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Antonio Carlos Jobim - Stone Flower - Full Album

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Published by Admin in Jazz Musicians Full Albums
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Description

Antonio Carlos JobimStone Flower is the fifth album by Antonio Carlos Jobim. It was released in 1970.
Track listing
All songs composed by Antonio Carlos Jobim, except where indicated.
    "Tereza My Love" –4:23
    "Children's Games" –3:30
    "Choro" –2:10
    "Brazil" (Ary Barroso) –7:25
    "Stone Flower" –3:21
    "Amparo" –3:41
    "Andorinha" –3:32
    "God and the Devil in the Land of the Sun" –2:23
    "Sabia" –3:58
    "Brazil" [alternate take] –5:25
Track 10 only available on CD reissue.
Personnel
    Antonio Carlos Jobim – piano, electric piano, guitar, vocals
    Harry Lookofsky – violin
    Joe Farrell – soprano saxophone
    Urbie Green – trombone
    Hubert Laws – flute
    Ron Carter – double bass
    João Palma – drums
    Airto Moreira – percussion
    Everaldo Ferreira – percussion
    Deodato – guitar, arranger
It has been said that Antonio Carlos Brasileiro de Almeida Jobim was the George Gershwin of Brazil--and there is a solid ring of truth in that, for both contributed large bodies of songs to the jazz repertoire, both expanded their reach into the concert hall, and both tend to symbolize their countries in the eyes of the rest of the world. With their gracefully urbane, sensuously aching melodies and harmonies, Jobim's songs gave jazz musicians in the 1960s a quiet, strikingly original alternative to their traditional Tin Pan Alley source.
Jobim's roots were always planted firmly in jazz; the records of Gerry Mulligan, Chet Baker, Barney Kessel and other West Coast jazz musicians made an enormous impact upon him in the 1950s. But he also claimed that the French impressionist composer Claude Debussy had a decisive influence upon his harmonies, and the Brazilian samba gave his music a uniquely exotic rhythmic underpinning. As a pianist, he usually kept things simple and melodically to the point with a touch that reminds some of Claude Thornhill, but some of his records show that he could also stretch out when given room. His guitar was limited mostly to gentle strumming of the syncopated rhythms, and he sang in a modest, slightly hoarse yet often hauntingly emotional manner.

 

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