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Sal Salvador was one of the 50's more accomplished modernist talents on jazz guitar – and his work ranks up there with players like Tal Farlow, or Gil Melle's great bandmate Joe Cinderella. This reissue is Salvador's rare first album for Blue Note – only issued in a 10" vinyl format! The record features quartet and quintet material, and includes tenorist Frank Sokolow, an icy-toned genius who's never gotten his just dues. Sokolow and Salvador sound great together, and create a haunting sound that's better than anything we've heard on other Salvador records from his later years. Titles include "My Old Flame", "Gone With The Wind", and "After You've Gone" – and the cover and packaging job is totally cool!

Guitarist Sal Salvador made few albums as a leader during his day – but all of them are a treat, especially this one! The set's a mid 50s outing that features Sal's guitar in a quartet with Eddie Costa on piano and vibes – and grooving in a lightly swinging style that has some traces of east coast chamber jazz of the time, but which also displays Salvador's unique fascination with tone, sound, shape, and color! Salvador has a way of approaching the electric guitar that's like few other players in jazz – sometimes coming on full swing, other times laying back and letting the strings and their sounds shape the progression of tunes on the set. Titles include "Salaman", "I Love You", "Handful Of Stars", "Frivolous Sal", "Tangerine", "You Could Swing For That", and "All The Things You Are".

Wonderful 50s work from guitarist Sal Salvador – a record that features some great work by Phil Woods on alto sax! Given that Sal often recorded in a small combo mode that usually highlighted his guitar in the lead, the presence of Woods is really a nice surprise here – especially since Phil's at that key early point in his career, when he was playing with a raspy edge that could really add a lot to a session! The players here shift a bit from track to track – and Woods is on 7 of the album's 11 tracks – joined on some of the best by Eddie Bert on trombone and Eddie Costa on vibes. Titles include "Joe & Me", "Carioca", "Delighted", "I've Got A Feelin", "I Hadn't Anyone Til You", and "Took The Spook".

Sal Salvador was one of the 50's more accomplished modernist talents on jazz guitar – and his work ranks up there with players like Tal Farlow, or Gil Melle's great bandmate Joe Cinderella. This long-overdue CD brings together some of his best work from the mid 50s – by pairing one rare Blue Note 10" jazz session with another album that Salvador cut as part of Capitol's "Stan Kenton Presents" series. The Blue Note session's got some great tracks that feature tenorist Frank Sokolow, an icy toned genius who's never gotten his just dues. Other cuts (on both the Blue Note and Capitol sessions) feature Eddie Costa on piano and vibes, and titles from both include "See", "Round Trip", "Wheels", "Salutations", "Down Home", and "Yesterdays". 18 cuts in all, in a great looking package that replicates the orignal cover art!

Sallie Blair never cut many records back in the day – but she's a hell of a great singer, and one with a really memorable approach! As you might guess from the image on the cover, Sallie's got a fair bit of personality – a way of putting over a tune that's really compelling, and a lot more charming than some of her more cool-voiced contemporaries – especially on the Bethlehem label. Her vocals are great, but her sense of individuality is even better – and there's a quality to the record that really makes it stand out from the pack. Richard Wess handles the arrangements – some with a small combo of Bethlehem players – Sal Salvador on guitar, Sanford Gold on piano, and Milt Hinton on bas – some with larger groups that expand the sound without losing the intimacy of the vocals. Titles include "Similau", "Better Luck Next Time", "Squeeze Me", "Come By Sunday", and "How Long Has This Been Going On".

Gal Costa runs through a set of Dorival Caymmi's classics, with a good set of 70's arrangements, and some excellent accompaniment by Joao Donato, Roberto Menescal, and Antonio Adolpho. Donato also did a number of the arrangements, and the tracks include "Sao Salvador", "Vatapa", "Nem Eu", "O Vento", and "Pescaria".

