Latin Jazz Music

Maria Bethania was born to sing.This she does passionately often showcasing the talents of a variety of Luso-brazilian songwriters.In this wonderful work,Maria starts off with the title track penned by Adriana Calcanhotto,her friend from the South of Brazil.The lyrics depict the depth of a woman's happiness on her journey to self realization.
The presence of Calcanhotto's gem hints at Bethania's skill at exposing the new generation of Brazilian songwriters(new MPB)via her voice.Later in the CD,you will her two songs penned by the incredibly talented Chico Cesar,ONDE ESTARA O MEU AMOR(a beautiful ballad)and INVOCACAO(a conversation with God about his gender among other things).As you listen along,the tune LUA VERMELHA will entice you dance to the notes and words of Carlinhos Brown,bahiano like Bethania.But most of all you will be enthralled by the presence of two gods of Brazilian popular music:Caetano Veloso(Betha's brother)and Chico Buarque.One,Caetano,is present through his song ETERNO EM MIM,a beautiful love song.Buarque ,however,is in a dueto with Maria celebrating Bahia,QUANDO EU PENSO NA BAHIA,a classic from the 1940's.Overall,she manages to present songs from the new and the old in her own personal style.I bought it!

Before this one, I've heard about four Maria's records from the 70's. They are all great, spectacular. But I thought that she has not much to say these days. Well, I was wrong. I bought "Ambar" because I heard it and found it a really surprise. Has a great production and very good songs, some old, some from new artists, and traditional ones. There also guests stars invited like the unique Chico Buarque, and Maria's voice is provocative and sensual like the old records. The only reason because I didn't put five stars to "Ambar" is because doesn't take many risks.

Los portugueses dejaron presente su sello de melancolia en la musica de cada uno de los paises que colonizaron. Es esa misma melancolia la que le da ese encanto a la musica "lusofonica". Ambar es una gema, que con sus letras y melodias apela a las fibras mas intimas de sus oyentes. Bravo Maria!

Âmbar (Amber) shines from song to song with Bethânia's inimitable performances. With both simpleand elaborate arrangements - not overdone - and perfect delivery, Bethânia's renditions take the listener on a musical journey through the new and the classic in Brazilian song. Her enunciation in "Chão de Estrelas" ("Floor of Stars") is precise and poetic. It is a well-deserved tribute to song writers Sílvio Caldas and Orestes Barbosa. Jaime Além's guitar accompaniment brings out the simplicity and serenity in this classic Brazilian tune. Besides Adriana Calcanhoto, who wrote the title track, another newcomer to Bethânia's repertoire is Brazilian sensation Chico César. César's first composition featured in this release, "Onde Estará o Meu Amor" ("Where Will My Love Be") is a melancholic song with a soft Brazilian countryside feeling. It is, however, in the other Chico César song, "Invocação" ("Invocation"), that Bethânia shows her extraordinary voice and interpretation. This haunting melody and poignant lyrics begin with the string section setting the mood for the invocation. There is darkness in the music and mysticism in the words. Bethânia sings "Invocação" almost like a prayer. Virgínia Rodrigues provides a ghost-like voice in the background, like a prisoner and slave crying. This chant contrasts dramatically with the drum and bass accompaniment.

Switching from this emotional setting, Chico Buarque joins Maria Bethânia in Ary Barroso and Luiz Peixoto's "Quando Eu Penso na Bahia" ("When I Think of Bahia"). The tone is very relaxed and fun. Having performed together in a Canecão show in the 70's in Rio de Janeiro, Bethânia and Buarque feel very at ease in each other's presence. However, Bethânia's homage to the Brazilian greats does not stop here. Vicente Paiva and Jayme Redondo's great exultation prayer "Ave Maria" ("Hail Mary") is a peaceful and beautiful song praising Brazil. Like other well-known songs in that same vein, "Ave Maria" paints the colorful Brazilian landscape and the beautiful open skies in a very sensitive performance by Bethânia.

Caetano Veloso's "Eterno em Mim" (Eternal in Me) is a statement for Bethânia's life. From the opening words, "não há nada no mundo que possa fazer eu deixar de cantar" (there is nothing in the world that will keep me from singing), until Bethânia's last breath, she puts a lot of emotion in these lyrics. Her voice carries the weight of someone who truly believes and lives Veloso's lyrics.

Âmbar is the celebration of Maria Bethânia's 50th birthday. As a mature artist, Bethânia continues to explore the new music of Brazil as she records Adriana Calcanhoto, Chico César, and Carlinhos Brown at the same time as she sings classics by Sílvio Caldas, Orestes Barbosa, Ary Barroso, and Vicente Paiva. Âmbar clearly shows the singer's dedication to her art. Bethânia's passion is stamped in every note and word she breathes. Âmbar is exuberant and heartfelt

$11.97 very well spent!!! This CD is simply spectacular!!! It contains original tropical rythms like mambo, guaracha, merengue and bomba. The music is very pure in its form and more ethnic than today's salsa and merengue. These are the classic performers at their very best. The repertoire includes the famous Sonora Matancera, featuring the vocals of Bobby Capó, Johnny López, Vicentico Valdez and the indisputed queen of salsa, Celia Cruz. To add flavor to the CD, you can enjoy the music Cheo Feliciano, Machito, Dámaso Pérez Prado, Nelson Pinedo, Ray Caney, Ismael Rivera and many other congueros who have claimed their popularity across all generations. This is truly the CD of the "Ambassadors of Rythm," the musicians who spearheaded a craze for popular Latin dance music all over the US in the 40s, 50's and 60's. A MUST HAVE FOR YOUR COLLECTION ... I GUARANTEE YOU WON'T FIND IT ANYWHERE ELSE BUT HERE, ON AMAZON.COM ... BUY IT NOW!!!! ... 2 THUMBS WAAAAAAAY UP!!!

