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"A TRIP TO BRAZIL VOL.3: Back to Bossa"
Compiled, Annotaded & Produced by Arnaldo DeSouteiro (JSR)
CD 1
1. Bill Evans: The Dolphin – Before (3:06)
(Luiz Eça)
from “From Left to Right” (MGM SE-4723)
Produced by Michael Leonard; P. 1970 (Rec. March 28, 1970)
Bill Evans, acoustic & electric pianos; Eddie Gomez, acoustic bass; John Beal, electric bass; Marty Morell, drums; Sam Brown, acoustic guitar
Probably the most influential jazz pianist of all time, Bill Evans recorded Luiz Eça’s instigating “The Dolphin” after hearing the composers’ version on Tamba 4’s “We And The Sea” album, and then played it for many many years, right? Wrong. Evans had never heard the Tamba 4 album. And he never performed this song again! Arranger Michael Leonard tells the true story: “A friend of composer Earl Zindars showed up at Wally Heider’s studio bringing a lead sheet of this tune, and insisted to show it to Bill, who was the most gentle person on earth. Bill played the tune, liked a lot, and decided to record it.” Very simple, hum? In the liner notes for the 18-box set “The Complete Bill Evans on Verve”, which includes eight alternate takes of this marvelous piece, drummer Elliot Zigmund, who replaced Marty Morell on Evans’ trio, says: “People always asked him: you gonna play “The Dolphin”? And we never played it.” This was Evans’ first recording using both acoustic and the Fender Rhodes electric piano, something he would repeat on such albums as “Intuition”, “Eloquence”, “Montreux III” and “New Conversations”.
2. Tania Maria: Samba de Orly (4:17)
(Toquinho/Vinicius de Moraes/Chico Buarque)
from “Via Brasil” (Barclay 104.8010)
Produced by Jacques Lubin; P.1975
Tania Maria, vocal, acoustic piano & whistle; Helio, electric bass: José Boto, drums & percussions
It’s not difficult to find out why “Samba de Orly” was chosen to be the opening track of the “Via Brasil” album, one of Tania Maria’s best efforts during her French period, prior to her move to the United States in the late Seventies. This track really swings, folks, featuring the charismatic leader whistling in unison with the piano during an astonishing solo propelled by drummer José Boto, an ex-Carlos Lyra collaborator, and a future member of Luiz Bonfá’s group. Soon after arriving in Paris, Tania had been discovered by famous promoter Guy de Casteja, who hired her as the main attraction for a nightclub called “A Batida” at the Commercial Centre of the Maine-Montparnasse Tower in Paris. Another big fan of her talents, Eddie Barclay signed Tania to his own label, on which she later did a “Via Brasil Vol.2” LP.
3. Jorge Ben: Larari-Olalá (2:56)
(Lindolpho Gaya)
from “Big Ben” (Philips 632.768)
Produced by Armando Pittigliani; P.1965
Jorge Ben, vocal; Lindolpho Gaya, acoustic piano; Manuel Gusmão, acoustic bass; Dom Um Romão, drums & percussion; Gaya, arranger & conductor
In some tunes of his third solo album, “Big Ben”, Jorge Ben was backed by his new touring trio, consisting of pianist Mazinho, bassist Luiz Marinho and drummer Reizinho. However, in such tracks as “Larari-Olalá”, he got precious orchestral arrangements by the legendary Maestro Gaya, a frequent collaborator since Jorge’s debut LP, “Samba Esquema Novo”, in 1963. For this particular afro-tinged track composed by Gaya specially for this session, he also once again recruited the services of Manuel Gusmão and Dom Um Romão, the two musicians responsible for giving Jorge his first exposure as the crooner in their Copa Trio group.
4. Hank Jones & Oliver Nelson: Mas Que Nada (2:35)
(Jorge Ben)
from “Happenings “(Impulse AS-9132)
Produced by Bob Thiele; P.1966 (Rec. Oct 20, 1966)
Hank Jones, electric harpsichord; Oliver Nelson, arranger & conductor; George Duvivier, acoustic bass; Grady Tate, drums; Joe Newman, Ernie Royal, Clark Terry & Snooky Young, trumpets; Jimmy Cleveland, J.J. Johnson, Tommy Mitchell & Britt Woodman, trombones; Bob Ashton, Danny Bank, Jerry Dodgion, Jerome Richardson & Phil Woods, saxophones
It’s one of the lesser known recordings of one of the most famous Brazilian songs around the world. From Jorge Ben himself to Tamba Trio to Al Jarreau and, most recently, Ithamara Koorax (one of the highlights from “A Trip To Brazil Vol.2”) many artists cut inspired versions. Oliver Nelson’s cyber-biographer Douglas Payne considers it “a wondrous arrangement using haunting melody statements with a light counterpoint of flute and brass. The harpsichord is an inspired touch, that comes at a time when Bob Thiele was working all kinds of deals with music manufacturers to place their instruments on his prductions. The man had cross-promotional marketing down long before Star Wars! The cool thing is that Thiele understood that the antiquated harpsichord had a sort of rock-and-roll appeal: square to be hip?” Like Lalo Schifrin & Creed Taylor had done six months before on the “Marquis de Sade” album, Jones & Nelson here married pop and jazz elements with something Baroque and beautiful. If you’d like to hear more harpsichord solos in a samba-jazz mood, don’t lose the chance to listen to João Donato’s playing on Dom Um Romão’s “Family Talk” for Muse Records.
5. Elis Regina: Tristeza (3:17)
(Haroldo Lobo/Niltinho)
from “Elis em Paris” (Philips EP 441421)
Produced by Armando Pittigliani; P.1968
Elis Regina, vocal; Antonio Adolfo, acoustic piano; Jurandir Meirelles, acoustic bass; Wilson das Neves, drums; Hermes Contesini, congas
Haroldo Lobo, not related to Edu Lobo, reigned in the samba scene from the late Thirties (when sisters Aurora & Carmen Miranda recorded many of his songs) to the early Sixties, scoring successive hits during Carnival time, year after year. Until today, his tunes are played in all Carnival balls all over Brazil. His last big hit, with lyrics by Niltinho (don’t miss with singer Miltinho, please), “Tristeza”, from 1965, was a posthumous one, recorded by singer Jair Rodrigues some months after Lobo passed away. Its huge success transcended the samba circles, making this tune a Brazilian music standard, very well-known abroad – even Oscar Peterson recorded it on his “Tristeza On Piano” album (MPS). This version, done by Elis Regina for a very rare EP recorded in Paris, proves its immortal power and appeal.
6. Lennie Dale & Sambalanço Trio: O Pato (1:57)
(Jaime Silva/Neuza Teixeira)
from “Lennie Dale e o Sambaçanço Trio” (Elenco ME-21)
Produced by Aloysio de Oliveira; P. 1965
Lennie Dale, vocal; Cesar Camargo Mariano, acoustic piano; Humberto Clayber, acoustic bass; Airto Moreira, drums
This fast and furious performance comes from Lennie Dale’s second album, recorded in a studio but based in a show which happened at the famous Zum Zum nightclub, in Rio, back in 1965. An American dancer who arrived in Brazil at the height of the bossa nova explosion, Lennie soon became not only a singer too, as well as a choreographer for many bossa shows. For his debut date, producer Aloysio de Oliveira paired him with Luiz Carlos Vinhas’ Bossa 3, replaced on the second album by the even better Sambalanço Trio (which had just arrived in Rio after acclaimed as the best group of the bossa scene in São Paulo) – a third album was eventually done with Antonio Adolfo’s Trio 3D. It’s worth to compare Lennie’s version with João Gilberto’s original version of “O Pato”, from his second LP, “O Amor, O Sorriso e a Flor”, in 1960. However, this samba, by mysterious composers Jaime Silva & Neuza Teixeira, had been performed live (although never recorded) by the Garotos da Lua group (from which Gilberto took part) since 1948!
7. Bob Brookmeyer: Samba de Orfeu (4:10)
(Luiz Bonfá/Antonio Maria)
from “Trombone Jazz Samba” (Verve V6-8498)
Produced by Creed Taylor; P.1962 (Rec Aug 21, 1962)
Bob Brookmeyer, valve trombone; Jim Hall & Jimmy Raney, acoustic guitars; Gary McFarland, vibes; George Duvivier, acoustic bass; Willie Bobo, drums; Carmen Costa, cabassa; José Paulo, tambourine; arr. by Bob Brookmeyer
Maybe the greatest master of valve trombone, alongside Raul de Souza, Brookmeyer was invited by producer Creed Taylor to do this bossa nova project just six months after the recording of Getz/Byrd’s historic “Jazz Samba”. Curiously, Brazilian traditional samba singer Carmen Costa, then living in NY, is heard playing cabassa. “As a player and an improviser, Gary McFarland’s temperament and talents are ideally suited to the complications and sensitivity of samba music. Here, he coalesces perfectly on vibes with leader Brookmeyer on trombone, Jim Hall and Jimmy Raney on guitar and three percussionists”. So says jazz historian Douglas Payne and that’s good enough for me.
8. Leny Andrade: Baiãozinho (2:27)
(Eumir Deodato)
from “A Quem Bossa Interessar” (Philips 632.781)
from (Polydor LPG 4097)
Prod. by Ismael Correa; P. 1966
Leny Andrade, vocal; Tenório Jr., acoustic piano; Zezinho, acoustic bass; Milton Banana, drums
From all the bossa divas that emerged in the early Sixties, Leny Andrade was by far the jazziest of them all. She loved Sarah Vaughan and loved scat-singing, something that became evident since her debut gigs at the Bacará, Manhattan and Bottle’s Bar nightclubs in 1961. The following year she moved to São Paulo, joining Dick Farney’s orchestra as a crooner. Always jumping from label to label (RCA, Polydor, Odeon), Leny returned to Rio to record, three years later, her best album ever, “Estamos Aí”, with wondrous arrangements by Eumir Deodato. The famous musician is also the composer of this tune, “Baiãozinho”, heard here in a live version without Deodato’s participation. It was one of the first songs composed by Deodato, when he was 17 years old, and one of the very few for which he also wrote the somehow ingenuous lyrics.
