01 - Diálogo [Para a paz mundial] (Alex Meireles-Paulo Moura)
02 - Ao velho Pedro (Paulo Moura)
03 - Rio Negro (Jorge Degas-Paulo Moura)
04 - Alma brasileira (Zeca Freitas)
05 - Nada além (Custódio Mesquita-Mário Lago)
06 - Pot-Pourri:
  -Fibra (Eloir de Morais-Paulo Moura)
  -Magia do samba [Bate pandeiro] (José Maurício de Paula)
  -Jogada (Carlos "Nanico" de Brito)
  -MRA (Christopher)

Personnel:
Paulo Moura - sax soprano (1,3), clarinet (1,5), alto sax (2,4,6)
Alexis Olinto - trumpet (1,5,6)
Jorge Degas electric bass (1,3), vocal (1)
Jorginho do Pandeiro - pandeiro (1,6)
Jorjão Marinho - drums (1,2,3,4,5,6)
Jovi Joviniano - percussion (1,2,3,4,6)
Luiz Aranha - cavaquinho (1,2,4,6), percussion (6), acoustic guitar (6)
Marilu Moreno - vocal (1,5)
Zé da Velha - trombone (1,2,4,5,6)
Zé Lu - contrabass (1,2,3,5,6)
Zezinho Moura - keyboards (1), piano (1,2,3,4,5,6)
Alceu de Almeida Reis - cello (3)
Angelo Dell'Orto - violin (3)
Bernardo Bessler - violin (3)
Jesuína Noronha Passaroto - Viola (3)
João Jerônimo de Menezes Filho - violin (3)
Marie Christine Springuel - Viola (3)
Marie Stephanie - cello (3)
Michel Bessler - violin (3)
Nelson Abramento - violin (3)
Ricardo Jerônimo Menezes - violin (3)
Sandrino Santoro - contrabass (3)
Quiabinho - percussion (6)
Zeca da Cuíca - cuica (6)

Paulo Moura (15 July 1932 in São José do Rio Preto, Brazil–12 July 2010 in Rio de Janeiro, Brazil) was a Brazilian clarinetist and saxophonist.

Moura's father was the maestro of a marching band; however, he encouraged his son to train as a tailor. Paulo instead studied in the National Music School and performed with the Brazilian Symphonic Orchestra. He was the first black artist to become first clarinetist in the Municipal Theatre Orchestra. He appeared at Bossa Nova night at Carnegie Hall in 1962 with Sérgio Mendes, the two of them also featuring on Cannonball Adderley's 1962 album, Cannonball's Bossa Nova. He won the Sharp Award for the most popular instrumentalist of the year in 1992. His CD "Paulo Moura e Os Oito Batutas" was listed by Barnes & Noble as one of the top 10 recommendations of the year for 1998. From 1997 to 1999, he was on the State Council of Culture in Rio de Janeiro, a Councillor of the Federal Council of Music, and President of the Museum Foundation of Image and Sound. In 2000, Moura became the first Brazilian instrumentalist to win the Latin Grammy. Moura died of lymphoma three days before his 78th birthday. ---wikipedia

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01. 	03:48 	Ainda me recordo      	
02. 	02:27 	Segura ele      	
03. 	02:49 	Proezas de Solon      	
04. 	03:02 	Cochichando      	
05. 	03:48 	Ingênuo      	
06. 	03:56 	Lamento      	
07. 	04:46 	Carinhoso      	
08. 	05:21 	Mistura e manda      	
09. 	03:26 	Batuque na cozinha      	
10. 	02:35 	Oito batutas      	
11. 	03:31 	Pelo telefone      	
12. 	04:08 	Rosa      	
13. 	03:41 	Naquele tempo      	
14. 	03:16 	Vou vivendo      	
15. 	02:59 	1 X 0      	
16. 	10:11 	Urubu malandro      

