Liner Notes: 1) Devil May Care (Bob Dorough/Terrell Kirk, Jr.) (6:35) 2) Anthropology (Charlie Parker/John Gillespie/Walter Bishop) (5:06) 3) Body and Soul (Johnny Green/Edward Heyman/Robert Sour) (2:40) 4) Manteca (John Gillespie/Gil Fuller/Chano Pozo) (5:25) 5) At the End of the Night (Fernando Gelbard/Chico Novarro) (4:02) 6) My Little Suede Shoes (Charlie Parker) (4:26) 7) Waltz for Debby (Bill Evans) (5:10) 8) The Eternal Triangle (Edward "Sonny" Stitt) (3:45) 9) Falling in Love with Love (Richard Rodgers/Lorenz Hart) (5:24) 10) Sail Away (Tom Harrell) (6:09) 11) But Beautiful (Johnny Burke/Jimmy Van Heusen) (5:37) 12) A Beautiful Friendship (Donald Kahn/Stanley Styne) (6:33) 13) The Song is You (Jerome Kern/Oscar Hammerstein II) (5:50) Sam Most, C Haynes Flute with a Goodman headjoint; G Artley Alto Flute; C Monnig Bass Flute Mark Waggoner, Guitar Benjamin May, Bass Produced by Fernando Gelbard Recording Engineer: Rick Luxenberg Recorded in Beverly Hills, California, December 6 and 7, 2000. Mixed by Fernando Gelbard and Daniel May, Band Ade Studios, Long Beach California. Post production by Mark Vincent, Multi Media Music Recording Studios, Hollywood, California Mastering: Kurt Lundvall, Lundvall Mastering, Jersey City, New Jersey. Photography: Fernando Gelbard Production Assistant: Amanda Pelaez Cover Design: Fernando Gelbard, Luis Siquot, Maria Puga Lareo Art Direction: Maria Puga Lareo www.liquidjazz.com SIMPLY FLUTE What you have in your hands is an invitation to enjoy the living legacy of one of the authentic innovators in jazz music. Born in 1930, Sam Most's professional career started in the late forties, when he played with the orchestras of Tommy Dorsey, Boyd Raeburn, and Don Redman, gaining experience for his first session as a leader, which would take place in 1953. By then, and although he was equally conversant with the tenor saxophone and the clarinet, he was also a brilliant flutist ¬– later on, the flute would be his main instrument. Dubbed by legendary jazz critic Leonard Feather as “the father of jazz flute,” Sam was, back in the 50s, one of the first musicians to introduce the flute as a prime jazz instrument, which until then only had, if any at all, a secondary place among wind instruments in jazz instrumentation. Although some early ragtime arrangements included parts for flute and piccolo, the flute, because of its low volume and “thin” sound, was not commonly used in jazz ensembles until the 1920s, and did not truly emerge as a solo instrument until the early 50s. Already established as a multi-woodwind player, Sam worked largely in different settings from the 1950s onwards, releasing albums as a leader and along with jazz luminaries such as Paul Quinichette, Teddy Wilson, Red Norvo, Louis Bellson and Buddy Rich, to name only a few. Even though he came to be very popular within the jazz scene (a telling fact about this is that, by that time, jazz flute fans were divided into two “rival” factions, supporting either him or the other famous flutist of the time, Herbie Mann), later on Sam moved to LA and mainly worked as a studio musician rarely recording under his own name. So this is why this album must be fully, doubly celebrated: for the music it features, which is simply beautiful, and because it presents the very “father of jazz flute” in its complete, most lyrical dimension, still burning at the age of 70. Offering an interesting program which combines be-bop tunes and well-known standards, the album kicks off with pianist Bob Dorough’s classic, Devil May Care, and from the very first notes any doubt regarding Most’s sidemen for this session immediately vanishes. Both Benjamin May on the bass and Mark Waggoner on guitar conform a formidable rhythmic engine, providing the perfect beat for Sam’s melodic inventiveness throughout the entire album. Just as pianists Nat “King” Cole and Ahmad Jamal used to do with their acclaimed trios, here Sam gets rid of any drumming or percussion, and leads the bass and the guitar into a swinging excursion that includes heated numbers like Dizzy Gillespie’s Manteca or Charlie Parker’s My Little Suede Shoes and Anthropology, building a truly contagious, danceable swing (and again, without a drummer!). Sam’s powerful, at times rasping attack remains as impressive as ever, showing a perfect command of his instrument that enables him to improvise at ease, both in fast and slow numbers. Calmer moments come, and Sam offers his most gentle side in At the End of the Night (producer Fernando Gelbard’s and Argentinean singer-composer Chico Novarro’s contribution) and But Beautiful, which opens with a heartfelt intro by May playing bowed, cello-like bass at a very slow tempo. As the music unfolds, more familiar melodies arise; their inner beauty is transformed into something new by these artists’ talent. Indeed, it doesn’t matter that we have already listened to these and the rest of the tunes hundreds of times before. As true creators do, Sam still finds new ways to express himself with originality and spontaneity, delivering meaningful messages through these pieces that form a whole tradition. A tradition that he, certainly, has enormously helped to build. Miguel Bronfman Jazz critic for the daily Buenos Aires Herald Copyright © 2008 LiquidJazz.com All rights reserved.

Liner Notes: 1 Speak Low (Kurt Weill and Ogden Nash) (7:46) 2 Bluesette (Toots Thielemans) (5.55) 3 Yesterdays (Jerome Kern and Otto Harbach) (6:18) 4 The Nearness Of You (Hoagy Carmichael and Ned Washington ) (6:45) 5 Darn That Dream ( Jimmy Van Heusen and Eddie DeLange) (6:42) 6 So In Love (Cole Porter) (6:40) 7 Relaxin' at Camarillo (Charlie Parker) (5:09) 8 We'll Be Together Again (Carl Fischer and Frankie Laine) (7:18) 9 Pensativa (Clare Fischer) (8:04) 10 Indiana (James Hanley and Ballard McDonald) (4:59) 11 Blue Daniel (Frank Rosolino) (4:56) 12 Your Stepped Out Of A Dream (Nacio Herb Brown and Gus Kahn) ( (6:05) Sam Most, flutes Joe Bagg, organ Mark Ferber, drums Produced by Fernando Gelbard Recorded at Multi Media Music, Hollywood, California by Mark Vincent, January 2009 Mixed by Fernando Gelbard and Sam Most at same studio Mastering and art direction by Maria Puga Lareo, My Keter Records, New York Photos: Mark Vincent, Fernando Gelbard Liner notes: Scott Yanow Special thanks to Jazz Flutist Dr. Edgardo Falero, Canelones, Uruguay (p) © 2010 LiquidJazz.com LTD (BVI) www.LiquidJazz.com Email: LiquidJazz@gmail.com SAM MOST - ORGANIC FLUTE Listening to Sam Most throughout this CD, it is very difficult to believe that he is almost 80. On the second selection, “Bluesette,” he plays the melody chorus fairly straight while organist Joe Bagg and drummer Mark Ferber create a furious double-time behind the flutist. Considering Most's age, it would not have been surprising if he had decided to just treat this song as an excuse to make a brief and thoughtful statement. But once the melody is out of the way, he increases the excitement with a dazzling solo that finds him not just being swept up in the intensity generated by his sidemen, but leading the way, playing with the energy of a musician in his twenties. While Sam Most is also a fine cool-toned tenor-saxophonist, has cut full albums on which the focus was on his very impressive clarinet playing, and is a witty singer, his most significant musical legacy is as a flutist. Prior to him leading his first record date in 1953 and especially before he joined Tommy Dorsey's orchestra in 1948, the number of jazz flute players could easily be counted on one hand. Alberto Socarras was the first jazz flutist to record, back in 1927 with Clarence