Burnier e Cartier – Fotos Pra Capa do LP (1976)

Burnier & Cartier
“Fotos para capa do LP”
Released 1976 on EMI/ODEON

1 Minha mãe não sabe de mim (Claudio Cartier, Octávio Burnier, Wrigg)
2 D. João (Octávio Burnier, Reinaldo Pimenta)
3 Recreio (Octávio Burnier, Wrigg)
4 Elogio da loucura (Octávio Burnier, Wrigg, Strunck)
5 À beira de nada (Octávio Burnier, Wrigg)
6 Catarina Canguru (Claudio Cartier, Paulo Azevedo)
7 Dia ferido (Claudio Cartier, Octávio Burnier)
8 Lenda das amazonas (Octávio Burnier, Wrigg)
9 Ecoline (Claudio Cartier)
10 Sítio azul (Claudio Cartier)
11 Pedra pintada (Octávio Burnier)

Here is a nice and warm record that I first heard about through the blogosphere, through our friend JThyme’s blog I do believe, who in turn got turned on to them via Loronix if I’m not mistaken. Burnier & Cartier were a duo from Rio de Janeiro who recorded three albums between 1974 and 1978 and then seem to have dropped out of music. Octávio Bonfá Burnier (son of Luiz Bonfá) and Claudio Cartier had actually been composing together since 1968, and their first album, for RCA-Victor in 1974, featured musicians like Novelli, Bebeto, Paulo Mouro, and Chico Batera. As far as I can tell, none of this people played on THIS album.

The duo were signed to Odeon records at the recommendation of Milton Nascimento, and thus we see a couple former collaborators of Milton on the album — drummer Paulinho Braga and Luiz Alves on bass, both of whom would record a whole bunch of people (many of them very famous) during the 1970s and beyond.

Before I even knew this, the album reminded me a bit of the Clube da Esquina collective, but still different enough to have its own identity. All the songs have two acoustic guitars as the base of their arrangement, and their sound blends jazz-rock, mellow psychedelia, classical music, folk-rock, and some artsy, progressive baroque string arrangements. Um, I guess this might make them “fusion”? I dunno. Don’t be frightened. But in fact the last ten minutes of the album (composed of three overlapping tracks) is entirely instrumental (which has a certain Egberto Gismonti quality to it, although probably less adventurous).

In spite of having a name like a French-Canadian fur-trapping company, and looking like a Brazilian version of Seals & Crofts, these guys made some incredibly intriguing music. Although completely accessible, there is something tenaciously un-commercial about their sound that perhaps explains why these albums are very hard to find. I am not certain if the first one is on CD (I found a copy a long time ago on a well-known blog). THIS title is one of the shoddier reissues on the 100 Anos de Odeon series, in terms of packaging — the good news is that the sound is actually very warm and nice. But not only is the album title not listed on the CD tray (leading it to be replicated in lots of published discographies as simply ‘Burnier & Cartier’ which is partly why I left it like this in the folder name), but the back tray card actually states that the album was released in 1968 (in the booklet, it is correctly stated to be from 1976). So much for giving such a beautiful album the care and attention it deserves when all a label like EMI cares about is its bottom-line. Good to know they were paying attention…

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Paulo Moura – Fibra (1971)

Paulo Moura
Released 1971
Reissue 2007 on Coleção Galeria / Atração

01. Fibra 2:35
02. Ana Lia’s Blue 3:26
03. Filgueiras 2:58
04. Samba de orfeu 3:33
05. Tema dos deuses 3:04
06. Vera Cruz 3:30
07. Aquarela do Brasil 3:20
08. Cravo e canela 2:47
09. General da banda 2:50
10. Bitucadas nº2 3:16

Obituary from the New York Times

July 18, 2010
Paulo Moura, a Force in Brazilian Music, Dies at 77

Paulo Moura, a virtuoso instrumentalist and a composer, arranger and orchestrator of numerous styles of Brazilian popular music, died on July 12 in Rio de Janeiro. He was 77.

Mr. Moura’s death was announced on his Web site, paulomoura.com. According to reports in the Brazilian news media, the cause was lymphoma.

A master of both the clarinet and the saxophone, Mr. Moura was known for his versatility, playing and writing music that ranged in style from jazz, chorinho, samba and bossa nova to classical. His first solo recording, released in 1956, was a version of Paganini’s “Moto Perpetuo,” and late in his career he wrote, performed and conducted “Urban Fantasy for Saxophone and Symphonic Orchestra.”