9. Os Cariocas: Tão Doce Que É Sal (3:23)
(Carlos Pingarilho/Marcos Vasconcellos)
from “Passaporte” (Polydor LPNG 44.000)
Produced by Marcos Vasconcellos; P. 1966
Severino Filho, lead vocal & acoustic piano; Luis Roberto, vocal & acoustic bass; Quartera, vocal & drums; Badeco, vocal & acoustic guitar; strings & horns; arr. by Severino Filho
After scoring a big hit with “Samba da Pergunta”, aka “Astronauta”, in their 1966 “Arte/Vozes” album, Brazil’ best vocal group ever, Os Cariocas requested the songwriting team of Pingarilho & Marcos Vasconcellos to provide them with another song to appear in another album to be recorded that same year. The result was “Tão Doce Que É Sal”, a lovely melody that would be covered in the following year by Claudette Soares, the same way that “Astronauta” was later recorded by João Gilberto and, most recently, Joyce.
10. Rio 65 Trio: Seu Encanto (3:16)
(Marcos Valle/Carlos Pingarilho/Paulo Sergio Valle)
from “A Hora e a Vez da M.P.M.” (Philips 632.907)
Produced by Armando Pittigliani; P. 1966
Dom Salvador, acoustic piano; Sergio Barroso, acoustic bass; Edson Machado, drums
“Seu Encanto”, a jazzy waltz which became a standard during the bossa nova era, was written in 1964 by Carlos Pingarilho with his cousins Marcos & Paulo Sergio Valle. “Actually, I wrote all the melody, while Marcos only did some good changes in the harmony. Then, Paulo added the Portuguese lyrics. Later on, Ray Gilbert came up with the English lyrics”, explains Pingarilho. Under the English title “The Face I Love”, it received many recordings by artists of different styles. From jazz diva Sarah Vaughan to pop star Chris Montez to bossa nova singers Astrud Gilberto and Sylvia Telles. This instrumental take comes from the second (and last) album recorded by Rio 65 Trio for the Philips label. Its three members had just left other famous groups: Copa Trio (Dom Salvador), Roberto Menescal’s quintet (Sergio Barroso) and Bossa 3 (Edson Machado). But, fortunately, they were able to create a new unit with its own musical personality.
11. Dóris Monteiro: Sambou Sambou (2:05)
(João Donato/João Mello)
from “Dóris Monteiro” (Philips 632.785)
Produced by João Mello; P. 1964
Dóris Monteiro, vocal; Tenório Jr., acoustic piano; Sergio Barroso, acoustic bass; Wilson das Neves, drums; Maurílio dos Santos, Pedro Paulo & Julio Barbosa, trumpets; Edson Maciel, Edmundo Maciel & Norato, trombones; Jorginho Ferreira da Silva, alto sax; Zé Bodega & Cipó, tenor sax; arr. and cond. by Gaya
While Leny Andrade and Flora Purim were more connected to jazz (via bebop), Dóris Monteiro, Sylvia Telles and Maysa had more affinity with the ballads of the pre-bossa style known as samba-canção. Anyway, it’s obvious that they also listened to jazz, but it was absorbed through records of Peggy Lee, Julie London, Chris Connor, and Patricia Scot. Dóris’ career started in 1949, and by 1954 she was already a star, scoring successive hits and appearing in many movies. When bossa nova started in late Fifties, she quickly joined the new wave, being very well received by younger musicians who had been her fans for a long time. This tune, “Sambou Sambou”, debuted as an instrumental song on Donato’s “Muito À Vontade” album, in 1962, with lyrics added by João Mello, who produced this Dóris album for Philips two years later.
12. Chris Montez: Keep Talkin’ (2:32)
(João Donato/Sandy Crystal)
From “Time after time” (A&M SP 4120)
Produced by Tommy LiPuma; P. 1966
Chris Montez, vocal; Bob Matthews, acoustic bass; Paulinho Magalhães, drums; José Soares, percussion; John Pisano, acoustic guitar; arr. & cond. by Nick De Caro
Then a big pop star, supported by Herb Alpert, singer Chris Montez did the first recording of “Amazonas” with English lyrics. Nick De Caro’s arrangement is completely based in the orchestration conceived by Claus Ogerman, one year earlier, when the song debuted on Donato’s “The New Sound of Brasil” (RCA). During his American period, mostly in the West Coast, Donato became the only Brazilian musician who paid his dues on the latin-jazz circuit, having the good fortune to perform with Mongo Santamaria, Tito Puente, Eddie Palmieri and Cal Tjader. Curiously, this song was recorded in Brasil only in 1973, for Donato’s “Quem É Quem” album (Odeon), which celebrated the definitive return to his native country after fourteen years living in the USA. And its Portuguese lyrics (by Donato’s brother, Lysias Enio) only were written at the request of Nara Leão in 1977, for her album “Meus Amigos São Um Barato” (Philips).
13. Lalo Schifrin: Rapaz de Bem (2:32)
(Johnny Alf)
from “Piano, Strings, And Bossa Nova “ (MGM SE-4110)
Produced by Creed Taylor; P.1962 (Rec Oct 24, 1962)
Lalo Schifrin, acoustic piano; Chris White, bass; Rudy Collins, drums; Jim Hall, guitar; Carmen Costa & José Paulo, percussion; strings section; arr. by Lalo Schifrin
Alfredo José da Silva, which adopted the artistic name of Johnny Alf, is recognized as a true bossa forerunner. Many of his songs, composed in the early Fifties, anticipated the melodic, harmonic and rhythmic innovations of the bossa nova. Such is the case of “Rapaz de Bem”, composed in 1953 and recorded two years later when Alf cut his first 78rpm for the Copacabana label. Lalo Schifrin doesn’t remembers how he became acquainted with this song, but told Douglas Payne that “was enamoured of its melodic charms”. Originally released in 1963 on MGM, receiving a 4-star review on Down Beat, that “Piano, Strings And Bossa Nova” album was reissued six years later on Verve, retitled “Insensatez”. Says Doug Payne: “The lilting melody is certainly given a warm touch on his piano. Particularly notable is the way he plays the strings off the piano, I mean, the block chords on piano set off by the swirling violins. Although the rhythm is Brazilian, Lalo, as he is so skilled at doing, creates an overall mood of musical Esperanto”. Respect.
14. Sylvia Telles & Tamba Trio: Você e Eu (1:16)
(Carlos Lyra/Vinicius de Moraes)
from “Reencontro“ (Elenco ME-31)
Produced by Aloysio de Oliveira; P. 1966
Sylvia Telles, vocal; Luiz Eça, acoustic piano; Bebeto Castilho, bass; Rubem Ohana de Miranda, drums
Recorded live at Santa Rosa Theater, in Ipanema, this concert was put together by the founder of Elenco, producer Aloysio de Oliveira, then married to Sylvia Telles. His idea to pair Sylvia with Tamba Trio, signed to Philips, proved very successful, and we only regret that they never recorded a whole album together. This up-tempo track is probably the best song co-written by guitarist Carlos Lyra (who later worked in the USA with Stan Getz) and lyricist Vinicius de Moraes. (Please check the delightful English version, by Jon Hendricks, included on A Trip To Brazil Vol. 2). Other acts in that one-night only concert were Edu Lobo and the classical-oriented brass group Quinteto Villa-Lobos.
15. Gaya: Samba do Avião (1:18)
(Antonio Carlos Jobim)
from “Rio de 400 Janeiros” (Elenco ME-20)
Produced by Aloysio de Oliveira; P. 1965
Gaya, arranger & conductor; Tenório Jr., acoustic piano; Luiz Marinho, acoustic bass; Edson Machado, drums; strings, horns & choir
Maybe the most important arranger in all the history of Brazilian music, Lindolpho Gomes Gaya was a key contributor to the careers of such stars as Chico Buarque, Elizeth Cardoso, Paulinho da Viola, Edu Lobo, Maria Bethania, and Taiguara to name a few – besides the brilliant partnership with his wife, Brazil’s top folk singer Stellinha Egg; not to mention his work as Musical Director for the EMI-Odeon label. Gaya also is recognized as the first arranger who understood the subtleties of the bossa nova, creating a new style of more sophisticated orchestration first heard on Sylvia Telles’ “Amor de Gente Moça” LP, actually a Jobim songbook from 1959 which yielded many hits that the composer wisely invited Gaya to arrange. Oddly, an album arranged by Gaya, with Deodato on piano, originally titled “Tom Jobim Apresenta” was later reissued as a Jobim album under the title “Love, Strings And Jobim”, although Jobim doesn’t play one note on it. This fiery version of “Samba do Avião” comes from the soundtrack of the “Rio de 400 Janeiros” show (conceived by Carlos Machado) for which Gaya served as conductor, writing all arrangements and some new tunes. It was presented throughout 1965, at the Copacabana Palace Hotel, celebrating the 400 years of the Rio de Janeiro city. It’s one of the rarest albums in the Elenco catalog, never reissued in any format.
16. Neyde Fraga & Walter Wanderley: Diz Que Fui Por Aí (1:30)
(Zé Kéti/Hortênsio Rocha)
from “Balançando com Neyde Fraga & Walter Wanderley” (Philips 632.711)
Produced by Walter Wanderley; P. 1964
Neyde Fraga, vocal; Walter Wanderley, organ
For audiences outside Brazil, Walter Wanderley became a familiar name only after he moved to the USA in 1965, signing with Verve, recording the “Rain Forest” album and scoring a big pop hit with “Summer Samba”. But, since the mid-Fifties, he was acclaimed in his native country as our premier organist, doing several albums (sometimes two or three LPs a year!) for such labels as Odeon and Philips. He also loved to record with singers, and it most often happened with his then wife Isaurinha Garcia. This track, however, derives from a very rare album he cut with São Paulo-based Neyde Fraga, one of the many bossa singers (like Norma Suely, Nicéa Martins, Anna Lucia) that simply disappeared from the musical scene, today are forgotten and nowhere to be found.
17. João Gilberto: Rosinha (3:52)
(Jonas Silva)
from “João” (Philips 848188-1)
Produced by Mayrton Bahia & Carmela Forsin; P. 1990 (Rec. May 16, 1990)
João Gilberto, vocal & acoustic guitar; Clare Fischer, keyboards Jim Hughart, bass: Joe Correro, drums; Michito Sanchez, percussion; horns section; arr. & cond. by Clare Fischer
When João Gilberto arrived in Rio, in 1950, from his native small town of Juazeiro (Bahia), he replaced Jonas Silva in the Garotos da Lua vocal group (the Brazilian version of the Pied Pipers). The reason alleged, by his own colleagues, to quit Silva: his voice was very soft, and he used to sing very low. Now you can imagine how they felt when the guy chosen to replace Silva appeared singing even lower and softer! Anyway, they kept Gilberto in the group until 1952, performing regularly at the Tupi Radio and recording some 78rpms. Jonas Silva’s solo career never launched, but he recorded some singles for various labels, including a cult EP in 1959 with revered versions of Jobim’s “A Felicidade” and Johnny Alf’s “Rapaz de Bem”. Later he moved to the other side of the business, funding Imagem, the first independent Brazilian label specialized in jazz. One of Silva’s own compositions, “Rosinha”, always fascinated João Gilberto, who often played it when among friends, after listening to a demo recorded by Silva in 1954. Then, 36 years later, Gilberto decided to do the first commercial recording ever of “Rosinha”, a saucy tune enlightened by Clare Fischer’s delightfully syncopated arrangement, clearly influenced by Nestor Campos’ scores from the early Fifties.
