Chute Libre "Chute Libre" 1977 France Jazz Rock Fusion

Chute Libre  "Chute Libre" 1977 France Jazz Rock Fusion

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Highly fluid French fusion with funk inclinations and a subtly masterful touch. Lotsa flute driven passages of percolating grooviness in the mode of The Chris Hinze Combination, Jean Cohen-Solal and Jeremy Steig along with others whose combination of intensive depth and frothy effervescence call to mind Michal Urbaniak’s Fusion and the Dutch jazz rockers Solution….~

Credits 
Bass Guitar – Gilles Douieb 
Cover – Gilles Ballini 
Drums, Percussion – Mino Cinelu 
Flute – Denis Barbier 
Guitar – Patrice Cinélu 
Piano, Clavinet, Organ, Synthesizer – Olivier Hutman 
Realization, Art Direction – Laurent Thierry-Mieg 
Soprano Clarinet, Alto Saxophone – Eric Letourneux 
Soprano Saxophone, Tenor Saxophone – Pierre-Jean Gidon

Tracklist 
A1 Black Sweat 2:45 
A2 Jerba 3:50 
A3 Tao 5:25 
A4 Sainte Bernadette 4:45 
A5 Flauçerto 2:25 
B1 Penelope Au Balcon 5:50 
B2 Spasmolune 7:10 
B3 Jeremy 

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Larry Coryell “Return” 1979 US Jazz Rock Fusion

Larry Coryell “Return” 1979 US Jazz Rock Fusion

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Larry Coryell made his earliest recordings as a leader for Vanguard and most of his sessions from 1968-75. After working for a variety of other labels, he came back for this lone effort in 1979. Coryell’s basic sound was still the same as in his early fusion days, but the setting had changed. Joined by three of the Brubeck brothers (keyboardist Darius, electric bassist Chris and drummer Dan), along with percussionist Ray Mantilla, the guitarist performs three of his originals (including “Cisco at the Disco”), two Darius Brubeck numbers, and a selection co-written by Al DiMeola and Paco DeLucia. Although not one of his most significant dates, Larry Coryell sounds in fine form throughout this modern mainstream LP, stretching himself a bit. 

This is one of my favourite Larry Coryell albums. Dangerously close to soft jazz this is an album with the Brubeck brothers that is irresistably energetic. There is so much passion and joy in this and Larry’s trademark chunky sound together with technical playing which is clearly by a man back at the top of his form makes this a must buy. In my opinion Larry is always stronger when he avoids too much technical pyrotecnics and just burns from the heart. The melodious nature of the tunes means that Larry has a platform from which he effortlessly churns out singing, soulful and inspirational solos side after side. And the sidemen aren’t half bad either. A shortish recording but each and every song is a gem…what more could you want? 

I first met the Larry Coryell/Brubeck Brothers band on a rare, direct-to-disk recording (“Better than Live”) that would become my all-time favourite musical moment. And it still is. So I spent a few years looking for another collaboration, even asked Larry himself(!) until I found this one. Although there’s not as much magic in “Return” than in “Better than Live”, the former still deserves the best appreciation. Larry has the Magic Touch. He is the Divine Guitar, and the he and the Brubeck Brothers are the best of the late-70s Jazz-Rock bands. 

Larry Coryell came back for this lone effort with Vanguard Records in 1979. Joined by three of the Brubeck brothers (keyboardist Darius, electric bassist Chris and drummer Dan - yes, they are Dave Brubeck’s sons!), along with percussionist Ray Mantilla, the guitarist performs three of his originals (including “Cisco at the Disco”), two Darius Brubeck numbers, and a selection co-written by Al DiMeola and Paco DeLucia. 
Now many critics will state that this effort by Coryell was not one of his most significant projects, but I challenge the listener/buyer to check it out regardless of what a few critics may say. 
Larry Coryell, always in fine form throughly kicks it up many notches on the CD title cut, ‘Return’, which, when I blast this song from my car while riding down the street, I’m always asked, “Who’s that jammin’ on the axe?!” Obviously, guitar aficionados recognize “GREATNESS” when they hear it!….by Crimhead420…~