In 1992 Mr. Moura won a prize as best soloist at the Mozart Festival in Moscow, and in 2000 he was awarded a Latin Grammy for the recording “Pixinguinha,” live performances of a collection of songs associated with the composer of that same name, who is considered the father of Brazilian popular music.

Mr. Moura had a long connection to the great Brazilian composer Antonio Carlos Jobim. During the bossa nova boom of the late 1950s and early 1960s, Mr. Moura played with Jobim and other luminaries of the genre, among them Sergio Mendes. As a member of the group Bossa Rio, which also included Mr. Mendes, he participated in a bossa nova night at Carnegie Hall in November 1962, and played on the American saxophonist Cannonball Adderley’s album “Cannonball’s Bossa Nova” that same year.

More recently he released a CD called “Paulo Moura Visits Gershwin and Jobim” and toured internationally with other Brazilian artists as part of the show “Homage to Jobim.”

“I used to rehearse by day at the Municipal Theater and play live at night on TV Excelsior,” Mr. Moura recalled years later when asked how he came to be involved with bossa nova. “The bus would leave Ipanema for downtown and pass through Copacabana, and sometimes I would get off the bus midway so as to be able to meet up with colleagues” like Mr. Mendes and Jobim.

Paulo Moura was born in the interior of the state of São Paulo on July 15, 1932, one of 10 brothers and sisters who were taught to play different instruments by their father, a saxophone and clarinet player, with the idea of forming a family orchestra. As a teenager he moved to Rio de Janeiro to enroll in the National School of Music, and he soon began playing in nightclubs and on radio stations there.

By the late ’50s, Mr. Moura had also won a spot as lead clarinetist in the orchestra of the Municipal Theater in Rio; he played a Debussy rhapsody at his audition. But at the same time he was working as an accompanist to visiting American artists like Lena Horne, Nat King Cole, Ella Fitzgerald and Sammy Davis Jr. That dual situation persisted until 1978, when he decided to quit the orchestra and dedicate himself exclusively to a solo career.

Over the next 30 years he made numerous recordings. The last, issued in July 2009, was “AfroBossaNova,” a collaboration with his fellow Brazilian musician Armandinho. Mr. Moura also wrote the soundtracks for several Brazilian films and television series, occasionally appearing as an actor, and arranged music for Milton Nascimento, Elis Regina, João Bosco and other singers. In addition, for two years in the 1980s he served as director of the Museum of Image and Sound in Rio.

Mr. Moura’s survivors include his wife, Halina Grynberg, a psychoanalyst who also served as his business manager, and two sons, Pedro and Domingos.

Obituary from the Folha de São Paulo

Obra de Paulo Moura ficará como exemplo de liberdade

Carlos Calado
Folha de S.Paulo . 14/07/2010

A música brasileira perdeu um de seus instrumentistas mais brilhantes.

Morreu anteontem, vítima de linfoma (câncer no sistema linfático), o clarinetista, saxofonista, compositor, arranjador e regente Paulo Moura. Nascido em São José do Rio Preto (SP), ele completaria 78 anos amanhã.

Sua trajetória musical foi incomum. Filho de um mestre de banda de coreto, radicou-se com a família em 1945, no Rio de Janeiro.
Aos 19 anos estreou como solista da Orquestra Sinfônica Brasileira. Foi clarinetista da Sinfônica do Teatro Municipal carioca, mas a formação erudita não o impediu de cultivar sua intensa paixão pela música popular brasileira e pelo jazz.

“Praticamente, me criei na gafieira”, dizia Moura, que na década de 1950 também tocou em bailes e emissoras de rádio, integrando as orquestras de Zacharias e Oswaldo Borba, época em que acompanhou cantores de sucesso, como Nelson Gonçalves, Dircinha Batista e Carlos Galhardo.

Já na década seguinte, frequentou o Beco das Garrafas, templo da bossa nova e do samba-jazz.

Como saxofonista do sexteto Bossa Rio, liderado por Sérgio Mendes, em 1962, tocou até no histórico concerto de bossa nova no Carnegie Hall, em Nova York, ao lado de Tom Jobim, João Gilberto e Luiz Bonfá, entre outros.

Em meio a uma carreira musical tão eclética, uma das contribuições mais originais de Moura surgiu em 1976, sinalizando seu reencontro com o universo do samba e do choro.

Depois de tocar por alguns meses com o sambista Martinho da Vila, gravou o inovador “Confusão Urbana, Suburbana e Rural”, álbum que contribuiu ativamente para reacender o interesse pelo samba-choro das orquestras de gafieira.