Having played the Histoire du Tango sax quartet, and winning a competition with it, I was interested in listening to the interpretation of this group. Yes they get the notes right, and they play well as a group, but let me make one thing clear--this piece is NOT jazz. The jazzy scoops into the pretty, slow sections of the Cafe 1930 just make one keel over in pain--any true Piazzolla fan would do the same. This group seems to have a jazz background, which is fine, but they need to pay justice to the music and stylistically. Nowhere in Piazzolla music, even when he's playing with Gerry Mulligan, jazz saxophonist, does ANYONE stray so far stylistically. I guess it's up to them on how to interpret the music, but if they have to do those horrible pitch bends, they could do it the correct, and much better sounding way of lifting a key or two for an extra note instead of bending one note. Good group, but after spending so much time and effort and emotion on this piece myself, hearing it interpreted that way is a stake through the heart.

With controversial lyrics, head bobbin' beats, and various guest artists this album American Famine has so many different flavors. From jazzy horns to classic piano to synth and strings, this album creates a new feel to hip hop. Profit's vocals are fierce, his lyrics are brutally honest, he speaks about how difficult the world can be. Shows so much talent and ambition. The album means a lot to me!

American Famine is a phenomenal debut album. In it, Profit creates a lush multi-layered musical soundscape with the live band. The innovative and creative beats wrap around lyrics that can only be described as poignant, real, hard-hitting, on point and most desparately needed in these dark and last days. This album helps breathe new life back into hip hop.

When I first bought this many years ago, I was quite surprised at how cheesy it sounded. I almost threw it away. At the time I was into hot big band and faster, higher, louder! What one expected from Sandoval. The other day this came on shuffle and I couldn't get over to change it right away. I honestly couldn't even remember what CD it was. About the third song in, I was mesmorized at the beautiful playing I was hearing. I really like this album now - for what it is - beautiful melodies and excellent solo trumpet/flugel. Sometimes the backup is annoying, but usually it is quite pretty and nice. I'm glad I didn't throw it away after all.

A big disapointment. I got the cd at an Arturo concert. A great, burnin' highnote concert. On the way home I tried listening to it but couldn't stand it. The only plus that I give the cd is that he plays the fluff-filled remakes very nicely. If you are looking for popular music remakes, this is the cd for you. If you are looking for standard Arturo, look elsewhere. I will never listen to this cd again.

Hey wut the heck is wrong with you. Elevator music? Since when has a triple G been elevator music? Maybe if the elevator was falling straight down i would agree with you.

The people who complain about this CD think that all AS can do is play jazz. Nothing could be farther from the truth. Sandoval, a true Renaissance musician, can play everything from classical to funk to jazz and everything inbetween. This CD is a loving tribute to his new country, which finally gave him citizenship after too many years of waiting.

If all you are looking for is stereotypes, don't look here. If your horizons are broad, this is a wonderful addition to your collection featuring one of the greatest trumpeters of all times. I've had the pleasure of sharing the stage with AS - what a super person he is.

This is the type of album that purists will probably not enjoy. If you always expect Arturo to do something like Flight To Freedom, Hot House, Straight Ahead, L.A. Meetings or Trumpet Evolution, you'll probably be disappointed with this one. If you like Arturo as a musician and not just a latin jazz trumpeter then this album is great to hear. Arturo plays beautiful, musical phrases on flugelhorn and trumpet. Americana is a tribute to the United States in a sense that he has just finally gained citizenship (after about eight or nine years). The songs here are popular songs of today's American culture. Arturo solos sweetly on a latinized version of Billy Joel's "Just The Way You Are", and takes muted trumpet and plays Janet Jackson's awful "Come Back To Me" pretty well. Probably the most jazz-like tunes in this set are "Englishman In New York" (by Sting), "Let's Stay Together" (Al Green), "Isn't She Lovely" (Stevie Wonder) and "All Night Long" by Lionel Richie. The muted trumpet solo from Arturo on "Englishman In New York" is awesome, he keeps ascending and hits a Triple-G#, playing confidently throughout. I love "Let's Stay Together", it swings and pays tribute to the original beautifully. "All Night Long" is given the Cuban flavor and Arturo and the band really rip it on this song. Arturo shows off his brilliant showmanship on "Isn't She Lovely", and more beautiful ballad work on songs like "She's Out Of My Life" by Michael Jackson, although with plenty more.

If you're looking for Arturo in his normal form, buy one of the other albums I mentioned above. If you want a great, commercial-sounding Arturo album, this is it. Just because he is playing pop songs doesn't mean he isn't still playing with confidence and he still goes crazy. Not a must-buy, but a very solid album in its own right.