Logowanie
KOLEKCJE!
Jakość LABORATORYJNA!
ORFF, Gundula Janowitz, Gerhard Stolze, Dietrich-Fischer Dieskau, Deutsche Oper Berlin, Eugen Jochum
Carmina Burana
ESOTERIC - NUMER JEDEN W ŚWIECIE AUDIOFILII I MELOMANÓW - SACD HYBR
Winylowy niezbędnik
ClearAudio
Essence MC
kumulacja zoptymalizowana: najlepsze z najważniejszych i najważniejsze z najlepszych cech przetworników Clearaudio
Direct-To-Disc
PIAZZOLLA, ChamberJam Europe
Tangos del Ángel y del Diablo
Direct-to-Disc ( D2D ) - Numbered Limited Edition
Julinho (Julio Barbosa)
O Som do Julinho
- 01 CAROLINA 3:13 >>> Posłuchaj fragmentu <<<
- 02 SAMBA EM TRES TEMPOS 2:11 >>> Posłuchaj fragmentu <<<
- 03 E NADA MAIS 2:36 >>> Posłuchaj fragmentu <<<
- 04 RODA VIVA 2:01 >>> Posłuchaj fragmentu <<<
- 05 CAMINHANDO 2:35 >>> Posłuchaj fragmentu <<<
- 06 TRAVESSIA 3:29 >>> Posłuchaj fragmentu <<<
- 07 APENAS AMIGOS 3:19
- 08 TEMA PRO GAGUINHO 2:26
- 09 MENINA FLOR 1:58
- 10 TEMA PRA UM AMIGO 2:21
- Julinho (Julio Barbosa) - trumpet
34.00 PLN
CD:
Nr kat.: WMCD0069Label : WhatMusic
Trumpeter's Groovy brasilian jazz 7tet feat. Oberdan, Neco! julio barbossa! Despite the prevalence of scores of great improvising musicians in Brazil in the 1960s, few chose to play jazz. Most were caught up in the national fervour that was bossa nova and with so many great new tunes being written by the new young composers, there was little room for more than a nod towards straight ahead american jazz. Every rule has its exception, of course, and instrumentalists such as Paulo Moura and Edison Machado recorded brazilian jazz – jazz that just happened to come from Brazil. Another such artist was the trumpeter Julio ‘Julinho’ Barbosa who was part of a group of young players who would break from the norm of playing for dancing and jam their own forms of jazz at late night bars in Rio, Săo Paulo and other cities across Brazil. The fact that the public wasn’t really there for this jazz left some of the musicians bitter (witness the liner notes to Paulo Moura Hepteto’s ‘Fibra’ – also out on whatmusic.com), chastising their own countrymen without recognising that by the late 60s jazz had retreated to small niches all over the world and that pop and rock music had truly taken over. More evidence, if it were needed, is that at the end of the single day that Julio Barbosa had to record this album, he left for Europe, never to return to live in Brazil.