Larry Coryell made his earliest recordings as a leader for Vanguard and most of his sessions from 1968-75. After working for a variety of other labels, he came back for this lone effort in 1979. Coryell’s basic sound was still the same as in his early fusion days, but the setting had changed. Joined by three of the Brubeck brothers (keyboardist Darius, electric bassist Chris and drummer Dan), along with percussionist Ray Mantilla, the guitarist performs three of his originals (including “Cisco at the Disco”), two Darius Brubeck numbers, and a selection co-written by Al DiMeola and Paco DeLucia. Although not one of his most significant dates, Larry Coryell sounds in fine form throughout this modern mainstream LP, stretching himself a bit….. by Scott Yanow….~

Larry Coryell came back for this lone effort with Vanguard Records in 1979. Joined by three of the Brubeck brothers (keyboardist Darius, electric bassist Chris and drummer Dan - yes, they are Dave Brubeck’s sons!), along with percussionist Ray Mantilla, the guitarist performs three of his originals (including “Cisco at the Disco”), two Darius Brubeck numbers, and a selection co-written by Al DiMeola and Paco DeLucia. 
Now many critics will state that this effort by Coryell was not one of his most significant projects, but I challenge the listener/buyer to check it out regardless of what a few critics may say. 
Larry Coryell, always in fine form throughly kicks it up many notches on the CD title cut, 'Return’, which, when I blast this song from my car while riding down the street, I’m always asked, “Who’s that jammin’ on the axe?!” Obviously, guitar aficionados recognize “GREATNESS” when they hear it!…by… Willaume M. Kelley IV…~

I first met the Larry Coryell/Brubeck Brothers band on a rare, direct-to-disk recording (“Better than Live”) that would become my all-time favourite musical moment. And it still is. So I spent a few years looking for another collaboration, even asked Larry himself(!) until I found this one. Although there’s not as much magic in “Return” than in “Better than Live”, the former still deserves the best appreciation. Larry has the Magic Touch. He is the Divine Guitar, and the he and the Brubeck Brothers are the best of the late-70s Jazz-Rock bands….by… P. Marrel….~

Credits 
Bass – Chris Brubeck 
Drums – Dan Brubeck* 
Engineer – Mark Berry 
Guitar – Larry Coryell 
Percussion – Ray Mantilla 
Piano – Darius Brubeck 
Producer – Danny Weiss

Tracklist 
1 Cisco At The Disco 5:37 
2 Rue Grégoire Du Tour 4:37 
3 Three Mile Island 5:50 
4 Return 5:35 
5 Sweet Shuffle 6:21 
6 Mediterranean Sundance / Entre Dos Aguas 5:49 

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Even Stevens "Even Stevens" 1973 US Soul Jazz Funk,Jazz Rock,Country Blues

Even Stevens  "Even Stevens" 1973 US  Soul Jazz Funk,Jazz Rock,Country Blues

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Intersting here !!! First time for this band & it’s all a bit Outlaw Blues Band, funk rock number’s in a “Magnum” vein. 2 great tunes “Music I Can Feel” & “The Woman She Say”….groove collector….~

Credits 
Bass, Backing Vocals – Bob Duchane 
Drums, Backing Vocals – Gary Occi 
Lead Vocals – Paul Cooper (11) 
Lead Vocals, Guitar – Dan Eubanks 
Saxophone, Backing Vocals – Dick Nott 
Trumpet, Organ, Backing Vocals – Brent Johnson 

Tracklist 
There Is A Crowd
Do What You Got To Do
Hope To See You Again
Music I Can Feel
The Woman She Say
French Toast
M.L.G. (Make Love Girl)
She’s A Friend 

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Robertinho De Recife ‎ “Jardim Da Infância"1977 Brazil Psych Prog

