Nice break out session recorded in the U.S. for Sergio Mendes's A&M label with songs in English & brilliant scat vocalese by this very fine singer/song-writer by the name of Edu Lobo. This would sit nicely next to any of the other song-writers of that generation, namely, Joyce, Milton Nascimento & Chico Buarque De Hollanda to name a few. This record has some very strong offerings & it also has some flaws in my opinion. Since this was recorded in 1969, I guess they were trying to sell this artist to the Beatles generation by adding "Hey Jude" to this set. Personally I think this record would have been a better document without that composition on it. I'll site Milton Nascimento's reading of "Norwegian Wood" on his Minas LP as a better example of a Beatles number handled to better effect. That said, there are some stunning examples of Brasilian songcraft here, most noteably, "Zanzibar", "Ponteio", "Even Now", "Crystal Illusions", & "Casa Forte". This is an excellent example of crossover Brasilian Folk-Pop circa 1970.
The real plus here besides Edo's fine voice & guitar is Hermeto Pascoal on piano & flute duties, so please listen for his work here.
As I say, I think this record is slightly flawed in terms of pacing in that it loses pace around track 8, but besides that this record more then makes up for that by being an outstanding specimen of Brasilian Folk-Jazz. Enjoy!
File Under: MPB/ Brasilian Folk-Jazz
P.S. Friends of this page who are super enjoying this movement of MPB & crossover Brasilian songwriting in general will place this record nicely next to Luiz Henrique's "Barra Limpa" [1967 Verve U.S.] or Marcos Valle's "Samba '68" also on the Verve U.S. imprint.
One last thing, Edu has a very talented wife by the name of Wanda Sá whose LP "Vagamente" [1964 RGE] is a yummy slice of Bossa Nova MPB & I think I'll post it for context. OK?
A super lovely mid-70's Lp of Sambas by Adoniran Barbosa. This is his second Lp for the Odeon label. This one is very out of print & was shared with me via a SLSK buddy. I had posted the first one last year & if this is enjoyed, then I'll gladly repost that one. OK? Only 29 minutes of music here, so you're sure to not be bored by this set. Enjoy this amazing recording of deep Sambas. Very, very nice & a solid listen. Don't forget to roll that "R" when you say Barrrrrbosa...ha, ha.
P.S. I love this more with each listen.
Greetings & a happy New Year since this is my first post of the new year. I'll pick up where I left off with my last post. Here is the 1974 Odeon set from Adoniran Barbosa which pairs perfectly with the '75 LP. This is listed as one of the essential MPB/Samba albums on the Luiz Americo tribute page on my sidebar. A really wonderful record & all compositions are penned by Adoniran. Spins beautifully & this is truly a great Samba album from a great era. This is my first contact with this artist & I must admit that I actually like the 1975 a little more but, this record is equally superb. As always, enjoy!
File Under: Samba
P.S. Another thing to consider here is that most of this artist compositions go back as early as 20 years before this session. So the bulk of this album is a reworking of this fantastic composers body of songs filtered through the lens of song-craft of 70's engineering & arranging. Bravo for this!
Another pick from the essential list of Luiz Americo on my sidebar. Only 7 tracks here, but what a 7 they are. Fantastic, fantastic, fantastic. So much to enjoy here. From the choral work, to the cuica playing to the overall groove laid down by Candeia & group. Great on all levels. Spins amazingly! A real treat! Get this!
File Under: Samba
P.S. I hate to compare apples to oranges, but this artist has an almost trancy type of deep soul vibe that I associate with an artist like James Brown. Candeia has amazing charisma & all fall under his magical spell on this session.
Friends of this page will know that I'm a big fan of the RCA Victor label during the 70's. This is another lovely example of that studio sound. Ismael Silva recorded very few albums, so that makes this all the more special. Sorry about the smaller size on this, but it was shared with me via a SLSK buddy. Please listen to the wonderful warmth of production on this very fine Samba LP. Ismael got a great voice & excellent guitar style. Sweet choral & cuica work here too. Very fleshed out production. A great artist.
File Under: Samba/Samba-Pop
Since I've posted the follow up on this page already, then this lovely example of Brasilian Rock belongs with that other magnificent LP. High quality composing, performing & recording on this session. If you've ever wondered if the Brasilians can rock out, then please try this & be in for a big surprise. Very, very nice & super rare too. Get this.