18. Cal Tjader with Clare Fischer: Meditação (3:31)
(Newton Mendonça/Antonio Carlos Jobim)
from “Cal Tjader Plays the Contemporary Music of México and Brazil “ (Verve V6-8470)
Produced by Creed Taylor; P. 1962
Cal Tjader, vibes; Clare Fischer, acoustic piano; Freddie Schreiber, bass; Johnny Rae, drums; Laurindo Almeida, acoustic guitar; Milt Holland, percussion; Changuito, congas; Paul Horn, flute; Bernard Fleisher, John Lowe & Don Shelton, reeds; arr. by Clare Fischer
The ex-Dave Brubeck drummer who gained prominence as a master of vibes, Cal Tjader was the first latin-jazz legend to fall in love with bossa nova. Throughout his career, he developed memorable collaboration with João Donato, resulting on such albums as “Solar Heat” (Skye) and “The Prophet” (Verve), besides their many live gigs and the entirely Brazilian-oriented “Amazonas” (Fantasy), a project with Airto, Hermeto Pascoal and Egberto Gismonti centered on Donato’s title track. This graceful version of “Meditação” comes from Tjader’s first Brazilian adventure, at the suggestion – one more time – of Creed Taylor. Another constant bossa lover, Clare Fischer applies his magic touch, while Stan Kenton’s veteran Laurindo Almeida, who Creed would later pair with Stan Getz, provides the typical guitar bossa beat. Bossa-jazz lounge at its best.
19. Anna Lúcia: Água de Beber (2:07)
(Antonio Carlos Jobim/Vinicius de Moraes)
from “O Encanto e A Voz de Anna Lucia “ (Philips 630.4431)
Produced by Armando Pittigliani; P. 1961 (Released March, 1961)
Anna Lúcia, vocal;
A singer’s singer, Anna Lúcia shined in the early days of bossa nova, cutting many cult albums. One of them, “Anna Lúcia Canta Triste” (RGE) is an enduring best-seller in Japan, the bossa nova equivalent to Sonny Clark’s “Cool Struttin” (Blue Note) on the bop scene. Her first album for Philips, the follow-up to her debut on Chantecler one year earlier, became an instant collector’s item. Among the reasons was the inclusion of the debut recording of a new song, “Água de Beber”, later retitled when Norman Gimbel added English lyrics and Frank Sinatra recorded it. “I went to learn the song at Vinicius de Moraes’ house, and Jobim was there too to help him to teach me all phrasings they wanted”, remembers Anna Lucia. “We spent all the afternoon drinking scotch and singing the song probably over one hundred times”, she laughs. In the mid-Sixties, Anna Lúcia married and abandoned the musical career, which she reactivated for a short period in the mid-Eighties, doing an acclaimed comeback at the Beco da Pimenta nightclub in Rio. But, soon after, she unfortunately retired.
20. Baden Powell: Blues a Volonte (8:53)
(Baden Powell/Janine de Waleyne)
from “É de Lei” (Philips 6349.036)
Produced by Joachim-Ernst Berendt; P. 1972 (Rec. October 25, 1971)
Baden Powell, vocal & acoustic guitar; Janine de Waleyne, vocal; Ernesto Gonçalves, acoustic bass; Joaquim Paes Henriques, drums; Alfredo Bessa, percussion
Powell’s only hit in the dancefloor jazz scene, this intoxicating track was recently reconstructed by both The Maxwell Implosion and Freddy Fresh for the 2-LP set “Mojo Club – The Remix Album” in 1999. The original version, recorded at MPS Studio in Villigen in a very spontaneous jam-session mood, for the album “Images on Guitar”, was released in Brazil on the album “É de Lei”. A very simple bossa-blues, clearly inspired by Quincy Jones’ “Soul Bossa Nova”, another dancefloor anthem, this exciting performance features extended solos by Baden himself (playing more jazzier than ever) and Janine de Waleyne, a former member of vocal group Double Six of Paris. They had met in a hotel in Berlin just some days prior to the recording, during a break of a tour Janine was doing with Gilbert Bécaud. Really impossible to resist to its dance appeal!
21. The Sandpipers: Wave (2:29)
(Antonio Carlos Jobim)
from “The Wonder of You” (A&M SP 4180)
Produced by Tommy LiPuma; P. 1969
The Sandpipers, vocal; arr. & cond. by Nick De Caro
There was a time when every album not only by jazz artists, but also by pop acts, should include at least one bossa tune. It was hip, it was cool! After Elvis Presley, the king of rock ‘n’ roll, hit the Billboard charts in 1968 singing Luiz Bonfá’s delicate bossa, “Almost in Love”, who else would not try to do the same? Well, The Sandpipers (a male vocal trio formed by Jim Brady, Mike Piano, and Richard Shoff) was no exception. Originally known as The Four Seasons, and later The Grads, the group cut several unexpressive singles for A&M, in spite of Herb Alpert’s promotional investments. Suddenly, thanks to an odd suggestion by producer Tommy LiPuma that they should record an old South American folk tune, The Sandpipers exploded worldwide. The song was the kitsch “Guantanamera”, a Top 10 hit in 1966. Three years later, they recorded Jobim’s “Wave”, the last bossa nova standard, getting the non-credited contribution of songstress Pamela Ramcier.
22. Palmyra & Levita with João Donato: Where’s J.D.? aka Ahiê (2:25)
(João Donato/Eumir Deodato/Paulo César Pinheiro)
Windswept Music, admin. By EMI Music – ASCAP
from “Come Rain or Come Bossa Shine” (JSR 6044)
Produced by Arnaldo DeSouteiro; P. 2002 (Rec. October, 2002)
Palmyra, vocal; Paulo Levita, acoustic guitar; João Donato, acoustic piano; arr. by Paulo Levita
After fourteen years living in the USA, João Donato was already planning to return to Brazil when he signed with Muse Records in early 1973 to do the album eventually released as “Donato/Deodato”. Donato created the basic sketches for some songs, did a first session on March 1973, got the royalty advance, and… took the first plane to Rio, delivering a message to Deodato: “finish the project, please!” Thus the title of this tune, “Where’s J.D.?”, completed by Deodato when Donato didn’t show up for the second session. Later that same year, the song was retitled “Ahiê”, after poet Paulo César Pinheiro added lyrics. This brand-new recording belongs to the second collaboration between Donato and a sensational duo from Bahia, Palmyra & Levita, their follow-up to the acclaimed “Here’s That Rainy Bossa Day”, a Top 10 album in Japan in 2001.
23. Márcio Faraco: O Destino Espera (4:01)
(Márcio Faraco)
from “Interior” (EmArcy 064.159)
Produced by Márcio Faraco & Laurent Bizot; P.2002 (Rec. March, 2002)
Márcio Faraco, vocal & acoustic guitar; Kenny Barron, acoustic piano; Marc Bertaux, acoustic bass; Luiz Augusto Cavani, drums; Julio Gonçalves & Mino Cinelu, percussion; Patrice Larose, folk guitar; Zé Nogueira, soprano sax; arr. by Márcio Faraco
Born in Alegrete, in Southern Brazil, close to the Argentine border, Márcio Faraco lived in Brasilia and Rio de Janeiro before moving to France in 1992. Tired of the endless difficulties he’d met with in trying to make his voice heard in his own country, he made the decision – a “poetic exile”, in his own words – to settle in Europe. Now approaching forty, Faraco is enjoying a career that is finally taking off. His debut album, “Ciranda” (2000), sold over 60,000 copies. This follow-up, “Interior”, recorded between Paris, Rio and NY, reveals a mature composer who travels through several Brazilian rhythms. Among them, of course, the bossa nova of “O Destino Espera”, filled with jazzy nuances in an introspective arrangement that features Kenny Barron’s piano.
24. Copa Trio: Meu Fraco É Café Forte (5:29)
(Dom Salvador)
from “É Tempo de Música Popular Moderna” (Philips 632.736)
Produced by Armando Pittigliani; P. 1964 (Rec. August 7, 1964)
Dom Salvador, acoustic piano; Manuel Gusmão, acoustic bass; Dom Um Romão, drums
Funded by Manuel Gusmão, with Toninho Oliveira on piano and João Palma on drums, the Copa Trio acquired a kind of mythological status. Although it was considered, by fellow musicians, the best bossa trio ever, the group never got a record deal! When Palma entered the Army, he was replaced by Dom Um Romão, who later brought Dom Salvador from São Paulo. Jorge Ben started his career as their crooner, and the group backed many important shows by people like Elis Regina and Quarteto Em Cy, before disbanding in 1965 when Romão moved to the USA. So, this track is the only available recording of such a legendary act! It belongs to a live album which reunited many bossa nova stars (Luiz Henrique, Os Cariocas, Jorge Ben, Tamba Trio) for a single-night benefit concert on August 7, 1964, at Leme Palace Hotel, organized by Stella Marinho, wife of Brazil’s mass-media group emperor, Roberto Marinho, owner of the Globo (Radio, TV, journal) enterprises, having famous soccer speaker Mario Luiz as MC. Really a collector’s item.
CD2
1. Luiz Eça: Zazueira (2:30)
(Jorge Ben)
from “Brazil 70” (Philips 765.109)
Produced by Roberto Menescal; P. 1970
Luiz Eça, piano & arranger.
From 1967 to 1970, countless Brazilian artists lived in Mexico: Carlos Lyra, João Gilberto, Raul de Souza, Leny Andrade, Pery Ribeiro, Breno Sauer, and even entire groups like Bossa Tres (led by Luiz Carlos Vinhas), Vox Populi and Anjos do Inferno. Why? “Because everybody was running away from the worst and most violent period of the military dictatorship in Brazil. Besides the fact that bossa was considered dead and the market only wanted rock ‘n’ roll”, answers bassist Manuel Gusmão, who spent four years in Mexico City leading his own trio. Tamba 4 was there too, for the first time with a new keyboardist, Laercio de Freitas, replacing group founder Luiz Eça. But Eça also went to Mexico, leading a combo named A Sagrada Família, which included the Joyce-Nelson Angelo couple plus Novelli on bass and Vitor Manga on drums. This intriguing and psychodelic rendition of Jorge Ben’s funky-samba “Zazueira”, comes from the first album Eça did after returning to Brazil, somehow celebrating our victory in the Soccer Championship.
