1. Raça (hasa) (race)
2. Fairy tale song (cadê)
3. Francisco
4. Nothing will be as it was (nada será como antes)
5. Cravo e canela (clove and cinnamon)
6. The call (chamada)
7. One coin (tostão)
8. Saídas e bandeiras (exits and flags)
9. Os povos (the people).

Milton Nascimento, nylon string acoustic guitar, vocal, Novelli, bass, Roberto Silva, drums,percussion, Laudir de Oliveira, percussion,
Maria Fatima, vocal, Wayne Shorter, soprano & tenor saxophones, Raul de Souza, trombone, Herbie Hancock, piano, Hugo Fattoruso, piano, organ, Toninho Horta, 12-string & electric guitar, Airto Moreira, drums, percussion.

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Recorded in 1976, “milton” follows closely on the heels of “native dancer”, the album that paired the gifted brazilian singer-song-writer milton nascimento with saxophonist wayne shorter and put him squarely in that international jazz-pop star corner. once again nascimento is backed by shorter on soprano saxophone and herbie hancock on piano. shorter’s expert, sometimes airily ethereal horn complements nascimento’s yearning yet free-spirited baritone, a voice that ranges from a tremulous vibrato to a soaring, effortless falsetto, as on “os povos”.

nascimento displays his tremendous vocal variety in an album that explores a great range of brazilian music. african roots dominate “raça”, a song about candomble, a popular afro-brazilian religion akin to voodoo, while “cravo e canela”, now a well-known pop tune, gives a spacious solo to hancock. there is the incantatory poetry of “saídas e bandeiras” and “nothing will be as it was”, polished to a high luster by hancock and shorter behind nascimento’s sweetly soaring voice. “tell me when will i hear from my people”, he sings, “tell me when will i hear from my friends, now that we’ve got our feet on the road, now that we have a taste of the dawn”. clearly, as part of the socially aware mpb (musica popular brasileira) movement, a response to the harsh rule at the time of the country’s military dictatorship, milton nascimento’s songs are far more than self-referential. they also delight as purely good music.
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1.Entre Laberintos
2.Fugue On A Blue Note
3.Wild Shore Ride
4.Another Tomorrow
5.Late Show
6.The Truce Of Cufre
7.Way Back
8.Funland Blues
9.Boathouse Riff.

Beledo piano, guitar.
Jorge Camiruaga vibraphone on tracks (1, 3, 4, 6, 8).
Stefon Harris vibraphone on tracks (2, 5, 7, 9).
Andy Middleton tenor and soprano saxophones.
Randy Brecker trumpet.
Chris Komer french horn.
David Finck upright bass.
Mark Walker drums (1, 2, 3, 4, 6, 7, 8),
vocal drums (1).
Manolo Badrena drums, and percussion on (5, 9),
vocals (9), percussion (1).

*****
About Beledo

“BELEDO is considered a real myth among Uruguayan music connoisseurs,” according to EL PAIS newspaper from Montevideo, Uruguay. Piano was Beledo’s first instrument, however, he became a guitar hero in his late teenage years captivating audiences in Uruguay and Argentina.. Later on, his fusion effort of the early eighties in South America was noticed in the U.S. in articles for the upcoming talents in GUITAR PLAYER magazine and JAZZIZ magazine.

Recently in the US, he participated in Manolo Badrena’s percussion instructional video explaining the different voices of the Afro-Uruguayan rhythm called Candombe, and performing a candombe fusion song on guitar with Manolo on percussion.

Beledo was the musical director of THE UPSIDE DOWN BOY, with music composed by CRISTIAN AMIGO. This musical was the 2004 production of the New York theatre and arts education and organization MAKING BOOKS SING.

In his las visit to MONTEVIDEO Beledo gave a master class at the UNIVERSITY SCHOOL OF MUSIC offering his perspective of harmony, composition, and improvisation to classical music students.

In 2001 BELEDO performed a series of concerts that included: guest soloist of the LANDES JUGEND JAZZ ORCHESTER HESSEN from Germany at the Jazz Tour 2001 in Montevideo and opening act for MARCUS MILLER BAND.