Thank you Greg C for this excellent share.
Erasmo Carlos - Carlos, Erasmo [1971 Philips]
01. De noite na cama (Caetano Veloso)
02. Masculino, feminino (Homero Moutinho Filho)
03. É preciso dar um jeito, meu amigo (Erasmo Carlos - Roberto Carlos)
04. Dois animais na selva suja da rua (Taiguara)
05. Gente aberta (Erasmo Carlos - Roberto Carlos)
06. Agora ninguém chora mais (Jorge Ben)
07. Sodoma e Gomorra (Erasmo Carlos - Roberto Carlos)
08. Mundo deserto (Erasmo Carlos - Roberto Carlos)
09. Não te quero santa (Vitor Martins - Saulo Nunes - Sergio Fayne)
10. Ciça, Cecília (Erasmo Carlos - Roberto Carlos)
11. Em busca das canções perdidas nº 2 (Fábio - Paulo Imperial)
12. 6 anos de vida normal (Paulo Sergio Valle - Marcos Valle)
13. Maria Joana (Erasmo Carlos - Roberto Carlos)
File Under: Brasilian Rock
P.S. You early 70's Rock-heads please treat yourself to this one. OK? You'll thank me.
This one goes out to my internet buddy Curty Ray @ PowerPop Overdose.
Also, this LP is a step in right direction for the song-writing team of Erasmo & Roberto Carlos. The follow up "Sonhos e Memorias 1941-1972" [1972 Polydor] is a fuller realization of their talents with every song being penned by this team.
Baiano E Os Novos Caetanos - Baiano E Os Novos Caetano [1974 CID & 1975 Som Livre] 320 kbps - 144 mb
Hey Everybody. So sorry for the lack of posts of recent days. Super busy with other creative projects. I bounce back with a lovely double dip. These are so welcomed by any fans of Arnaud Rodrigues or Azumbuja & CIA. Arnaud & crew deliver two breathtakingly funky Samba sets before a live audience. The vibe is superb between audience & band. I like the first of the two more, but equally enjoy both. I hope you find the play here ever so much fun? Enjoy!
File Under: Samba
P.S. I want to say that the main focus of this page is to look at key LP's of the 70's in Brasil. These 2 are classy examples of "Live Recording". Who ever was the engineer for these recordings really knew how to mic & mix that board. I find the fact that these are recorded before a live audience to be simply amazing examples of the art of recording!
Also, on the surface these projects are to poke fun at the early 70's musical landscape of Brasil but turn out to be something much more then that. There's some great groovin' on these sets.
If I were going to suggest one LP by this guitar master it would have to be this masterpiece of Bossa Nova Jazz. Why? Just for his flawless reading of his very own composition "Manhã de Carnaval" would be reason alone to hear this recording. Since this session dates from 1962, then this is truly one the breakout sets for the Verve U.S. label. Not one bad track here & one that your sure to come back to again & again. A very great outing for Bonfá & the Verve imprint. Super warm & great playing by all involved. Get this!
File Under: Bossa Nova / Brasilian Jazz
Saturdays are usually reserved for Samba, but today we go Forró. I had posted this one before, but alas I did not properly endorse this one. Let me rectify that by giving this one a big J Thyme hug & taking us a little more deeply into this Rolls Royce of the Forró set.
This record is in a class all by itself. What we have here is a level of production not usually afforded to this rustic form.
Philips rolls out the red carpet for the mighty Dominguinhos on this session. From the first toots of Dominguinhos honey toned accordian & the super crisp percussion work, by I would imagine, Wilson Das Neves whose tones are so clear & the perfect counterpoint to Dominguinhos sweet, sweet melodic stylings. This is a very sneaky one. It is somewhat a "fusion" record & to make matters more exotic, I would call a recording like this "Electric Forró" or even better "Disco-fied Forró". This set is actually on the bizarre side & if anyone knows the Polka form, then please offer me a Polka set that can go "Toe-To-Toe" with this Champagne PUNCH. Since this very fine recording is from 1976, I'll place this firmly in the "Disco" era & I'm sure any DJ with a brain in his head was dropping this magnificent slab of wax on unsuspecting listeners.
