Track listing: A Little More Blue London, London Maria Bethania If You Hold A Stone Shoot Me Dead In The Hot Sun Of A Christmas Day Asa Branca

Eddie Barclay loves Brazil and the feeling's mutual. When he discovered Tita at the Copacabana Hotel and brought the artist over to France, to our sheer delight he would also bring the rhythm of the country  its poetic essence- too. These few words, slipped onto the back of the L'incomparable Tita sleeve, vinyl as rare as it is sought out by collectors, wrap up with a comparison with the incomparable: Antonio Carlos Jobim.

Tita Lobo, is a singer with a slight growl in her voice and a subtle velvet to her fingers. Two essential qualities for those wishing to mark their music with a bossa nova style of the purest carioca, and two qualities shared by so many vocalists from this era. Very few however compose their own repertoire. Unlike Tita, who, backed by Renato da Rocha, wrote twelve bitter-sweet melancholy scented songs, set off by a few laid-back jazz notes and sensitive strings that are dosed just right.

Examples in concision, models of precision that achieve a state of melodic grace rarely exceeding 2 minutes. Some later covered by Emilio Santiago, Johnny Alf, Doris Monteiro, Maysa&

To interpret them here, Tita Lobo can count on the person also sharing her life: bassist Edson Lobo, making up the Trio Camara with pianist Fernando Martins and drummer Nelson Serra. Outfit to whom we owe the cult sixties record they would record in Paris: Brasilian Sound by Les Masques.

Shamefully forgotten for years, this sumptuous album is an essential classic in terms of several tracks. Historically, it is one of the first Bossa Nova records to be recorded in Europe, Paris to be precise, the welcoming spot and creative home for a major Brazilian Diaspora. Amongst them, we find the musician Silvuca, behind a large majority of the shimmering arrangements on this record, perfectly showcasing Laura Villa's warm and enveloping voice. Born Emilie Laura Facetti in Italy, she would discover Bossa Nova's captivating melodies when in Lisbon at the end of the 50's. At the time, the Portuguese capital was the European port entry for newly arrived Brazilians, and as such, it was here that the songs composed by Dorival Caymmi, João Gilberto, Antônio Carlos Jobim, Vinícius de Moraes and Luiz Bonfa received their first rapturous reception.

With her pianist husband Alex Biancheri, she was under Bossa's spell on her return to Paris, and decided to spread the good Brazilian word. Signing to Polydor gave her the means to form a full-scale orchestra (partly made up of Brazilian musicians) and to record in 1962 this classics-filled album also comprising original material.

A shining declaration of love for Brazilian rhythms, a veritable manifesto of proud and uninhibited European Bossa, this timeless masterpiece brimming with bright and generous songs lit up the way to Brazil's infinite softness at the dawn of the 60's. A path that will be taken by many more to come.

It was 1972 when Ronald Ventura de Mesquita recorded the fabulous Bresil 72 for Barclay, which would go on to become a collectable, sought out by rare groove fetishists the world over. This autodidact drummer was born 28th Match 1941 in Salvador de Bahia, but grew up in Rio de Janeiro. At the beginning of the sixties, he found himself in France, where he would record as part of a sextet with bassist Ricardo do Canto, saxophonist and flute-player Ricardo Pontes, and pianist and guitarist Gilson Perranzzetta. Also, very notably, with two vocalists: Marly Tavares, a dancer from Rio, and Rolando Faria.

Bresil 72 is distinctly samba soul. Beginning with he opener Balança Peme, a theme borrowed from Jorge Ben. Dabadeia, the second theme is rich with pop bossa flavours. Side One of the LP is signed by a trio of names: Tom Jobim, Milton Nascimento and Gilberto Gil, three of Rio's major forces. The first with the classic Aguas de março. The second in a pot-pourri Tema de Tostão. And third and finally, Fechado Pra Balanço which takes on a distinctly groovy feel, two years on from being created by Gil.