Some of the earliest work ever recorded by Gilberto Gil – served up here in a really great 2CD set! The first CD in the set a beautiful album of rough-hewn samba tracks, done in a really lively style! Gil's great vocals are very firmly in the lead of the album's arrangements – and some tracks use a full samba percussion and instrumental style, while others feature Gil singing in a spare setting, with mostly light percussion and acoustic guitar behind his voice. The sound is really tremendous, and although the album is a short one overall, it's still an essential treasure from some lost years of Gil's career! Titles include "Povo Petroleiro", "Vem Colombina", "Vontade De Amar", "Maria Tereza", and "Meu Luar, Minhas Cancoes". Most of the material on that disc was previously issued on the CD title Salvador 1962-1963 – but there's also a bonus cut here titled "Felicidade Vem Depois". CD 2 is even cooler – 18 early demo cuts recorded in 1966 – very stripped down and earthy, showing Gil in this beautiful space between bossa nova and some of his more personal and experimental moments to come! At points, there's a Joao Gilberto-like charm to the music – and the recording style is almost more like some of the earliest late 50s sides to come from Rio – with all the charm that might imply! Titles include "Beira Mar", "Zabele", "A Ultima Coisa Bonita", "Cantiga", "Retirante", "Lemanja", "Vento De Maio", "Rancho Da Boa Vinda", and "Minha Senhora".

A fantastic album – if only for the cover! The record features a rare cover image that's an obscure painting by Salvador Dali – and the back cover features a photo of Jackie and Dali shaking hands! The music's not as surreal as the image, but it's still got this amazingly baroque mixture of woodwinds and strings, floating in a pillowy sort of dream-like state. Titles include "There Must Be A Way", "Deep Purple", "I Wished On The Moon", and "Speak Low".

Two sweet 80s scores from Michel Magne – still very much at the top of his game here! First up is the sexy soundtrack for Emmanuelle 4 – done in a style that's very similar to some of the 70s films in the series, but with some slight 80s twists in the instrumentation and overall execution. Instrumentation includes the requisite sweet keyboards needed to convey Euro sexiness – but there's also a few nice Brazilian touches which open up some of the more tropical scenes in the films. A few numbers feature vocals – by David Rose and Christiane Legrand – and titles include "La Pampa", "La Bergerie", "Bach Anal", "Prisoner Of Love", "Fuite D'Emmanuelle", and "Bresil My Love". Next up is SAS A San Salvador – obviously a more serious film at some level, yet handled by Magne with some 80s "action" modes that are heavy on processed keyboards and electric touches – very much what you'd expect for a film like this at the time. David Rose again sings two numbers – and titles include "Sex Love & Money", "Theme Cubain", "Theme Malko", "To Be My Love", and "SAS A San Salvador".

Wicked jazzy bossa from 60s Brazil – a crackling early classic from pianist Dom Salvador! The group here is super-tight – a tremendous triangle of piano, bass, and drums – all grooving at equal pace, with a great deal of energy – and given a heck of a lot of soul from Dom's bold lines on the piano! There's a slight lyrical vibe at points, too – making for music that's mighty sweet, and very seductive – and the whole thing's right up there with some of the best bossa trio dates of the time. Trio features bass by Edson Lobo and drums by Victor Manga – and titles include "Arrastao", "Promessa", "Pro Batera", "Santarem", and "Tematrio".

A blistering set of bossa-tinged jazz – truly the cream of the crop of the Brazilian scene from the 60s and early 70s! The package is great both as an introduction to bossa jazz, and as a capper if you've ever heard any of the genre – an essential collection that not only features key tracks, but some rare gems as well – beautifully packaged, and remastered with sound that's way better than any of your old scratchy records! The approach here is wonderful – quick-stepping rhythms, soaring instrumentation, and a way of putting together a groove that's quite different than American or European jazz at the time – even during those eras when bossa was having a strong influence upon those scenes. And sure, in later years, some Brazilian-inspired projects from other territories could sometimes be a bit weak – but these cuts are the originals, and are filled with life, imagination, and originality that oozes forth from the very first note! 2CD package is beautifully put together, with a nice booklet too – and titles include "Birimbau" by Dom Um Romaeo, "Xibaba" by Airto, "San Salvador" by Tamba 4, "A3" by Som Imaginario, "Solo" by Meirelles E Os Copa 5, "Improviso Negro" by Sambalanco Trio, "Vento Bravo" by Edu Lobo, "Batucada" by Luis Carlos Vinhas, "Consolacao" by Tenorio Jr, "Like A Rainy Night" by Salinas, "Zazueira" by Balanco Trio, "Das Tardes Mas Sos" by Paulo Moura, "Bebe" by Eumir Deodato, and "Patumbalacunde" by Joao Donato.

Mindblowing sounds from Egberto Gismonti – a record that's unlike anything else we can think of – and quite different than any of Gismonti's later, better-known records! There's still some of Egberto's inventive acoustic guitar in the mix – but the instrumentation really opens up far past just that element – a beautiful blend of voice, strings, Fender Rhodes, and more – wrapped up with a sense of majesty and creativity that we'd rank right up there with the most inspiring work from Marcos Valle or Hermeto Pascoal from the time! And the record's got a bit of both – the modernism of Hermeto, mixed with the personal warmth of Marcos – yet is clearly Gismonti's very own, very individual expression as well. Titles include the massive cut "Salvador" – plus "Luzes Da Ribalta", "Variacoes Sobre Um Tema De Leo Brouwer", "Encontro No Bar", "Adagio", and "Memoria E Fado".

