The Breeze And I
Laurindo Almeida
Arranged and Conducted by Larry Cansler, Lex de Azevedo and Pete King
Produced by Sonny Burke
Produced by Sonny Burke
Recorded on July 14, 15 and 16, 1969, at Western Recorders, Hollywood, California
Cover Photo: Ken Biggs
Art Direction: Ed Thrasher
Warner Bros. - Seven Arts
1969
From the back cover: Since joining forces with the Stan Kenton Orchestra shortly after immigrating to this country in 1947 from his native Brazil, Laurindo Almeida has been frequently acclaimed as a brilliant guitarist in both the classical and jazz idioms and as a musical innovator. To mention but one of his innumerable contributions to the literature of jazz, he is generally credited with the fusion of American jazz elements with the samba form of his native country – coming up with what we know as the bossa nova. Which is actually another story from the one on Classical Current, in which the always-experi- menting virtuoso weds, through his use of an electronic classical guitar, familiar forms with some of the more amenable elements of musique concrete, interest in which has increased almost geometrically since rock musicians began studying the work of John Cage and attempting to duplicate some of his more rudimentary effects in their own work.
We are confident that Laurindo Almeida's Classical Current will prove one of the most enduring and influental corpuses of work to emerge in the broad area of electronically-influenced music.
The Breeze And I
My Reverie
Till The End Of Time
The Lamp Is Low
Baubles, Bangles And Beads
Full Moon And Empty Arms
Moon Love
My Prayer
My Moonlight Madonna
Our Love
When I Write My Song
Theme From The Warsaw Concerto
Warner Bros. - Seven Arts
1969
From the back cover: Since joining forces with the Stan Kenton Orchestra shortly after immigrating to this country in 1947 from his native Brazil, Laurindo Almeida has been frequently acclaimed as a brilliant guitarist in both the classical and jazz idioms and as a musical innovator. To mention but one of his innumerable contributions to the literature of jazz, he is generally credited with the fusion of American jazz elements with the samba form of his native country – coming up with what we know as the bossa nova. Which is actually another story from the one on Classical Current, in which the always-experi- menting virtuoso weds, through his use of an electronic classical guitar, familiar forms with some of the more amenable elements of musique concrete, interest in which has increased almost geometrically since rock musicians began studying the work of John Cage and attempting to duplicate some of his more rudimentary effects in their own work.
We are confident that Laurindo Almeida's Classical Current will prove one of the most enduring and influental corpuses of work to emerge in the broad area of electronically-influenced music.
The Breeze And I
My Reverie
Till The End Of Time
The Lamp Is Low
Baubles, Bangles And Beads
Full Moon And Empty Arms
Moon Love
My Prayer
My Moonlight Madonna
Our Love
When I Write My Song
Theme From The Warsaw Concerto