2. Azymuth: Que É Que Você Vai Fazer Nesse Carnaval? (2:37)
(Azymuth)
from “Azymuth” (Polydor EP 2249.036)
Produced by Azymuth; Rec. 1975
José Roberto Bertrami, keyboards, percussion & vocal; Alex Malheiros, electric bass & vocal; Ivan “Mamão” Conti, drums, percussion & vocal; Ariovaldo Contesini, percussion; arr. by J.R. Bertrami.
Another one of these mythical US$200 records! Recorded in 1975 for Polydor, after their debut album on Som Livre (“Linha do Horizonte”) and before their second album, issued by WEA/Atlantic (“Águia Não Come Mosca”), this ultra-rare EP achieved a status of collector’s item after I helped to resurrect the group in the European dancefloor-jazz scene in the mid-Nineties, when I booked them, Marcos Valle and Dom Um Romão for gigs at London’s Jazz Café. At that time, another track from this EP, “Melô da Cuica”, became shamelessly bootlegged in UK. But the rhythmically contagious “Que É Que Você Vai Fazer Nesse Carnaval?” remained a forgotten gem. Please note that, in the original cover of this EP, the name of the group still was Azimuth, since only after 1976 they changed the name to Azymuth, to avoid legal problems with the other Azimuth unit led by Norma Winston, John Taylor and Kenny Wheeler.
3. Luiz Bonfá: Bahia Soul (2:34)
(Luiz Bonfá)
from “Black Orpheus Impressions” (Dot DLP 25848)
Produced by Gerry Granahan; P. 1968
Luiz Bonfá, 6 &12-string acoustic guitars; Ron Carter, acoustic bass: Dom Um Romão, drums & percussion; Phil Bodner, flute; arr. by Luiz Bonfá
Speaking of dancefloor-jazz, surely one of its market biggest hits was “Underwater Love”, the debut single by London group Smoke City in 1996. Actually, this song, used even in a Levi’s TV ad in the mid-Nineties, was a sample of Bonfa’s “Bahia Soul”, with lyrics added by band members Chris Brown and Nina Miranda. A bossa pioneer who was living in New York since 1957, long before the bossa craze in the USA during the next decade - when he collaborated with Stan Getz, Tony Bennett and Frank Sinatra -, Luiz Bonfa wrote the soundtrack for such movies as “Black Orpheus” and “The Gentle Rain”. “Bahia Soul” sounds very cinematographic indeed, a musical painting of scenes that represent the typically sensual atmosphere of the Salvador city. From the intro, with that hypnotic groove provided by Bonfa’s guitar and Dom Um’s berimbau, you know you are in for a treat.
4. Milt Jackson: Só Danço Samba (2:12)
(Antonio Carlos Jobim/Vinicius de Moraes/Norman Gimbel)
from “Jazz ‘n’ Samba” (Impulse AS-70)
Produced by Bob Thiele; P. 1964 (Rec. August 7, 1964)
Milt Jackson, vibes; Barry Galbraith & Howard Collins, acoustic guitars; Richard Davis, acoustic bass; Connie Kay, drums; Jimmy Heath, tenor sax; Lilian Clark, vocal
Every time that Milt Jackson slip away (sneak out) of the Modern Jazz Quartet’s stylistic rigor, he took chances. Not always the results were so memorable like on his CTI masterpiece, “Sunflower”, but often he gave his fans some very enjoyable moments. “You can’t get along, in music or in life, without a certain amount of flexibility and variety. That’s one of the reasons I made this album”, Milt explained in the original liner notes for “Jazz ‘n’ Samba”. The Jobim song, which became famous in the USA thanks to Stan Getz/Charlie Byrd’s version on the legendary “Jazz Samba” (Verve) in 1962, gets a funkier sauce through Milt’s mallets. The vocalist is Lilian Clark, then married to the great arranger Sy Oliver, and who had caused some good impression in the jazz scene after appearing with organist Shirley Scott, then Mrs. Stanley Turrentine.
5. Wes Montgomery: Insensatez (3:46)
(Antonio Carlos Jobim/Vinicius de Moraes/Norman Gimbel)
from “Tequila” (Verve V6-8653)
Produced by Creed Taylor; P. 1966 (Rec. March 17-May 18, 1966)
Wes Montgomery, guitar; Ron Carter, bass; Grady Tate, drums; Ray Barretto, congas; George Devens, vibes; strings section; arr. & cond. by Claus Ogerman
After being acclaimed as the guitarist’s guitarist in his early days at the Riverside label, Wes Montgomery crossed over the jazz boundaries to become a household pop name thanks to Creed Taylor’s Midas touch. In most of the albums he produced for Wes in both the Verve and A&M/CTI labels, Creed paired him with arranger Don Sebesky. However, in this “Tequila” album, the guitarist was helped by another genius, Claus Ogerman, who added very subtle orchestrations using a small string ensemble (only eight violins plus four cellos), which gave the darker mood so marvelously heard in this version of Jobim’s classic “How Insensitive”, based on Chopin’s Prelude. The basic track was cut on March 17, 1966, with the strings overdubbed on May 18 at Van Gelder’s studio in New Jersey. Wes’ short solo is, as usual, stunning.
6. Miucha: Correnteza (3:02)
(Luiz Bonfá/Antonio Carlos Jobim)
from “Miucha” (Philips EP 6245041)
Produced by Paulinho Tapajós; P. 1975
Miucha, vocal; Helvius Villela, piano; Alex Malheiros, bass; Luiz Cláudio Ramos, guitar; Ariovaldo & Chacal, percussion; Franklin, flute:
Miucha, the nickname of Heloisa Buarque de Hollanda, Chico Buarque’s oldest sister and João Gilberto’s second wife, did his recording debut at the invitation of Philips’ A&R man, composer Paulinho Tapajós, in 1975. The sessions yielded five tracks – four of them released on an EP. Among them, “Correnteza”, co-written by Luiz Bonfá and Antonio Carlos Jobim, which appeared two years earlier in an album by singer Luiz Claudio. Curiously, though the song had been composed in the late Fifties (Bonfá wrote the first part, Jobim the second), both took a long time to record it. Jobim only decided to cut his own version in October 1975 for the “Urubu” album arranged by Claus Ogerman. Bonfá waited twenty years more, until this annotator/producer convinced him to record it on the album “Almost in Love – Ithamara Koorax Sings The Luiz Bonfá Songbook”, a Top 15 album in Japan.
7. Luiz Henrique with Sivuca: Vivo Sonhando (2:55)
(Antonio Carlos Jobim)
from “Barra Limpa” (Verve V6-8697)
Produced by Bob Morgan; P. 1967 (Rec. March 10, 1967)
Luiz Henrique, vocal & acoustic guitar; Sivuca, accordion; Don Payne, electric bass; Donald MacDonald, drums; arr. by Luiz Henrique & Sivuca
The essence of the sambalanço! Usually recorded in a slow tempo, like a bossa-ballad, “Vivo Sonhando” (Dreamer) is performed by Luiz Henrique in a very exciting way, guaranteed to send any club crowd into an ecstatic frenzy, despite the romantic lyrics. There’s no use of keyboards, but Sivuca’s accordion helps to put the track on fire, with Don Payne (one of the first American musicians who became experts in bossa-nova, after he played at the Copacabana Palace with Tony Bennett in 1961 and spent a week in Rio learning the subtleties of the new rhythm) pumping on electric bass. One of Brazil’s most underrated artists, the late Henrique is the composer of “A Trip to Brazil”, the song from which we “borrowed” the title for this series.
8. Kai Winding: O Amor em Paz (3:48)
(Antonio Carlos Jobim/Vinicius de Moraes)
from “Penny Lane & Time” (Verve V6-8691)
Produced by Creed Taylor; P. 1967 (Rec Feb 13, 1967)
Kai Winding, trombone; Ron Carter, bass; Grady Tate, drums; Joe Beck & Bucky Pizzarelli, acoustic guitars; Hubert Laws & Romeo Penque, flutes; Jerry Dodgion, alto sax; Danny Bank, alto sax & flutes; Tommy Mitchell & Bill Watrous, trombones; arr. & cond. by Kai Winding.
Under Creed Taylor’s guidance, trombone magician Kai Winding recorded the most successful albums not only of his solo career, as well as of his unsurpassed duo with J.J. Johnson. As always happened to artists associated with Taylor, Winding suffered accusations of selling out his career, by doing commercial albums. But, as Winding’s widow, Ezshwan, recently told music historian B.J. Major: “Kai had a family with children to support. He wasn’t supposed to be a commercial success and sell a lot of albums? Why on earth not?“. Despite such ridiculous criticism, what we listen here is a monster musician using his velvet-like trombone to sing an impeccable version of Jobim’s haunting bossa-ballad “O Amor em Paz”, retitled “Once I Loved” after receiving English lyrics.
9. Lorez Alexandria: O Barquinho (2:14)
(Roberto Menescal/Ronaldo Boscoli/Buddy Kaye)
from “More of the Great Lorez Alexandria” (Impulse AS-76)
Produced by Tutti Camerata; P. 1965
Lorez Alexandria, vocal; Wynton Kelly, acoustic piano; Al McKibbon, acoustic bass; Jimmy Cobb, drums; Ray Crawford, guitar; Paul Horn, flute
Born Dolorez Alexandria, this soulful singer achieved the peak of her career when, after longtime deals with the King and Argo labels, she signed with Impulse! in the mid-Sixties. Thanks to some good production work, her unique style, forged in r&b, but smoothed by her association with jazz musicians, took her artistry to a new level of expression. This song, “O Barquinho”, is a proof that not all of the bossa nova hymns became popular outside Brazil. A bossa anthem since its debut recording by singer Maysa for CBS, in 1962, it later received English lyrics and was retitled “Little Boat” in order to appeal to the American market. Despite the promotional efforts of its publishers, the mission failed, and a few recordings were made. Among them, Alexandria’s loose and moody version stands out.