This time BELEDO went back to his home town of Minas, Uruguay where he performed an unforgettable solo concert at the Club Minas’ Concert Hall.

In 1997 BELEDO went to Uruguay to perform a concert presenting the album LEJANAS SERRANIAS at the Theatre of the National Library. This is a World-Jazz acoustic work that incorporates classic Uruguayan musical forms such as triste, milonga, chimarrita, and candombe rhythms, as well as Spanish flamenco styles.

Here in the U.S., he is the guitar player on the album FORWARD MOTION of the band OJOYO featuring saxophonist and band leader MORRIS GOLDBERG , and drummer ANTON FIG.

He recorded piano and guitar for the candombe song “Speak To Me”by BAKITHI KUMALO from South Africa included in his second solo album IN FRONT OF MY EYES .

in 1996 BELEDO toured with the TROPICAL TRIBUTE TO THE BEATLES featuring TITO PUENTE, CELIA CRUZ, TITO NIEVES, CHEO FELICIANO, and an all-star line up of Latin artists. This tour included Spain, Portugal, and Martinique with concerts in Madrid, Barcelona, Las Palmas, Valencia, La Coruña, Lisbon, and Fort de France.

While he was based in Los Angeles, BELEDO attended the UCLA Certified Program for Film Scoring. Later, he co-produced music with PETER AYKROYD for the WARNER BROTHERS film, NOTHING BUT TROUBLE starring DEMI MOORE, JOHN CANDY, DAN AYKROYD, and CHEVY CHASE. Another sassion in L.A. for guitar player and composer BOB NAGY included GARY WILLIS (bass with Tribal Tech), and BILL BERG (drummer from Wayne Johnson Trio, Flim and the BB’s, ). For three years BELEDO worked in ARGENTINA with PEDRO AZNAR (from The Pat Metheny Group), participating in his album, FOTOS DE TOKYO together with pianist MARIO PARMISANO (from Al Di Meola’s Band). Aznar also participated in BELEDO’s first album, ESCAPE.

BELEDO performed and recorded with the group OPA in 1987, Montevideo, Uruguay, featuring RUBEN RADA and the FATTORUSO brothers, on the live album called OPA EN VIVO.

Long noted as a guitarist, pianist, and composer, since he was a kid BELEDO performed with his group, SIDDHARTHA, in every theatre in his hometown of Montevideo. He attended the University School of Music in Uruguay and performed classical music recitals on the NATIONAL PUBLIC RADIO and in various theatres. He was a founding member of the first Jazz Ensemble, sponsored by the school in an effort to integrate jazz into the traditional curriculum.

He toured and recorded in ARGENTINA at top venues with PEDRO AZNAR, MIGUEL CANTILO, MIGUEL MATEOS , and RUBEN RADA. He also scored string ensembles for CANTILO’s and DAVID LEBON’s albums.
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01.Mima
02.Samba Para Dos
03.Tel Eco Teco No.2
04.Lolita Marie
05.Ceu E Mar
06.Whispering Bossa Nova
07.Boato
08.Chora Tua Tristeza
09.Poema Do Adeus
10.O Apita No Samba
11.Chega De Suadade
12.Bossa Nova Em Nova York
13.O Amar E A Rosa
14.O Menno Decse O Morro
15.Menina Feja
16.Ouca
17.Samba De Lima Nota So
18.Patinho Feio
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01.Little Benny 3:37
02.Be-Bop 2:39
03.Lemon Drop 2:50
04.Ornithology 4:16
05.Anthropology 4:45
06.Salt Peanuts 3:01
07.Groovin’ High 2:46
08.Shaw ‘Nuff 3:27
09.Now’s the Time 7:07
10.Hot House 3:33
11.52nd Street Theme 4:20.

George Wallington – Piano
Phil Woods – Sax (Alto)
Idrees Sulieman – Trumpet (1-5)
Thad Jones – Trumpet
Curly Russell – Bass
Denzil Best – Drums (1-5)
Art Taylor – Drums.

