The arena rock band behind one of the fastest-selling debut albums in history, Boston was essentially the vehicle of guitarist and studio wizard Tom Scholz, born March 10, 1947 in Toledo, Ohio. A rock fan throughout his teen years, he began writing songs while earning a master's degree at the Massachusetts Institute of Technology…
One of the few professional bands from the Marche, on the Adriatic side of central Italy, Agorà were formed in 1974 near Ancona, and played a jazz-rock very influenced by the likes of Weather Report or the italian group Perigeo, with a very limited use of progressive sounds. Some of the band members had previously been in a rock band called Oz Master Magnus Ltd. Despite not being so popular they were contacted to play the famous Montreux international jazz festival in Switzerland that gave them a deal with Atlantic. Their first LP was a live album, recorded during that festival. Mostly instrumental and just 30 minutes long, the LP has its moments, with just four long cuts (one of which is curiously split between the two sides of the LP), that often resemble some english jazzy-prog bands of the early 70's.
Joaquim Pinto, who has been living with HIV for more than two decades, looks back at his life in cinema, at his friendships and loves, at the mysteries of art and nature - while undergoing an experimental drug treatment.
Paulo Diniz knew success in the '70s with compositions and interpretations soaked with the freewheeling spirit of those times, a mixture of post-1968 protest with the joyous character of Bahian music. "Quero Voltar Pra Bahia" ("I Wanna Go Back to Bahia"), a nostalgic tribute to Caetano Veloso who was exiled in London at the time, was recorded by several other interpreters, including Fagner. Diniz also had his "Símbolo de Paz" recorded by Elizeth Cardoso; "Pingos de Amor" by several interpreters, including Araketu, Kid Abelha, Neguinho da Beija-Flor and Sula Miranda; "Chega" by Simone; "Um Chope Pra Distrair" by Emílio Santiago; and "Canseira" by Clara Nunes.
Brazilian-born percussionist Paulinho Da Costa's first album as a leader is very much an album of its era, for good and bad. Da Costa is the preeminent Brazilian percussionist of his time, and his kinetic grooves, built on a variety of traditional Afro-Cuban percussion instruments, power these six lengthy workouts. Indeed, on the hypnotic "Terra," his percussion is nearly the only instrument. However, the rest of this album tends toward standard mid-'70s jazz-funk.