1.    "Cristal" – 02:49
2.    "Chega de Saudade" – 04:16
3.    "A Lenda Do Caboclo" – 03:10
4.    "Doce De Coco" – 05:12
5.    "Dança Brasileira" – 02:18
6.    "Apelo" – 04:57
7.    "Dança Negra" – 03:31
8.    "1 x 0 (Um a Zero)" – 02:40
9.    "Menino" – 05:36
10.    "Samambaia" – 05:19
11.    "Carinhoso" – 04:48
12.    "Alma Brasileira" – 05:05
13.    "O Amor Em Paz" – 03:52
14.    "Bodas De Prata & Quatro Cantos" – 09:48
15.    "Brasileirinho" – 03:30
16.    "Salvador" – 04:53

Musicians:
Yo-Yo Ma – Cello
Helio Alves – Piano
Odair Assad – Guitar
Sergio Assad – Guitar, Arranger
Cyro Baptista – Percussion
Paulinho Braga – Drums
Jose DaSilva – Percussion
Jose DeFaria – Percussion
Paquito D'Rivera – Clarinet
Egberto Gismonti – Flute, Guitar, Piano, Arranger
Romero Lubambo – Guitar, Cavaquinho
Cesar Camargo Mariano – Piano
Nilson Matta – Bass
Rosa Passos – Guitar, Vocals
Kathryn Stott – Piano

As a cultural ambassador to the world, Yo-Yo Ma has immersed himself in the native music of many countries and taken away charming souvenirs of his musical explorations that he shares openly and without affectation. The chief characteristic of Ma's approach is his showcasing of other talents, with a modesty and generosity on his part that makes these performances all the more appealing. In Obrigado Brazil, Ma shares the spotlight with musicians of the highest caliber, including bossa nova singer Rosa Passos, guitar duo Sergio and Odair Assad, clarinetist Paquito d'Rivera, pianist Kathryn Stott, and percussionist Cyro Baptista, among many other stars. All the performers display deep feeling, energy, and conviviality, no doubt inspired by Ma's infectious goodwill and openhearted playing. Whether he engages the listener with popular numbers, such as the songs of Antonio Carlos Jobim and Pixinguinha, or with more classically tailored pieces by Heitor Villa-Lobos, Camargo Guarneri, and Egberto Gismonti, Ma offers a broad sampling of Brazil's diverse musical styles. From sorrowful choros to lively sambas, the spectrum of the country's music is well represented, and there is something here to please any armchair traveler. Sony's recording is excellent, with special attention directed to capturing instrumental color. ---Blair Sanderson, Rovi

download:  uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back

1 	Green (Vincent's Tune) 	
2 	O'Neill's Cavalry March 	
3 	Little Birdie 	
4 	Ichichila 	
5 	Sadila Jana 	
6 	Shingashi Song 	
7 	Madhoushi 	
8 	Wedding 	
9 	Going Home 	
10 	Cabalino 	
11 	St. James Infirmary Blues 	
12 	If You Shall Return... 	
13 	Heart And Soul

Cello – Yo-Yo Ma
+
Accordion – Roberto Camesaña
Balafon – Balla Kouyate
Bagpipes [Gaita] – Cristina Pato
Bass – Shawn Conley, Jeffrey Beecher
Bass Drum, Calabash, Caxixi, Rattle, Scraper – Shane Shanahan
Cajón – Mark Suter
Cello – Eric Jacobsen
Cello, Banjo, Vocals – Abigail Washburn
Clarinet – Kinan Azmeh
Drum [Flower Pot] – Joseph Gramley
Guitar – Bill Frisell
Kora – Toumani Diabaté
Vocals – Roomful Of Teeth
Vocals – Sarah Jarosz, Dima Orsho, Rhiannon Giddens,Gregory Porter, Lisa Fischer
Vocals – Black Sea Hotel
Fiddle [Irish] – Martin Hayes
Gong [Beijing Opera, Wind], Bells, Cymbal [Chinese], Shaker, Congas, Drum [Shime-Daiko], Cymbal [Chappa] – Haruka Fujii
Hurdy Gurdy [Zanfona], Arranged By – Anxo Pintos
Kamancha [Kamancheh, Shah-Kaman] – Kayhan Kalhor
Marimba, Crotales, Bongos, Tom Tom – Joseph Gramley
Piano – Cristina Pato
Pipa – Wu Man
Shaker – Haruka Fujii
Shakuhachi – Kojiro Umezaki
Sheng, Suona, Flute [Bawu], Vocals – Wu Tong
Tabla – Sandeep Das
Taiko – Kaoru Watanabe
Tambourine - Davíde Salvado
Viola – Nicholas Cords
Violin – Colin Jacobsen, Johnny Gandelsman
Yangqin – Reylon Yount

The potential buyer encountering this release by Yo-Yo Ma and the Silk Road Ensemble is apt to form several mistaken impressions of its contents. From the track list and accompanying description you will learn that it is "the companion album to the Morgan Neville documentary The Music of Strangers: Yo-Yo Ma and The Silk Road Ensemble." And the long list of "featured" artists suggests the type of lazy, all-star album famous artists tend to phone in during the later stages of their careers. Neither of these impressions corresponds with the considerable riches here. The music is entirely effective independently of the little-publicized film. And, more importantly, the real "featured artists" here are not the named stars (who skew toward younger members of the new acoustic scene like bluegrasser Sarah Jarosz), but the members of the Silk Road Ensemble themselves. The structure of the album, as with so many of the creations of these remarkable artists, is unique. The Silk Road members, and a few visitors, select music of personal significance to them, many of them related in a general way to the theme of home. Then, a guest musician with skills appropriate to the music was added. With a range of source material running from Heart and Soul to Mali to the Balkans to East Asia, the resulting fusions are never less than interesting and are often marvelous. Sample the much-recorded St. James Infirmary Blues (track 11) in its unique realization here with accordionist Michael Ward Bergeman (one of the guest Silk Roaders), Chinese yangqin player Reylon Yount, and the wonderful blues-country vocalist Rhiannon Giddens, a border crosser herself. The album gives insights into the histories of the Silk Road players, and indeed into the musical and personal depth that has made this ensemble one for the ages, and its leader a true musical exemplar of our time. ---James Manheim, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire ulozto gett