Williams, but performed relatively little jazz after 1933. Wayman Carver was in the spotlight on a handful of recordings that he made with Chick Webb's Little Chicks, but otherwise was buried in the saxophone section of Webb's big band. Larry Binyon in the early 1930s and Harry Klee in the mid-to-late 1940s added an occasional flute passage, and bandleader Jimmie Lunceford on a broadcast once played flute on “Holiday For Strings.” But that is pretty much it for the pre-Most history of the jazz flute. Born in 1930, Sam Most was inspired by his older brother, clarinetist Abe Most. After joining Dorsey, he had stints in big bands led by Boyd Raeburn and Don Redman before becoming a busy part of the New York cool jazz scene of the 1950s. Frank Wess with Count Basie's orchestra, James Moody, Buddy Collette, Herbie Mann and Rahsaan Roland Kirk (who emulated Most's ability to hum through his flute when he played) soon followed, but Most was on the scene first and set the standard. He relocated permanently to Los Angeles in the early 1960s, appearing on a countless number of sessions as a studio musician, occasionally teaming up with Abe as the Most Brothers, and always being available to jam with the top straight ahead jazz players. Producer Fernando Gelbard, a flutist himself, first heard a Sam Most record in 1958. They have been friends ever since meeting in 1976, and have worked together on other projects, most notably three albums for the LiquidJazz.com label. These include Most's unprecedented recording Solo Flute, which features his unaccompanied solos on alto flute. For "Organic Flute", Most is joined by two of his favorite sidemen. Joe Bagg, who is considered by many to be the top jazz organist based in the Los Angeles area, is an equally talented pianist. He has the ability to uplift every session on which he appears. Mark Ferber, who has spent time living both in Los Angeles and New York, like Bagg has appeared with the who's who of jazz, always adding swing, color and an element of unpredictability. On this project, Sam Most, Joe Bagg and Mark Ferber perform a dozen top-notch jazz standards. Due to the flute-organ-drums instrumentation, which is not exactly common, and the abilities of the masterful players, all of the selections sound fresh and creative. The opening “Speak Low” swings from the start. Most sounds quite distinctive on flute, Bagg comps and contributes heated bass lines, and Ferber keeps the momentum flowing. On “Bluesette,” in addition to Most's remarkably fluent solo, most impressive is Bagg's rapid bass lines generated by his feet; it is not a talent that should be taken for granted. On “Yesterdays,” Most plays the melody beautifully before eating up the chord changes with a lot of original ideas. The flutist caresses the theme during a heartfelt “The Nearness Of You” and the trio performs a tasteful and melodic version of “Darn That Dream.” “So In Love” is given a particularly catchy and danceable treatment. Their version of “Relaxin' At Camarillo” revives the famous eccentric introduction of pianist Dodo Marmorosa. Most comes up one inventive idea after another during his seven chorus solo. The remainder of this highly enjoyable outing includes an expressive version of “We'll Be Together Again,” a cooking “Pensativa,” an uptempo romp on “Indiana,” a medium-tempo exploration of “Blue Daniel,” and the closer, a rendition of “You Stepped Out Of A Dream” that is a little funky. The trio sounds pretty reluctant to end this piece, and listeners will have the same feeling when the outing comes to an end. Fortunately pushing the repeat button is pretty simple! Throughout his career, which has now lasted over 60 years, Sam Most has always delighted and impressed audiences. Organic Flute adds to his musical legacy and is quite fun to hear. Scott Yanow, author of ten books including The Jazz Singers, Trumpet Kings, Bebop, Jazz On Record 1917-76 and Jazz On Film

Liner Notes: 1) BARCO HASTA EL CIELO (Enrico Rava) (08:13) 2) DARN THAT DREAM (Vah Heusen- De Lange) (02:33) 3) ATE UM DIA (Joao Donato) (09:19) 4) CHICO (Chivo Borraro) (14:46) 5) ENRICO SEIS OCTAVOS (ENRICO 6/8) (Chango Farias Gomez) (07:13) ENRICO RAVA, trumpet FERNANDO GELBARD, Steinway and Fender Rhodes pianos NESTOR ASTARITA, drums ADALBERTO CEVASCO, bass CHANGO FARIAS GOMEZ, percussion, vocalese Produced by Nano Herrera Reissue produced by Fernando Gelbard for LiquidJazz.com LTD (BVI) Recording engineer: Carlos Piriz (1975) Recorded at Estudios Audion, Buenos Aires, December 1975 Cedar original vinyl LP denoising: Sean "Big P" Pennycook, London Mastering: Fernando Gelbard & Mark Vincent, Multi Media Studios, Hollywood Photography: Gianni Mestichelli (1975) Art direction & Cover design: Maria Puga Lareo, New York Under license from Phono Musical Argentina Special thanks to Alfredo Radoszynski and Carlos Garber ©2009 LiquidJazz.com LTD (BVI) EL CONVIDADO In december 1975 Enrico Rava was in Buenos Aires, where he had familiy ties. The Italian trumpeter, then on his way to becoming one of the world’s leading jazz musicians, was at that time well known, living in New York and associated with the free jazz avant-garde of the 1970’s. He had been in Buenos Aires for the first time in 1966, as a member of soprano saxist Steve Lacy’s quartet which also included two South Africans: bassist Johnny Dyani and drummer Louis Moholo. The quartet stayed there longer than expected because, not having been paid for its performance, it was stranded. The group eventually recorded an LP: The Forest and the Zoo. Rava’s 1975 visit also brought about an album : Aga Taura Confab—El Convidado. The idea was to record the guest trumpeter with four of the very best Argentinean musicians: pianist Fernando Gelbard, bassist Adalberto Cevasco, drummer Néstor Astarita and percussionist Juan “Chango” Farías Gómez (who is better known simply as Chango Farías). This album, from now on called El Convidado, is a re-release of that legendary LP, for all purposes lost after its original release in 1975/76. Producer Fernando Gelbard negotiated the licensing from the master's owner for www.liquidjazz.com LTD (BVI) for wordlwide ditribution. It is a restored version of the original album by super denoiser Sean "Big P" Pennycook (London), with added values: the until now unpublished recording session photos—photographer Gianni Mestichelli had fortunately kept all the original negatives—and the new artistic design of the album by talented singer, musician, producer and harmony partner María Puga Lareo. El Convidado was originally produced by the late and legendary Nano Herrera, friend of all musicians and a man of great musical taste, moved by an enormous love of jazz. Label boss Carlos Garber and producer Nano Herrera gathered the personnel: a quintet made up of four qualified jazz musicians—Rava, Gelbard, Cevasco, Astarita— and an equally qualified Argentinean folk musician with jazz affinities—Chango Farías, in what was possibly his first recorded jazz incursion. His being included in the group probably stems from the pervading fusion and avant-garde mood of the time, but also from the fact that some Argentinean jazzmen were experimenting with the idea of a jazz-local folk music fusion: Chango’s tune “Enrico Seis Octavos” on this album is an illustration of that idea. I remember having seen Chango on scene in the 1960’s surrounded by a “folk drums set” of his own design to play his inventive folk music and rhythms! The recording session that brought about El Convidado lasted for several hours: it was a wholly improvised business, though the results are there to prove that a jazz