Robertinho De Recife ‎ “Jardim Da Infância"1977 Brazil Psych Prog

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Underrated guitarist and great Brazilian progressive folk psych album, astounding very difficult to find …~

Robertinho from Recife, without a doubt, was one of the Brazilian guitarists most wronged by the public, by critics and especially by record companies. Throughout his career he has done everything a little, accompanied several big names of MPB, went through a heavy stage, formed the "Bunda”, oops, I say, band Yahoo (with the obvious intention of putting some change in the pocket), in short, the guy is “cascudo” and today he is a music producer, arranger and apparently he does not even think about returning to the stage (sorry). 
This inaugural work has everything and more and is the proof of this irremediable injustice. Robertinho manages to mix and master Brazilian rhythms with Jazz and Jazz-rock, is a true feat in terms of arrangement, composition and performance. It is of a beauty, complexity and exemplary technical and artistic competence. 
Pay attention to the “Call” song, the fusion of Brazilian sound with the most genuine Mahavishnu jazz-rock is magnificent. The perfect integration of the cello, the acoustic bass, the trumpet with the guitar and the Portuguese guitar is the work of those who know things. Others that impress are “Signs”, “Dangerous Age”, “Ao Romper D'Alva” and “Agrestina”. 
Fagner was the producer of this piece of music and chose the musicians who participated in this work, with Chico Batera, Marcio Montarroyos, Sivuca, Itiberê, Jamil Joanes, Nivaldo Ornellas, Wagner Tiso and many others…..~

Starts off somewhat underwhelming, but soon becomes increasingly more “weird,” revealing itself by the third track to rank among the pinnacles of Brazilian psychedelia: a work that is dizzily joyous and quite unpredictable, offering long stretches of West Coast acid rock a la Santana, passages of delicate, spiritual folk, touches of ethnic “exotica”, and lots more to boot. Plus it was led by a guitarist who was just 12 years old!…Phallus Dei …..~

Robertinho from Recife, without a doubt, was one of the Brazilian guitarists most wronged by the public, by critics and especially by record companies. Throughout his career he has done everything a little, accompanied several big names of MPB, went through a heavy stage, formed the “Bunda”, oops, I say, band Yahoo (with the obvious intention of putting some change in the pocket), in short, the guy is “cascudo” and today he is a music producer, arranger and apparently he does not even think about returning to the stage (sorry). 
This inaugural work has everything and more and is the proof of this irremediable injustice. Robertinho manages to mix and master Brazilian rhythms with Jazz and Jazz-rock, is a true feat in terms of arrangement, composition and performance. It is of a beauty, complexity and exemplary technical and artistic competence. 
Pay attention to the “Call” song, the fusion of Brazilian sound with the most genuine Mahavishnu jazz-rock is magnificent. The perfect integration of the cello, the acoustic bass, the trumpet with the guitar and the Portuguese guitar is the work of those who know things. Others that impress are “Signs”, “Dangerous Age”, “Ao Romper D'Alva” and “Agrestina”. 
Fagner was the producer of this jewel and he chose the musicians who participated in this work, which includes: Chico Batera, Marcio Montarroyos, Sivuca, Itiberê, Jamil Joanes, Nivaldo Ornellas, Wagner Tiso and others. 
The file contains the cover, back cover and insert with the complete technical sheet and individualized by songs….~

