#Nana Vasconcelos

[discogodmother]

Música negra brasileira🇧🇷

afro brazilian music 🇧🇷

[kosmik-signals]

(via The Brazilian Sound: Naná Vasconcelos: Storytelling with Percussion)

[genevieveetguy]

The Castaways of Turtle Island (Les naufragés de l'île de la Tortue), Jacques Rozier (1976)

[ozkar-krapo]

Baikida E.J. CARROLL

"Orange Fish Tears"

(LP. Souffle Continu rcds. 2023 / rec. 1974) [US]

[doomandgloomfromthetomb]

Codona - Blues Alley, Washington, DC, May 9, 1983

There's no such thing as too much Don Cherry, so after Sonny and Don in '62, let's listen to Collin, Don and Nana in '83! CoDoNa! I can never get enough of this trio. Here, we've got them towards the end of their all-too-brief run, right around the time of the third and final Codona LP. There should be at least five more records from these dudes, but Collin Walcott tragically died in a car accident in 1984. Weak!

This Blues Alley tape captures two sets from Codona, each moment brimming with imagination and curiosity. A joyful noise, with multiple peaks, including a gorgeous "New Light" and Don's West African train dream blues "Clicky Clacky." All aboard ...

Don Says: This wave and that wave, I feel now it's an all-wave music that's happening. The naturalness of music is what I want to be involved in. It's like the instruments are playing us and they're working with overtones and the idea is the swing of it. We're really creating a nice new boogie.

[radiophd]

jan garbarek / nana vasconcelos / john abercrombie -- soria maria

[inuvik]

Ozark / Lyle Mays, Pat Metheny & Nana Vasconcelos (1981)

[projazznet]

Happy 70th Birthday of the jazz guitar virtuoso Pat Metheny!

Pat Metheny – Works

Lyle Mays – keyboards Mark Egan – bass Dan Gottlieb – drums Pat Metheny – guitars, electric bass Steve Rodby – bass Nana Vasconcelos – percussion, vocals Charlie Haden – bass Jack DeJohnette – drums Mike Brecker – tenor saxophone

[semioticas]

Memórias da MPB Em junho de 1970, Gal Costa estreava novo show na boate Sucata, no Rio de Janeiro, com canções inéditas de Caetano Veloso e Giberto Gil, que estavam no exílio, em Londres, por imposição da ditadura militar. No palco, Gal era acompanhada por Nana Vasconcelos e pela banda The Bubbles. Fotografia de Carlos Leonam na Floresta da Tijuca.

Veja também: Semióticas – Certas canções

[righteoustuff]

Joyce with Mauricio Maestro - Natureza (produced, arranged & conducted by Claus Ogerman) [2022]

1. Feminina - 11.25 (Joyce Moreno) 2. Moreno - 4.44 (Joyce Moreno) 3. Coração Sonhador - 5.33 (Claudio Guimarães/Mauricio Maestro) 4. Descompassadamente - 4.59 (Maurício Maestro/Joyce Moreno) 5. Mistérios - 5.32 (Joyce Moreno/Mauricio Maestro) 6. Ciclo Da Vida - 8.35 (Mauricio Maestro) 7. Pega Leve - 3.42 (Joyce Moreno)

Not long after the dawn of her career, as a teenager in Rio de Janeiro, Joyce was declared “one of the greatest singers” by Antonio Carlos Jobim. Yet despite reputable accolades and the fact that she has since recorded over thirty acclaimed albums, Joyce never quite achieved the international recognition of the likes of Jobim, João Gilberto and Sergio Mendes, all of whom became global stars after releasing with major labels in the US.

There was a moment when it seemed Joyce might be on the cusp of an international breakthrough. While living in New York, she was approached by the great German producer Claus Ogerman. Ogerman had already played a pivotal role in the development and popularisation of Brazilian music in the 1960s, recording with some of the all-time greats like Jobim and João Gilberto, as well as North American idols like Frank Sinatra, Billie Holiday and Bill Evans.

“I met him in New York City, in 1977”, recalls Joyce. “I was living and playing there, and João Palma, Brazilian drummer who used to play with Jobim, introduced me to Claus. We had an audition, he liked what we were doing and decided to produce an album with us.”

Featuring fellow Brazilian musicians Mauricio Maestro (who wrote/co-wrote four of the songs), Nana Vasconcelos and Tutty Moreno, and some of the most in-demand stateside players including Michael Brecker, Joe Farrell and Buster Williams, the recordings for Natureza took place at Columbia Studios and Ogerman produced the album, provided the arrangements and conducted the orchestra.

But mysteriously, Natureza was never released, and what should have been Joyce’s big moment never happened. As Joyce remembers, “I returned home, but Claus and I remained in contact, by letters and phone calls. He was very enthusiastic about the album and tried to hook me up with Michael Franks. He wanted me to go back to NYC in order to re-record the vocals in English with new lyrics, which I actually wasn’t too happy about. But then I got pregnant with my third child and could not leave Brazil. And little by little our contact became rare, until I lost track of him completely. And that was it. I never heard from him again.”