Paulo Moura e Pixinguinha fazem uma combinação perfeita em musica, dos arranjos à interpretação.É como se o instrumentista e arranjador fizesse uma leitura da alma do compositor, e não apenas de suas partituras.Paulo Moura concebeu este trabalho para homenagear o mestre na ocasião de seu centenário. Escolhe o repertório, fez os arranjos e remontou com um time de primeira, a versão atual dos Oito Batutas o grupo com o qual Pixinguinha viajou mundo afora.Os Batutas de Paulo Moura são Joel Nascimento no bandolim, Jorge Simas no violão de sete, Márcio Moura no cavaquinho, Jorginho do Pandeiro, Jovi na percussão e Zé da Velha no trombone. Deste trabalho saiu um primeiro CD que ganhou o Prêmio Sharp de 98.Esta edição que sai agora traz uma nova gravação mais quente e vibrante, de um show que o grupo fez ao final da turnê, e por isto mesmo com muito mais entrosamento, suingue e improvisos. O repertório deste CD é quase todo dedicado às composições de Pixinguinha, dos grandes sucessos como "Carinhoso", "Rosa" e "Um a Zero", a pérolas como "Lamento", "Ainda me recordo", "Naquele Tempo" e "Ingênuo" passando por músicas menos conhecidas, mas nem por isto menos geniais, como "Segura Ele" e "Proezas de Solon". Outras quatro faixas não assinadas pelo mestre têm toda a atmosfera de sua época e completam um repertório clássico do melhor da música carioca: "Pelo Telefone" (Donga e Mauro de Almeida), "Batuque na Cozinha" (João da Bahiana), "Mistura e Manda" (Nelson dos Santos Alves) e "Urubu Malandro" (Louro e João da Bahiana). Nesta última, aliás, Os Batutas comandados por Paulo Moura dão um show de interpretação, improvisando na melhor tradição dos grandes discos de Jazz. E o band-leader esbanja em todo o disco seu virtuosismo na clarineta. --- paulomoura.com

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1. Bonita
2. Travessia
3. Das Tardes Mais Sos
4. Homem do Meu Mundo
5. Buticada
6. Nem Precisou Mais Um Sol
7. No Brilho da Faca
8. Wave
9. Tres Pontas
10. Outubro

Personnel: 
Paulo Moura [alto-sax], 
Oberdan Magalhaes [tenor-sax], 
Darcy da Cruz [trumpet], 
Cesario Constancio [trombone], 
Luiz Carlos [bass], 
Wagner Tiso [piano] 
Paschoal Meirelles [drums]

Swanky, straightforwardly jazz versions of Brazilian tunes written by the likes of Tom Jobim, Luiz Bonfa and Marcos Valle. The stylish arrangements include piano work by Wagner Tiso (some of his best work, as far as I can tell...) This could uncharitably be derided as "dinner jazz," but for the terrain, and the time, this is very solid material, taking its cues from the cool tones of Miles Davis and Thelonious Monk, with an overlay of Severinsen showiness. Not particularly "Brazilian," but definitely "jazz..." Also notable for the abundance of Milton Nascimento material, five songs total, which are among the earliest recorded versions of Nascimento's work. --- slipcue.com

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01. 	06:53 	Sempre      	
02. 	04:18 	K-Xintema      	
03. 	04:53 	Auto plágio      	
04. 	04:57 	Catita      	
05. 	03:13 	Sonoroso      	
06. 	05:47 	Sonhando      	
07. 	09:52 	Ternura      	
08. 	07:12 	Just walking      	
09. 	05:40 	K-Ximbodega / Eu quero sossego      	
10. 	08:01 	Velhos companheiros

Musicians:
Paulo Moura - Clarinet, Alto Sax
Nelson Faria – Guitar
Maurício Einhorn – Gaita
Toni Botelho – Double Bass
Marco Pereira – Conductor