attitude yields unexpected and unpretentious beautiful music. The kind of fusion attempted in this album is a mixture of milesdavisish and free jazz avant-garde (listen to “Chico”) but at the same time a nostalgic plunge into melodious tunes—“Darn That Dream” or “Até um dia”— as a means of not losing the ties with a recent past and tradition. The guest, in Spanish “El Convidado”, Rava we have already introduced, but what about the other musicians? Producer, pianist, flutist, keyboardist, composer—all around macher—Fernando Gelbard plays here a Steinway piano on “Darn That Dream”, a duet with Rava, and a Fender Rhodes 1973 piano on the other numbers. Gelbard has always been a jazz buff and a jazz musician and a good one. For several years now he has been busy digging up recordings in which he was involved in Buenos Aires in the 60’s and 70’s, as a tribute to the Argentinean jazzmen of his generation (Gelbard was born in the 1940’s), many of them also good friends of his. Those albums have not had a wide distribution and they certainly deserved a better fate. As a musician and/or producer, Gelbard has recorded or played with musicians of the caliber of Rob McConnell, Sam Most, Frank Collett, Phil Woods, Guido Basso, Carl Saunders, Jorge Calandrelli, Bob Florence, Gato Barbieri, Chivo Borraro among many others. Adalberto Cevasco became internationally known as a member of Gato Barbieri’s groups of the 1970’s: he toured with Gato extensively, played at jazz festivals like Newport and Montreux and recorded two great albums by Gato: Latin America Chapter 1 and Latin America Chapter 2. Cevasco’s talents have been also required by another master musician: Astor Piazzolla, who in 1974-1976 lead a group, the Electronic Octet, which included a majority of musicians with a jazz background. Another first rate musician, pianist, composer, arranger, conductor Lalo Schifrin took him as soloist in 1991 for two concerts with Argentina’s National Symphony Orchestra. Cevasco has worked and recorded with yet another well known Argentinean musician: Roberto “Fats” Fernández, in two recordings that gathered the best jazz and tango local musicians together with saxist Bob Mintzer, drummer Buddy Williams, violinist Michal Urbaniak, pianist Jorge Dalto (who by the way was an Argentinean living in the United States). Another jazz musician who has always been much attached to the music he loves is drummer Néstor Astarita—he has always played his best and very often with the best: suffice it be said he was Gato Barbieri’s drummer before Gato left Argentina in the 1960’s, and that he played with pianists Enrique Villegas and Baby López Furst (two great pianists from Argentina), besides having been Enrico Rava’s drummer in 1974, with whom he made two albums. In Argentina and abroad Astarita has played with Lionel Hampton, Ella Fitzgerald, Herb Geller, Lalo Schifrin, Friedrich Gulda, Curtis Fuller, Kenny Dorham, Jorge Dalto, Cat Anderson, Charlie Mariano, Michel Legrand, Roy Eldrige, E. Hall, Wild Bill Davis. Chango Farías Gómez is a percussionist, singer, arranger, composer. Primarily a folk musician, he has always been open minded and open eared, looking for ways of enriching his own music. Still in the 1970’s he was regarded by many as an outsider: his music was considered inauthentic. But as much as Piazzolla, in the tango field, had to fight that kind of opposition from the public and in the end came out as a winner, so Chango Farías has gained recognition beyond barriers. He introduced a harmonic and rhythmic approach to Argentinean folk music that was jazz and XXth century music oriented. In 1982 he presented a show called “Los amigos de Chango” (Friends of Chango’s) where the approach was improvisatory and free jazz oriented. He has been successful and his militantism has led him to become an important political figure whose main goal is the protection and advancement of music and culture in general. What about the music in this album ? “Un barco hasta el cielo” (Enrico Rava). Enrico Rava (trumpet), Fernando Gelbard (Fender Rhodes piano), Chango Farías Gómez (percussion), Néstor Astarita (drums) and Adalberto Cevasco (Fender bass). It gets started with drums and percussion, then bass and Fender Rhodes piano added, over which Rava plays freely until he states the theme, which the bass takes up. The theme is a rhythmic-melodic statement alternately found as a melodic or rhythmic element. Rava then plays short phrases around the theme, followed by a multi-note bout alternating with plaintive short phrases. Next Rava uses mordente and frullato effects until the bass takes over. There follows a bass solo partaken with the electric piano. In comes Rava again leading into a general dissolving of the thematic material, a certain pointillism, until the whole group dissolves slowly into silence. “Darn That Dream” (Jimmy Van Heusen-Eddie DeLange). Enrico Rava (trumpet), Fernando Gelbard (Steinway piano). This version of “Darn That Dream”, the magnificent Jimmy Van Heusen’s 1939 ballad, is a rarity since there are not that many trumpet-piano duets in the history of jazz. Furthermore Enrico Rava and Gelbard do achieve a beautifully poignant rendering of the tune. It is actually a solo by Rava, accompanied by robust Gelbard’s pianisms. A short, very short delight. “Até um dia” (João Donato). Enrico Rava (trumpet), Fernando Gelbard (Fender Rhodes piano), Chango Farías Gómez (percussion), Néstor Astarita (drums) and Adalberto Cevasco (bass). A tune by João Donato is always welcome, furthermore if it is interpreted the way it is here: with a bit of Brazilian taste, the funky help of Cevasco’s electric bass and the all over love for its beauty shown by everyone. It’s one of those Brazilian melodies reminiscent of a Latin bolero. Rava states the melody, then takes over the improvised part, in a boppish—with for instance a quotation of Miles Davis’ “Four”—approach full of melodic content. The accompanists show their contentedness by adhering strictly to Rava’s lyrical lead. Then in comes Gelbard with a deliberately delicate approach, as though his Fender Rhodes piano were a caressed vibraphone, before Rava’s coming back lyrical at first then tongue in cheek “heavy.” “Chico” (Horacio Borraro). Enrico Rava (trumpet), Fernando Gelbard (Fender Rhodes piano), Chango Farías Gómez (percussion), Néstor Astarita (drums) and Adalberto Cevasco (bass). A multifaceted tune by Borraro. It begins with an ad lib part led by Rava’s trumpet, which oscillates between a lyricism reminiscent of the rhapsodic side of Harry James, without James’ schmaltz. Then there is an acceleration and the mood becomes more hectic it being Gelbard’s turn to get into Rava’s way, though it quickly turns into a Latin-Brazilian melodic phase, always led by Rava’s trumpet, this time undisputedly, until Cevasco’s bass has its turn. There follows a dialog Gelbard-Cevasco (Fender Rhodes-electric bass) that leads into a new phase: the Fender and the bass make it a walking bass straight ahead impro, Gelbard soloing in a classically jazzy straight ahead way, but then both musicians go into a less walking phase and it slowly turns into a ballad. Then Rava comes back straight ahead : the new part lies between a ballad and a more driving mood, while the rhythm section develops a sort of riff. More lyrical Rava until a new turn to ad libbing before, near the end, the seams burst out. “Enrico Seis Octavos” (Chango Farías Gómez). Chango’s voice opens the proceedings with a sort of baguala chant before his percussion and Cevasco’s bass set the overall rhythmic frame: an Argentine chacarera rhythm. But there’s also Cevasco’s bass with surprising melodic-rhythmic turns, like a kind of grunt-sigh on an apoggiatura, imitating a plaintive human voice. The chacarera is a dance with African influenced rhythmic figures, from Argentina’s north-west. Its 6/8 signature can also be looked as a 12/16 which is subdivided into four times 3/16, hence it has the typical Afro double feeling : the listener feels the simultaneous ternary (6/8) and binary (12/16=4x3/16) sides of the rhythm pattern. Rava’s trumpet gets freely into the overall frame in a plaintive way, of course Rava himself acknowledges Miles’ influence as well as Chet Baker’s on his playing. Cevasco’s bass sounds great here : like a madman playing very rational electric bass. You may be reading these notes after getting acquainted with the music they purports to be an introduction to. I’m thus left to wish we agree that it was worth the listening. Let me tell you that if we dont’ meet eye to eye, do we at least meet ear to ear? Norberto Gimelfarb, Ballaigues, Switzerland

