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Garota de Ipanema

Written by Antonio Carlos Jobim with lyrics in Portuguese by Vinicius de Moraes

recorded by Astrud Gilberto, João Gilberto and Stan Getz

It’s a Bossa nova. The simplicity and elegance that the tune carries through all the song, its
guitar and piano mark the rhythm meanwhile the vocals and saxo make for a calm and
smooth melody, the percussion, and give a touch of tropicalia to the mix, the ambientation
surrounds you while you´re immersed listening to the track. In 1964 An abbreviated single
version was released reaching number one on the Pop Standard chart and was named
Record of the Year in 1965. The album won the 1965 Grammy Awards for Best Album of
the Year, Best Jazz Instrumental Album - Individual or Group and Best Engineered Album,
Non-Classical. The personel are Stan Getz - tenor saxophone, João Gilberto - guitar, vocals,
Astrud Gilberto -- vocals, Antonio Carlos Jobim - piano, Sebastião Neto -- bass, and Milton
Banana - drums. It has a sax solo and a piano solo, the sax solo follows along the
pentatonic making it a smooth transition from the voice meanwhile it maintains the
elegance and slow beat, but it still highlights the compasses, like sun beams that reach out
from the palm trees, the piano solo marks a little bridge between the sax solo and the voice,
it reaches the peak when the piano (on loud), the female voice, and the sax get thogether in
the last verses of the song.

This song creates an atmosphere of relaxation and easiness, in which one can get lost, the
tranquil sounds of the maracas and the slow passed rhythm transports you into a fresh
tropical beach, the voices of the singers enchant you even further, especially at the end
when the female voice takes the lead for it really makes you see and feel the girl of
Ipanema in your mind and in your body,

Guns of Navarone january 1961

Skatalites

Álbum

Hi-Bop Ska

Writers Dimitri Tiomkin, Paul Francis Webster

It’s a Ska-Jazz te catchy and upbeat tune of the song have a Jamaican feel to it, the guitar
rhythm is easy recognizable as it influenced heavily the Reggae scene that came afterwards.
The guitar and drums keep the song moving while the sax and trumpets jam along.

The song really gets you to dance, even as an instrumental piece one can feel the melodic
structure of verses and a chorus, it’s a fun tune that isn’t afraid of experiment, the piano and
saxophones solos make for a very interesting piece where the musicians let their music flow
in the cartoonish beat, it holds a little bit of a military feel to it but in a parodic way,
presenting it like a joyful parade of the Guns of Navarone. But in the same line one can feel
a little of disorder and chaotic feel to it, especially when the voice start to make random
noises (like a strange kind of drill sargent). The duration of the song it seems excesive, and
even though the musicians are great the same riff repeated after a while gets a little
obnoxious, I think it’s a song that should be listened but not twice in a row
'Round Midnight april 66

Thelonious Monk cuartet: Thelonious Monk, Charlie Rouse, Larry Gales, Ben Riley

Recorded in Norway 1966 dvd "LIVE in '66

This song is a bebop, the improvisations over a chaotic base are characteristic of a vanguard
genre that claims to break away from what´s been done before, the piano solos are great
the sax ones have a melody that carry away some of the ramblings and chaotic expression
the piano creates. The drums are light and notable for the contretemps that break with the
expectation of the smooth jazz.

It’s a individualistic instrumental piece, each instrument seems to listen to their own beat,
but it all holds on together in a strange and harmonic equilibrium like a card house. The
piece contains that modern touch of individuality all mixed in the sorted building of a
growing city, it is, as if several stories got intertwined into a single frame. A daily walk by
an apartment building, it allows you to see into different versions of the same reality. That
reality is the constant chaos and struggles of modern life
Santos Journal 5

El Manisero (The Peanut Vendor)