AMG:
“The sessions on this LP reissue were originally organized by Leonard Feather to pay tribute to the bop era. The 11 selections (all dating from the mid-to late-’40s) feature pianist George Wallington (who is actually the set’s leader), altoist Phil Woods, either Idrees Sulieman or Thad Jones on trumpet, bassist Curley Russell, and either Denzil Best or Art Taylor on drums. About the only surprise occurs on “Salt Peanuts,” which has an off-key “vocal” from five-year-old Baird Parker, son of the late Charlie Parker. Otherwise, the playing of Woods makes this a worthwhile session for bop fans.”
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Sweet Georgie Fame
A Nightingale Sang In Berkeley Square
Blues For Perla
Falling In Love With Love
Old Folks
Au Privave
Body And Soul.

1. How My Heart Sings (Zindars) 4:59
2. I Should Care (Cahn, Stordahl, Weston) 4:58
3. In Your Own Sweet Way (take 1) (Brubeck) 6:59
4. Walking Up (Evans) 4:57
5. Summertime (Gershwin, Heyward) 6:01
6. 34 Skidoo (Evans) 6:22
7. Ev’rything I Love (Porter) 4:15
8. Show-Type Tune (Evans) 4:24
9. In Your Own Sweet Way (take 2) (Brubeck) 5:51

Personnel:

Bill Evans (piano)
Chuck Israels (bass)
Paul Motian (drums).

AMG:
Recorded in May and June of 1962, at the same time as the Moonbeams sessions, How My Heart Sings shows a different side of the Bill Evans Trio than that all-ballads album. Here, the eight selections have a much more mid- and even up-tempo flair. Israel appears more comfortable in these settings to be sure, as he is the kind of bassist that relegates himself deeply into the rhythm section, sublimating himself to the pianist. In Evans’ own words, the band’s desire was to “provide a more singing sound” in this material. The set begins with a lyrical waltz in the title track. Evans himself comments in the liner notes that it “contains a delightful 4/4 interlude framed by a delightful 3/4 lyric line.” Nowhere does he discuss his solo that literally ripples in delicate waves off the middle register, and Motian’s stick work shimmies up the rhythm and allows it to truly dance and sing. There are a number of standards here, including “Summertime,” which sounds so different with its mid-tempo opening and Israel’s flaunting bass vamp in front of the piano. When Evans gets to the melody he is following the swinging skip of Motian’s drums, and he digs deep into inverting the melody line with a slew of arpeggios and short, choppy phrases. On Cole Porter’s “Everything I Love,” Evans takes the snap in the tune and breaks it, committing it to a driving swing and vaunting lyrical gem that has three seemingly unresolvable harmonic problems in the center that turn out to be a Moebius strip in Evan’s chromatic language. This is a tough recording; it flies inthe face of the conventions Evans himself has set, and yet retrains the deep, nearly profound lyricism that was the pianist’s trademark. [A Japanese version added a bonus track.]

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1. Morning Star
2. Let Her Go
3. Where Is The Love
4. No More
5. Amazing Grace
6. What Do You Think Of This World Now?

Arranged By, Conductor – Don Sebesky
Bass – Ron Carter
Bassoon – Jack Knitzer
Cello – Charles McCracken , George Koutzen , Lucien Schmit
Drums – Billy Cobham
Engineer – Rudy Van Gelder
Flute, Flute [Alto], Clarinet – Phil Bodner
Flute, Flute [Alto], Piccolo Flute – Hubert Laws
Flute, Flute [Alto], Piccolo Flute, English Horn – Romeo Penque
French Horn – Jim Buffington
Guitar – John Tropea
Harp – Gloria Agostini
Percussion – David Friedman , Ralph MacDonald
Piano [Electric] – Bob James
Producer – Creed Taylor
Trombone – Garnett Brown
Trumpet, Flugelhorn – Alan Rubin , Marvin Stamm
Vibraphone – David Friedman
Violin – David Nadien , ElliotRosoff , Emanuel Green , Gene Orloff , Harry Cykman , Harry Lookofsky , Irving Spice , Max Ellen , Paul Gershman
Vocals – Eloise Laws , Lani Groves , Tasha Thomas

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