Liner Notes: 1) HOMENAJE A LA MUERTE (Jorge Lopez Ruiz) (6:13) 2) MIROSBASS (Pocho Lapouble) (4:34) 3) PUNTOS DE PARTIDA (Pablo Lopez Ruiz) (7:19) 4) TODO FLUYE (Pocho Lapouble) (6:34) 5) ODA PARA MI NIŇA (Jorge Lopez Ruiz) (3:48) 6) MAS DE PREPO QUE NUNCA (Pocho Lapouble) (6:16) MUSICIANS: JORGE LOPEZ RUIZ, bass, electric bass, cello, vocalese FERNANDO GELBARD, Fender Rhodes ® piano, flute HUGO PIERRE, soprano sax, clarinet POCHO LAPOUBLE, drums CHINO ROSSI, percussion Produced by Walter Thiers and Jorge Lopez Ruiz Recording Engineers: Osvaldo Acedo and Carlos Piriz Recorded at Estudios ION, Buenos Aires, October 1972 Re-release , 2002, produced by Charlie Leach (Whatmusic.com) Digital re-release, August 2009, produced by Fernando Gelbard for Liquidjazz.com LTD (BVI) Cedar processing, 2002, from the original vinyl LP by Sean ‘Big P’ Pennycook, London Remastered by Luigi Hoffer at Digital Mastering Solutions Rio de Janeiro December 2002 Digital mastering 2009 by Maria Puga Lareo , My Keter Records, New York Cover design : Pocho Lapouble Licensed by Jorge Lopez Ruiz (p) © 2009 Liquidjazz.com LTD BVI www.liquidjazz.com liquidjazz@gmail.com DE PREPO (FORCING YOUR HAND) In May 1972, Jorge López Ruiz, Fernando Gelbard and ‘Pocho’ Lapouble had been part of an ensemble gathered around a project of Lapouble’s and released under the name of ‘Ego’ by Jazz Band de Free (released digitally by Liquidjazz.com) . The music in that album may be described as a ‘fusion’ of Ornette Coleman’s and Miles Davis’ electric propositions on what ‘free’ jazz might be, as seen from Buenos Aires by musicians deeply rooted in bop and hard bop. Four recording sessions in October 1972 brought the three musicians together again on a project of López Ruiz’s and based on a more meditative but full-of-energy approach, stemming from Davis and his alumni, Weather Report. One of the tunes in ‘De Prepo’ is titled ‘Mirosbass’, an homage to Miroslav Vitous, bassist with the first Weather Report. A pun on his name, ‘Mirosbass’ is ethereal, but not wholly so; the Jorge López Ruiz 5 have almost no rock flavour, the bop roots of all concerned show clearly, and they have found their own very melodic way of dealing with freedom. So here we are confronted with a musical daydream, sweet and energetically propulsive in equal measure, if I may say so. Let me be contradictory perhaps, but the music in this album strikes me very much in the aforementioned way. Allow yourself to be rocked into a daydream-like haze and be open to the music as it is: highly enjoyable. Times were pretty hard in Argentina by 1972, and would get dangerously tougher still; the jazz musicians involved in this record reflected this, wanting the music to sound risky and pushy. Yet thirty years later the music is perceived as quite soothing. This view changes nothing as to the quality of their effort named ‘De Prepo’ (‘Forcing Your Hand’), it only shows they found original ways to overcome hardships, fears and frustrations; for as John Keats very charmingly said: ‘A thing of beauty is a joy forever’. Escapism? No, definitely not. Rather art in a very effective way. Take a look at three of the titles: ‘Homenaje a la Muerte’ (‘Homage to Death’), ‘Puntos de Partida’ (‘Points of Departure’) and ‘Todo Fluye’ (‘Everything Flows’). Don’t they show real philosophical, albeit metaphysical, preoccupations associated with the music? Then ‘Homenaje a la Muerte’ (‘Homage To Death’) is followed by the very much alive ‘Mirosbass’, as ‘Todo Fluye’ (‘Everything Flows’) precedes the tender ‘Oda Para Mi Niña’ (‘Ode For My Little Girl’); the final title is ‘Más De Prepo Que Nunca’ (‘Forcing Your Hand More Than Ever’), a way of saying ‘we’re more alive than ever before and this is our way of forcing your hand, actually not even forcing your ear: our music speaks for itself’. Don’t forget they are in Argentina, it is late 1972 and circumstances in Argentina are forcing them to become aggressively pushy. But they just want you to listen to a thing of beauty that is a joy forever. ‘Homenaje…’ sounds possibly too restrained today, retrospectively juxtaposed against the terrible wave of violence Argentina was to live through until the fall of the military dictatorship in 1983, but in its own quiet way it expresses the deep respect and concern the group had for life. A feeling that would become inexorably mired in personal insecurity and deep trouble under the rule of men who never spoke literally, but acted out: ‘Long live death!’ They knew very well they belonged to the cream of jazzmen in their country and time has confirmed their view. Only then, the local scene was extremely conservative, with a majority of musicians, critics and media people dead against avant-garde jazz. Traditional and mainstream jazz seemed to be what most attracted the public; more modern jazz had only a moderate appeal. So the fact that some of the better-known modern jazzmen were ready for the challenge of free and avant-garde jazz, was almost intolerable to the rest of the musicians and the opinion makers. Then the listeners had their say and they responded positively to the challenging music this avant-garde minority was producing, much to the astonishment of everyone involved. This middle-class group of musicians, reacting in their own artistic way to the many challenges of the epoch, opened new ground for music development in Argentina. And their very gentleness in so doing might imply also that the anger and aggressiveness in much north american and european music of the late 1960s and early 1970s was apparently excessive. Who are they? Jorge López Ruiz, a highly respected arranger, composer and bassist (on this album also playing electric bass, cello and piano), had played with a legendary quintet led by Lalo Schifrin in 1956-1957; the featured saxophonist was Gato Barbieri. López Ruiz had also been Schifrin’s big band bassist along with Gato. López Ruiz always played with the best in argentinean jazz. For this particular project he was surrounded by musicians of the same level: Hugo Pierre, here on soprano and clarinet, but a superb alto and tenor saxophonist too. Somewhat younger are Fernando Gelbard on Fender piano and flute, and drummer-percussionist Carlos ‘Pocho’ Lapouble. Gelbard was a pianist very much involved with the flute or perhaps vice versa; and also a pioneer in electronics applied to jazz, for electronic instruments were new to the jazz scene in the early 1970s and a rarity in Argentina. He had also played with Gato Barbieri and another great tenor from Argentina, Chivo Borraro. Long before that, as a teenager