All Categories — LPs  

One of the best of the Stan Getz bossa nova sessions – and a record that features the great Laurindo Almeida on guitar – playing with more virtuosity than either Charlie Byrd or Joao Gilberto did on their collaborations with Getz! The record's got a driving rhythm section, with lots of long tracks, and nice laid-back solos by both Getz and Almeida – who's getting in some of his few jazz licks of the 60s here, working in a groove similar to that of his earlier sides with Bud Shank, but which sounds almost even better in the languid company of Getz. Cuts include "Outra Vez", "Winter Moon", "Maracatu-Too", and "Samba Da Sahra". Very nice!

Excellent work from Laurindo – a truly wonderful album, played with small combo backing, which gives the set a jazzier feel than usual! Players include Jimmy Rowles on organ, Bob Cooper on tenor, Howard Roberts on guitar, and Shelly Manne, Milt Holland, and Chico Guerro on percussion – and although there's no credits for the arrangements on the album, the overall feel is similar to Roberts best work for Capitol, especially because Rowles' work on organ gives the record such a groovy sound! Titles include "Acapulco 1922", "Misirlou", "Satin Doll", "More", "Till Then", "What Kind Of Fool Am I", and "Desafinado".

A wonderful record from guitarist Laurindo Almeida – way way better than the title might make you think, and quite different from his albums for Capitol! The album is subtitled "electronic excursions", and while it's not exactly electronic, it does feature Almeida soloing over some nicely groovy backings that drift along in a very spacious way. There's a bit of keyboards in the mix somewhere, lots of strings, and some airy grooves that make the album dance in a magical way that most of Almeida's work does not. Arrangements are by Larry Cansler, Pete King, and Lex De Azevedo (David Axelrod?) – and titles include "The Lamp Is Low", "Till The End Of Time", "Full Moon & Empty Arms", "Moon Love", and "When I Write My Song".

Breezy bossa nova – Hollywood 60s style! The album's one of the best cut for Capitol by guitarist Laurindo Almeida – and has a sweet groovy little style that features Laurindo's lovely guitar work over some lightly dancing small combo backings that include flute, harmonica, organ, percussion, and even a bit of whistling on a few tracks! The vibe's very much in the best Verve/Impulse takes on the bossa – done with a clear California influence, which keeps things cool and breezy – and which also pushes Almeida past his sometimes-staid style on guitar. Two cuts also feature some great vocals by Irene Kral – and titles include "Twilight In Rio", "Old Guitaron", "Sarah's Samba", "Izabella", "Winter Moon", "Girl From Ipanema", and "Choro For People In Love".

One of the lovelier records cut by guitarist Laurindo Almeida during the 1950s – a spare set of duets with pianist Ray Turner – featuring original tunes and tracks by Brazilian composers, all performed in a lightly poetic style. The album's got lots of wonderful work on acoustic guitar from Almeida, very much in the pre-bossa mode that he's credited with as an influence on a later generation of Brazilian musicians. Titles include "Serenata", "Copacabana Sunset", "Gavota Choro", "Nosso Choro", and "Concertino For Guitar & Piano".

A rare session from Herbie Mann – hardly the sort of operatic fare you might guess from the title, and instead one of Herbie's most enigmatic albums of the time, thanks to a nicely dark-edged quality to the sound! Herbie's flute is crisp and clean, but also extremely soulful – and the set features Mann in a variety of settings. 4 titles feature backing by a trio with Jimmy Rowles on piano, Buddy Clark on bass, and Mel Lewis on drums – all playing with moodier tones than you might expect from some of their other work of the time. 3 more tunes feature a more Latin vein – with great arrangements from Laurindo Almeida, and guitar from Tony Rizzi. And a few more tracks feature a bit of strings, and some added rhythm by a group with Jimmy Rowles on piano and Howard Roberts on guitar. Titles include "Let's Dance", "Tenderly", "Strike Up The Band", "Frenesi", "Oddles Of Noodles", "Evolution Of Mann", "Baia", and "St Louis Blues".

June's got rhythm, sure, but the real thing that makes her great is her dark and moody sense of melody! This album's one of June's late 50s efforts done with husband/arranger Bob Cooper – not as arch modern as some of her work with Pete Rugolo, but still in a style that's definitely inspired by that classic work. Backing is by a small group of LA jazzers – including Shelly Manne, Russ Freeman, Laurindo Almeida, Frank Rosolino, and Cooper – and titles include "My One & Only Love", "Blue Moon", "I Can Make You Love Me", "When Lights Are Low", and "Gypsy In My Soul".

Although Manos Hadjidakis' soundtrack work of the 60s is mostly in the Greek-sounding mode, this one features him hitting a bit of a western soundtrack feel – to back a drama starring Terence Stamp, Ricardo Montalban, and Karl Malden. About half the tracks are instrumentals with an orchestral feel, and the others are similar, but have slight "westerny" touches – although not as much so as work for Italian films of the same time. Laurindo Almeida plays a bit of acoustic guitar on the album – and titles include "Blue's Solitude", "The Mexicans Are Coming", "Death Of Blue", "Nocturne", "Scherzo", and "Morning After Love".

But this album, if only for one track! The album's a collection of tunes by jazz guitarists – put together by Guitar Player magazine, and featuring rare tunes by a variety of different players. Our standout favorite is Lee Ritenour's version of "Valdez In The Country" – the great Donny Hathaway funk instrumental, handled here with a very different approach than the original! Other tracks range from straight jazz to swing to bossa – and titles include "Contrary-ness" and "Two For The Blues" by Barney Kessel & Herb Ellis, "Allison II" and "Django" by Joe Pass, "Guitar Player" and "Counting My Tears" by BB King, "Spain" and "Toronto Under the Sign Of Capricorn" by Larry Coryell, and "Lament In Tremolo Form" and "Feelings" by Laurindo Almeida.