Esse projeto também marcou de forma definitiva sua obra. Na época voltou até a tocar em uma gafieira da praça Tiradentes, no centro do Rio, despertando a atenção de outros músicos, que iam ouvi-lo.

Desde então seu crescente interesse pela rítmica brasileira gerou outros álbuns nessa linha musical, como “Mistura e Manda” (1983), “Gafieira Etc. e Tal” (1986) e “Pixinguinha” (1988).

Ainda na década de 1980, sua prolífica parceria com a pianista Clara Sverner, registrada em três álbuns com repertório erudito e popular, abriu caminho para preciosas colaborações com outros figurões da música instrumental, como Raphael Rabello, Arthur Moreira Lima, Wagner Tiso, Nivaldo Ornelas, João Donato e

Yamandu Costa, todas registradas em disco.

A associação mais recente, com o bandolinista baiano Armandinho, rendeu o CD “AfroBossaNova” (2009).
Num cenário em que ainda se insiste em criar fronteiras rígidas entre gêneros e estilos, a música do grande Paulo Moura ficará para sempre como um exemplo vital de liberdade.



From Paulo Moura’s official website, about the reissue of this album:

Por fim, de 1971, temos “Fibra” – que já recebera uma caprichada
edição norte-americana em CD, em 2002, e uma brasileira, bem
parecida com as cópias piratas que vemos hoje em dia, sem data, sem
créditos aos músicos, com os nomes das músicas errados, etc. Neste
disco, Paulo Moura volta à formação com sete músicos e, além de seu
sax alto, temos novamente Oberdan Magalhães – sax tenor e flauta -,
Cesário Gomes, trombone, Wagner Tiso – piano e órgão -, Luiz Alves –
contrabaixo e violão -, além de Márcio Montarroyos, no trompete e
flugelhorn, e Robertinho Silva na bateria e percussão. O disco tem,
ainda, as participações de Tavito tocando guitarra em quatro faixas e
Milton Nascimento tocando piano em uma. “Aquarela do Brasil”, “Cravo
e canela”, “Vera Cruz” e “Tema dos deuses” são algumas das músicas
do disco que traz, ainda e de novo, “Samba de Orfeu”, “General da
banda” e “Bitucadas nº 2”, presentes em “Paulo Moura Hepteto”, mas
com diferenças de arranjos que músicos diferentes na banda sempre

As capas originais dos LPs são mantidas nos novos CDs, acrescidas de
uma moldura que chancela o nome “Coleção Galeria” que a Atração
Fonográfica está dando a este relançamento.

Paulo Moura, como músico e comportamento artístico, é dono de uma
trajetória irrepreensível. Prefere todos, entre os vários estilos musicais,
o que vem permitindo, ao longo de sua carreira, tocar em gafieiras,
cafés, grandes orquestras, pequenos conjuntos e grupos de choro,
acompanhar e fazer arranjos para diversos e grandes nomes, como
Dalva de Oliveira, Elis Regina, Milton Nascimento e João Bosco, escrever
para orquestras sinfônicas, tocar em duo com violonistas – como com
Raphael Rabello, em 1992, e Yamandú Costa, em 2004 -, ganhar o
prêmio de melhor solista no Festival Mozart, em Moscou (Rússia, 1992),
junto com o pianista norte-americano Cliff Korman tocar Gershwin e
Jobim (1998) e promover o encontro entre as obras de Pixinguinha e
Duke Ellington (1999) e, mais recentemente, gravar com o cantor
pernambucano, Josildo Sá, o disco “Samba de Latada”, lançado este
ano. O que poderia parecer falta de estilo, ou ecletismo barato, em
Paulo Moura é definição de versatilidade e genialidade.

Na contracapa do LP “Fibra”, em 1971, Moura escrevia: “Aqui são raras
as oportunidades que tem o solista de mostrar suas possibilidades. (…)
O artista consciente que, dia a dia, vem procurando aperfeiçoar seus
conhecimentos, fatalmente se distancia de um gosto médio. Nem
mesmo saberia como fazer as tais concessões que lhe são solicitadas.”

A carreira de Paulo Moura é um exemplo eloqüente de que não é
necessário fazer concessões para alcançar os mais altos patamares.