pianist at the time of Schifrin’s quintet of 1956, Gelbard had played once for Lalo who gave him some advice: ‘Kid, you sound too much like Brubeck, you should listen to Horace Silver’. Which he did – witness the whatmusic.com reissue ‘El Nuevo Sonido Del Chivo Borraro’ (WMLP/CD-0027). Lapouble has always been someone as full of talent as of ebullience, so it didn't take long for him to be counted among the best argentinean jazzists. A bit younger, percussionist Miguel ‘Chino’ Rossi does a very creative job here. ‘De Prepo’ is an extremely convincing testimony of high musicality, purpose and dynamism. Be a witness to a musical experience that points to the then-unknown, based on a sound knowledge of jazz roots. It is perhaps due to Buenos Aires’ special jazz scene: not many great jazz names from the States or Europe used to visit, musicians had to rely on records, travel, hearsay and personal enthusiasm. Enthusiasm is probably what it boils down to. And the joy of creating beauty under duress: the tragic circumstances of Argentina’s history transmuted into musical creativeness. Norberto Gimelfarb, Yverdon (Switzerland), December 2002

Liner Notes: Boss Brass & Woods Rob McConnell & The Boss Brass Featuring Phil Woods * Produced by Fernando Gelbard 1) OUT OF NOWHERE (Heyman-Green) (4:25) * 2) GREENHOUSE (Rick Wilkins) (7:44) 3) QUINTESSENCE (Quincy Jones) (4:02) * 4) IF DREAMS COME TRUE (Sampson, Goodman, Mills) (7:21) 5) STEREO BLUE (Rob McConnell) (5:22) * 6) JUST ONE OF THOSE THINGS (Cole Porter) (7:00) 7) TRADITIONAL PIECE (Rob McConnell) (12:17) * 8) JIVE AT FIVE (Edison-Basie) (8:09) ALBUM CREDITS: THE BOSS BRASS ARRANGED AND CONDUCTED BY ROB MCCONNELL All selections except “Greenhouse” arranged by Rob McConnell. “Greenhouse” arranged by Rick Wilkins. The Boss Brass: Moe Koffmann (alto sax, soprano sax, flute, piccolo) Jerry Toth (alto sax, flute, clarinet) Eugene Amaro (tenor sax, flute) Rick Wilkins (tenor sax, flute, clarinet) Bob Leonard (baritone sax, bass clarinet) Arnie Chycoski (lead trumpet, flugelhorn) Erich Traugott (associate lead trumpet, flugelhorn) Guido Basso (trumpet, flugelhorn) Dave Woods (trumpet, flugelhorn) John MacLeod (trumpet, flugelhorn) Rob McConnell (valve trombone) Ian McDougall (lead trombone) Bob Livingston (trombone) Dave McMurdo (trombone) Ron Hughes (bass trombone) George Stimpson (French horn) James MacDonald (French horn) Jimmy Dale (acoustic and electric piano) Ed Bickert (guitar) Steve Wallace (bass) Terry Clarke (drums) Brian Leonard (percussion) Phil Woods (guest alto sax) * Produced by Fernando Gelbard Recording Engineer: Phil Sheridan Mixed by Rob McConnell, Fernando Gelbard and Phil Sheridan Assistant: Steven Ibelshauser Mastering: Peter Norman, McClear Place (1985) & Fernando Gelbard (2010) Cover Design: Fernando Gelbard Photography: Fernando Gelbard & Barbara McDougall Digital Release produced by Fernando Gelbard for Liquidjazz.com LTD (BVI) Recorded March 11-12; Mixed March 13-14, 1985 At McClear Place, Toronto, Canada Ed Bickert appearing courtesy of Concord Records Recorded on a 24-track Sony Digital Recorder (c) (p) 1985 Art Sound Productions (c) (p) 2010 Liquidjazz.com LTD (BVI) www.LiquidJazz.com Liquidjazz@gmail.com A few words about the album (from 1985): I am listening to the tape Fernando Gelbard sent me to write something about this album. The music is so intense that I am deeply touched and filled with emotions. I have been listening to jazz for over 35 years, and I had the same feeling when I heard for the first time Mulligan’s Tentette, The Birth of the Cool or the Gil Evans Orchestra. Rob McConnell is a “one-of-a-kind” gifted creator of jazz. Like Charlie Parker, Art Tatum, Clifford Brown or Bill Evans, Rob created a new language in this case for big band. Fernando Gelbard, whom I know since the “Bop Club Argentino” in the early Fifties, is a talented musician and a sober producer. This helped in creating the good and peaceful environment necessary to make this music happen. He picked most of the tunes from Boss Brass live presentations in Toronto a couple of months before the recording session. A deal was made with Phil Woods and he arrived in Toronto on March 10, 1985. Rob, Fernando and Guido Basso went to the airport to pick him up. Rather than attempting to take Phil to a pub and dinner Fernando suggested that Phil spend the evening resting and watching TV, plus room service. He loved the idea and he did relax! He recorded his tunes on March 11th , live with the band, no overdubs, and left the next day. The Boss Brass recorded the rest of the tunes on March 12th and on the 13th. And 14Th. the album was edited and mixed. The use of multitrack digital equipment in the recording allowed Phil Sheridan to capture once more this wonderful sound, this time with an added clarity. He used as monitors two small Auratone ™ “cube” speakers at a very low volume, which is his usual way of recording. There is a nice story about one of the tunes. In 1961, Quincy Jones recorded with his band and Phil Woods”The Quintessence”, one of the most beautiful big band tunes ever made.. In 1985, Rob and Fernando decided to do it again, as a tribute to Quincy. Rob arranged it inspiredby Quincy's arrangement. Listening to both versions and trying to pick the favorite one is like trying to decide which French pastry to pick from the tray. I always liked Phil Woods, and this combination of the Boss Brass and Phil Woods is like a dream come true for jazz fans. With this group of outstanding Canadian musicians that reinvented big band, this hour of music should be from now on an intrinsic part of every jazz collection. Hugo Feliu, New York 1985

Liner Notes: 1. EASY TO LOVE (Cole Porter) 5:17 Soloists: Moe Koffman, Steve Wallace—Arranged by Rob McConnell 2. FLOWERS (Fernando Gelbard) 5:27 Soloist: Jimmy Dole—Arranged by Rob McConnell 3. JO JO’S DANCE (Fernando Gelbard) 5:02 Soloists: Rob McConnell, Ed Bickert—Arranged by Jorge Calandrelli 4. ATRAS DA PORTA (Francis Hime) 5:49 Soloist: Guido Basso—Arranged by Jorge Calandrelli 5. AMOR ATE O FIM (Gilberto Gil) 8:50 Soloists: Eugene Amaro, John MacLeod—Arranged by Rick Wilkins 6. AUTUMN IN NEW YORK (Vernon Duke) 7:14 Soloist: Jerry Toth—Arranged by Rob McConnell 7. DIDI (Fernando Gelbard) 4:59 Soloist: Moe Koffman—Arranged by Rob McConnell 8. BYE BYE BLUES (Bennett/Lown/Grey/Hamm) 6:34 Soloists: Rob McConnell, Eugene Amaro—Arranged by Rob McConnell CREDITS: Producer: Fernando Gelbard Recording Engineer: Phil Sheridan Co-Producer and Musical Advisor: Jorge Calandrelli Mixed by Rob McConnell, Jorge Calandrelli, Fernando Gelbard and Phil Sheridan Assistant: Steve Ibelshauser Recorded December 19-20, 1983 at McClear Place, Toronto, Canada Mixed December 21-22-23, 1983 at McClear Place, Toronto, Canada Mastering: Peter Norman, McClear Place, Toronto, Canada (1983) Remastering: Mark Vincent & Fernando Gelbard at Multi Media Music, Hollywood (2010) Cover Design: Bill Woodward for Woody Woodward Cover Photograpy (painting): Woody Woodward Cover Painting: by Aneff from Uruguay Digital Production: Fernando Gelbard (2010) (p) ©2010 LiquidJazz.com LTD (BVI) ROB MCCONNELL AND THE BOSS BRASS " ATRAS DA PORTA " This is an extraordinary album by a no less extraordinary orchestra. It represents the product of an international effort involving a Canadian composer and his orchestra, an Argentinian producer, and a repertoire composed of Brazilian songs and American standard tunes. The collaboration of Rob McConnell and Fernando Gelbard came about in a most unusual way. Active for many years in Argentina as a producer (and as a flutist and