10. Lúcio Alves: Samba da Minha Terra (2:23)
(Dorival Caymmi)
from “A Bossa é Nossa” (Philips 630.418)
Produced by Armando Pittigliani; P. 1960
Lucio Alves, vocal; Chiquinho do Acordeom, accordion; Vidal, acoustic bass; Juquinha, drums; Milton Banana, Amaury Rodrugues & Rubens Bassini, percussion; Copinha, flute; arr. & cond. by Gaya
In the pre-bossa days, Brazil’s best modern singers were Dick Farney and Lucio Alves. While many others still performed with operatic voices, even when singing traditional sambas, both Farney and Alves showcased a more sophisticated and subtle approach, singing softly with their velvet-like voices. Both suffered prejudice from the Brazilian press, often accused of being Americanized artists…Specially Farney, who was known as “the Brazilian Sinatra” and also made a strong reputation as a tremendous jazz pianist. Lucio Alves, more connected to samba, became famous as the lead singer in the legendary vocal group Namorados da Lua from 1941 to 1947, when he opted for a solo career. Always ahead of his time, Alves felt at home when bossa nova appeared, quickly joining the team of young talents that emerged everyday. This track comes from his debut album on Philips, a song by the greatest composer from Bahia, Dorival Caymmi.
11. Egberto Gismonti: O Gato (3:40)
(Egberto Gismonti)
from “Egberto Gismonti” (Elenco ME-54)
Produced by Durval Ferreira; P. 1969
Egberto Gismonti, acoustic piano & organ; Sergio Barroso, acoustic bass; Wilson das Neves, drums; Jorge Arena, congas; arr. by Egberto Gismonti
Probably the only samba-funk-jazz track ever cut by Gismonti, it’s a highlight from his debut album - released on Elenco but not produced by the label founder, Aloysio de Oliveira, who had already sold the company to Philips. The title of this intriguing tune relates to the album producer, guitarist Durval Ferreira, whose nickname, “Gato” (Cat), also baptized the all-star group Os Gatos (please check their track, “Silk Stop”, in the first volume of this series). This loose performance, on which the leader doubles on piano & organ, became a cult hit in the European dancefloor scene. Somehow blending influences of the early bossa trios with Jimmy Smith’s funky-jazz recordings, sounds completely different from Gismonti’s avant-garde chamber-jazz style later patented on many acclaimed dates for ECM, most often featuring his guitar playing. To complete the meltdown process, the congas add an afro-tinge to bassist Sergio Barroso’s solo. Really exhilarating stuff.
12. Helen Merrill: Casa Forte (2:54)
(Edu Lobo)
from “Casa Forte” (EmArcy 558.848-2) Tokuma TKCB-70037/Inner City 1125
Produced by Helen Merrill & Torrie Zito; P. 1980 (Rec. April 11, 1980)
Helen Merrill, vocals; Dom Um Romão, drums & percussion; Francesco Centeno, electric bass; Bucky Pizzarelli, acoustic guitar; Urbie Green, trombone; James Buffington, John Clark & Peter Gordon, French horns; arr. & cond. by Torrie Zito
Originally released on the now-defunkt Inner City label, “Casa Forte” is a very peculiar album on Helen Merril’s discography, an adventure outside the jazz ballad territory on which she is a one-of-a-kind singer. Here she applies her husky voice to some bossa standards, a couple of post-bossa tunes, and also a few standards spiced with the bossa beat. This scintillating version of Edu Lobo’s “Casa Forte” features Merrill’s wordless vocals propelled by the rhythmic fury of the Mephistophelean-faced (Stan Corny’s words) Dom Um Romao on drums & percussion. Bucky (father of John) Pizzarelli gets the groove, while Torrie Zito’s ingenious horn arrangement benefits from the special colour generated by the combination of Urbie Green’s trombone with three French horns.
13. Wilson Simonal: Irmãos de Sol (3:12)
(Marcos Valle/Paulo Sérgio Valle)
from “Se Dependesse de Mim” (Philips 6349.049)
Produced by Roberto Menescal & Nelson Motta; P. 1972
Wilson Simonal, vocal; Sergio Carvalho, acoustic piano; Sergio Barroso, electric bass; Pascoal Meirelles, drums; Chacal, percussion; Maurilio Santos, trumpet; Zeca do Trombone, trombone; Oberdan Magalhães & Zé Roberto Simonal, tenor sax; Aurino Ferreira, baritone sax; strings; arr. & cond. by Sergio Carvalho
In the early Seventies, Singer Wilson Simonal was living the worst period of his “inferno astral”. Accused to be a pimp (a pander? A squealer?) , collaborating with the Brazilian military dictatorship by denouncing artists that were against the militaries (something that was never proved!), Simonal, after a huge success during the Sixties – when he cut memorable albums with Deodato, Panicalli, and Cesar Mariano for the Odeon label – saw his career went downhill. No gigs, no TV shows, no radio airplay. “Andre Midani, then President of Philips-Brazil, and a very powerful businessman who had been the main man for the tropicalia behind the scenes, said: I will sign Simonal to rehabilitate his career at any cost. Maybe it was the only mission in Midani’s career that proved impossible”, remembers Brazil’s top pop critic, Tárik de Souza. One of these attempts was the album “Se Dependesse de Mim”, which featured, in 1972, this tune by brothers Marcos & Paulo Sergio Valle, some of the few composers who accepted to provide Simonal with new songs, such intense was the antipathy against him in the music circles. Now, 30 years later, many of his albums are being reissued, and his sons Max de Castro and Wilson Simoninha are receiving critical acclaim in the pop scene.
14. Soul Flutes: Bachianas Brasileiras (4:21)
(Heitor Villa-Lobos)
from “Trust in Me” (A&M/CTI SP 3009)
Produced by Creed Taylor; P. 1968 (Rec. Feb 21, 1968)
Joel Kaye, Herbie Mann, George Marge, Romeo Penque & Stan Webb, flutes; Paul Griffin, organ; Ron Carter, acoustic bass; Grady Tate, drums; Bucky Pizzarelli, acoustic guitar; Henry Watts, vibes; arr. & cond. by Don Sebesky
Brazil’s most celebrated classical composer, Heitor Villa-Lobos (1887-1959) was Antonio Carlos Jobim’s main idol and influence. It seems that Jobim always tried to achieve – when composing such works as “Saudades do Brasil” and “Arquitetura de Morar” - the same level of recognition reached by Villa-Lobos in the called “serious music” area. On his turn, Villa-Lobos considered J.S. Bach as “the supreme source of universal music”. This Don Sebesky adaptation of the Bachianas Brasileiras # 5 (a series of pieces that could be called “When Bach meets Brazil”) brings it to the sophisticated bossa-nova universe. The famous melody, originally composed in 1945 for soprano voice & cello ensemble, here features a flute section which recorded one of the most underrated albums from the A&M/CTI catalog. It’s worth to mention that Romeo Penque was among the most-in-demand session players in the NY scene, appearing in hundreds of projects – among them, the famous Miles Davis/Gil Evans collaborations. Later on, Creed Taylor would produce another version of this piece for Jackie & Roy’s “Time & Love” (CTI) in 1972.
15. Zimbo Trio: Festa no Sertão (3:23)
(Heitor Villa-Lobos)
from “Zimbo Opus Pop no.2” (Philips 6349.080)
Produced by Cyro Pereira; P. 1973
Hamilton Godoy, acoustic piano; Luiz Chaves, acoustic bass; Rubens Barsotti, drums; strings & horns; arr. & cond. by Cyro Pereira
Another great Villa-Lobos work (from 1937, the third movement of the “Ciclo Brasileiro” for piano solo), superbly adapted and orchestrated by Cyro Pereira for one of the most adventurous albums ever conceived by the legendary São Paulo-based Zimbo Trio, which remains active in the musical scene for 39 years! It’s very clear how much this kind of piece influenced Jobim, not only in the use of similar rhythmic motifs from Northeast Brazil (like the ones he applied on “Stone Flower”), as well as in the kind of lyricism which abounds in the second part of this work, and on its complete structure. Gifted with a enormous piano technique, due to his studies as classical pianist, Hamilton Godoy shines in an electrifying performance.
16. Antonio Carlos Jobim: Dax Rides (4:18)
(Antonio Carlos Jobim)
from “Um Homem de Aquarius” (Philips 6685.111)
Produced by João Donato; P. 1980
João Donato, acoustic piano; Jamil Joanes, electric bass; Robertinho Silva, drums & percussion; strings & horns; arr. & cond. by João Donato
Villa-Lobos’ influence on Jobim’s style abounds specially in the sumptuous “Urubu” and “Matita Perê” albums, as well as on the soundtrack from Lewis Gilbert’s film “The Adventurers”, recorded in London in 1969, with arrangements by Deodato, for the Paramount label. Such songs as “Children’s Games” and “Amparo” were soon after re-recorded for the CTI album “Stone Flower” in 1970, and later received lyrics. However, another fascinating composition, “Dax Rides” (named after the film main character, Dax, played by actor Bekim Fehmiu) remained an instrumental tune – and one that Jobim never touched again. Not even when hired, in 1980, to cut a new version for a 4-LP box set titled “Um Homem de Aquarius”. After waiting in vain for months to get a score from Jobim, the A&R men called João Donato to provide the new arrangement. Jobim was supposed to play at least the piano parts, but he failed to appear and Donato himself took care of the piano, besides conducting the orchestra. Never credited to Donato, and never reissued, it’s one of the rarest tracks in this compilation.
17. Bossa Rio: Blackbird (3:12)
(John Lennon/Paul McCartney)
from “Alegria” (Blue Thumb BTS-17)
Produced by Sergio Mendes; P. 1970
Manfredo Fest, keyboards; Octavio Bailly, electric bass; Ronnie Mesquita, drums; Gracinha Leporace & Pery Ribeiro, vocals; strings & horns
The Beatles go to Ipanema. That’s the impression of Bossa Rio’s rendition of “Blackbird”, one of the many pop hits composed by Lennon & McCartney. Regarding Bossa Rio, it must be clarified that what was born as Sergio Mendes’ first group in 1962, appearing at the Bossa Nova at Carnegie Hall Concert, recording with Cannonball Adderley for Riverside, and doing a fabulous album for Philips in 1964 (please check out their version of “Ela É Carioca” on the first volume of this series), later became a completely different unit. After Sergio became very famous and busy with his Brasil ’66, he had the idea to recreate Bossa Rio, since he had patented that name! Such decision not only allowed him to practice his production skills, as well as to make more money, by leading two bands at the same time, usually signed to different labels. Sometimes, thanks to a smart management, both groups were booked to the same festivals (!), like happened in the Expo ’70 in Osaka, when Brasil ’66 cut a live album for A&M the same night that Bossa Rio did his second date for Blue Thumb. The only restriction was that Sergio couldn’t perform with Bossa Rio, to avoid lawsuits. But it was never a problem, since he always hired great keyboardists (Manfredo Fest, Osmar Milito, João Donato) to appear with the band.