Before I say anything else, I should warn the prospective listener that if you are planning to hear Paulo’s (snake)charming clarinet, you won’t find any of it on this album. He sticks to the alto saxophone and flute on this one. Also, no choro. This is early-70’s post-bossa jazz fusion before it became the Devil’s plaything. His band includes Wagner Tiso on piano, who would remain a frequent collaborator throughout the years, as well as Milton Nascimento (playing on one song, but contributing with some writing credits). The lineup also includes the ubiquitous Robertinho on the drum kit and Oberdon Magalhães, who would later come to notoriety as part of Banda Black Rio, on tenor saxophone.

In fact in terms of production and execution this record sits quite nicely with the early Clube de Esquina work. Moura would appear on their landmark album released the following year, and also Milton’s most adventurous record ‘Milagre dos Peixes’, and the repertoire includes several compositions from that collective (“Tema dos Deuses” from Som Imaginario, “Vera Cruz” from Milton’s ‘Courage’, and “Cravo e Canela”, the one painfully weak song here, which – as far as I know – had yet to be released in any form yet). “Cravo e Canela” would be interpreted by a whole slew of people, often very badly, although oddly enough one of the more interesting versions would appear on Banda Black Rio’s ‘Gafieira Universal’. The rest of the tracks include one composition from Moura (“Fibra”), a few from Tiso, and some Brazilian standards (“Samba de Orfeu,” “Aquelera do Brasil”, “General da banda”). The album is recorded and mixed wonderfully, with that slightly trippy and psychedelic tinge familiar to those Mineiros mentioned above. Robertinho’s drums are mixed with a rather strong plate reverb panned to the left channel that sounds pretty cool but eventually becomes a little cloying, making me wish they would have used the technique a little more sparingly and only on a few cuts. Is this a typical, characteristic Paulo Moura album? Probably not, but then what IS a typical album from a guy who recorded so much and in so many contexts. To say he will be missed is to put it rather mildly – over the last week there has been a mournful but warm response to the news in Brazil for an artistic life well-lived.

Alaíde Costa – Coração (1976)

Produced by Milton Nascimento and Mariozinho Rocha

Arrangements – Joao Donato

Joao Donato (piano)
Novelli (bass)
Robertinho Silva (drums)
Nelson Angelo (guitars)
Toninho Horta (electric guitar)
Ivan Lins (piano on track Corpos)
Joao Donato, Beto Guedes, Novelli, Nelson Angelo and Fernando Leporace (backing vocals)

01 – Pai Grande (Milton Nascimento)
02 – O Samba Que Eu Lhe Fiz (Sueli Costa)
03 – Coração (Nelson Ângelo / Ronaldo Bastos)
04 – Catavento (Milton Nascimento)
05 – Quem Sou Eu (Johnny Alf)
06 – Sonho e Fantasia (João Donato / Lysias Ênio)
07 – Corpos (Ivan Lins / Vitor Martins)
08 – Pé Sem Cabeça (Danilo Caymmi / Ana Borba)
09 – Tomara (Novelli / Paulo César Pinheiro / Maurício Tapajós)
10 – Viver de Amor (Toninho Horta / Ronaldo Bastos)
11 – Tempo Calado (Alaíde Costa / Paulo Alberto Ventura)
12 – O Que Se Sabe de Cor (Fernando Leporace)

Another fine album from Alaide Costa, this time with Milton Nascimento producing and the one and only João Donato on keys and arrangements. It’s a fine record, but Milton’s production is a bit on the slick side and, in my opinion, sometimes heavy-handed. Milton was well on the road to international respect as a Brazilian jazz-pop-fusion star, but this record sees him still clinging to some of the charms of the Clube da Esquina period. A bunch of the players from that Minas Gerais scene are here, and the repetoire includes songs penned by Toninho Horta, Nelson Angelo, Ronaldo Bastos, and of course Milton. The first song is from the latter’s 1970 album, where it received a much more psychedelic performance, and frankly this one leaves me cold but I suppose Milton wanted to make sure we knew he was producing this. But lest we forget of Alaíde’s bossa nova roots, we move right along with “O Samba Que Eu Lhe Fiz” and soon after, the highlight of this album for me — her version of Johnny Alf’s “Quem Sou Eu.” Other standout tracks are Danilo Caymi / Ana Borba’s “Pem Se Cabeça,” and “Viver de Amor” from Horta & Bastos, both songs bringing a bossa-informed MPB sound that suits Alaíde’s style quite nicely. The closer, “O Que Se Sabe De Cor,” is everything that makes Alaíde will leave you, well, wanting more as the alternate title says. The orchestration from Donato is very good throughout, helping keep things interesting in a set of songs that tend to stay around the same mid-tempo pace.

