Oscar Castro-Neves All One 2006

[专辑名称]:Neves All One 2006
[专辑歌手]:Oscar Castro
[文件格式]:APE
[档案大小]:362 Mb
[验证全码]:D787F9E94C97B83E796D6A3581C6CE18E9A6E02B
[图片预览]:有
[专辑简介]:






Review:
Oscar Castro Neves comes from the early Bossa Nova era (60s). He is an inspired composer, guitar player and arranger of so many Bossa Nova classics. He's the author of 'Onde Esta Voce' and 'Morrer de Amor', both Bossa Nova standards in Brazil.

BTW, Brazilian singer Luciana Souza performs a beautiful rendition of 'Morrer de Amor' in this album.

Typically a musician of musicians, Mr. Castro-Neves is one those artists who virtually touches a song with such delicate sensibility. He's surely one of those underrated artists who acts mainly behind the scene.

Soon he moved to the USA and began working in the local studios mainly as an advisor for Brazilian music on albums by some American artists like Dianne Reeves. He is claimed to be responsible for the Bossa Nova version of 'Something' which Sarah Vaughan sings in her 'Songs of the Beatles'.

His fans are gifted a new album from Mr. Castro-Neves now and then and this is another gem, his second one for label Mack Avenue.

As usual in his albums, Mr. Castro-Neves offers some Jazz standards here and also some Brazilian hits like traditional samba 'N?o Me Diga Adeus' and Tom Jobim's 'Double Rainbow'.

He also offers an extraordinary rendition of Chopin's Prelude n? 28 and a sensitive version of bolero 'Historia de un Amor' which sounds like a slow Bossa Nova, very good taste.

Jazz standards include Thelonious Monk's 'Round Midnight' and a beautiful Bossa Nova uptempo take of John Coltrane's 'Naima'. Two standards from the Great American Songbook are also played 'There Will Never Be Another You' and Ray Noble's 'The Very Thought of You', both played with their rare verse.

Some great and intelligent compositions by Castro-Neves himself completes this must-have program.

Track List:
01. Double Rainbow [0:04:53.65]
02. All One [0:04:51.61]
03. Kurski Funk [0:04:13.05]
04. Morrer De Amor (Featuring Luciana Souza) [0:04:50.22]
05. Holding With An Open Hand [0:05:20.31]
06. Nao Me Diga Adeus (Featuring Luciana Souza) [0:02:47.32]
07. Naima [0:04:44.14]
08. Historia De Un Amor [0:04:45.48]
09. 'Round Midninght [0:04:54.72]
10. The Very Thought Of You [0:05:25.74]
11. More Than Yesterday [0:05:08.03]
12. There Will Never Be Another You [0:02:49.70]
13. Prelude Op, 28, No. 20 [0:04:39.07]
14. One Bad Habit [0:04:18.24]

Personnel include: Oscar Castro-Neves (vocals, guitar, keyboards); Luciana Souza (vocals); Don Grusin (piano, Fender Rhodes piano, Clavinet); Brian Bromberg (upright bass); Alex Acuna (drums). Recording information: The Cutting Room Studio, New York, New York.


Famed guitarist, composer, arranger and producer Oscar Castro-Neves, a leading figure of the international Brazilian music scene since the early 1960s, follows up his critically lauded 2003 Mack Avenue release Playful Heart with an equally enticing performance on his new album, All One, to be released on March 14, 2006. The 14-track program features special guest, noted Brazilian vocalist Luciana Sousa, and an all-star line-up of instrumental talent that includes violinist Charlie Bisharat, bassist Brian Bromberg and keyboardist Don Grusin, Gary Meek on woodwinds, Alex Acua and Mike Shapiro on drums and Kevin Ricard on percussion, on works that tap a broad range of Brazilian and global influences. Castro-Neves' vast experience as a recording artist and producer, coupled with his keen intuitive sense and consummate good taste, create a listening experience that soothes the soul as it fires the senses.

Born in Rio de Janeiro in 1940 into an especially musical family, Oscar began performing with his three brothers - pianist Mrio, bassist Iko and drummer Lo - while just a youngster, established a reputation as a composer and instrumentalist while still in his teens. His first instrument was the cavaquinho, the small Brazilian guitar used in such traditional styles as choro. He soon added the piano and classical guitar to his repertoire and although over a decade younger than bossa nova creators Joo Gilberto and Antonio Carlos Jobim, nonetheless played an important role in the global acceptance of bossa nova as the most important new music style to emerge from Latin America in decades.