April 1931

Louis Amstrong and his orchestra

The Peanut Vendor" is one of the most well-known Cuban songs ever written, composed by
Moises Simons, and this song caused a “rumba craze” all through Europe and the United
States that lasted more than ten years. It was first recorded by Cuban Singer Rita Montaner
in 1927 but it has been recorded more than 160 times by other famous artist like Louis
Armstrong and Stan kenton, and was the first million-selling 78 rpm single of Cuban
music. This song is a Latin Jazz, the African a caribean beat are present from the rhythm
section, the congas and taping sounds make for a very danceable song. The trumpet takes
the central role in keeping the main tune that it has a festive sound to it while other winds
instrument mark the main rhythm of the song. The deep voice of the singer follows the
melody of the trumpet, yet the voice sounds somewhat a little bit nostalgic, it’s a carnival
song of a man who sells peanuts in the extemporal place of a fair, yet it is as if the peanut
vendor feels nostalgic about something, that gives this otherwise happy melody a
bittersweet touch that makes for a very interesting piece, it´s also one of the most important
Cubans songs in the world and it shows how the island interacted with the world in that era,
a colourful paradise on earth that kept on growing, yet to live inside that atmosphere could
end up being tiresome, and it could be sensed in the vendors shout, trying to attract
customers, but who knows if wanting to leave outside the fair atmosphere to the outer
world.
Santos journal 6

Livery Stable Blues

February 1917

Original Dixieland Jazz Band: Larry Shields (clarinet), Eddie Edwards (trombone), Henry
Ragas (piano), Tony Sbarbaro (drums) e Nick LaRocca (cornet).

The Original Dixieland Jazz band was one of the early bands on the genre they dubbed
themselves “the creator of jazz” they composed and made the first recordings on many jazz
standards, The song livery Stable blues alongside with Dixie Jass Band One-Step has been
acknowledge as the first jazz record commercially released. They are the precursors of
Dixieland Jazz or New Orleans Jazz, the name of the subgenre was coined in the decade of
1940 in opposition to the orchestrated sounds of swing and the chaotic feel of bebop. The
drums and piano in the background mark the rhythm for the central piece but the wind
instruments take the spotlight in the song, the trumpet, cornet and trombone weave in a
barn like tune their mixed sounds, the resemblance to animal sounds occur in all the song
especially during the silences where a horse-neigh-like-sound can be recognized at first
listening. There´s also something that transports to a simpler way of life, a day of hard and
merry labour on a fertile field, the song has an earthly and lively tune that invites the
dancing and to rest at the time, I think that a song like that was attractive to city folk as well
as farmers for the same reasons, the atmosphere it creates is one of romantic comfort in
work, of contempt and natural contemplation. There aren’t any solos in this song but it
doesn’t need them, the music blends in the harmonic way a stable might sound, in which no
animal has a place of attention but as a panoramic view of the whole farm, the lack of solos
I this piece helps to maintain the atmosphere, as there´s no individualist sound trying to
take the centre of attention, but working as a whole
Santos Journal 7

And when I die

October 1969

Blood Sweat and Tears

Blood Sweat and Tears is a Rock band that recorded in 1969 a version of “and when I die”
for their self tittled second album the song was written by Laura Nyro, the B.S.&.T version
reached number two on the billboard. The harmonics and voice weave the main melody
over a 4/4 tempo marked by the drums, guitars and other wind instruments, however the
rhythm speeds up constantly after the first verses of each strophe, the drums take the
spotlight alongside the voices during these speed ups, silences after the wonderful chorus
make the song go back to the slow pace. The RMI Electra piano solo follow the catchy
melody giving it a cantina feel also the temps blocks, and the “Yeehah!” give the song a
overall westerly atmosphere. The Lyrics of the song also add to this feeling, it’s the
statement of a man that´s not afraid to die and just wants to die a natural death. The song´s
rhythm variation make for a great piece for it integrates the complex and different images
of death that the lyrics convey, the dynamic refuse to go uneasy “I don’t want to go by the
devil” the acknowledge of peace in death, the mystery of existence of heaven and hell. The
emotions that the voice of David Clayton-Thomas add to the song contribute to makes it a
piece of art worth of countless listenings and re-listenings.
Samba…

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