Considered a Guitar Hero and one of the best guitarists in Brazil, his trajectory in the universe of popular music enshrines him as a professional of multiple talents and initiatives. He began to play as a boy, and was soon appointed as a prodigy guitarist. At age 12, already considered a virtuoso, he played with his feet. Still as a seminary student, he studied sacred music. In the late 1960s, he accompanied some Young Guardian idols, such as Rosemary and Jerry Adriani. He played in pop bands in the United States and also in the transatlantic Rosa da Fonsêca in cruises along the Brazilian coast, being requested in modalities such as blues, jazz and country. In the period when he was a studio musician, he played radically different styles when accompanying artists such as Jane Duboc, Agnaldo Timóteo, Cauby Peixoto, The Fevers and Hermeto Pascoal. Other modalities that also touched include heavy metal and children’s music. On the occasion of the release of his disc “Rapsódia Rock”, in 1990, was presented dressed of Mozart playing classics. On April 26, 1985, Robertinho, along with his band, MetalMania, opened a show for the American band Quiet Riot in São Paulo. The same happened in Rio de Janeiro and Porto Alegre and also with the English of Deep Purple. In 1988, Robertinho de Recife recorded an album with the band Yahoo, of which he was the guitarist. Successes like “Love Bite” (version of the song Love Bites, of the British band Def Leppard). Robertinho de Recife had the culmination of his career in the 70’s and 80’s and later devoted himself to producing art, having produced more than 300 albums by many record companies and independent labels, such as Nelson Gonçalves, Angelica, Elba Ramalho, Xuxa , Geraldo Azevedo, Zé Ramalho and Raimundo Fagner, among others. As a guitarist, Robertinho de Recife has participated in concerts or recorded with several international artists such as: George Martin Producer of the Beatles, Watchpocket, Stanley Clarke, Andy Summers (The Police), Deep Purple (when he was in Brazil), Stewart Copeland (The Police), Quiet Riot, Steve Cropper, Miami Sound Machine, John Lee Hooker, Cassandra Wilson, Simon Kirke (Free), Bonnie Ratt, Arto Lindsay, Taj Mahal, Gilles Martin, Dr. John and the Night Tripper and Candy Shoes String. Among the national artists he has recorded are: Yahoo (in which he was a founding member), Xuxa, Geraldo Azevedo, Zé Ramalho, Raimundo Fagner, Hermeto Pascoal, Sivuca, Elba Ramalho, Amelinha, Lenine, Luis Melodia, Dominguinhos, Zeca Baleiro, Luís Caldas, Frank Solari, Moraes Moreira, Orlando Morais, Lulu Santos, Martinho da Vila, Marisa Monte, Gal Costa, Tânia Alves, Pepeu Gomes, Wagner Tiso, José Augusto, Agnaldo Timóteo, Elymar Santos, Rosanna, among others. In addition to the episode of the Chicago band’s invitation to play with them, he played in several international bands such as Watch Pocket, with his band METALMANIA, divided the stage with several international attractions like: Quiet Riot, Deep Purple, and in 2015 returned to stage with the new Metamania and opened the show Judas Priest, Accept, and also made a special participation in the presentation of the band MANOWAR at MONSTER’S OF ROCK 2015 in São Paulo. Some songs: Metal Mania (1985), Fantasia Preto e Prata (1985) Be My Heaven (1981), The Elephant (1981), Guitarist Talk (1982), Nocturnal No. 10 (1990), Transcendental Icaro (1992), Tutan-kamon (1993), Poliposition (1992), Bite of Love (1988 with Yahoo), Flower of the Landscape (1977, with Raimundo Fagner) and others. Robertinho of the World (1983) Robertinho of Recife and Emilinha (1982) Satisfaction (1981) Crazy Swings Tropical (1979) Robertinho in the Step (1978) Kindergarten (1977)….~