18. Edu Lobo with Hermeto Pascoal: Hey Jude (4: 13)
(John Lennon/Paul McCartney)
from “Sergio Mendes Presents Lobo” (A&M 3035)
Produced by Sergio Mendes; P. 1970
Edu Lobo, vocal & acoustic guitar; Hermeto Pascoal, flute & acoustic piano; Tião Neto, bass; Cláudio Slon, drums; Airto Moreira, percussion; Oscar Castro-Neves, guitars; arr. by Edu Lobo & Hermeto Pascoal
Liverpool meets Northeast Brazil. That’s the best definition possible to such an ingenious arrangement like the one that Edu Lobo & Hermeto Pascoal provided for “Hey Jude”. Jazz artists – from Wes to Ella to Shirley Horn – always loved them. Not to mention Sarah Vaughan and George Benson, who devoted entire albums to jazzy takes on Beatles’ repertoire. This kind of empathy never occurred with the bossa giants, and only occasionally some of our masters (like Jobim did as a sideman on a Gary McFarland version for “I Want to Hold Your Hand”, included on the first “A Trip To Brazil”) would eventually pay homage to the pop icons. This track comes from Lobo’s debut on the USA scene, a big commercial fiasco, despite Sergio Mendes’ production and Herb Alpert’s promotional efforts.
19. Jackie & Roy: Corcovado (3:43)
(Antonio Carlos Jobim/Buddy Kaye/Gene Lees)
from “Love sick” (Verve V6-8688)
Produced by Creed Taylor; P. 1967 (Recorded December, 1966)
Jackie Cain, vocal; Roy Kral, vocal & piano; Don Payne, bass; Donald MacDonald, drums
Jacqueline Ruth Cain & Roy Joseph Kral worked as a duo from 1946 to 2002, when Roy Kral passed away. During their long marriage (52 years!) and brilliant career, they constantly crossed the boundaries of jazz clubs and cabaret circuit with no constraints. Their association with Creed Taylor began in 1956, at the ABC-Paramount, continued during his Verve years, and entered the Seventies, when they cut their masterpiece for CTI, “Time & Love”. This charming version of “Corcovado” represents the highest level of refinement & natural sophistication a duo can reach. Jackie, blessed with a crystalline timber, sings the seldom heard original English lyrics, written by Kaye & Lees. Later, Jobim would discredit Buddy Kaye’s contributions, keeping only the parts written by his friend Gene Lees.
20. George Benson: Jackie, All (2:15)
(Eumir Deodato)
from “Tell it Like it Is” (A&M/CTI SP 3020)
Produced by Creed Taylor; P. 1968 (Rec. April 30, 1969)
George Benson, electric guitar; Richard Tee, acoustic piano; Bob Bushnell, electric bass; Leo Morris aka Idris Muhammad, drums; Paul Alicea & Johnny Pacheco, percussion; Angel Allende, congas; Lew Soloff, trumpet; Jerry Dodgion, flute; Bob Porcelli & Jerome Richardson, flutes & alto sax; Arthur Clarke & Joe Farrell, tenor sax; arr. & cond. by Marty Sheller
The aristocratic blond beauty of Jackie Cain inspired Brazilian super-maestro Eumir “2001” Deodato to write this lovely latin-tinged melody, originally arranged by Deodato to Walter Wanderley’s “Moondreams”. It became the favorite track of the album producer, Creed Taylor, who later suggested George Benson to record it too. After Wes Montgomery’s passing, Taylor had quickly signed George Benson to the CTI label, then a kind of jazz division for A&M. And once again he succeeded, helping the guitarist to jump outside the jazz boundaries and crossover to the pop market. “Tell it Like it Is” was the second Benson &Taylor chapter in a collaboration that would reach its peak in the Seventies, through such masterpieces as “White Rabbit” and “Bad Benson”.
21. Ithamara Koorax with João Palma: Ligia (5:14)
(Antonio Carlos Jobim)
from “Love Dance – The Ballad Album” (JSR 6042)
Produced by Arnaldo DeSouteiro; P. 2002 (Rec. January, 2002)
Ithamara Koorax, vocal; José Roberto Bertrami, electric piano; Sergio Barroso, acoustic bass; João Palma, drums; Dom Um Romão, percussion; Juarez Araújo, clarinet; arr. by Arnaldo DeSouteiro
When Jobim cut the original version of “Ligia”, for the “Urubu” album in 1975, he was anchored by his longtime associates Ron Carter (bass) and João Palma, his drummer since 1969, having contributed a lot to the rhythmic sex-appeal of such items as “Tide”, “Stone Flower” and “Matita Perê”. So, for Brazil’s supreme ballad singer Ithamara Koorax (with whom Jobim did his final recording session in October 1984 on Koorax’s “Rio Vermelho” album), it was natural that Palma should play in her new reading of this gorgeous ballad, alongside Azymuth’s keyboardist J.R. Bertrami and some legendary musicians from the bossa nova era. One of Brazil’s best drummers ever, Palma took part on albums by Frank Sinatra, Paul Desmond, Michael Franks, Astrud Gilberto, and Milton Nascimento, to name a few. Currently he is touring with Koorax, voted one of the world’s best jazz singers in Down Beat’s Readers Poll in 2000 and 2002, behind only Cassandra Wilson, Diana Krall and Dianne Reeves.
22. Pingarilho & Deodato: Samba do Dom Natural (4:19)
(Carlos Pingarilho/Marcos Vasconcellos)
from “Stories & Dreams” (JSR 6043)
Produced by Arnaldo DeSouteiro; P. 2002 (Rec. July, 2002)
Pingarilho, vocal & acoustic guitar; Eumir Deodato, electric piano; Bebeto Castilho, electric bass; Marcelo Salazar & Thiago de Mello, percussion; arr. by Pingarilho & Deodato
After 35 years of a brilliant career as a composer, having his songs covered by people like João Gilberto, Luiz Bonfá, Laurindo Almeida, Sarah Vaughan, Astrud Gilberto, Chris Montez, and Andy Williams, to name a few, Carlos Pingarilho did his debut recording session in 1997, singing and playing guitar on Dom Um Romão’s “Rhythm Traveller” for JSR. He enjoyed the experience, and soon joined Dom Um’s band as a special guest during the promo tour of the album. Later on, he accepted to do his first recording as a leader: a track for an all-star benefit project titled “Street Angels”. Contributions to other all-star sessions (“Friends From Brazil 2001”, “Rio Strut”) followed, and now, at long last, he is releasing his debut solo album. The opening track is a splendid remake of “Samba do Dom Natural”, originally recorded in 1965 by Deodato, who contributes to this new rendition doing a truly perfect Rhodes solo, also swinging hard while Pingarilho unexpectedly raps (backed by Tamba Trio’s bassist, Bebeto) in the intro and in the finale of the track.
23. Bill Evans: The Dolphin – After (3:07)
(Luiz Eça)
from “From Left to Right” (MGM SE-4723)
Produced by Michael Leonard; P. 1970 (Rec. March 28, 1970; April 23, 1970)
Bill Evans, acoustic & electric pianos; John Beal, electric bass; Marty Morell, drums; Sam Brown, acoustic guitar; Gary Chester, percussion; strings & horns; arr. & cond. by Michael Leonard
Although Bill Evans was signed to Verve, this album came out on its parent company MGM as a decision of the marketing department. “It was an attempt to get Bill played on more than just the jazz radio stations”, explains arranger/producer Leonard, who later added strings, flutes and percussion to the basic track, bringing John Beal to overdub Eddie Gomez’s original part. He also had the idea to score Bill’s solo (on electric piano) for five flutes – one bass flute, two alto flutes, and two regular flutes -, overdubbing a piccolo an octave higher than the first flute. Regarding the use of the Rhodes electric piano, Leonard says: “Harold Rhodes tailored an instrument to match Bill’s specifications. He gave him one of the firsts 88-key model, Bill made some adjustments with the tines, and then Harold copied what Bill did.” The result, as always with Bill, is sublime!
Compiled, Annotated & Produced by Arnaldo DeSouteiro (JSR)
Art Direction & Design: Stefan Kassel
Cover photo: Peter Timmermans
Mastered by Williem Makkee at Emil Berliner Studios, Langenhagen
Special thanks from the producer to: Elge Agricola, Hildegard Angel, Sergio Barroso, Ricardo Boechat, Paul Bradshaw, Celso Brando, Luciana Camargo, Fabrizio Carrer, Sergio Carvalho, Jonah Colon, Umbi Damiani, Corrado Dierna, João Gilberto, Terri Hinte, Ralph Kaffel, Andy Kim, Ithamara Koorax, Kazuko Maeda, Paula Cabral de Menezes, B.J. Major, Susumu Morikawa, Hugo Nunes, Anna Ramalho, Adriana Ramos, Seth Rothstein, Cristina Ruiz-Kellersmann, Marcia Soares, William Tardelli, Creed Taylor, and Koichi & Motoko Yasuoka
Very special thanks to Roberto Muggiati, Douglas Payne, Tárik de Souza and Heloisa Tapajós for their invaluable assistance and generosity.
Extra special thanks to Christian Kellersmann and Matthias Künnecke
********CD 1
1. Bill Evans: The Dolphin – Before (3:06)
(Luiz Eça)
from “From Left to Right” (MGM SE-4723)
Produced by Michael Leonard; P. 1970 (Rec. March 28, 1970)
Bill Evans, acoustic & electric pianos; Eddie Gomez, acoustic bass; John Beal, electric bass; Marty Morell, drums; Sam Brown, acoustic guitar
Probably the most influential jazz pianist of all time, Bill Evans recorded Luiz Eça’s instigating “The Dolphin” after hearing the composers’ version on Tamba 4’s “We And The Sea” album, and then played it for many many years, right? Wrong. Evans had never heard the Tamba 4 album. And he never performed this song again! Arranger Michael Leonard tells the true story: “A friend of composer Earl Zindars showed up at Wally Heider’s studio bringing a lead sheet of this tune, and insisted to show it to Bill, who was the most gentle person on earth. Bill played the tune, liked a lot, and decided to record it.” Very simple, hum? In the liner notes for the 18-box set “The Complete Bill Evans on Verve”, which includes eight alternate takes of this marvelous piece, drummer Elliot Zigmund, who replaced Marty Morell on Evans’ trio, says: “People always asked him: you gonna play “The Dolphin”? And we never played it.” This was Evans’ first recording using both acoustic and the Fender Rhodes electric piano, something he would repeat on such albums as “Intuition”, “Eloquence”, “Montreux III” and “New Conversations”.
