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shares much in common with two previous Caine recordings, The Sidewalks of New York and Wagner e Venezia . They are all recordings that are to approximate the sounds of the streets in Rio, New York, and Venice, respectively. The Brazilian music presented here is not the plush Bossa one would expect. It is more of an abstract look at the indigenous popular music, that music that might have less appeal in the United States if entrusted in lesser hands that Caines. The excellent results are a collections of Brazilian vignettes, little Latin confections finely crafted to be had and eaten too. Caine surrounds himself with Brazilian musicians, most particularly percussionists who weave their special magic throughout the music. It is as if we are privy to a Rio radio dial, spinning form one station to the next and listening every once and awhile.
Track Listing: Samba Do Mar; Dia Da Praia; Teu Chamego; Revolucionario; Bondinho De Santa Tereza; Combatente; Samba Do Fogo; Raquel; Arpoador; Assalto Cultural; Na Lapa; Samba Da Terra; Um Minuto So; Choro Maluco; Samba Da Rua; Akalanguiado; Adeus; Samba Do Vento.
Personnel: Personnel: Uri Caine: Piano, Teclado Fender Rhodes; Paulo Braga: Bateria, Percussao; Jorge Helder: Baixo Acustico, Baixo Eletrico; Lulu Galvano: Violao; Jair Oliveira: Violao, Voz Cacau Gomes: Voz; Cris Delanno: Voz; Humberto Cazes: Percussao, Paneiro, Reco- Reco de Mola, Tamborim, Triangulo.
I love jazz because it mixes intellect and emotion in a very spontaneous way.
I was first exposed to jazz by liberating a Coltrane and a Pharoah Sanders record from a friend in NYC and listening to them over and over until I got it.
My advice to new listeners is you have to take the time to listen to some jazz tunes a number of times until it starts to make sense.