Thank you Greg for this super lovely share. Only a GENIUS could introduce me to such a beautiful recording. That's you Greg!
I hope I've done this masterwork of the Forró form a little justice?
Enjoy! This is joy with whipped cream on top!
File Under: Forró
P.S. If anyone has proper scans of the back & front of this LP, please share them with me.
Hey Baby, don't sleep on this wicked slice of Disco!
Country fried Disco!
Also, not only is this recording oozing with fidelity, but Dominguinhos mastery of this form & his instrument are mind-bogglingly brilliant.
God bless the Philips studios for giving this artist the big chance to shine.
Excellent example of mid 70's Brasilian Folk-Jazz of the Singer-Songwriter variety. This one has a beautiful Electric Jazz finish framing his inspired Folk style. The sound could be described as "Fusion". The playing here is very fleshed out by all players involved & perfectly laid to tape by the engineers over at EMI Odeon studios. Luiz Gonzaga Jr. really shines on this set & mid 70's in Brasil is such a "No Brainer" as far as quality is concerned. This one tops out at 40 minutes, but it manages to stay focused for the whole of the length. Very solid & a completely engaging listen. I love this recording. Flawless & very inspired songwriting here. When it comes to "It". This one has it! Enjoy!
Luiz Gonzaga Jr. - Plano De Vôo [1975 EMI]
01. O começo da festa (The begining of the party)
02. Tá certo, doutor (All right, doc)
03. Gás neon (Neon gas)
04. Quebra-pau (Ballroom fight)
05. Assim seja, amém (Let it be, amen)
06. Suor e serragem (Sweat and mown wood)
07. Mundo novo, vida nova (New world, new life)
08. Contos de fadas (Fairy tales)
09. Catatonia integral (Full catathony)
10. Niel cabeça de bola (Niel football head)
11. Plano de vôo (Flight plan)
12. Geraldinos e arquibaldos
File Under: MPB / Singer-Songwriter/ Brasilian Folk-Jazz
P.S. This one goes out to my buddy over @ Soundological Investimagations. Cheeba, try this. It should appeal to your Jazzy leanings.
This post is for my friends who dig A BEAUTIULLY RECORDED ELECTRIC SESSION. Super amazing set recorded in France by two Brasilian expatriates with a yummy Electric Bass & Keyboard sound fused to Brasil Folk with a nice, soft psych edge. Fans of Joyce & Milton Nascimento will marvel at this. Beautifully composed, performed & recorded. This is a very fine Brasilian Folk record with a lovely electric Jazz finish & would sit nicely next to my other post "Jaime & Nair" or "Burnier & Cartier" for that duo sound. Outstanding Guitars, Bass work & Keys & Nana Vasconcelos really shines here on percussion duties & did I mention the exceptional voice of Téca & Ricardo. Quite Heavenly. EXTREMELY BEAUTIFUL & HIGHLY ACCESSABLE! A flawless 37 minute MASTER-WORK. This LP soars like an Eagle. Enjoy!
Téca & Ricardo "Cade O Povo" 1976 Movieplay - France
02. Estrela Da Canção
03. Le Son Hante
04. Passaro Sem Asa
05. Cade O Povo
06. Pra Que Tanta Explicao
09. Cade O Povo (outro)
Avec la participation de: Gerard Arivony - Leonardo Ribeiro - Mauricio "Maestro" Mendoca - Nana Vasconcelos
Teca & Ricardo:
This duo was formed by Teca Calazans and Ricardo Vilas in France, where they lived from 1969 to 1979; they recorded seven albums. Active from 1971 to 1981, the duo performed in several European countries, divulging Brazilian popular and folkloric musics. Jardin Exotique (1979) included Cartola's "Tive Sim" with the participation of the composer. In the same year, they returned to Brazil where they still recorded two albums.
Their most important songs were "Caicó" (Villa-Lobos/Calazans/Milton Nascimento), "Estrela da Canção" (Villas), "Coco Verde" (Calazans/Villas), "Aguaceiro" (Calazans/Villas), and "Povo Daqui" (Calazans). ~ Alvaro Neder, All Music Guide
File Under: Brasilian Folk / MPB
P.S. The record's a total sleeper & those who enjoy a nicely aged wine will know when I make such a reference that I mean it.
