fernando Fortes Fortes), ambas destacando Julio Vera no bongô. Na sequência, o baixista Mario Ballina e o batera Salvador Agueiros fazem o possível para garantir a malemolência de “Balanceo”, ou seja, “Sambalanço”. Na introdução de “El Jacal” (leia-se “Feio Não É Bonito”, do primeiro LP de Nara Leão em 63), Lyra imita tamborins ao violão, antes de render-se ao romantismo valseado de “Paz Sin Amor / O Bem do Amor” (59) e disfarçado na marchinha “Vem do Amor” (61), duas parcerias com Nelson Lins e Barros. Outro colaborador frequente, Chico de Assis, da célebre “Canção do subdesenvolvido” da censurada peça “Um Americano em Brasília”, aparece como letrista em “Lugar Bonito”, gravada nos EUA por Astrud Gilberto no álbum “Look To The Rainbow”, com arranjo de Al Cohn e letra de Norman Gimbel.

Por fim, duas inspiradas recriações. “Tristeza”, o último sucesso carnavalesco de Haroldo Lobo (1910-1965, autor de “Alá-Lá-Ô” e “Índio Quer Apito”) em parceria com Niltinho, foi escolhida por dois motivos: sua tremenda popularidade perante o público mexicano e a vontade de Carlos em dar-lhe um tratamento introspectivo, em sintonia com a letra da canção. “Sempre achei esquisito esta música, lançada em 65, ser cantada de uma forma eufórica, e aproveitei para dar-lhe o tratamento que considerava ideal”, comenta, assumindo também o orgulho por ter feito a versão em castelhano da faixa de encerramento, “Samba da Benção”, composta por Baden & Vinicius em 62. Maiores detalhes são fornecidos pelo próprio Lyra, no ótimo texto original aqui anexado. Assim, aos poucos, o Brasil vai conhecendo o Brasil. Nem que seja via México.

Arnaldo DeSouteiro
Rio, 19 de setembro de 2001

(Produtor musical, historiador de jazz e MPB, jornalista e educador – membro da IAJE, International Association of Jazz Educators)

Musician personnel and album credits:

Carlos Lyra – Vocal, Guitar (Acoustic), Composer, Original LP Liner Notes
Mario Patron – Organ (Hammond), Harpsichord
Arnaldo DeSouteiro – Reissue Producer, Liner Notes
Rodolfo Sanchez – Flute, Sax (Alto)
Mario Ballina – Bass (Electric)
Rubén Fuentes – Original Producer, Artistic Director
Adriana Ramos – General Coordination
Salvador Aguerrios – Drums
Julio Vera – Bongos
Enrique Okamura – Assistant Producer
Carlos Castillo – Engineer

Text for the tray card:

"Gravado no México em 1970, lançado agora pela primeira vez no Brasil, “Saravá” inclui algumas das mais belas canções de Carlos Lyra, como “Também Quem Mandou”, “Feio Não É Bonito” e “O Bem do Amor”, somadas a temas de maior swing como “Até Parece” e “Sambalanço”. Além de inspiradas recriações de “Tristeza”, clássico de Haroldo Lobo & Niltinho, e do “Samba da Benção”, de Baden Powell & Vinicius de Moraes, em uma versão em castelhano preparada pelo próprio Lyra." - Arnaldo DeSouteiro

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Various Artists, “Gourmet Music Deluxe: Brazil”, Zyx Music #10081-2 (2001).[CD Compilation]

Includes three tracks produced by Arnaldo DeSouteiro: "Brazil" (Aquarela do Brasil), "Subtle Samba" and "Summer Samba".