pianist), Gelbard came to the U.S. in 1976 and four years later, at the suggestion of a celebrated fellow Argentinean, the composer Lalo Schifrin, joined the Foundation for New American Music. Soon afterward he became a director and executive committee member of this organization, which presents the concerts by the New American Orchestra at the Los Angeles Music Center. McConnell recalls that he came into the picture when Gelbard and Jack Elliott, leader of the orchestra, were chatting at a post-concert party. “Fernando talked to Jack about me, told him how much he liked my orchestra, and Jack arranged to bring us together.” By this time, McConnell had begun to acquire a belated reputation south of the Canadian border. The orchestra was launched in Toronto in 1968 (McConnell, a native of London, Ontario, had spent the last 25 years of his life as a freelancer there). Despite enthusiastic reactions, the band remained a part-time occupation throughout the 1970s. “All of us have had other activities to keep us going,” Rob told me. “Several men, like Moe Koffman, are composers and lead their own groups, but when we have a booking for the orchestra, our personnel remains very steady.” Finally, in the fall of 1981, the first big break came with a deal to play at the Monterey Jazz Festival. Aside from a single break-in date in Upstate New York, this marked the first time the Boss Brass had ever been in the States as a unit. They followed it up with a videotaping session at Concerts by the Sea and a four-night stand at Carmelo’s. In January of 1984 they returned, this time for a stint at Donte’s and a couple of other gigs. That the orchestra is now well-known in California, but has yet to be heard in New York and most other American cities, is due in large part to the help it had from airplay on such jazz stations at KKGO in Los Angeles and KJAZ in San Francisco. After winning two Juno awards (the Canadian counterpart of the Grammys) and being nominated three times for a Grammy, the McConnell battalion finally hit gold in 1984, when its album “All in Good Time,” released in the U.S. on Dark Orchid Records, won the Best Big Band Grammy, up against such stiff competition as Count Basie. On the heels of this triumph, the band now presents what is beyond doubt one of its finest albums, and one that departs slightly from its routine style. However, despite the Latin accent in several selections, and the inclusion of two arrangements by Gelbard’s longtime friend Jorge Calandrelli, the essential characteristics—brilliantly orchestrated charts for the 22 men, originality in textures and tone colors, consistent invention by no fewer than nine soloists—all remain unimpaired and, in fact, reach new heights of achievement. “We had no problem at all relating to this material,” says McConnell. “In fact, it was a special pleasure to play Jorge’s two arrangements, and to do my own charts on two of Fernando’s compositions.” Prior to the session, Gelbard went to Toronto to hear the band play for a few nights at Bourbon Street, listen to a broad selection of tunes, and pick out those that seemed most suitable for the album. “Atras da Porta” (“Behind the Door”) is a triple triumph in its subtle interweaving of composition (by Francis Hime), Calandrelli’s ingenious arrangement, and the distinguished soloist, Guido Basso, the orchestra’s sole French-Canadian constituent. Note the subtle manner in which the band eases into double time. “Bye Bye Blues” is an antique pop song, vintage 1930, written by (and the radio theme song of) a pre-swing bandleader named Bert Lown. Rob McConnell is front and center here, playing the melody almost straight with a neat obbligato by pianist Jimmy Dale. The second chorus exemplifies the maestro’s always personal writing style. Following Eugene Amaro’s eloquent tenor, there is a brief doubled-up passage before Rob suddenly reprises the melody. (As a trombonist he is basically self-taught; he studied composing and arranging with the late Gordon Delamont.) “Didi” is an attractive original contributed by Gelbard, to which Rob added the magic of his penmanship. The flute soloist, Moe Koffman, is perhaps the best-known of McConnell’s men among U.S. audiences ever since “Swinging Shepherd Blues” on his own first LP became a hit in 1957. (Rob himself and guitarist Ed Bickert played on that date.) The crisp ending on this cut is typical of the band’s superb cohesion. Rob shows his deft touch again in a brilliant arrangement of “Autumn in New York.” The 1934 Vernon Duke standard is played entirely without a rhythm section throughout the first chorus, yet an implicit pulse is always present. Jerry Toth’s tone on alto sax is distinctive; he is derivative neither of the Hodges nor the Parker school. “Amor Ate o Fim” (“Love Until the End”) was arranged by tenor saxophonist Rick Wilkins, who retains the Brazilian spirit of Gilberto Gil’s melody, from the electric keyboard samba vamp (with Memo Acevedo supplying additional percussion rhythms) through the solos by Gene Amaro on flute and the poised, personal John MacLeod, all the way to the keyboard reprise. Hearing the band play this tune during its stay at Donte’s, I was impressed with the excitement generated by its Pan-American flavor, from Canada to the U.S. to Brazil. The Gelbard melody “Flowers” is tightly knit, the main strain all within the range of a fourth (from B-flat down to F the first time around). Highlights are a suspenseful rhythmless passage and Jimmy Dale’s foray on electric keyboard. Dale is another of the sidemen with numerous U.S. credits; at one time he was musical director on the Cher TV show. “Several years ago Guido, Moe and I were players on the show’s pilot,” Rob recalls. Some years later, Rob came back to Los Angeles for the premiere of his composition “Hello from the North,” performed by the New American Orchestra. “Jo Jo’s Dance,” played with a straight four feeling, gives Rob a chance to display the jazz aspect of his trombone personality. This cut is also notable for a contribution by Ed Bickert, long Canada’s premier guitarist and well-known through his recordings with Paul Desmond. Calandrelli’s arrangement of this Gelbard work shows he has a clear understanding of how to bring out the band’s unique essence. Cole Porter’s 1936 hit “Easy to Love,” taken at a brisk up tempo, is a vehicle for Koffman’s alto sax and for a two-chorus solo by Steve Wallace, who surprises us in the last 16 bars by reverting to a walking-bass style. A Terry Clarke drum break leads the way into the out chorus for this vibrant McConnell arrangement. Rob McConnell and the Boss Brass have risen, during the last few years, to a position of unique respect among fellow musicians on either side of the border. That the band has been able to travel in the U.S. at all is due at least partly to the friendly cooperation of the Canadian government, through its Department of External Affairs; also to the support of a group of enthusiastic businessmen in Toronto who helped get the first American visit under way. Given its size (there are not many 22-piece orchestras on the road nowadays), one can understand the logistic problems in establishing the band as a permanent, traveling unit. However, its phenomenal level of artistry, coupled with the Grammy and its attendant prestige, should at least enlarge the buying public for this and all future albums. We owe a special debt to Fernando Gelbard for his vital role in bringing to fruition this latest triumph in the Boss Brass’ distinguished career. --Leonard Feather ( 1985)