Oh, & I forgot to add, this record rocks the fuck out!
Just give this one a few spins & you'll fall in love with it. OK?
This one benefits with the distance of time. Time was very kind to this session!
One final note. Nana Vasconcelos work on this album is in perfect CONTEXT. His style finds the ideal setting for his voice to be heard properly!
Lovely little 28 minute set for the Philips label by the very pretty voice of Gracinha Leporace. Just a light, breezy disc that represents the late 60's Brasilian sound so well. I post this more to highlight this singers work since she recorded on so many fine sessions.
Gracinha Leporace is the wife of notable Bossa Nova musician Sérgio Mendes. Born in Rio de Janeiro, Brazil. Before becoming a member of Brasil '77, she was the lead singer in a Bossa Nova group called Bossa Rio. She is the second wife of Sérgio Mendes. She was a member of his Brasil '77 line-up and sings backup vocals and occasional lead vocals on his songs.
She can be heard on all of these LP's to very good effect. I love the Grupo Manifesto Nº2 especially!
She can also be heard on this amazing session. "Raizes" or its U.S. title "Primal Roots" for A&M in 1972.
File Under: MPB
P.S. Any of the above can be found @ Loronix. I only present this post to show some of the various projects that this beautiful voice was involved with.
Excellent late 70's slice of Brasilian Pop with spectacular production & accordion/scat accompaniment by Sivuca. It seems that Sivuca works so well in the supporting role. You fans of Barra Limpa [1967 Verve] by Luiz Henrique will enjoy what Sivuca does here as well. Beautifully produced & overflowing with fidelity. This session has it all. Great on every level. One that I keep grabbing tracks from for my Showdowns. Thank you kindly Greg for this amazing LP. You ROCK!
Sun-drenched, just like the cover photo.
Very SOLID. Get this!
File Under: MPB/Brasilian Pop
P.S. Please, please listen for the quality of the electric bass work here. Super fine.
Also, this has been reissued by Mr. Bongo U.K. for those looking for vinyl.
There's so much to say about this record, so let me say a few things about it. Would there have even had been a Bossa Nova movement which reached worldwide notice without the help of Vinícius de Moraes? I don't think so! Since Vinícius was the author of Black Orpheus, then it is he who provided the biggest push to the Bossa movement & its breaktrough.
Black Orpheus (Orfeu Negro in Portuguese) is a 1959 film made in Brazil by French director Marcel Camus. It is based on the play Orfeu da Conceição by Vinícius de Moraes, which is an adaptation of the Greek legend of Orpheus and Eurydice, setting it in the modern context of Rio de Janeiro during the Carnaval. The film was an international co-production between production companies in Brazil, France and Italy.
The film is particularly renowned for its soundtrack by bossa nova legend Antonio Carlos Jobim, featuring songs such as "Manhã de Carnaval" (written by Luiz Bonfá) and "A felicidade" that were to become Bossa nova classics.
Black Orpheus won the Palme d'Or at the 1959 Cannes Film Festival as well as the 1960 Academy Award for Best Foreign Language Film and the 1960 Golden Globe for Best Foreign Film.
This recording finds Vinícius paired with the very gifted guitarist/singer Toquinho with whom he would enjoy a fruitful partnership for the better part of the 70's. Considering that Toquinho is half the age of Vinícius, then this is a testament of cross-generational collaboration of the highest order. These two fit together so well. Just listen to the perfect harmony these two achieve on the vocal level. Vinícius & Toquinho began their work together on the RGE label in the early 70's, but I find the Philips recordings to be much more fleshed out. This is one I place very high on my list of all time great recordings & one that belongs in the top 10. Listen for Bertrami on synth & Quarteto Em Cy on choral backup duties. A true masterwork & this Japanese issue is lovingly remastered. A very nice listen & a perfect LP to remember Vinícius de Moraes & his teaming with Toquinho by. Enjoy.
File Under: MPB
P.S. Like the Johnny Alf post, this record is more a Bossa type recording but recorded in the more modern MPB style.