1. Brazil (Aquarela do Brasil) – Ithamara Koorax

2. E Nada Mais – José Roberto Bertrami

3. A Felicidade – Les Baxter

4. Wave – Charlie Byrd

5. Manhã de Carnaval – Ray Barretto

6. Papagaio Rei – Adela Dalto

7. Tereza My Love – Cal Tjader/Charlie Byrd

8. Dreamer – Gary McFarland/Antonio Carlos Jobim

9. Pra Que Chorar – Dom Um Romão

10. Insensatez – Flora Purim

11. Ginga – Francisco Mário

12. Festa de Terreiro – Robertinho Silva

13. Subtle Samba – Luiz Bonfá

14. Summer Samba (Samba de Verão) – Ithamara Koorax

15. Sad For Both of Us (Tristeza de Nós Dois) – José Roberto Bertrami

16. Canto de Ossanha – Les Baxter

17. Meditation – Charlie Byrd

Total Time: 70:31

Musician personnel and Album credits:

Arnaldo DeSouteiro – Producer, Arranger
Kevin Jasper – Programming, Engineer
Deodato – Keyboards, Arranger, Engineer
José Roberto Bertrami – Piano (Electric), Arranger, Percussion, Vocal, Producer
Robertinho Silva – Drums, Percussion, Keyboards
Nico Assumpção – Bass (Acoustic)
Stephen Hart - Engineer
Flora Purim – Vocal
Magro - Engineer
Durval Ferreira – Guitar (Acoustic)
Vanderlei Loureiro - Engineer
Bertell Knox – Drums
Gene Norman – Producer
Charlie Byrd – Guitar
Orrin Keepnews – Producer
Ithamara Koorax - Vocal
Joe Byrd – Bass
Eric Miller – Producer
Jim Stern – Engineer
Ray Mantilla - Timbales
Les Baxter - Performer
Skip Shimmin – Engineer
Ray Barretto - Congas
Joe Tarantino – Engineer (Remastering)
Willie Rodriguez – Percussion
Adela Dalto – Vocal
Rudy Calzado – Percussion
Ricky Jackson – Bass
Jose Canoura – Flute
Aloisio Aguiar – Keyboards, Producer
Sergio Brandão – Bass (Electric)
Cláudio Roditi – Trumpet
Romero Lubambo – Guitar
Jorge da Silva – Percussion
Dave Luke – Engineer (Remixing)
Todd Barkan – Producer
Jon Fausty – Engineer
Chombo Silva – Sax (Tenor)
Cal Tjader – Vibraphone
Mike Stephans – Drums, Percussion
John Heard – Bass
Mike Wolff – Piano (Electric)
Dick Berk – Drums, Percussion
Eddie Harris – Engineer
Mayuto Correa – Percussion
Jim Stern – Engineer
Cal Lampley – Producer
Spencer Sinatra - Flute
Phil DeLancie – Engineer (Mastering)
Antonio Carlos Jobim – Guitar (Acoustic)
Gary McFarland – Vocal
Arnie Wise – Drums
Don Payne – Bass (Acoustic)
Alan Rubin – Trumpet
Dom Um Romão – Drums
Ricardo Peixoto – Guitar (Acoustic)
Sonny Fortune – Sax
Ron Carter – Bass (Acoustic)
Ronnie Cuber – Sax (Baritone)
Jack Jeffries – Trombone
Pat Dixon - Cello
Tom Malone – Trombone
Dom Salvador – Piano (Acoustic)
Julie Janeiro – Vocals (Backing)
Ulisses Kirksey – Cello
Mauricio Smith – Sax (Soprano), Clarinet, Flute
Sivuca – Guitar (Acoustic)
Lou Del Gatto – Clarinet, Flute
Gloria Oliveira – Vocals (Backing)
Juan “Tito” Russo – Bass (Electric)
Airto – Percussion
Earl Klugh – Guitar (Acoustic)
Netinho – Clarinet
Toninho Barbosa - Engineer
Francisco Mário – Guitar (Acoustic)
Henrique Drach - Cello
Zeca Assumpção – Bass (Acoustic)
Vanderlei Silva – Percussion
Barry Powley – Executive Producer
Nivaldo Ornelas – Flute
Luiz Bonfá – Guitar (Acoustic)
Ubiratan Silva – Percussioin
Pascoal Meirelles – Drums
Nilson Matta – Bass (Acoustic)
Peter Klam – Executive Producer
Marcos Valle – Piano (Electric), Keyboards
Ivan Conti – Drums
Marcelo Saboia – Engineer
Alex Malheiros – Bass (Electric)
Marcelinho DaLua – Engineer (Assistant)
Jota Moraes – Vibraphone
Mauricio Einhorn – Harmonica

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