Liner Notes: Alevacolariea 1974 Analog Original (Fernando Gelbard and Ruben Rada) ) 4:02 Fernando Gelbard : Fender Rhodes Piano Chivo Borraro :Tenor Sax Ruben Rada: Percussion and Vocalese Chino Rossi: Percussion and Cuica Produced by Fernando Gelbard Recorded at Music Hall Studios, Buenos Aires, August 1974 Recording Engineer: Jorge Da Silva Mixing : Jorge Da Silva, Fernando Gelbard Mastering: Mark Vincent and Fernando Gelbard , Multi Media Music, Hollywood (2010) Cover Design and photo: Fernando Gelbard (2010) (c) (p) 1974 & 2010 Fernando Gelbard (c) (p) 2010 Liquidjazz.com LTD (BVI) www.LiquidJazz.com Liquidjazz@gmail.com ALEVACOLARIEA In August 1974 Buenos Aires was full of music. It was still enjoying a "Belle Epoque" in which the city was a nest of interesting people. I was among other things, a busy musician. A local record label, Discos Redondel, offered me to finance and release an album. I would decide the entire production. The album was recorded and released as vinyl, "Didi" and has circulated ever since. One of the tunes was completely different to all my previous music. "Alevacolariea" and was an inspiration created at the studio. We were set up for 8 tracks, a luxury in these days. I had been experimenting with recordings in layers, starting with one or two instruments and then adding others. I thought of a melodic line. I had with me some of the best: Chivo Borraro on tenor sax, Ruben Rada and Chino Rossi also in percussion. I started with a bass line with the Fender Rhodes together with Rada in "Quinto" (An Afro-Uruguayan drum) and Chino Rossi in Brazilian cuica. I got the basic rhythm base. No click track was used. Then I recorded the Fender Rhodes chords and solo, together with Rada and Chino Rossi in other drums and percussion accessories. Finally, I recorded Rada's voice with my melody and his Afro word "Alevacolariea" and Chivo Borraro's solo. The whole album was released on December 14 1974. It sold well and had good airplay. In 1976 I left Argentina for the USA and forgot about the album. In the 90's the song took a life of its own. It was pirated, sampled, and somehow distributed illegally in the new miraculous dimension: the Internet. I always thought that perhaps piracy was a form of flattery since marauders only take good music, not necessarily from my taste's point of view, but good for the majority. I licensed the entire album to my friends at Whatmusic.com and that was up to this date, the only legal release of the album besides the Argentina vinyl. Last December a read a mysterious message in YouTube. Someone wanted Alevacolariea badly. I wrote back and found that Karine B. has been looking for this tune for years. Although the tune was all over the place, this lady somehow hasn't found it. I sent her a complimentary mp3. This encounter with a fan, inspired me to develop Alevacolariea...I had already recorded a version with more solos. I added two dance versions and one flute solo version. They will all come out when I release Alevacolariea "The Album" or whichever name I can think of. The call from one fan, triggered my creative endorphins and this single with the original analog version of Alevacolariea is being released. The sound is much better than any other of the circulating versions. Wahtmusic used a denoised a new Argentinean LP. The marauders used old noisy worn out Argentinean released LP's. I designed a funky cover for the single. A photo of mangosteens from Bangkok plus an iguana, bring more questions than answers to the saga of this River Plate-Afro music played by an interracial group that travelled through cyberspace via sinful copies. May chaos turn into clarity the same way as a storm clears and the Sun shines. Fernando Gelbard, April 2010

Liner Notes:

Liner Notes: 1. DIDI (HOLA DIDI) 8:33 2. EL SENOR MAYOR 9:00 3. MOJO 1 2:00 4. ALEVACOLARIEA 5:49 5. HAVANA NIGHTS 3:47 6. FLOWERS (SOMBRERO DE FLORES) 7:25 7. CHAU AMBROSIO 5:37 8. ALEVACOLARIEA (ALTERNATE MIX) 4:00 All tunes composed by Fernando Gelbard (c) 1974 and (c) 2010. Gelbard Publishing (ASCAP) Credits: Musicians: 1. DIDI (HOLA DIDI) Fernando Gelbard (Fender Rhodes, Minimoog), Miguel "Chino Rossi" (Percussion), Ruben Rada (Percussion), Ricardo Salas (Bass) 2. EL SENOR MAYOR Fernando Gelbard (Fender Rhodes with Ring Modulator and Wawa), Horacio "Chivo" Borraro (Tenor sax), Norberto Minichilo (Drums), Miguel "Chino" Rossi (Percussion), Ruben Rada (Percussion) 3. MOJO 1 Fernando Gelbard (Minimoog) 4. ALEVACOLARIEA Fernando Gelbard (Fender Rhodes), Ruben Rada (Vocalese, percussion), Horacio "Chivo" Borraro (Percussion), Miguel Chino Rossi (Percussion, cuica) 5. HAVANA NIGHTS Fernando Gelbard (Minimoog, Fender Rhodes) 6. FLOWERS (SOMBRERO DE FLORES) Fernando Gelbard (Fender Rhodes, Minimoog), Miguel "Chino" Rossi (Percussion), Ruben Rada (Percussion), Ricardo Salas (Bass) 7. CHAU AMBROSIO Fernando Gelbard (Fender Rhodes), Horacio "Chivo" Borraro (Tenor sax), Miguel "Chino" Rossi (Percussion), Ruben Rada (Percussion) 8. ALEVACOLARIEA (ALTERNATE MIX) Fernando Gelbard (Fender Rhodes), Ruben Rada (Vocalese, percussion), Horacio "Chivo" Borraro (Percussion), Miguel Chino Rossi (Percussion, cuica) Producer : Fernando Gelbard (1974) Redondel Label executives (original 1974 release) : Carlos Mayon and Adrian Fernandez Recording Engineer: Jorge Da Silva (1974) Mixing: Jorge Da Silva and Fernando Gelbard (1974) Recorded and mixed during August 1974 at Music Hall Studios, Buenos Aires, Argentina Transfer from analog 1/4" Dolby A tape to digital : Carlos Piriz, Estudios Moebio, Buenos Aires (2010) Revox A 77 1/2 track analog recorder courtesy of Eduardo Schejtman (2010) Digital processing : Mark Vincent, Multi Media Music, Hollywood, California (2010) Mastering for digital release: Fernando Gelbard (2010) Cover photo: Carlos Fadigati (1974) Cover design: based on 1974's cover artwork: Fernando Gelbard (2010) Original vinyl release by Redondel Records, Argentina, December 14, 1974 Also released by Whatmusic. com (UK) licensed from 2002 to 2009 by Fernando Gelbard Liner notes use courtesy of Charlie Leach at Whatmusic.com (p) (c) 1974 (p) (c) 2010 Fernando Gelbard Liner Notes: When 'Didi' was recorded in Buenos Aires during August 1974, five Argentineans and one Uruguayan landed at Music Hall recording studios. Their leader was Fernando Gelbard, an Argentinean pianist, flautist, composer and record producer. 1974 was a time when neither synthesizers (like the Moog) nor Fender Rhodes pianos were usual in Buenos Aires. Nevertheless, Fernando Gelbard chose to forgo his acoustic instruments in making 'Didi', thus becoming the first musician in Argentina to make a jazz record exclusively on the new electronic instruments. This is a pioneering project in more than one way. Through the use, for instance, of two percussionists in all the tunes - with the exception of two pieces recorded one with Moog only and one with Moog and Fender Rhodes. I don't think many Argentinean jazz musicians of the time relied so much on electronic instruments and percussion. There is also a saxophone player on three of the tunes and there is a drummer in two tracks. Gelbard's work of 1974, with its all-pervading percussion and rhythms from Latin America or, better, Latin Afro-America, would be labeled today world music or world jazz. World jazz or whatever you call it, it is nonetheless a jazz work firmly rooted in be-bop and post-bop with a strong electronic and Latin jazz side to it. Latin? What kind of Latin exactly? Two bossa nova tunes in it: 'Didi', with its catchy melodic line, and 'Flowers'. Bossa they are, but the many rhythms played and/or implied by the percussionists give it a very special flavour: you've