Bud Shank With João Donato - Bud Shank & His Brazilian Friends [1964 Pacific Jazz] 320 kbps - 72 mb (Reup)
I post this to go along with my other João Donato set. There was a big wave crashing on U.S. soil circa 1963 & this is part of that wave of Brasilians who would make the United States their home & bring their songcraft to a market that could swing with what they were swinging. This session finds João Donato being embraced by the U.S. Jazz players, namely Bud Shank. Bud is one to spot talent & grabs this artist's growing songbook & hops right into the studio with João in tow. Beautiful breakout set for this traveling salesman of song. Lovingly handled by Budd Shank on Alto Sax, João Donato on Piano, Rosinha De Valença on Guitar, Sabastion Neto on Bass & Chico Batero on drums. For Jazz heads & those who enjoy taking an early look at the genius of this gifted pianist. Very nice!
File Under: MPB/Brasilian Jazz
P.S. Yes, this is another Japanese issue with flawless remastering. Every track a tasty piece of sushi. Yum, yum. Tastes good to me!
Since I'm on a nice early Bossa Jazz dip, then I think a set like this would be a nice change of pace. but not taking us away too far the overall vibe of this page. Here we have a stunning set of Bossa inspired soundtrack Jazz handled expertly by the finest Italian composers. Hats off to whoever put together this excellent look at how flawless Bossa Nova was done in Italy. Some records just spin so well & this is one of them. This is such a winning set. I love how this retains all of the integrity of Bossa Nova & yet remains distictly Italian all at once. These tracks are taken from Italian films from the late 60's through the late 70's. This is one I return to again & again. Total ear-candy & if you own a nice sound system, all the better. Beautifully paced & expertly selected. This is such a groovy listen. Don't miss this.
V.A. - Bossa Galore - Lounge At Cinevox [Cinevox Italy]
01. Metti Una Sera A Cena - Ennio Morricone (1969)
02. Bossa In California - Marcello Gigante (1963)
03. Bob And Hellen - Piero Umiliani (1971)
04. Silvana (Bossanova) - S.Brugnolini - L.Malatesta
05. Il Costruttore - B.Lauzi (1972)
06. Aspetto Ancora Un Giorno - Piero Piccioni (1969)
07. Il Maschio Ruspante - Gianni Ferrio (1972)
08. Gungala Nido - S.Brugnolini-L.Malatesta-C.A.Bioxio (1967)
09. Manomozza Is Discovered - Guido e Maurizio De Angelis (1973)
10. Elena... Elena - Gianni Ferrio (1973)
11. I Due Kennedy (Bossanova) - Carlo Savina (1969)
12. Crystal - Piero Umiliani (1969)
13. Piedone L'africano (Bossanova) - Guido e Maurizio De Angelis (1977)
14. Euforia - Bixio-Frizzi-Tempera (1976)
15. Papaya - Stelvio Cipriani (1974)
File Under: Italian Bossa Jazz
P.S. I had the chance to spin this on a very nice sound system this past weekend & was delighted by the warmth & fidelity. Please listen for the bass clarity.
Also, the CD artwork could have been done better. Too bad, because the contents are very, very enjoyable. So please don't judge this book by its cover.
Since I have a large collection of Brasilian discs & have heard what I consider to be more then enough to make a serious evaluation of some of the most important recordings of this culture & this era, I'll step in here & place a crown on this masterful achievement of artistry & excellence. If I were to have a top 20 of all time great recordings of the 70's, this would certainly be in the top 10. This is one of the most perfect LP's that I've ever heard. João's skill on the keyboard & his songwriting reach a milestone on this spectacular session. Considering that this artist was around in the pre-Bossa days of the late 40's like Jobim, Gilberto, Alf & Vinícius de Moraes, then this set was, let's say, 22 years in the making. Some artists put in many years to develop their craft to its fullest & that mastery is achieved here in a big, big way! Bravo to João Donato for this masterpiece of not only MPB, but of international Jazz of this era.
I think this recording is that rare achievement of perfection only attained by a few people & perhaps only one time in their career. João has the most amazing phrasing that I've ever heard on any keyboard player. Melodies like gems. Perfectly formed & sparkling a light that can only come directly from a divinely loving heart. This artist is blessed with a gift & he's freed his talent to a place of unparalleled beauty. Artistry should cause us to be in awe of it's magnificence & this one does!
Please listen carefully for João's mastery of the piano & his nimble touch & impeccable phrasing. I give this my highest rating that I could bestow on a recording. That's 6 stars of a possible 5. Magnificent!
