(Vocal Jazz, Bossa Nova) Paula Morelenbaum - Telecoteco - 2008, FLAC (image+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 3. June 2013, 18:11
Paula Morelenbaum / Telecoteco
Used drive  : ASUS    DRW-24B1LT   Adapter: 5  ID: 1
Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
Read offset correction                      : 6
Overread into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Native Win32 interface for Win NT & 2000
Used output format              : User Defined Encoder
Selected bitrate                : 768 kBit/s
Quality                         : High
Add ID3 tag                     : No
Command line compressor         : C:\Program Files\Exact Audio Copy\Flac\flac.exe
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TOC of the extracted CD
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        9  | 30:08.32 |  3:18.72 |    135632    |   150553
       10  | 33:27.29 |  3:30.48 |    150554    |   166351
       11  | 36:58.02 |  4:18.28 |    166352    |   185729
       12  | 41:16.30 |  3:41.63 |    185730    |   202367
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     Filename F:\audio\Paula Morelenbaum - Telecoteco.wav
     Peak level 98.9 %
     Extraction speed 5.5 X
     Range quality 100.0 %
     Test CRC 288B285A
     Copy CRC 288B285A
     Copy OK
No errors occurred
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No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database
End of status report
---- CUETools DB Plugin V2.1.3
[CTDB TOCID: knMqhKMKWuIu0Mw0EFNDpLAA7Zs-] found, Submit result: already submitted
[67d29237] (2/2) Accurately ripped
==== Log checksum C1C243D220523F306F81D42416CD99D78A26FF682FB02FD28822BE7A50E5548D ====

REM GENRE Jazz
REM DATE 2008
REM DISCID 930A8A0C
REM COMMENT "ExactAudioCopy v1.0b3"
PERFORMER "Paula Morelenbaum"
TITLE "Telecoteco"
FILE "Paula Morelenbaum - Telecoteco.wav" WAVE
  TRACK 01 AUDIO
    TITLE "Manha de Carnaval"
    PERFORMER "Paula Morelenbaum"
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "Nao Me Diga Adeus"
    PERFORMER "Paula Morelenbaum"
    INDEX 01 04:50:36
  TRACK 03 AUDIO
    TITLE "O Samba e o Tango"
    PERFORMER "Paula Morelenbaum"
    INDEX 01 08:13:07
  TRACK 04 AUDIO
    TITLE "Love Is Here to Stay"
    PERFORMER "Paula Morelenbaum"
    INDEX 01 11:49:14
  TRACK 05 AUDIO
    TITLE "Um Cantinho e Voce"
    PERFORMER "Paula Morelenbaum"
    INDEX 01 15:40:60
  TRACK 06 AUDIO
    TITLE "Ilusao a Toa"
    PERFORMER "Paula Morelenbaum"
    INDEX 01 19:27:11
  TRACK 07 AUDIO
    TITLE "Teleco-teco"
    PERFORMER "Paula Morelenbaum"
    INDEX 01 23:29:08
  TRACK 08 AUDIO
    TITLE "Sei La se Ta"
    PERFORMER "Paula Morelenbaum"
    INDEX 01 27:07:34
  TRACK 09 AUDIO
    TITLE "O que Vier Eu Traco"
    PERFORMER "Paula Morelenbaum"
    INDEX 01 30:08:32
  TRACK 10 AUDIO
    TITLE "Voce Nao Sabe Amar"
    PERFORMER "Paula Morelenbaum"
    INDEX 01 33:27:29
  TRACK 11 AUDIO
    TITLE "Ternura Antiga"
    PERFORMER "Paula Morelenbaum"
    INDEX 01 36:58:02
  TRACK 12 AUDIO
    TITLE "Luar e Batucada"
    PERFORMER "Paula Morelenbaum"
    INDEX 01 41:16:30

As the poet Vinicius de Moraes suggested, Bossa Nova was a mood, an atmosphere, a state of mind. But which was the path taken by Brazilian music until it gained the strength brought by Bossa Nova?
Telecoteco presents itself as somewhat of a free essay on modern pop music in Brazil. And I say so because the album seems to move by the force of a historical vision, of critical viewpoints, of concepts. Thus, its repertoire emerges like a proposal on the fundamentals of Brazilian songwriting: diversity of styles and nationalities with an openness towards influences and modernization. In essence, Telecoteco brings to the forefront the wide range, the crossover, the invention, the simplicity, the sophistication, the popular alongside the classical and the passion right next to the irony.
From its title, Telecoteco, (the word refers to the onomatopoeic sound of a particular drumming pattern) points to the samba and its playfulness, invented by a modern urban country that found in this rhythm a language capable of translating its cultural complexity. The repertoire, ranging from the late thirties to the early sixties, contains songs where the easy nature of its poeticism and musicality shine.
The other fundamental reference in Telecoteco is Bossa Nova. Most of the compositions in it preceeded this era, and announced themselves as a set of signs, heralding this musical style that would embody the whole process of modernization which popular music was undergoing at that time. The Bossa Nova feel in Telecoteco is a mood, an atmosphere. A clear example of that is the tune with the most Bossa Nova-esque flavor in the record, “Um cantinho e você”, a Samba-Canção originally recorded by Dick Farney in 1948, ten years before Bossa Nova acquired its groundbreaking format with João Gilberto’s acoustic guitar and voice.
Telecoteco, with its cleverly and extremely well researched selection of songs, lends both a powerfully intellectual and  conceptual dimension, giving it a contemporary treatment where the interpretation, arrangement and instrumentation elevate the freshness and the timelessness quality of the melody, harmony and the lyric. A good example is the open, dynamic and modern treatment applied to a tune like “O samba e o tango”, a delicious mix of musical styles recorded by Carmen Miranda in 1937 on 78 rpm that incorporates Samba, Tango and Bossa Nova (the actual term “Bossa” appears in the lyrics) yet leaping straight ahead to the electronic music realm of the dance floor.
With vigor and beauty, Telecoteco  intertwines Choro, Tango and American Jazz (found in Gershwin’s Latin-tinged “Our Love is Here to Stay”, showcasing the influence of the American Musical in the vocabulary of Brazilian musicians) and some of the Samba variations: the nimble and delicate, the full-tilt type and the Samba-Canção, which, until the emergence of Bossa Nova, was the modernizing factor in Popular Music songwriting.
In Paula Morelenbaum’s Telecoteco everything comes from the Samba and returns to the Samba in terms of fusion and dialogue. What is reaffirmed is exactly the fact that it is a composite of modern, old, and  contemporary all capable of assimilating and treading other rhythms, languages, idioms and attitudes.

Paula Morelenbaum - vocals, production
Jacques Morelenbaum - cello
Ryuichi Sakamoto, Joao Donato - acoustic piano
Marcos Valle - vocals, Fender Rhodes
Leo Gandelman - saxophones, flute, arrangements, production
Lula Galvao, Chico Pinheiro - acoustic guitar
Antonio Pinto, Alberto Continentino - bass
Mauricio Alves, Joao Parahyba, Sidinho - percussion
and others
Recorded at Ambulante Estúdio (SP), Zaga Music, Estúdio Corredor 5 and Estúdio Plage (RJ) from June 2007 to January 2008.