The first guitarist from Recife PE to achieve national success, Robertinho do Recife had quite an adventurous career (having played with Watch Pocket) before settling down as a renowned and successful producer in his own studio in Rio de Janeiro, where he produced performers such as Elba Ramalho, Geraldo Azevedo, and Zé Ramalho. As a session musician he worked with different movements represented by performers such as Jerry Adriani, Cauby Peixoto, Jane Duboc, Os Fevers, Rosemary, Hermeto Pascoal, and Fagner, among many others. He recorded eight solo albums from 1977 to 1990. After having been run over at age ten, do Recife had his femur fractured and had to stay at home, where he saw the Beatles and the Rolling Stones on TV. Impressed by the music and especially by the guitars, he insisted that his father buy one. The first group he joined was Os Príncipes, and the first band he formed (at age 12) was Os Ermitões, while he also performed in the Éforos. At 15, he was hired as guitarist for a cruise ship traveling to Rio. From there he went to São Paulo, looking for his uncle who played at the Stardust, the nightclub of Lanny Gordin’s father. After that season he returned to Recife, where he played in several bands that were into Tropicália, Os Mutantes, and the Beatles, like Bambinos and Os Moderatos, which had its own show at the local TV station, Jornal do Commércio. When he was playing in the LSE, Arto Lindsay and Carl Kolb were in the audience. After that, do Recife played in the Contribution. In the early ‘70s, when do Recife was 16, he was invited by Carl Kolb to join the country music band, Candy Show String, from Mississipi. Soon after that he joined Memphis’ Watch Pocket, who had had the international hit “Mammy Blue.” He stayed with the band for nearly two years, until his visa expired. In 1973 do Recife returned to Recife, and in the next year, became Fagner’s musician, recording Raimundo Fagner (1976), soon followed by his own first solo album, Jardim de Infância (1977). Depressed by the death of his second son and determined to abandon music, do Recife refused an invitation to join Chicago after its Brazilian percussionist Laudir de Oliveira suggested his name. At Fagner’s insistence, he participated in his Quem Viver Chorará (1978), on the track “Revelação.” The song became a hit and he started to get invitations. Soon he had his own national hit with “O Elefante.” After several commercial works like the pop band Yahoo, do Recife built his own studio in Rio de Janeiro RJ, where he produced all kinds of works, including his fellow citizens Elba Ramalho (“Flor da Paraíba”) and friends Geraldo Azevedo and Zé Ramalho, keeping a low profile. ~ Alvaro Neder….~

Credits 
Accordion – Sivuca (tracks: A3; A5; B3; B4) 
Acoustic Bass – Luiz Alves 
Acoustic Bass, Bass – Itibere Zwarg (tracks: A3;B1; B2; B4) 
Acoustic Guitar – Geraldo Azevedo (tracks: A1; B1) 
Autoharp – Neusa (tracks: A5) 
Bass – Jamil Joanes (tracks: A4; ) 
Bass, Acoustic Guitar – Herman Torres (tracks: A1; A2; B2 to B4) 
Bassoon – Airton Barbosa (tracks: A5) 
Cello – Jackinho (tracks: B1) 
Drums – Israel (tracks: A1; A2) 
Drums, Percussion – Chico Batera (tracks: A2; A4; B1; B2; ), Paulinho Braga (tracks: A3; B1; B2; B4) 
Flute, Soprano Saxophone – Nivaldo Ornelas (tracks: B2; B4) 
Guitar, Portuguese Guitar, Steel Guitar, Sitar, Viola, Manola, Vocals, Producer,
Harmonica – Macarrão (tracks: A2) 
Percussion – Ceará (tracks: A1; B3; B4), Sérgio Boré (tracks: A1 to B1; B3; B4) 
Piano – Wagner Tiso (tracks: A5) 
Trumpet – Marcio Montarroyos (tracks: A1; A3; B1; B2; ) 
Vocals – Amelinha (tracks: B2; B4) 
Vocals, Producer – Raimundo Fagner (tracks: B1; B2)

Tracklist 
A1 Frevo Dos Palhacos
A2 Jardim Da Infância
A3 Sinais
A4 Idade Perigosa
A5 Romper D'Alva
B1 Chamada
B2 Acalanto Para Um Punhal
B3 Agrestina
B4 Cor De Rosa, Dor Do Amor

Discografia solo 
Back for More (2014)
Rapsódia Rock (1990) 
Metalmania (1985) 
Robertinho do Mundo (1983) 

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Octávio Burnier "Dança Infernal “ 1979 Brazil Latin Jazz Fusion