An unbelievably fantastic album, and perhaps the greatest one that Dom Um Romao ever did! Dom recorded this one in America with a blend of Brazilian and New York musicians – creating an incredible sound that's unlike anything else we can think of! We'd place this record next to the best electric work by David Axelrod, the dopest funk on CTI, and a rare few other jazz funk albums from the 70s – and the whole thing's completely sublime all the way through! Includes the spare spacey groover "Dom's Tune", the lively dancer "Cinnamon Flower", the jazzy "Family Talk", a great version of "Ponteio", and a take on Sivuca's "Adeus Maria Fulo" with Joao Donato on electric harpsichord! Loads of samples, and players include Joe Beck, Dom Salvador, Sivuca, Mauricio Smith, Portinho, Richard Kimball, and Lloyd McNeill.

Excellent vocal jazz from postwar Paris! The Blue Stars were a legendary combo that were led by Blossom Dearie, and which featured a host of great vocal talents that would later go onto form groups like Les Double Six or The Swingle Singers, including Mimi Perrin and Christine Legrand, as well as instrumental jazz artists like Fats Sadi and Roger Guerin, who are doing some rare vocalization here. The first 4 tracks on the set are pulled from a 1956 ep – and it features the group on the tracks "Jumpin At The Woodside", "C'est La Vie", "Broadway At Basin Street", and "Grapevine". The next 12 tracks are from the Pardon My English LP – which has the group down to a sextet, working without Dearie, in a groovy accented English vocal style that's a direct precursor of the vocalese grooving of Les Double Six. Titles on that set include "Small Talk", "Move", "Did You Close Your Eyes?", and "Promises & Lies". The last 3 tracks on the set are a bit different – featuring vocals and guitar by Henri Salvador, with backing on bass and drums. The style of Salvador's work is still similar, though – way more vocalese than the "blues" in the title would make you expect – and the tracks are lifted from a rare Fontana ep-only release that was recorded in the same year. Titles include "Don't Blame Me", "Salvador Plays The Blues", and "Stompin At The Savoy".

Great guitar from Luiz Bonfa – two albums that have the bossa legend moving way past his roots! Introspection has Bonfa recording in New York – a superb solo guitar session that has him playing the instrument as a "miniature orchestra", shading in a rich array of colors, tones, and harmonic spaces through his expert manipulation of the strings. There's still a bit of his earlier bossa phrasing in the record – but it mostly shows Bonfa as a richly talented individual on his instrument, moving past simple instrumental modes into virtuoso territory! Titles include "Adventure In Space", "Reflections", "Enchanted Mirror", "Concerto For Guitar", and "Rain". New Face Of Luiz Bonfa is a wickedly wonderful record from Luiz Bonfa – one that has his bossa-inflected guitar style supported by larger arrangements by Marty Manning. The feel is kind of bossa meets 60s easy meets early CTI – as Manning's work reminds us a lot of the larger orchestrations penned by Don Sebesky or Claus Ogerman at the end of the 60s, a perfect foil for the tighter guitar work of Bonfa – making the album one of the best showcases of his style from the time! Tracks include "Helicopter 274", "Window Girl", "Peixe Bom", "Salvador", and "Africana" – and the record sounds like a lost 70s Italian soundtrack!

An incredible set of Brazilian jazz – one of the few albums that percussionist Dom Um Romao recorded as a leader, and sublime all the way through! The record's got a wonderful blend of funky fusion and Brazilian percussion – and features a group from two continents that includes Sivuca on organ, Dom Salvador on electric piano, Joe Beck on guitar, Jerry Dodgion on alto sax, Lloyd McNeill on flute, and Mauricio Smith on tenor, soprano, and flute. Includes the percussion jammer "Shake (Ginga Gingou)", the modal groover "Wait on the Corner", and the lively scatting tune "The Angels" – but the whole album's great, and other tracks include "The Salvation Army", "Kitchen", and "Lamento Negro".