Milton Nascimento – Milton (1970) 320 kbs


Milton Nascimento
Released in 1970 on EMI/Odeon
Remastered at Abby Road in 1994

Milton Nascimento tends to get a bad rap these days among music connoisseurs. Much of that is his own doing: since he became an international jazz-fusion star in the late 1970s, his records just became worse and worse. Another reason why “jazz-fusion” is often synonymous with the Devil’s work. Satan may torture music snobs with Britney Spears or Pink when they arrive in his fiery domain, but when the Prince of Darkness wants to just chill out and relax with some of his demonic underlings, he puts some jazz-fusion on the box. Trust me on this.

In a way, that all started with Milton’s first album for A&M (Courage) produced by Rudy Van Gelder and featuring Herbie Hancock, Hubert Laws, Airto, Eumir Deodato and others, but his work really becomes ‘fusion’ in his second album for A&M, recorded seven years later in L.A. and featuring Wayne Shorter, Hancock and Airto again. That record is actually not that bad in itself (it’s also not that good), but only once you’ve appreciated WHY all those American heavyweights of jazz were so interested in Milton in the first place. The key to that question lay in his records released in Brazil in the interim between 1969 and 1976. Most of that second A&M record was comprised of songs he had already recorded and released in Brazil, but with new arrangements and occasionally English lyrics. This 1970 effort is the first of the influential albums where Milton finds his voice. (The one LP between ‘Couragem’ and 1970’s Milton sees him searching for something new but artistically stumbling in the process..)

Backing him up on this record is the psychedelic/progressive band Som Imaginario, a group of musicians from the mountainous interior state of Minas Gerais. Many of these guys — Wagner Tiso, Toninha Horta, Robertinho Silva among them — would go on to be central to Milton’s ‘corner club’ band that would record the amazing “Clube da Esquina” album. This record is essentially gestating the ethereal vibe that would culminate in that landmark — rock numbers tinged with Brazilian funk; languid, pastoral pieces fringed with psychedelic flourish and soaring arrangements; at times sparse, at times grandiose; and all of it capped with Milton’s angelic voice heard here for the first time as it would come to make him famous — rooted in the Baroque gold-leafing of his church-choir boyhood, as someone once said, “In Milton’s voice, you can HEAR the mountains.” The statement is spot on. There is a melancholy in his tone and phrasing, but also a enveloping warmth, a permanence and solidity in the face of tectonic change. A nostalgia for that to which there is no returning. Saudades.

There is something unmistakable in Milton’s melodies, in the intervals he chooses to express the layered complexity. It’s this that makes his compositions immediately recognizable no matter who is performing them — case in point is Elis Regina, his most important interpreter, she recorded a ton of his songs, and all of them stand out as high points on her records. Unlike some of his contemporaries (Caetano or Gil, for example) a lot of his lyrics are really nothing special. But the vibe he and his fellow Mineiros created on these records from 1970 to 1976 was unmatched and, in my opinion, deserving of much more attention than they’ve received, overshadowed as they were by the iconic Tropicalístas based in São Paulo. Caetano Veloso remarks in his memoir Verdade tropical about a conversation he and Gilberto Gil had on the eve of their exile from Brasil, where they reflected that Milton Nascimento was the most important thing happening (after themselves, of course…) in Brasil’s musical world at the time, that he was deepening what they had begun. This may be taking too much credit for himself, as Caetano is wont to do. I think of Milton and the Clube da Esquina crowd as having been working on something different, something perhaps more ‘Pan-Latino’ in its vision, as we’ll see in his subsequent albums that I hope to share here soon. But the compliment still stands.

The songs here are not quite as developed as the ones that would come together on ‘Clube da Esquina’ but they still make for a very solid listen and one of my favorite albums from 1970 in Brasil. If the haunting ‘Durango Kid’ does not grab you, or the beautiful ‘Pai Grande’ which begins quietly enough but soon becomes nearly unhinged swell of acoustic of reverb-laden percussion, organ, recorder, and Milton’s voice rising above the din. This is probably the high point of the record for me, and hints at the experimentation that we’ll find on his Milagre Dos Peixes record a few years after this, but in a more accessible form. The album as a whole is very similar to Nelson Angelo & Joyce’s album from 1972 – very relaxed and dreamy but with more of a sense of urgency to it.
Note that tracks 10-13 are bonus tracks not on the original album.

Milton Nascimento – Milton (1970) in 320 kbs

Milton Nascimento – Milton (1970) in FLAC LOSSLESS AUDIO.. Available as soon as I find my EAC backup. The original is locked in my bunker in the Kaymans.