seldom heard that special kind of bossa. The way the two percussionists intertwine creates that particular flavour and colour. One of them, Ruben Rada, from Uruguay, playing mostly congas here, was later to gain wide popularity through his very personal, lively and modern version of the candombe, an Uruguayan Black mixture of religion, traditions, dance and music. Here he gives a beautiful example of his approach on 'Alevacolariea'. His chanting at the beginning and the end of the piece is something you find all over the Americas in the afro-american traditions. But your ear will convince you of his original approach to it. The dialogue between the two percussionists, throughout the album, will tell you that the other one, Miguel 'Chino' Rossi, is a perfect match for Rada. The precise bass lines on this cut were overdubbed by Gelbard on the Moog, and the Fender Rhodes and tenor sax solos (Gelbard & Borraro) add a pure virtuoso be-bop flavour to this bouillabaise of sounds. Unexpected flavours and colours, that's what 'Didi' is about. A master colourist, Duke Ellington, said of one of his compositions with "colour" in its title: "It's not a colour, it is a hint of a tint." Hints of tints, hues, colours in this record owe a lot to the percussionists, but not only to them. There's also the delicate balance between the electronic instruments used by Gelbard (Fender Rhodes piano, Moog synthesizer, Wa-Wa and Ring Modulator) and the percussionists and the bass player (and in two pieces, the drummer too), a mixing balance achieved through hard and meticulous work when it came to editing the songs in the studio. Like the tenor saxophone solo in 'El Señor mayor' ('The Elder One'): different takes are combined so that it sounds as though three saxophones were playing simultaneously. In 'Chau, Ambrosio' ('Bye, Ambrosio'), the most conventional jazz number in the album, the tenor's blowing is recorded straight ahead. Horacio Borraro's tenor solos provide a short introduction to the jazz creativeness of one of the founding fathers of modern jazz in Argentina, who is also an architect, painter and slang creator. Pity no recording, as far as I know, ever caught the beauty of his sense of humour and his very personal slang. The bass player Ricardo Salas has always ranked among the best in Argentina and Norberto Minichilo, the drummer, has been for years consistently proving his exceptional musicianship. And last but by no means least, Fernando Gelbard conceived the whole thing. Besides his contributions as the composer, Fender Rhodes pianist and Moogist in the band, he's a soloist to listen to. Don't miss the pleasure. Let me recommend you listen to 'Mojo Uno', recorded at his home in Buenos Aires by just himself on the Moog. Or his guitar-like second Moog solo on 'Flowers'. By then you would be probably listening to this album for the second or third time and you'd be telling friends and acquaintances: "Hey, have you heard this 1974 record made in Argentina? We've been missing something!" Notes from 2010: Those were the liner notes written for the Whatmusic.com release in 2002, which was based on a master from of a denoised Argentinean release LP. Fernando found in 2010 the original analog master 1/4" tape from 1974. With its original Dolby A encoding and resting in Buenos Aires, it would have been risky to transport it overseas. Getting a 1/4" recorder was also not easy. Finally musician and buddy Eduardo Shejtman lent Fernando his Revox A77 and Carlos Piriz at Estudios Moebio using his vintage original Dolby A decoder, recovered this master, which makes this album sound better than any previous release. Two bonus tracks were found: "Havana Nights, composed by Fernando Gelbard and recorded with the Moog and the Fender Rhodes and a shorter version of "Alevacolariea" which are included in this release. Norberto Gimelfarb Yverdon, Switzerland, February 2002 / October 2010 (c) 1974 & (c) 2010 Fernando Gelbard

Liner Notes: "ALFREDO REMUS 5" Alfredo Remus 1) Blues For Johann Sebastian (Lalo Schifrin) 13:00 2) Alfonsina Y El Mar (A.Ramírez, F. Luna) 6:30 3) Amor Por Todo Esto (A. Remus) 16:50 4) The Gentle Rain (Luis Eça) 3: 32 Credits: Alfredo Remus , bass, electric bass Hugo Pierre, alto and soprano saxes Ricardo Lew , guitar Raul Parentella , Fender Rhodes piano Carlos "Pocho" Lapouble, drums Norberto Minichillo, percussion Recorded May 25, 1972 at Estudios Ion, Buenos Aires Recording Engineer: Osvaldo Acedo (1972) Produced by Fernando Gelbard, Alberto Cortez Funes, Felipe Eusebio (1972) Project supervisor: Alberto Cortez Funes (1972) Remastering: Nestor Rodriguez (2011) Cover photography: Marcela Casarino (2011 Cover design: Fernando Gelbard (2011) Liner Notes: Norberto Gimelfarb (2011) Released under license from Alfredo Remus (c) 1972, 2011 Alfredo Remus Liner notes: Alfredo Remus is not only an Argentinean jazz bass player: his many qualities make him world worthy. His jazz "walking" style, tempo and swing are unique —in my opinion - he ranks among the best players in jazz history. I remember hearing him in Buenos Aires for the first time at one of the Monday sessions of the Bop Club Argentino, probably in 1955, and then in 1956 playing with Lalo Schiffrin's quintet at “Le Roi”—a night club in Buenos Aires. The other members of that quintet were Gato Barbieri (tenor sax), Rubén Barbieri (Gato’s elder brother, trumpet) and Oscar Mazzei (drums). To quote Fernando Gelbard, one of the producers of this album: “I couldn't dream that I was destined to partner with Alfredo in many projects and be privileged to have him in some of my recordings and as a member of my rhythm section so many times.” Alfredo Remus performed with a who's who of the jazz and bossa nova world: Enrique “Mono” Villegas, Gato Barbieri, Lalo Schifrin, Chivo Borraro, Paul Gonsalves, Tony Bennett, António Carlos Jobim, Vinícius de Moraes, Maria Bethânia and tango-folk artists Mercedes Sosa, Ariel Ramírez and Susana Rinaldi. Let us listen to Gelbard again: “This album was conceived by Alfredo and my participation in it was actually to donate free studio time at ION recording studios, of which I was the owner. The very date of the recording tells a story: May 25, 1972. May 25 is one of Argentina's most important patriotic holidays and the studio was closed to regular business. Alberto Cortez Funes and Felipe Eusebio are two inspiring individuals that lent their support and ideas to this project.” Alfredo Remus' sidemen in this album, are part of the group of the most talented musicians from Argentina: Hugo Pierre, on soprano and alto saxes, ranks among the ablest reed players in the country; Raúl Parentella, an excellent keyboardist; Carlos "Pocho" Lapouble on drums and Norberto Minichillo on percussion were—both died recently—two of the keenest rhythm providers of their generation. The tunes played on this album show Remus’s taste for varied material. They get started on the blues filtered through Bach’s music as imagined by Lalo Schifrin: the many different facets of this interpretation of “Blues For Johan Sebastian ” are amazing. Then they turn to an Argentinean folk song. “Alfonsina Y El Mar”, that has been a popular hit almost from its very beginning, a zamba, full of nostalgia, which they explore from several points of view before going back in the end to it’s lovely original melody. Afterwards they reveal the many sides of Remus’s “Amor Por Todo Esto” (Love for All of This). And in the end they offer a short, juicy rendering of the Brazilian composer Luis Eça’s “The Gentle Rain”. Enough words, just listen to this musical beauty. Norberto Gimelfarb, May 2011