back

The Mission
1 	Gabriel's Oboe 	3:11
2 	The Falls 	2:27
	Giuseppe Tornatore Suite
3 	The Legend Of 1900: Playing Love 	1:49
4 	Cinema Paradiso: Nostalgia 	1:58
5 	Cinema Paradiso: Looking For You 	1:43
6 	Malena: Main Theme 	4:22
7 	A Pure Formality: Main Theme 	3:49
Sergio Leone Suite
8 	Once Upon A Time In America: Deborah's Theme 	3:32
9 	Once Upon A Time In America: Cockeye's Song 	2:13
10 	Once Upon A Time In America: Main Theme 	1:49
11 	Once Upon A Time In The West: Main Theme 	3:21
12 	The Good, The Bad And The Ugly: Ecstasy Of Gold 	3:57
Brian De Palma Suite
13 	Casualties Of War: Main Theme 	3:54
14 	The Untouchables: Death Theme 	3:10
Moses And Marco Polo Suite
15 	Moses: Journey 	2:34
16 	Moses: Main Theme 	2:07
17 	Marco Polo: Main Theme 	3:21
The Lady Caliph
18 	Dinner 	3:51
19 	Nocturne 	2:33
+
20 Playing Love (The Legend Of 1900- Cello & Piano)
21 Gabriel's Oboe (The Mission- Cello & Piano)

Cello – Yo-Yo Ma 
Conductor, Producer – Ennio Morricone
Roma Sinfonietta Orchestra
Piano – Gilda Buttà

Listening to the music of Ennio Morricone is a joy for any music lover. Listening to his music as played by Yo-Yo Ma borders on the sublime. Morricone is an iconic film composer, a master melodist whose unique scores are characterized by his bold use of unusual musical techniques, sounds, and textures. The term "spaghetti western" would have less significance without his distinctive contributions. Yo-Yo Ma is a musician in a class by himself. He's an extraordinarily gifted cellist of enormous intellect and a fearless explorer of a broad musical landscape, who seems determined to prove that hardly any genre exists within which he can't excel. It's evident from the very first notes of YO-YO MA PLAYS ENNIO MORRICONE that this was a labor of love for both artists. Ma is at his most expressive as he wraps his luminous tone around some of the most beautiful cinematic themes imaginable, including "Gabriel's Oboe" and "The Falls" from THE MISSION, as well as "Nostalgia" and "Looking For You" from CINEMA PARADISO. Morricone's marvelous arrangements, particularly the suites dedicated to some of the great directors he's worked with, provide a perfect vehicle for the star soloist while retaining the music's original character and flavor. Ma's muscular account of "Ecstasy of Gold" from Sergio Leone's epic THE GOOD, THE BAD AND THE UGLY is notable among the album's many highlights. ---Editorial Reviews, arkivmusic.com

Sure to remain a top seller on the classical charts for some time to come, Yo-Yo Ma Plays Ennio Morricone is a new installment in the great cellist's long series of crossover albums. It diverges from most of the others, however, in its collaborative aspect: the music's original creator, Morricone, had as much to do with this album as did Ma and his creative team. Morricone's career in film music began during the era of the spaghetti Western in the 1960s and has flourished ever since, on both sides of the Atlantic. Morricone and Ma met at the 2001 Academy Awards, where Ma was performing and Morricone was nominated for his score to Giuseppe Tornatore's Malèna. They hatched the idea for this album together, and all the adaptations of Morricone's music are his own. He also conducts the Roma Sinfonietta Orchestra.

Overall, the results are gorgeous. Morricone opens and closes the album with pairs of excerpts from two individual films, The Mission and the rarely seen The Lady Caliph. In between are four suites of excerpts, three of them associated with Morricone's favorite directorial collaborators (Sergio Leone, Brian de Palma, and Tornatore). These suites, comprising varied but closely related stretches of music, really allow Ma to go to town. He has rarely achieved a more lushly beautiful tone or a more direct emotional appeal. Morricone deftly adapts his music for the cello-and-orchestra combination. At different times, Ma's cello plays the role of another solo instrument (the pan pipes in the Mission score, for instance), sings the wordless vocal lines that populate many of Morricone's scores, or plays lines of orchestral counterpoint that are elaborated into some pretty fancy fingerwork.

The only complaints pertain to the selection of music, and it's debatable whether there's really anything to complain about. Represented here are Morricone's big, romantic scores, mostly of fairly recent vintage. Cinema Paradiso, two cues from which are included, is an example casual filmgoers may be acquainted with. The edgier, more experimental scores Morricone wrote for Western and suspense films are ignored, and it was these that endeared the composer to scenesters like John Zorn, who recorded a memorable deconstruction of The Big Gundown some years ago. On the few tracks where electronic elements are introduced, they aren't well integrated into the general concept. As a whole, though, the album hangs together wonderfully, and the music can stand up to anything in the current neo-Romantic rage. Play the "Cockeye's Song" cue from Once Upon a Time in America for classical purists unfamiliar with Morricone, and ask them to guess the composer. Watch them squirm. And then introduce one of the great composers of our time, presented by one of our foremost interpreters. ---James Manheim, AllMusic Review

download (mp3 @320 kbs):

yandex mediafire ulozto gett

back