As a contemporary of such noted bossa pioneers as guitarists Roberto Menescal and Durval Ferreira and pianists Luiz Ea and Eumir Deodato, Oscar was in the vanguard of young Brazilian musicians who helped popularize the new style around the world. At the tender age of 15, his composition “Chora Tua Tristeza” became a nation-wide hit, spawning over four-dozen covers. In the studio, he recorded historic albums with the music's biggest names, including Vinicius de Moraes, the poet laureate of the bossa movement; Dorival Caymmi, the godfather of Bahian-rooted Afro-Brazilian sounds; and the soon to be famous female vocal group Quarteto em Cy. In 1962, a year before “The Girl From Ipanema” became a Top 10 hit, he helped lead the bossa nova invasion of the US, playing a central role as a performer and accompanist for other noted Brazilian musicians at the historic presentation of Brazil's new music at Carnegie Hall.


Oscar never planned to take up permanent residence in the U.S. - his four decade presence in Los Angeles, the city he has long called home, occurred naturally as his role as a member of Sergio Mendes' group in the early 1970s quickly spread his fame. The result was an avalanche of opportunities to arrange and produce for other artists and led his guitar style to countless studio sessions. Among the many highlights of his tenure in the US as the resident dean of Brazilian sounds have been collaborations with Antonio Carlos Jobim, Elis Regina, Flora Purim, Yo-Yo Ma, Joe Henderson, Harry Belafonte, Stan Getz, Eliane Elias, Joo Gilberto, Lee Ritenour, Airto Moreira, Edu Lobo, Toots Thielemans, Paul Winter, Diane Schuur and countless other Brazilian, jazz, classical and pop music stars.


For All One, all of Oscar's talents as an instrumentalist, arranger and producer are distilled into one stunning package. “It's really four albums in one,” Oscar jokes, referring to a repertoire that includes Brazilian classics, vintage US pop and jazz standards, originals that are embellished with the latest pop music ingredients, and a nod to both the classical music and bolero traditions. From Jobim's perky, bossa-spiced jazz waltz “Double Rainbow,” a longtime favorite of Oscar's, to Chopin's wistful “Prelude Op. 28 No. 20 in Cm” and Thelonious Monk's “'Round Midnight,” the program's broad stylistic range is synthesized by the leader's expressive bossa-rooted guitar lines and elegant arrangements that take full advantage of the exceptional ensemble's talents. As the tracks unfold, the blissful paring of Oscar's guitar and Bisharat's violin becomes an aural focal point, as does the well-placed solo forays of Gary Meek on flutes and saxophones.


Among the standout tracks are “Historia de un Amor,” a gorgeous, half century old bolero well known to fans of Spanish language romantic music around the world, and the title tune, a new original work by Oscar in the march-like rancho style that originated in Rio in the 1920s. “It's the music that accompanies carnaval revelers home after a nightlong party,” he explains. Oscar sings both songs in his straight-from-the-heart manner - unvarnished, sincere, and utterly riveting. Grammy nominated Brazilian singer Luciana Souza adds her golden, pitch-perfect voice to “No me diga adeus,” cleverly arranged to mirror the effervescent style “Mas que nada,” the first big hit for Sergio Mendes and Brazil '66, and the haunting love ballad “Morrer de amor,” a song Oscar wrote in 1965 that is still popular at Brazilian wedding ceremonies. For John Coltrane's “Naima,” Oscar speeds up the tempo and gives the classic a contemporary sheen with a constantly shifting percussive undercurrent provided by hip-hop, samba and Afro-Cuban inspired rhythm loops. Capping the set is a tribute to composer-singer Michael Franks via a funk 'n bossa update of his “One Bad Habit.”


“I drink from many founts,” Oscar says metaphorically, explaining his insatiable desire to explore the widest possible realm of music influences. On All One, the logic of his artistic wanderlust becomes abundantly clear as track after track reveal the inherent music genius that has made Oscar Castro-Neves one of the world's most complete musicians of his generation.




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[ 本帖最后由 mrskiller 于 2007-5-1 07:25 PM 编辑 ]