Thirteenth studio album by Brazilian singer Astrud Gilberto (Bahia, 1940). Her voice sample, as in other works, warm, soft and intimate, but also is suggestive and seductive. The accompaniment by James Last Orchestra pays her deservedly eclectic instrumentation that enhances her versatility and vocal intensity, sometimes passionately featured in a musical pairing very carefully. Guest artists are Paul Jobim (composer and guitar) and Ron Last (composer and synthesizer). Brazilian rhythms in the voice of Astrud supported by sensual strings and brass, unmistakable Last's gift.
Astrud for Lovers is a strong collection of love songs performed by Brazilian singer Astrud Gilberto. Her wispy and melancholic vocals are featured in a variety of settings recorded between 1963 and 1969 for Verve. The earliest tune, "Corcovado (Quiet Nights of Quiet Stars)," is taken from the legendary Getz/Gilberto album that marked Astrud's star-making first recording. The rest of the collection finds her with Stan Getz again doing a sweet version of "It Might as Well Be Spring" in 1964.
Compilation album released in the U.S.A. on Brazilian singer Astrud Gilberto (Bahia, 1940). She features twelve songs from her diverse discography that stands in the melodic and romantic look of the compositions. The subject of love has always been a favorite in the production of Astrud, both accompanied by orchestra and small ensembles in which artists appear as Stan Getz, Antonio Carlos Jobim, Joao Gilbert, Walter Wanderley or Kenny Burrell among others, interpreting Brazilian rhythms, especially bossa, ballad or slow.
After a six-year stay at Prestige, jazz organist Shirley Scott began a lengthy run of albums on Impulse! This two-fer brings together her first two albums for the label, 1963's For Members Only and 1964's Great Scott!! Each album splits its tracks between Scott's regular trio setting (variously featuring rhythms by Earl May/Jimmy Cobb and Bob Cranshaw/Otis Finch) and arrangements written and conducted by Oliver Nelson. Scott's Hammond fits well into each setting, leading the trio with terrific energy and verve, and finding space for lower-wattage performances amid Nelson's charts.
Following three straight masterworks that balanced hard funk workouts with laid-back bedroom jams, This Boot Is Made for Fonk-N ditched the balancing act, offering up straight, relentless hard funk. This is great for those who just want the sweaty workouts Bootsy Collins had proven himself well capable of delivering on his own as well as with Parliament-Funkadelic. In fact, if that's what you're looking for – hard-hitting, unrelenting funk – look no further, for This Boot Is Made for Fonk-N is absolutely teeming with it. …