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Peri - Samba Passarinho CD Cover Art
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Peri Samba Passarinho CD - Import

 Peri Discography of CDs

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 Our Price: $44.69  CD
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Samba Passarinho Music


Detailed Samba Passarinho Music Information



List Price $47.99 (You save $3.30)
Category Rock/Pop Albums, World CDs, Jazz, International, Brazilian
Label Phantom
Orig Year 2006
CD Universe Part number 7059581
Catalog number 2170
Discs 1
Release Date May 03, 2006
Mono/Stereo Stereo
Additional Info Bonus Tracks; Japan
Peri Samba Passarinho Songs


Peri Samba Passarinho Album Track Listing



1.Samba Passarinho$0.99
2.Redemoinho$0.99
3.Voyeur$0.99
4.Dos Prazeres Das Canções$0.99
5.Jurema$0.99
6.Mentiras$0.99
7.Só Minha$0.99
8.Mamãe Falou$0.99
9.Depressa$0.99
10.O Samba É Bom$0.99
11.Na Lata$0.99
12.Meu Mundo É Hoje$0.99
13.Samba Passarinho Remix$0.99
Samba Passarinho Music


Samba Passarinho Other Versions



Peri
Samba Passarinho  (2006) Brazil
CD$26.49
Samba Passarinho Review


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A surprise best-seller when it was first released, this mostly improvised pairing of singer/keyboardist/producer Al Kooper with two major guitar heroes of the day sounds fascinating all these years later precisely because of the distance of time--nobody makes records like this any more. The material runs the gamut from folk pop (covers of Donovan and Dylan), to blues ("Albert's Shuffle," "You Don't Love Me"), to heady jams ("His Holy Modal Majesty"), to big-band jazz ("Harvey's Tune"). All the tunes make effective templates for the kind off-the-cuff music-making that in less capable hands might have resulted in simple noodling. In fact, although Bloomfield and Stills don't play together on any of the cuts (Bloomfield played on one side of the original LP, Stills on the other), all three principals get off lots of good licks and producer Kooper has ...
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This double-CD set is not only the best of Bill Chase's output but -- comprising all three of their albums -- virtually their complete finished studio work, before the plane crash that killed Chase and much of the group. The mastering on this Wounded Bird reissue is excellent, with a full solid bass sound topped by soaring highs on the brass and no compression to speak of. It's not as though this catalog has been overused, in terms of its master tape library -- apart from the hit "Get It On" -- but it's still good to know that the stuff has been well handled in terms of being digitalized. Additionally, the producers have reprinted Nat Hentoff's original essay about the group from their first album (and oh, for a time when college audiences could resonate to the writings of someone like Hentoff, who is now as much of a legend as a writer as the jazz people ...
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As of the late 1990s, guitarist and fiddler David Bromberg was in musical semi-retirement, supplementing his day job (making his living buying and selling American-made violins) with the odd club gig. But in the 1970s, he had a thriving career as both a bandleader and a sideman, having played on seminal recordings by Bob Dylan, the Eagles, and Jerry Jeff Walker, among others. This disc includes two of his early albums: first, the acoustic and largely solo My Own House, on which he plays a program that ranges from traditional Scottish and American fiddle tunes through Delta blues and songs by Hoagy Carmichael and Phil Spector. Talk about Americana. The second album included on this disc couldn't be more of a contrast: You Should See the Rest of the Band is a live recording with a large and very definitely electric band. David Bromberg the rock & roll bandleader is much more inclined toward horn-driven R&B ("Key to the Highway," "Sharon"), ...
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This 25-song compilation doesn't contain exact recording dates, but it can be safely assumed that most or all of this was cut between 1947-1951; about half appeared on singles from that period, while some showed up on a 1963 Crown album (although they were obviously done much earlier), and others weren't released until Ace LP collections in the 1980s. (There's also a previously unissued "Happy Birthday," cut for Modern's Jules Bihari's birthday.) Regardless of the specifics, it's early jump blues from the stage at which it was in transition from jazz to R&B, leaning in some cases closer to jazz than R&B. That may be why Phillips was pretty much a forgotten case by the mid-'50s. In any event, this remains decent, historically important early jump blues by an unheralded early pioneer of the electric guitar, as you can hear when he gets the chance to stretch out on numbers like "Slippin' & Slidin'" and "Gene Jumps the Blues." It's also notable for being some of the first material to bear the stamp of the Modern house sound, although musically it's a little more restrained and less bluesy than some of the Modern acts who would ...
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The Rudy Van Gelder Edition of COOL STRUTTIN' includes an essay by Bob Blumenthal. Digitally remastered using 24-bit technology by Rudy Van Gelder (1998, Van Gelder Studio, Englewood Cliffs, New Jersey). This is part of the Blue Note Rudy Van Gelder Editions series. Sonny Clark's classic COOL STRUTTIN' is a session that epitomizes the Blue Note golden era. A celebrated cast that includes Clark, Art Farmer, Jackie McLean, Paul Chambers, and Philly Joe Jones in their prime swings and struts its way through Clark's originals and some choice standards. Bluesy swingers like Clark's smoky title cut and scorching burners like Miles Davis's "Sippin' at Bells" offer swinging grooves at opposing extremes that serve as vehicles for stellar solo spots by all. Intricate tunes like Clark's energetic "Blue Minor" and a blistering read of Rodgers and Hart's "Lover" are held in tight check by the consummate rhythm team of Chambers and Jones. The tracks also provide excellent breathing room for Farmer, McLean, and Clark to strut their stuff. The lone trio cut is the swinging "Deep Night," which showcases Clark's sharp technique and tasteful touch. In all, this is an essential disc for connoisseurs of the classic hard-bop period, a period that continues to inspire future generations. Recorded in 1958, this legendary date with the still-undersung Sonny Clark in the leader's chair also featured a young Jackie McLean on alto (playing with a smoother tone than he had before or ever did again), trumpeter Art Farmer, and the legendary rhythm section of bassist Paul Chambers and drummer Philly Joe Jones, both from the Miles Davis band. The set begins with one of the preeminent "swinging medium blues" pieces in jazz history: the title track with its leveraged fours and eights shoved smoothly up against the walking bass of Chambers and the backbeat shuffle of Jones. Clark's solo, with its grouped fifths and sevenths, is a wonder of both understatement and groove, while Chambers' arco solo turns the blues in on itself. While there isn't a weak note on this record, there are some other ...
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For an audience born and raised on lyrics (no matter how banal they may be), instrumental albums have an inherent disadvantage. They, in the sheer quality and intrigue of their music alone, must attempt to accomplish what a singer and his band can do together ...
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