While Claus was known to be something of an elusive character, the album’s disappearance might also have been a result of timing. The Brazilian craze was coming to an end, making way for disco and new wave at the end of the seventies, and Ogerman struggled to find a major label interested in his new Brazilian sensation. Additionally, as Joyce mentions, it wasn’t quite finished. Ogerman wanted to add finishing touches to the mix and to record alternative English lyrics for the US and international markets - a critical artistic difference between Joyce and Ogerman.

As the military dictatorship’s grip on Brazil began to subside in the 1980s, Joyce had a handful of hits in her home county, including a tribute to her daughters ‘Clareana’, and the iconic ‘Feminina’ - an intergenerational conversation between mother and daughter about what it means to be a woman. But already a feminist pioneer, these successes were hard fought. Joyce had caused controversy as a nineteen-year-old when she became the first in Brazil to sing from the first-person feminine perspective, and the institutional sexism she faced was worsened by the dictatorship who would often censor her music. Even once the Junta was out of the way, Joyce found herself up against the male-dominated major record companies in Brazil, who sought to dictate her career and sexualise her image, before dropping her for refusing to play along.

A few years after the success of her albums Feminina and Agua E Luz in Brazil, Joyce’s music began to find its way to the UK, Europe and Japan, and ‘Feminina’ and ‘Aldeia de Ogum’ became classics on the underground jazz-dance scenes of the mid to late-eighties and early-nineties.

The full-length version of ‘Feminina’ from the Natureza sessions was first heard on a Brazilian Jazz compilation in 1999 and ‘Descompassadamente’ was licensed for a CD compiling the work of Claus Ogerman in 2002. Following these, word began to get out about an unreleased Joyce album with Claus Ogerman and the legend of Natureza grew.

Forty-five years since it was recorded, Natureza finally sees the light of day, with Joyce’s Portuguese lyrics and vocals, as she intended. Featuring the fabled 11-minute version of ‘Feminina’, as well as the never before heard ‘Coração Sonhador’ composed and performed by Mauricio Maestro, Natureza’s release is a landmark in Brazilian music history and represents a triumphant, if overdue victory for Joyce as an outspoken female artist who has consistently refused to bow to patriarchal pressure.

***Disclaimer! While “Feminina” and “Descompassadamente’’ were mixed by legendary engineer Al Schmitt and mastered from the original master tapes, the remaining five tracks are unmixed. Due to significant deterioration of the master-tapes, the best audio source for these tracks was an unmixed tape copy Joyce had kept of the recordings. The best care has been taken in the restoration and mastering of this release, but the sound quality may differ from other releases on Far Out Recordings. We advise listening to sound clips before buying where possible.

[cenaindie]

Itamar Assumpção & Naná Vasconcelos – Isso Vai Dar Repercussão https://cenaindie.com/album/itamar-assumpcao-nana-vasconcelos-isso-vai-dar-repercussao/

[cdbrainrecords]

Jan Garbarek, Nana Vasconcelos*, John Abercrombie - Eventyr (LP, Album)

Vinyl(VG+) Sleeve(VG) Insert(VG) Obi(missing) / / missing Obi 帯なし / edge wear at the center top / Insert sheet has some minor foxing / コンディション　盤 : Very Good Plus (VG+) コンディション　ジャケット : Very Good (VG) コンディションの表記について　  [ M > M- > VG+ > VG > G+ > G > F > P ] レーベル : ECM Records,Trio Records – PAP-25519 フォーマット : Vinyl, LP, Album 生産国 : Japan 発売年 : Oct 1981 Comes with obi and fold-out insert. ジャンル…

[bamboomusiclist]

6/25 おはようございます。 Patrice Rushen / Straight from the Heart e1-60015 等更新しました。

Ann Burton / Ballads & Burton S52807 Ann Burton / Blue Burton s52791 Mel Torme / Sings His Own California Suite P-200 Mel Torme George Shearing / An Evening At Charlie's CJ-248 Mel Torme George Shearing / Top Drawer CJ-219 MC5 / Back In The USA SD8247 Kenny Rankin / Inside ld1009 Kenny Rankin / Like a Seed ld1003 Steve Khan / Tightrope jc34857 Ronnie Laws / Pressure Sensitive bnla452g Nana Vasconcelos / Zumbi jp2013 Counts / What's Up Front That Counts WB-2011 Ohio Players / Honey Srm1-1038 Patrice Rushen / Straight from the Heart e1-60015 Earth Wind & Fire / Spirit Pc34241 Ripple / Sons Of The Gods SZS5514 Impressions / First Impressions K56143 Webster Lewis / Touch My Love JE35017

[antoniodatsch]

Egberto Gismonti - Nana' Vasconcelos - Hamilton de Holanda

#brazilianjazz #brazilianmusic #jazz #art #worldmusic

#luizsantosarts

#luizsantosmusic @luizsantosmusic

https://youtu.be/WLVcrN3ndrc?si=K6aIO8esSUCkrqTn

[chansonsinternationales]

Traditionnel d'Afrique du Sud adapté par Nana Vasconcelos

[6797968625078]

abba mamma mia

nana vasconcelos & mauricio maestro banana

nanci griffith listen to the radio

luis agudo viva ju juy

paulinho da viola bêbadosamba

céu sonâmbulo

rebekah del rio no stars

tom zé só (solidão)

gal costa divino maravilhoso

andré sampaio & os afro mandiga o que fazer?