Paulo Moura. Instrumentalist, composer, arranger, and conductor. Born in São José do Rio Preto, São Paulo, in 1932, he is considered one of the most versatile and influential jazz musicians in Brazil. Although he has always revealed a great facility for improvisation, his mastery of the jazz and popular repertoires is supported by a solid classical background. He studied piano, harmony, counterpoint, composition, and orchestration with several renowned musicians and composers in Brazil, a training that is reflected in the imagination and formal complexity of his many arrangements and original compositions. In the late 1950s he worked as the official orchestrator and arranger of the Rádio Nacional, traveling with several of its musicians throughout Brazil and abroad. He has performed as a clarinetist with several orchestras in Brazil, and as a saxophonist with renowned jazz ensembles throughout Brazil and Latin America. He was one of the participants in the historical Bossa Nova Festival at the Carnegie Hall in New York, and received the Prêmio Sharp as the best popular music instrumentalist of 1992, among several other awards throughout his career. He founded and directed a great variety of chamber and orchestral ensembles, to many of which he contributed with original compositions. He currently teaches at the Instituto Villa-Lobos in Rio de Janeiro. --- ponteio.com

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01 – Lamento do Morro (Tom Jobim / Vinicius de Moraes)
02 – Eu e a Brisa (Johnny Alf)
03 – Meu Lugar (Luis Fernando Werneck / Danilo Caymmi / Fernando Brant)
04 – Aos Pés da Santa Cruz (Marino Pinto / Zé da Zilda)
05 – Yardbird Suíte (C. Parker)
06 – Sá Marina (Antônio Adolfo / Tibério Gaspar)
07 – Retrato de Benny Carter (Wagner Tiso)
08 – Razão (Alberto Arantes / Sergio Bittencourt)
09 – Feitio de Oração (Vadico / Noel Rosa)
10 – Terra (Milton Nascimento / Márcio Borges)

Musicians:
Paulo Moura - sax alto
Wagner Tiso – piano
Luis Carlos - bass
Paschoal Meirelles – drums

The saxophonist Paulo Moura is one of the few Brasilian musicians of note to be associated with the classic 60s period of bossa nova and Brasilian groove who also had a recording career pre-bossa. In the late 50s Moura was recording in a straight jazz style for the Brasilian RCA label. Both the artwork and the arrangements of his albums had more than a nod towards the West Coast jazz movement that so influenced the early creators of what became the bossa nova in Brasil. These records featured arrangements of jazz standards like 'East of the Sun' and 'Tenderly' by fellow 'jazzophiles' Moacir Santos and Cipó.

Paulo Moura was already a musician of some stature in Brasil by the time that the bossa nova phenomenon occurred, and, as such, was in a prime position to take part in the new experimental groups that were mixing bossa nova with the sound of American jazz from the 60s, such as Os Gatos and Os Catedráticos. Moura played with Sergio Mendes in a group that did exactly that and was part of the famous Cannonball Adderley Sextet in NY. He also played on countless record sessions where there was a need for improvised solos, however short. But Moura's twin loves of jazz and Brasilian popular music (later to be heard in his almost complete transition to a player of folkloric 'choros') reached their apogee in the few recordings that he made for the tiny, but highly influential, Equipe label during the second half of the 1960s.

Of these three jazz recordings as leader, this album 'Paulo Moura Quarteto' is perhaps the rarest and least known. With a band that included the young pianist Wagner Tiso, fresh from Minas Gerais and the group Sambalanço, (later so instrumental in the career of Milton Nascimento) and the drummer Paschoal Meirelles (known to fusion fans as founder of Cama de Gato in the late 70s), Moura is in his element. Taking their cue from popular tunes of the day like Antonio Adolfo's 'Sá Marina' (which enjoyed massive success in the US with the Sergio Mendes version called 'Pretty World') the group show what the sidemen where capable of given a free rein and a willing producer. Forget the countless American tenor player's LPs in a 'bossa nova setting' - the Paulo Moura Quarteto improvise naturally over subtle and organic bossa rhythms that are the real thing! ---cdbaby.com

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