File Under: MPB/ Brasilian Jazz
P.S. Flawless Japanese issue with heavenly remastering. Also, that's João on arrangement duties & he doubles on trombone as well on this beautifully embellished work. That's talent! Very nice guitar & bass work here, so listen to the warmth on those players too & that's Nãna Caymmi lending her lovely voice to track 11 "Mentiras". A lot to love here!
Also, if pressed to make a distinction about the various recordings before & after this MASTERPIECE, I would have to say that "A Bad Donato" [1970 Muse] is not as fully realized & not recorded in Brasil like this set & "Lugar Comum" [1975 Philips] is a bit overproduced & loses pace. This is his most focused set, but his composing talents are beautifully realized on both, Bud Shank & His Brazilian Friends [1964 Pacific Jazz] & Bossa Nova Carnival [1962 New Jazz/Prestige] Dave Pike plays the music of João Donato. Both are fantastic early examples of this genius. The New Sound of Brazil [1965 RCA Victor] is also very, very worthy.
Since I love Point/Counterpoint, I find that what João's doing here vocally to be much more fleshed out in the way of highlighting his outstanding gift for counterpoint phrasing then on "A Bad Donato". Nuff said.
Hey everybody! I see that this lovely session is not up on any pages so I thought I'd reup it for a few of you to peep. This one was posted on Quimsy's Mumbo Jumbo, but the link seems to have expired. I offer it here, but ask that if you find yourself enjoying it that you purchase it from Dusty Groove America. OK? I don't think I can top the words offered by Quimsy, so I use his review & thank you Quimsy for the amazing information on this very fine one off set.
Picture a band that features musicians from schools so different as the multi-instrumentalist Hermeto Pascoal, the post-tropicalist guitar hero Lanny Gordin, bossa nova pianist Cido Bianchi (former Milton Banana Trio), acoustic guitarist Olmir 'Alemão' Stocker and jazz bassist Nilson da Matta. The surprising meeting happened in 1968 and helped write a little known chapter in the history of instrumental music in Brazil called Brazilian Octopus, whose only release is hunted by record collectors. "This is undoubtedly the strangest Brazilian group ever", writes Marcelo Dolabela in his dictionary ABZ do Rock Brasileiro (printed on Estrela do Sul, 1987). "At that time, we didn't care about the money, we just wanted to play. It was a wonderful experience", recalls Celso Bianchi, also a maestro and arranger.
Brazilian Octopus was lined up in São Paulo in the beginning of 1968 by Lívio Rangan, manager of a textile factory that promoted musical fashion shows to promote their products. "Lívio used to like me a lot. He even claimed he was gonna turn me into the new Sergio Mendes", tells the musician, appointed by Rangan as the group's coordinator. In fact, Brazilian Octopus was born with uncommon space in the market: a contract for a year of work that included three months of rehearsals during which the musicians received salaries. At that time, the band also recorded an album with Japanese saxophonist Sadao Watanabe.
'Gigs In A Cage'
The music director of the shows was the tropicalist maestro Rogério Duprat. Gilberto Gil, Caetano Veloso and Eliana Pittman also participated. "I dressed up in a lion costume in many of those shows. The whole group dressed up in animal costumes and played inside a cage", Hermeto recalls. Despite their very different backgrounds, the members knew one another because they all hung out in the same venues, specially the nightclub Stardust (managed by Lanny's father), where Hermeto, Bianchi and Alemão often performed. "I remember that we were rehearsing when the news was broken that guitarist Wes Montgomery had passed away", says Alemão. "As usual, there were little quarrels", claims the saxophonist Carlos Alberto, noticing that the "incompatibility of ideas" was frequent within the group, especially when it was time to choose the set list. It was different when, after a few months into rehearsals, the event manager suggested that the group make an album. "Lívio Rangan thought that we could insert a number of radio-friendly songs into the disc", recalls Alemão, who was in charge of contacting songwriters with whom he had worked before. "I gathered a number of unreleased songs which were refused by Cido Bianchi, who was more interested in playing jazz. One of them was Jorge Ben's País Tropical", teases the guitarist.