2. Tania Maria: Samba de Orly (4:17)
(Toquinho/Vinicius de Moraes/Chico Buarque)
from “Via Brasil” (Barclay 104.8010)
Produced by Jacques Lubin; P.1975
Tania Maria, vocal, acoustic piano & whistle; Helio, electric bass: José Boto, drums & percussions
It’s not difficult to find out why “Samba de Orly” was chosen to be the opening track of the “Via Brasil” album, one of Tania Maria’s best efforts during her French period, prior to her move to the United States in the late Seventies. This track really swings, folks, featuring the charismatic leader whistling in unison with the piano during an astonishing solo propelled by drummer José Boto, an ex-Carlos Lyra collaborator, and a future member of Luiz Bonfá’s group. Soon after arriving in Paris, Tania had been discovered by famous promoter Guy de Casteja, who hired her as the main attraction for a nightclub called “A Batida” at the Commercial Centre of the Maine-Montparnasse Tower in Paris. Another big fan of her talents, Eddie Barclay signed Tania to his own label, on which she later did a “Via Brasil Vol.2” LP.
3. Jorge Ben: Larari-Olalá (2:56)
(Lindolpho Gaya)
from “Big Ben” (Philips 632.768)
Produced by Armando Pittigliani; P.1965
Jorge Ben, vocal; Lindolpho Gaya, acoustic piano; Manuel Gusmão, acoustic bass; Dom Um Romão, drums & percussion; Gaya, arranger & conductor
In some tunes of his third solo album, “Big Ben”, Jorge Ben was backed by his new touring trio, consisting of pianist Mazinho, bassist Luiz Marinho and drummer Reizinho. However, in such tracks as “Larari-Olalá”, he got precious orchestral arrangements by the legendary Maestro Gaya, a frequent collaborator since Jorge’s debut LP, “Samba Esquema Novo”, in 1963. For this particular afro-tinged track composed by Gaya specially for this session, he also once again recruited the services of Manuel Gusmão and Dom Um Romão, the two musicians responsible for giving Jorge his first exposure as the crooner in their Copa Trio group.
4. Hank Jones & Oliver Nelson: Mas Que Nada (2:35)
(Jorge Ben)
from “Happenings “(Impulse AS-9132)
Produced by Bob Thiele; P.1966 (Rec. Oct 20, 1966)
Hank Jones, electric harpsichord; Oliver Nelson, arranger & conductor; George Duvivier, acoustic bass; Grady Tate, drums; Joe Newman, Ernie Royal, Clark Terry & Snooky Young, trumpets; Jimmy Cleveland, J.J. Johnson, Tommy Mitchell & Britt Woodman, trombones; Bob Ashton, Danny Bank, Jerry Dodgion, Jerome Richardson & Phil Woods, saxophones
It’s one of the lesser known recordings of one of the most famous Brazilian songs around the world. From Jorge Ben himself to Tamba Trio to Al Jarreau and, most recently, Ithamara Koorax (one of the highlights from “A Trip To Brazil Vol.2”) many artists cut inspired versions. Oliver Nelson’s cyber-biographer Douglas Payne considers it “a wondrous arrangement using haunting melody statements with a light counterpoint of flute and brass. The harpsichord is an inspired touch, that comes at a time when Bob Thiele was working all kinds of deals with music manufacturers to place their instruments on his prductions. The man had cross-promotional marketing down long before Star Wars! The cool thing is that Thiele understood that the antiquated harpsichord had a sort of rock-and-roll appeal: square to be hip?” Like Lalo Schifrin & Creed Taylor had done six months before on the “Marquis de Sade” album, Jones & Nelson here married pop and jazz elements with something Baroque and beautiful. If you’d like to hear more harpsichord solos in a samba-jazz mood, don’t lose the chance to listen to João Donato’s playing on Dom Um Romão’s “Family Talk” for Muse Records.
5. Elis Regina: Tristeza (3:17)
(Haroldo Lobo/Niltinho)
from “Elis em Paris” (Philips EP 441421)
Produced by Armando Pittigliani; P.1968
Elis Regina, vocal; Antonio Adolfo, acoustic piano; Jurandir Meirelles, acoustic bass; Wilson das Neves, drums; Hermes Contesini, congas
Haroldo Lobo, not related to Edu Lobo, reigned in the samba scene from the late Thirties (when sisters Aurora & Carmen Miranda recorded many of his songs) to the early Sixties, scoring successive hits during Carnival time, year after year. Until today, his tunes are played in all Carnival balls all over Brazil. His last big hit, with lyrics by Niltinho (don’t miss with singer Miltinho, please), “Tristeza”, from 1965, was a posthumous one, recorded by singer Jair Rodrigues some months after Lobo passed away. Its huge success transcended the samba circles, making this tune a Brazilian music standard, very well-known abroad – even Oscar Peterson recorded it on his “Tristeza On Piano” album (MPS). This version, done by Elis Regina for a very rare EP recorded in Paris, proves its immortal power and appeal.
6. Lennie Dale & Sambalanço Trio: O Pato (1:57)
(Jaime Silva/Neuza Teixeira)
from “Lennie Dale e o Sambaçanço Trio” (Elenco ME-21)
Produced by Aloysio de Oliveira; P. 1965
Lennie Dale, vocal; Cesar Camargo Mariano, acoustic piano; Humberto Clayber, acoustic bass; Airto Moreira, drums
This fast and furious performance comes from Lennie Dale’s second album, recorded in a studio but based in a show which happened at the famous Zum Zum nightclub, in Rio, back in 1965. An American dancer who arrived in Brazil at the height of the bossa nova explosion, Lennie soon became not only a singer too, as well as a choreographer for many bossa shows. For his debut date, producer Aloysio de Oliveira paired him with Luiz Carlos Vinhas’ Bossa 3, replaced on the second album by the even better Sambalanço Trio (which had just arrived in Rio after acclaimed as the best group of the bossa scene in São Paulo) – a third album was eventually done with Antonio Adolfo’s Trio 3D. It’s worth to compare Lennie’s version with João Gilberto’s original version of “O Pato”, from his second LP, “O Amor, O Sorriso e a Flor”, in 1960. However, this samba, by mysterious composers Jaime Silva & Neuza Teixeira, had been performed live (although never recorded) by the Garotos da Lua group (from which Gilberto took part) since 1948!
7. Bob Brookmeyer: Samba de Orfeu (4:10)
(Luiz Bonfá/Antonio Maria)
from “Trombone Jazz Samba” (Verve V6-8498)
Produced by Creed Taylor; P.1962 (Rec Aug 21, 1962)
Bob Brookmeyer, valve trombone; Jim Hall & Jimmy Raney, acoustic guitars; Gary McFarland, vibes; George Duvivier, acoustic bass; Willie Bobo, drums; Carmen Costa, cabassa; José Paulo, tambourine; arr. by Bob Brookmeyer
Maybe the greatest master of valve trombone, alongside Raul de Souza, Brookmeyer was invited by producer Creed Taylor to do this bossa nova project just six months after the recording of Getz/Byrd’s historic “Jazz Samba”. Curiously, Brazilian traditional samba singer Carmen Costa, then living in NY, is heard playing cabassa. “As a player and an improviser, Gary McFarland’s temperament and talents are ideally suited to the complications and sensitivity of samba music. Here, he coalesces perfectly on vibes with leader Brookmeyer on trombone, Jim Hall and Jimmy Raney on guitar and three percussionists”. So says jazz historian Douglas Payne and that’s good enough for me.
8. Leny Andrade: Baiãozinho (2:27)
(Eumir Deodato)
from “A Quem Bossa Interessar” (Philips 632.781)
from (Polydor LPG 4097)
Prod. by Ismael Correa; P. 1966
Leny Andrade, vocal; Tenório Jr., acoustic piano; Zezinho, acoustic bass; Milton Banana, drums
From all the bossa divas that emerged in the early Sixties, Leny Andrade was by far the jazziest of them all. She loved Sarah Vaughan and loved scat-singing, something that became evident since her debut gigs at the Bacará, Manhattan and Bottle’s Bar nightclubs in 1961. The following year she moved to São Paulo, joining Dick Farney’s orchestra as a crooner. Always jumping from label to label (RCA, Polydor, Odeon), Leny returned to Rio to record, three years later, her best album ever, “Estamos Aí”, with wondrous arrangements by Eumir Deodato. The famous musician is also the composer of this tune, “Baiãozinho”, heard here in a live version without Deodato’s participation. It was one of the first songs composed by Deodato, when he was 17 years old, and one of the very few for which he also wrote the somehow ingenuous lyrics.
9. Os Cariocas: Tão Doce Que É Sal (3:23)
(Carlos Pingarilho/Marcos Vasconcellos)
from “Passaporte” (Polydor LPNG 44.000)
Produced by Marcos Vasconcellos; P. 1966
Severino Filho, lead vocal & acoustic piano; Luis Roberto, vocal & acoustic bass; Quartera, vocal & drums; Badeco, vocal & acoustic guitar; strings & horns; arr. by Severino Filho
After scoring a big hit with “Samba da Pergunta”, aka “Astronauta”, in their 1966 “Arte/Vozes” album, Brazil’ best vocal group ever, Os Cariocas requested the songwriting team of Pingarilho & Marcos Vasconcellos to provide them with another song to appear in another album to be recorded that same year. The result was “Tão Doce Que É Sal”, a lovely melody that would be covered in the following year by Claudette Soares, the same way that “Astronauta” was later recorded by João Gilberto and, most recently, Joyce.