Octávio Burnier  "Dança Infernal “ 1979 Brazil  Latin Jazz Fusion

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"It’s very common for us to turn on the radio, listen to a song, like it or not, listen to another and another, without any idea of ​​the work that exists behind this execution, of the care and dedication that this work demands for a good result. It is true that music is, or should be, a source of pleasure, a relax for our ears that suffer so much with all kinds of noises in our daily life. In this way, the author, interpreters, arrangers and musicians would be less intermediaries of fun products.It is important to point out that there are differences between the products that reach the media and that, above all, there are musicians who are dedicated to a work that is part of their lives, like music itself. is the case of Octavio Burnier, a 26 year old carioca, a life dedicated to music. Octavio is a person full of life, a professional conscious of the work that develops, a personality characteristically attentive to what happens around him. He is a musician who dedicates himself to his instrument, who cares about the clothing that will be given to his creation (and an excellent arranger) and never forgets to see how he can get closer to his audience and how the music market goes developing. In short, is a professional without a shadow of a doubt. He embraced the guitar since he was a boy and never abandoned him, with eyes and hearts open to hear and to create. Octavio has a style all his own, a way to talk to his guitar and create sounds. Brings the mark of the School Violonística of Luiz Bonfá by those who have deep admiration and of who absorbed a characteristic sonority, enriched that was by what springs from musicality of himself. Just as he watched Bonfá’s fingers roaming freely over the guitar’s arm, Octavio surrenders to the instrument by living every chord and every variation, and in that way he can record what he likes to do, with the freedom to do what he wants. Alas, it is worth remembering Polygram’s daring to launch this basically instrumental album, in the MPB Contemporary Band, a daring one that has as its weapon the talent of a musician who knows very well what he wants and what he does in the middle of this "INFERNAL DANCE "for a share of the musical market of this holy land of so many races, so many fights and so many carnivals.”…..~

Octávio Burnier, whose pseudonym today is Tavynho Bonfa (or was Octávio Burnier the pseudonym?), is a nephew of the time-honored guitarist, Luiz Bonfá, the composer of the Brazilian hit, Clarear, and the other half of the Brazilian Pop duo from the seventies, Burnier & Cartier. 
Well, straight-ahead Radio Pop it never was, with all the Jazz and psychedelic Folk influences their music contained. And so unsurprisingly, Octávio Burnier’s solo album is something like a continuation of Burnier & Cartier at the dawning of the eighties. 

Now in 1979 (when the album was recorded), there’s a strong influence from the dance-crazed late seventies, the effect of which is that Octávio’s solo album suffers a bit from that, those pieces have aged, in spite of the fact that the songwriting and the complex arrangements are still reminiscent of the music recorded in the context of Burnier & Cartier. 
On the other hand, there’s an emphasis on Octávio’s prodigious guitar chops. There are a couple of solo excursions, where his great playing is featured. He’s clearly a guitar master of the first ranks. 

So, perhaps this album lacks the consistency of the two Burnier & Cartier records, however, it’s a storehouse of great arrangements and most of all, a showcase piece of Octávio Burnier, the guitar master…..by…..yofriend ….~

Credits 
Acoustic Guitar, Guitar, Vocals – Octavio Burnier 
Alto Saxophone – Jorginho* 
Backing Vocals – Papo De Anjo 
Bass – Dadi*, Jamil Joanes 
Cello – Márcio Mallard* 
Design, Illustration – Aldo Luiz 
Drums – Paulo Braga*, Robertinho* (tracks: 3A) 
Organ, Piano – Laércio De Freitas, Wagner* (tracks: 3A, 1B) 
Tenor Saxophone – Biju* 
Trombone – Maciel* 
Trumpet – Marcio* 
Viola – Penteado* 
Violin – Aizik*, José Alves (2)

Tracklist 
A1 Aproximação 4:02 
A2 Beijo Sumerso 3:22 
A3 Por Quase Nada 3:14 
A4 Zanga Aborígine 2:29 
A5 Dança Infernal 4:30 
B1 Dança De Rua 3:06 
B2 Todos Os Meninos 4:43 
B3 Um Dos Meninos E Sua Mãe 2:01 
B4 Dança Dos Ventos 2:46 
B5 Biruta 3:16 
B6 Exercício Matinal 0:58 

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