"Even when we had to play French or Italian songs that were part of the factory's repertoire, we always did it with dignity. That work influenced many of the things that I do today. That's why I reckon music is universal. Everybody is influenced by everybody else", says Hermeto, who was responsible for coordinating collective arrangements after a few misunderstandings popped up among the musicians. He also wrote two themes featured in this very rare LP : Rhodosando and Chayê, which were pop and Cuban cha-cha-cha fusions. "I got inspiration from the fashion models to write those songs. I already played nightclubs, then, so I could play many different styles", remembers the musician from Alagoas.
'Unexpected Extras On The Cover'
Other members also contributed with original compositions: Alemão (Canção Latina, written with Vitor Martins), vibraphone player João Carlos Pegoraro (Summerhill) and Lanny (O Pássaro). The recording of the latter provoked an argument between Hermeto and the sound technicians. "Due to the song's repetitive melody, he wrote the counterpoint to be played by two flutes, just to liven it up a bit. But when he heard the mixed track, the counterpoint had vanished. Hermeto was so furious that he wanted to beat the technician up ", laughs saxophonist Carlos Alberto, who also recalls that Pascoal does not appear on the cover of the album because he couldn't make it to the photo shooting. A clerk from an advertising agency sat by the piano, instead - as well as an old timer, a dog and a child, who had nothing to do with the making of the album, but appeared on the cover. The shooting took place on a piece of land that looked like the surface of the moon - a reference to the space race between the USA and former USSR.
Produced by Mário Albanese and Fausto Canova, the album Brazilian Octopus features new arrangements for Casa Forte (Edu Lobo), Pavane (Gabriel Fauré), Canção de Fim de Tarde (Walter Santos and Thereza Souza), Gosto de Ser Como Sou and Gamboa (Mário Albanese and Ciro Pereira), exploring a characteristic sound yielded by the flutes with the vibraphone, organ and guitars. "We never received a penny for that LP. It seems that it was released in Europe, even enjoying a little success", says Carlos Alberto, who claims that the members of the band tried to talk to Fermata's CEOs and get to know about the sales. Instead of checks, all they got was laudatory comments and an invitation to make a new album. Figuring that they would not get any money from it, they turned it down. The octet ended right there and then.
File Under: Brasilian Jazz
P.S. This is one groovy little session. Just good fun.
A very nice example of the television soundtrack which goes by name of "Trilha Sonora Original Da Novela". This and the "Selva de Pedra TSO" are two of my favorites of this form. Every track's a winner. This spins beautifully. At 34 minutes you're sure to not be bored. Fans of Ennio Morricone, please don't miss this. Some very sweet theme & variation here. Enjoy!
Véu De Noiva TSO [1969 Philips] V.A.
01. Tema De Luciano - Luíz Eça
02. Tele Tema (Tema De Amor) - Regininha
03. Azimuth (Mil Milhas) - Tema De Marcelo - Apolo IV
04. Gente Humilde - Márcia
05. Depois Da Queda (Tema De Flor) - Roberto Menescal
06. Irene - Elis Regina
07. Andréa - Joyce
08. Azimuth (Mil Milhas) - Tema De Marcelo - Apolo IV
09. Tele Tema (Tema De Amor) - Regininha E Laércio
10. Irene - Wilson Das Neves
11. Abertura - The Youngsters
12. Tele Tema (Tema De Amor) - Claudio Roditi
File Under: Soundtrack/MPB
P.S. Japanese Issue with excellent re-mastering.
Before I present this post I'd like to set this up a bit. Since it's baseball season, I'd like to make reference to that sport. This post & the two next to this post, Les Masques - Brasilian Sound [1969 CBS] France & The Silhouettes - Conversations With The Silhouettes [1969 Segue] U.S., are so in the same ballpark that I would love to load the bases & perhaps bring in a heavy hitter to bring them home & score 4 runs.
This one was recorded in Germany for the MPS label in 1969 by U.S. Jazzman George Duke. His discovery of 5 Philippine sisters who sing amazing 5 part harmony is such a catch. He frames them perfectly in a Bossa Jazz setting & does for German Jazz what Quarteto Em Cy do in Brasil, wonderful MPB styled Jazz-Pop except sung in English. I could qualify a record like this by comparing it to Austin Powers groovy, but I won't. Just some sweet 5 part vocal Jazz served up Bossa style by 5 Philippine sisters is enough to bring back my fondest memories of Bill Murray's lounge singer. I'll bet he wished he discovered these ladies. This post goes out to my buddy Greg who shares a taste like me for yummy Jazz parfait. I hope you do too? Enjoy!
