ASHANSU TIMBALADA FREE DOWNLOAD

But the compositions are depressingly ordinary, with too many boring block chords and hardly any arresting snatches of melody. But he brings an edge to everything that keeps it from turning into World Beat mush, and almost every single track is memorable "Mares de Ti" is damn near unforgettable. I wish I didn't have to mention this, but it's a 2-CD set, with the second disc containing excruciating dance remixes of nearly every song from the first disc. He soon set up Timbalada, a bloco-afro group a large ensemble consisting of guitar, keyboards and a hundred or more percussionists along the lines of Olodum. Olodum's own self-titled feature is even duller - no melody instruments or vocals, just slight variations on a basic pulse.

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The record also includes two tracks written and performed by Herbie HancockWayne Shorter and Brazilian ashamsu ensemble Olodum "The Seven Powers," "Gwagwa O De" - in both cases, Olodum lays down its usual polyrhythmic beat while the jazz players noodle Hancock more successfully.

Not as packed with memorable moments as most of his solo albums, but there's plenty to like "Ala A A," spotlighting Brown's underused falsetto.

At 13 changed his name to reflect his adoration of James Brown. Produced by Brown and Ashanu Rangel. I wish I didn't have to mention this, but it's a 2-CD set, with the second disc containing excruciating dance remixes of nearly every song from the first disc. But in addition to playing all kinds of percussion, guitars and everything else he could get his hands on, Brown has a supple, unassuming voice, and it's easy to just let the syllables float by without worrying too itmbalada about them.

It's more like the square root of its parts.

Hits kept piling up - he charted at least thirty compositions during the decade - and in he finally released a solo project that conclusively demonstrated the breadth of his talents, including his seldom-heard singing voice. DBW Brown has contributed percussion, arrangements or compositions to a huge percentage of the Brazilian records I own, regardless of genre.

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Bernie Worrell adds organ prominent on the gentle, percussion-free opener "Retrato Calado". So don't start here, but if you're already a fan you'll enjoy the stripped-down funk of "Busy Man" and the afro-bloc fire of "Cachorro Louco" and the squeaky strings of "Cold Heart. Again, most vocals are chanted by a large chorus; Gomes again sings lead on two tracks: Perhaps it's fair to ding Brown for continuing to work within the same parameters, but if you do, at least acknowledge he's the master of what he does.

But he brings an edge to everything that keeps it from turning into World Beat mush, and timbslada every single track is memorable "Mares de Ti" is damn near unforgettable.

There's more filler than you'd want "Nabika"; "Cabuleria"but it's a decent piece of work.

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DBW Alfagamabetizado Finally, a solo project. But the compositions are depressingly ordinary, with too many boring block chords and hardly any arresting snatches of melody. Brown can make absolutely anything into a percussion instrument, and his voracious appetite for new sounds results in wide-ranging, pan-rhythmic, invigorating music. Olodum's own self-titled feature is even duller - no melody instruments or vocals, just slight variations on a basic pulse. And again, Brown pulls a bunch of deceptively simple melodies from his bag of tracks, both upbeat chants "Sambadream" and introspective mood pieces "O Gado E A Jangada".

He soon set up Timbalada, a bloco-afro group a large ensemble consisting of guitar, keyboards and a hundred or more percussionists along the lines of Olodum. The biggest surprise isn't a pleasant one: Produced by Brown, Dero and Guerrieri.

There's still plenty of percussion, but it's not the sole focus, and the tunes are more complex and wide-ranging: But most tunes feature a full band of guitar, bass, horns and percussion, often spinning out markedly similar samba grooves "Amantes Cinzas"and completely lacking the unpredictable spark of Alfagamabetizado.

Use Disc 2 as a coaster while you're listening to Disc 1. The mixes are endless and dull, with an overbearing emphasis on the basic pulse, so the tunes which were pleasant the first time around lose their luster "Mariacaipirinha" and the stuff that was so-so becomes unbearable "Favelatecno". As you'd expect, though, the peripatetic Brown doesn't stick to the theme, jumping around with ballads, one techno track pointing the way to Candyall Beat "My Honey"and some of his patented "smooth melody grafted to gritty percussion" "Aganju"; the extraordinary "Baby Groove".

Initially working as a percussionist, his composing abilities came to light after he began writing commercial jingles for a radio station; hits for a variety of Brazilian stars followed, mostly using heavy Afro-Brazilian drumming but also some lighter pop. This is startling because I haven't intentionally sought out records he was involved with. A surprising number of 70s pop figures turn up: There's one miraculous song, the romantic "Loved You Right Away" written with BeBe Winans ; otherwise, the record is less than the sum of its parts.

Though it's not revolutionary or truly experimental, it's a tour de force of stylistic and emotional range, with equal melodic and rhythmic power. Lyrics were never Brown's most disciplined area, and here he gets really weird, with Portuguese, English, nonsense words strung together in no discernable pattern. The four new cuts, mostly produced and sung by Brown, vary ashanau approach and quality: