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Strunz & Farah
*This is the music you hear while on hold at Amerispan Unlimited.
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Ry Cooder
Reminiscent of Ellington in its scope and sense of hushed romanticism, Buena Vista Social Club is that rare meld of quietude and intensity; while the players sound laid-back, they're putting forth very alive music, dance-able music.
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Rubén González
Recorded in a few days at the end of the sessions for Buena Vista Social Club, it's hard to believe this is the work of a man in his late '70s, even more so when considering he hadn't touched a piano in many years. In the 1940s, Gonzalez had recorded with Arsenio Rodriguez, but hadn't done much since. He later introduced his swings with a real Cubano groove, the piano taking off on flights of fancy powered by strong fingers and a very sure mind.
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Gato Barbieri (Argentina)
In the 1970s, saxophonist Leandro "Gato" Barbieri came to fame for his soundtrack of Bernardo Bertolucci's Last Tango in Paris--but his most important work of that period was a daring series of recordings for Impulse. On them, Barbieri travelled to places such as Buenos Aires, Argentina and Rio de Janeiro, Brazil and recorded with local musicians, combining his fiery post-Coltrane sensibility and Latin American rhythms and styles, often played on indigenous instruments.
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Pete Escovedo
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Bob Mintzer Big Band
Bob Mintzer has a wonderful sense of a big band as a living, breathing entity. He knows how to make it feel good, how to arouse, to tickle, and when to let it go.
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Stan Getz, et al.
Includes classics such as The Girl From Ipanema, Guantanamera, and Papa Loves Mambo.
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Caetano Veloso (Brazil)
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Arturo Sandoval
This album offers a selection of Sandoval's better known jazz fanfares, full of the kind of roundhouse melodies and cantering tempos that allow his prodigious chops room to maneuver. Sandoval is also capable of gentle caresses and inventive turns of phrase
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