File Under: German Bossa Jazz
P.S. I include this image, because I'm sure the original album artwork was closer to this style & I wish when re-issuers do re-issue that they'd just leave the darn original artwork intact. Please? In fact, if anyone has the original cover then please share it with this page.
Also, two excellent Beatles covers here, "Got To Get You Into My Life" & "Eleanor Rigby", which I prefer to the original.
Thank you Jazzman for the original cover.
Excellent example of Bossa inspired French Jazz Pop. Words to convey a lovely little 30 minute set such as this would be, "Groovy", "Easy", "Fun", "Breezy", "Lighthearted" & they would perfectly get the idea across. I think this record has aged well & yes, I think Austin Power's romps would be even more memorable with liberal sprinklings of tracks from a disc like this. Spare a half an hour & float on this French perfumed Bossa cloud of vocal Jazz. Lovely!!!
File Under: French Bossa Jazz/ French Jazz Pop
P.S. That's Le Trio Camara backing the lovely ladies. Their - Le Trio Camara [1968 Saravah] France, can be found at Loronix.
I thought I'd bounce back easy. Easy enough?
Also, Stereolab wishes they were this tight. Sorry Stereolab. Tighten up your song-writing! If anyone finds that remark offensive, then boy do I have a pie to toss in your face with this record!
Of the three of these international Bossa Jazz sets, I'd say this is perhaps my favorite of the three, but all three are certainly in the same ballpark both stylistically & of the same era & are also stunning examples of Bossa's influence on World Jazz Pop. This would also play nicely off of my Italian Bossa Jazz set that I've posted as another point on this subject. Produced by Nathan Haynes in the U.S. for the Seque label. This record has some real chops & some trippy influences colliding within this lovely swirl of U.S. Bossa Jazz Funk. I hope the impact of hearing these three together keeps us focused on the goal of a page like this to cross refer information for the ultimate MPB experience. This is a seriously fantastic record. Flutes, Vibes, Electric bass & groovy femmes to tickle the fancy. "Norwegian Wood" gets a very nice rendering here. I adore this record. Aged really well & not one bad number on this foxy ass set. Love the flute work on this & the female vocalist is super yummy & accessible! Flawless.
File Under: U.S. Bossa Jazz Funk
P.S. I love to load the bases & now let me see if I can bring someone good enough to bat these players home?
If you play the three together, then you're surely in a nice Bossa orbit.
Not a Bossa Nova album per se, but it is a shining example of U.S. Latin Jazz served to perfection by the Verve studios. Gary's got a really great style. Warm vibes & a sweet scat style to match. I present this to go with the "Soft Samba" Lp already on this page. A very enjoyable session. Japanese Issue here. Full of warmth & fidelity. A total sleeper. Enjoy!
File Under: U.S. Latin Jazz
P.S. If Alec Baldwin were looking for a project to get involved in, then the story of a Jazz composer who dies an early death would be an interesting one!
Hey Everyone, Sorry for the lack of posts lately. Let me do a make up by presenting this very fine mid-70's slice of MPB. A nice rarity shared with this page via our friend Greg.
Greg, mid-70's Brasil is always such a warm affair, so thank you for sharing this goodie with us. Not the biggest recording in the world, just a sweet little record that represents the 70's & some of the smaller labels throughout Brasil. Very nice. Enjoy!
File Under: MPB
P.S. I already grabbed track one & two on my last two Samba Showdowns, so you just know I'm digging this LP.
Free Son - Banguele [1971 Solar Fidelity]
Super-rare selection. Fantastic Guitar & Organ work on this one. Nice Conga & Cuíca work too.
This little record has tons of charm. Has a nice nasty lo-fi edge to the whole sound, giving it a nice garage rock feel. Reminding me at times of a raw Jamaican session or a Turkish rock recording at others. I don't think they had a big budget for the record, but as I say it makes up for it with charm. Enjoy!
File Under: Samba Rock
P.S. Thank you Greg for this rare slice!