Wicked jazzy bossa from 60s Brazil – a crackling early classic from pianist Dom Salvador! The group here is super-tight – a tremendous triangle of piano, bass, and drums – all grooving at equal pace, with a great deal of energy – and given a heck of a lot of soul from Dom's bold lines on the piano! There's a slight lyrical vibe at points, too – making for music that's mighty sweet, and very seductive – and the whole thing's right up there with some of the best bossa trio dates of the time. Trio features bass by Edson Lobo and drums by Victor Manga – and titles include "Arrastao", "Promessa", "Pro Batera", "Santarem", and "Tematrio".

Classic trio material from one of Brazil's greatest pianists ever! Dom Salvador was a heck of a player back in the 60s – working in a tight trio format that was certainly part of the bossa combo sound of his day, yet also heavily influenced by American soul jazz artists of the same era. Here, he's working in an early trio with Edison Machado on drums – switching effortlessly between piano and organ as the rhythm section spins out lush, lyrical lines with more than a bit of soul in the mix. Many of the tracks on the album are quite obscure, making for a fresh little set that goes way past the usual piano trio side from 60s Brazil! Titles include "Indio Perdido", "Samborio", "Um Sonho Azul", "Balanco Do Mar Onda Quebrando", "Fred's Ahead", "Sonho De Carnaval", "Iluminando O Vazio", "A Cancao Do Amor Que Nasceu", and "Eu Compro Essa Mulher".

Classic trio material from one of Brazil's greatest pianists ever! Dom Salvador was a heck of a player back in the 60s – working in a tight trio format that was certainly part of the bossa combo sound of his day, yet also heavily influenced by American soul jazz artists of the same era. Here, he's working in an early trio with Edison Machado on drums – switching effortlessly between piano and organ as the rhythm section spins out lush, lyrical lines with more than a bit of soul in the mix. Many of the tracks on the album are quite obscure, making for a fresh little set that goes way past the usual piano trio side from 60s Brazil! Titles include "Indio Perdido", "Samborio", "Um Sonho Azul", "Balanco Do Mar Onda Quebrando", "Fred's Ahead", "Sonho De Carnaval", "Iluminando O Vazio", "A Cancao Do Amor Que Nasceu", and "Eu Compro Essa Mulher".

Wax Poetics is closing in on 10 years in its unrivaled coverage of classic and rare soul, jazz, hip hop and all things funky – delivering big once again with Issue #48! Nina Simone is on the front cover – with a really great feature that focuses on the unfiltered realness, honesty and blunt social awareness at the core of her life and so many of her best recordings – with artful newcomer Theophilus London on the backover. Issue #48 also has pieces on Count C, Neu!, Dom Salvador, Shock G, Yabby You, Billy Cox, Gil-Scott Heron In Memorium, Re:Discovery of treasured records by Swamp Dogg, Sarah Vaughn and Odyssey, and much more!

A great look at the Amphonic Sound Library – an under-compiled UK imprint from the 70s, and one who issued some very groovy groovy work! The set brings together a range of different sessions produced by Syd Dale – the mighty maestro you might know from his work at KPM, sounding equally groovy over here at Amphonic! The tracks are all from the 70s, and have a style that's a bit warmer and more electric than some of the earlier Brit sound library material – some especially sweet undercurrents that remind us a lot of our favorite styles coming from the Selected Sound label over in Germany. There's a jazzy feel to most of the numbers – lots of great keyboards, guitars, and horns – mixed in with swinging rhythms and some occasional fuller strings on titles that include "Swayin" and "Girl In A Whirl" by James Clarke, "Shifting Sands Of Sound" and "Cross Talk" by Dick Walter, "Soul Searching" and "Poltergeist" by Steve Gray, "Melina" and "Salvador Setup" by Ray Davies, "Setting The Scene" and "Vegas Venue" by Dick Walter, "First Flight" by Gerry Butler, "The Heavy Gang" by Syd Dale, "A Moment In Time" by Dick Doerschuk, and "Tomorrow Is Now" by Ronnie Hazelhurst. 25 tracks in all – and really great sound!

An incredible album by the Tamba 4 – one of 2 albums the Brazilian bossa combo did in the US for A&M Records, during the brief time when they were expanded to a quartet from the original Tamba Trio lineup! The set is completely sublime – a wonderful mix of the group's trademark harmony vocals and crackling bossa rhythms, with the warmly flowing CTI production style of the time – not funky like the CTI sound of the 70s, but a bit more sophisticated than the style Creed Taylor had been using earlier at Verve. Tracks are short, breezy, and often very lively – bossa grooving warmed in the California sun – and titles include "Samba Blim", "Watch What Happens", "Pregao", "San Salvador", "Know It All", and "Palladium".