Side Two carries on where Side One left off. From the first notes of O Gato, to Gonzaguinha, it's samba soul on the musical agenda. Like on the cover of Tarde Em Itapoã from the Toquinho and Vinicius de Moraes duo, with off-beat electric piano notes and dotted percussion, on Casa no Campo, which flies the flag for Popular Brazilian Music in the voice of Elis Regina, or in the samba Quatro de Dezembro. What's to be said about Papagaio, a short farce with the rhythm section taking the lead role?!? This turnery allows the vocalists to launch into a crescendo of a final, in Edu Lobo's famous Zanzibar, practically scat-style in its arrangements. One thing's for sure, after listening to all that, we can understand why this unlikely musical object has long been identified by the most curious groove enthusiasts.

Tracks from, Aliana pittman, paulinho da viola, clara nunes, milton banana, doris monteiro, sa rodrix & guarabyra, paulo diniz, marisa, roberto ribeiro, dorival caymmi, milton nascimiento ...

Ask me for informations ... Rare Odeon Promo issue.

Tracklisting :

Das 200 para la (Eliana Pittman) Guardei minha viola (Paulhino Da Viola) Tristeza pé no chao (Clara Nunes) Do lado direito de rua direita (Milton Banana) Lero lero (Doris Monteiro) Os anos 60 (Sa, Rodrix & Guarabyra)

Quero voltar pra bahia (Paulo Diniz) Cadeira vazia (Marisa) Cravo e canela (Milton Nascimento) Cicatrizes (Roberto Ribeiro) Rainha do mar (Dorival Caymmi) Beira mar (Eliana Pittman)

Record have some little marks but play all long.

The B side is simply excellent Bossa Jazz !!!

The result is a serious Jazz beat and Samba bomb !!!

Superb copy

Tracklisting: A1) Desafinado (Jobim) * A2) A man and a woman (Francis Lai) * A3) Sunny (Hebb) * A4) Meditation (Jobim) * A5) Manha de Carnaval (Jobim) * A6) How insensitive (Jobim) * B1) The girl from Ipanema (Jobim) * B2) Quiet nights of quiet stars (Jobim) * B3) One note samba (Jobim) * B4) Tha shadow of your smile (Mandel) * B5) Call me (Tony Hatch) * B6) Fly me to the moon (Howard) *** Produced by Bob Barrett *** Arrangements by Duncan Lamont *** Personnel: DL, Ike Isaacs, George Kish, Roger Webb, Ken Baldock, Ronnie Mathewson, Art Morgan, Barry Morgan

beautiful cover. some little marks do not affect

generic sleeve

TRACKS:

1-MARGINALIA II 2-CARINHOSO 3-SE TODOS FOSSEM IGUAIS A VOCE 4-ULTIMO DESEJO 5-CAMISA LISTRADA 6-MARINA 7-O QUE TINHA DE SER

1-MOLAMBO 2-LAMA 3-PANO LEGAL 4-CAFE SOCAITE 5-PE DA ROSEIRA 6-ELE FALA NISSO TODO DIA 7-BABY 8-MARIA MARIA

Triste Janero, a band from Dallas who, like so many bands, tried yet failed to make it big. Perhaps it was the mix of styles in the music that confused the audience of the time; listen to In the Garden and you will not only hear folk and pop, but also jazz, rock, the Brasilian influence of Sergio Mendes, and those unmistakable counter-cultural atmospherics so prevalent in the 60s. Rich flavour indeed!

Dancefloor stuff on Maxi 12" raw, uptempo, syncopated afrofunk/afrobeat track & a samba soul disco funk inspired tune.

Superb Clean copy.

Superb condition record and cover.

Enjoy "Rhoda" is a great bossa nova, perfect for djing, and "Adieu mon ile" a nice down tempo tune!

Verve heavy sound with production Creed Taylor ( CTI ).

Ed Lincoln - A Volta (1964) was recorded just before Ed Lincoln got back from a car accident in 1963 that let him paralyzed in a bed for seven months.

As a matter of fact A Volta means The Return, in English. This is important to understand also this cover, were Ed Lincoln seems to be on some kind of press conference with his name all around the wall behind it. He seems to be very happy to be back to business.