10. Rio 65 Trio: Seu Encanto (3:16)
(Marcos Valle/Carlos Pingarilho/Paulo Sergio Valle)
from “A Hora e a Vez da M.P.M.” (Philips 632.907)
Produced by Armando Pittigliani; P. 1966
Dom Salvador, acoustic piano; Sergio Barroso, acoustic bass; Edson Machado, drums
“Seu Encanto”, a jazzy waltz which became a standard during the bossa nova era, was written in 1964 by Carlos Pingarilho with his cousins Marcos & Paulo Sergio Valle. “Actually, I wrote all the melody, while Marcos only did some good changes in the harmony. Then, Paulo added the Portuguese lyrics. Later on, Ray Gilbert came up with the English lyrics”, explains Pingarilho. Under the English title “The Face I Love”, it received many recordings by artists of different styles. From jazz diva Sarah Vaughan to pop star Chris Montez to bossa nova singers Astrud Gilberto and Sylvia Telles. This instrumental take comes from the second (and last) album recorded by Rio 65 Trio for the Philips label. Its three members had just left other famous groups: Copa Trio (Dom Salvador), Roberto Menescal’s quintet (Sergio Barroso) and Bossa 3 (Edson Machado). But, fortunately, they were able to create a new unit with its own musical personality.
11. Dóris Monteiro: Sambou Sambou (2:05)
(João Donato/João Mello)
from “Dóris Monteiro” (Philips 632.785)
Produced by João Mello; P. 1964
Dóris Monteiro, vocal; Tenório Jr., acoustic piano; Sergio Barroso, acoustic bass; Wilson das Neves, drums; Maurílio dos Santos, Pedro Paulo & Julio Barbosa, trumpets; Edson Maciel, Edmundo Maciel & Norato, trombones; Jorginho Ferreira da Silva, alto sax; Zé Bodega & Cipó, tenor sax; arr. and cond. by Gaya
While Leny Andrade and Flora Purim were more connected to jazz (via bebop), Dóris Monteiro, Sylvia Telles and Maysa had more affinity with the ballads of the pre-bossa style known as samba-canção. Anyway, it’s obvious that they also listened to jazz, but it was absorbed through records of Peggy Lee, Julie London, Chris Connor, and Patricia Scot. Dóris’ career started in 1949, and by 1954 she was already a star, scoring successive hits and appearing in many movies. When bossa nova started in late Fifties, she quickly joined the new wave, being very well received by younger musicians who had been her fans for a long time. This tune, “Sambou Sambou”, debuted as an instrumental song on Donato’s “Muito À Vontade” album, in 1962, with lyrics added by João Mello, who produced this Dóris album for Philips two years later.
12. Chris Montez: Keep Talkin’ (2:32)
(João Donato/Sandy Crystal)
From “Time after time” (A&M SP 4120)
Produced by Tommy LiPuma; P. 1966
Chris Montez, vocal; Bob Matthews, acoustic bass; Paulinho Magalhães, drums; José Soares, percussion; John Pisano, acoustic guitar; arr. & cond. by Nick De Caro
Then a big pop star, supported by Herb Alpert, singer Chris Montez did the first recording of “Amazonas” with English lyrics. Nick De Caro’s arrangement is completely based in the orchestration conceived by Claus Ogerman, one year earlier, when the song debuted on Donato’s “The New Sound of Brasil” (RCA). During his American period, mostly in the West Coast, Donato became the only Brazilian musician who paid his dues on the latin-jazz circuit, having the good fortune to perform with Mongo Santamaria, Tito Puente, Eddie Palmieri and Cal Tjader. Curiously, this song was recorded in Brasil only in 1973, for Donato’s “Quem É Quem” album (Odeon), which celebrated the definitive return to his native country after fourteen years living in the USA. And its Portuguese lyrics (by Donato’s brother, Lysias Enio) only were written at the request of Nara Leão in 1977, for her album “Meus Amigos São Um Barato” (Philips).
13. Lalo Schifrin: Rapaz de Bem (2:32)
(Johnny Alf)
from “Piano, Strings, And Bossa Nova “ (MGM SE-4110)
Produced by Creed Taylor; P.1962 (Rec Oct 24, 1962)
Lalo Schifrin, acoustic piano; Chris White, bass; Rudy Collins, drums; Jim Hall, guitar; Carmen Costa & José Paulo, percussion; strings section; arr. by Lalo Schifrin
Alfredo José da Silva, which adopted the artistic name of Johnny Alf, is recognized as a true bossa forerunner. Many of his songs, composed in the early Fifties, anticipated the melodic, harmonic and rhythmic innovations of the bossa nova. Such is the case of “Rapaz de Bem”, composed in 1953 and recorded two years later when Alf cut his first 78rpm for the Copacabana label. Lalo Schifrin doesn’t remembers how he became acquainted with this song, but told Douglas Payne that “was enamoured of its melodic charms”. Originally released in 1963 on MGM, receiving a 4-star review on Down Beat, that “Piano, Strings And Bossa Nova” album was reissued six years later on Verve, retitled “Insensatez”. Says Doug Payne: “The lilting melody is certainly given a warm touch on his piano. Particularly notable is the way he plays the strings off the piano, I mean, the block chords on piano set off by the swirling violins. Although the rhythm is Brazilian, Lalo, as he is so skilled at doing, creates an overall mood of musical Esperanto”. Respect.
14. Sylvia Telles & Tamba Trio: Você e Eu (1:16)
(Carlos Lyra/Vinicius de Moraes)
from “Reencontro“ (Elenco ME-31)
Produced by Aloysio de Oliveira; P. 1966
Sylvia Telles, vocal; Luiz Eça, acoustic piano; Bebeto Castilho, bass; Rubem Ohana de Miranda, drums
Recorded live at Santa Rosa Theater, in Ipanema, this concert was put together by the founder of Elenco, producer Aloysio de Oliveira, then married to Sylvia Telles. His idea to pair Sylvia with Tamba Trio, signed to Philips, proved very successful, and we only regret that they never recorded a whole album together. This up-tempo track is probably the best song co-written by guitarist Carlos Lyra (who later worked in the USA with Stan Getz) and lyricist Vinicius de Moraes. (Please check the delightful English version, by Jon Hendricks, included on A Trip To Brazil Vol. 2). Other acts in that one-night only concert were Edu Lobo and the classical-oriented brass group Quinteto Villa-Lobos.
15. Gaya: Samba do Avião (1:18)
(Antonio Carlos Jobim)
from “Rio de 400 Janeiros” (Elenco ME-20)
Produced by Aloysio de Oliveira; P. 1965
Gaya, arranger & conductor; Tenório Jr., acoustic piano; Luiz Marinho, acoustic bass; Edson Machado, drums; strings, horns & choir
Maybe the most important arranger in all the history of Brazilian music, Lindolpho Gomes Gaya was a key contributor to the careers of such stars as Chico Buarque, Elizeth Cardoso, Paulinho da Viola, Edu Lobo, Maria Bethania, and Taiguara to name a few – besides the brilliant partnership with his wife, Brazil’s top folk singer Stellinha Egg; not to mention his work as Musical Director for the EMI-Odeon label. Gaya also is recognized as the first arranger who understood the subtleties of the bossa nova, creating a new style of more sophisticated orchestration first heard on Sylvia Telles’ “Amor de Gente Moça” LP, actually a Jobim songbook from 1959 which yielded many hits that the composer wisely invited Gaya to arrange. Oddly, an album arranged by Gaya, with Deodato on piano, originally titled “Tom Jobim Apresenta” was later reissued as a Jobim album under the title “Love, Strings And Jobim”, although Jobim doesn’t play one note on it. This fiery version of “Samba do Avião” comes from the soundtrack of the “Rio de 400 Janeiros” show (conceived by Carlos Machado) for which Gaya served as conductor, writing all arrangements and some new tunes. It was presented throughout 1965, at the Copacabana Palace Hotel, celebrating the 400 years of the Rio de Janeiro city. It’s one of the rarest albums in the Elenco catalog, never reissued in any format.
16. Neyde Fraga & Walter Wanderley: Diz Que Fui Por Aí (1:30)
(Zé Kéti/Hortênsio Rocha)
from “Balançando com Neyde Fraga & Walter Wanderley” (Philips 632.711)
Produced by Walter Wanderley; P. 1964
Neyde Fraga, vocal; Walter Wanderley, organ
For audiences outside Brazil, Walter Wanderley became a familiar name only after he moved to the USA in 1965, signing with Verve, recording the “Rain Forest” album and scoring a big pop hit with “Summer Samba”. But, since the mid-Fifties, he was acclaimed in his native country as our premier organist, doing several albums (sometimes two or three LPs a year!) for such labels as Odeon and Philips. He also loved to record with singers, and it most often happened with his then wife Isaurinha Garcia. This track, however, derives from a very rare album he cut with São Paulo-based Neyde Fraga, one of the many bossa singers (like Norma Suely, Nicéa Martins, Anna Lucia) that simply disappeared from the musical scene, today are forgotten and nowhere to be found.
17. João Gilberto: Rosinha (3:52)
(Jonas Silva)
from “João” (Philips 848188-1)
Produced by Mayrton Bahia & Carmela Forsin; P. 1990 (Rec. May 16, 1990)
João Gilberto, vocal & acoustic guitar; Clare Fischer, keyboards Jim Hughart, bass: Joe Correro, drums; Michito Sanchez, percussion; horns section; arr. & cond. by Clare Fischer
When João Gilberto arrived in Rio, in 1950, from his native small town of Juazeiro (Bahia), he replaced Jonas Silva in the Garotos da Lua vocal group (the Brazilian version of the Pied Pipers). The reason alleged, by his own colleagues, to quit Silva: his voice was very soft, and he used to sing very low. Now you can imagine how they felt when the guy chosen to replace Silva appeared singing even lower and softer! Anyway, they kept Gilberto in the group until 1952, performing regularly at the Tupi Radio and recording some 78rpms. Jonas Silva’s solo career never launched, but he recorded some singles for various labels, including a cult EP in 1959 with revered versions of Jobim’s “A Felicidade” and Johnny Alf’s “Rapaz de Bem”. Later he moved to the other side of the business, funding Imagem, the first independent Brazilian label specialized in jazz. One of Silva’s own compositions, “Rosinha”, always fascinated João Gilberto, who often played it when among friends, after listening to a demo recorded by Silva in 1954. Then, 36 years later, Gilberto decided to do the first commercial recording ever of “Rosinha”, a saucy tune enlightened by Clare Fischer’s delightfully syncopated arrangement, clearly influenced by Nestor Campos’ scores from the early Fifties.
18. Cal Tjader with Clare Fischer: Meditação (3:31)
(Newton Mendonça/Antonio Carlos Jobim)
from “Cal Tjader Plays the Contemporary Music of México and Brazil “ (Verve V6-8470)
Produced by Creed Taylor; P. 1962
Cal Tjader, vibes; Clare Fischer, acoustic piano; Freddie Schreiber, bass; Johnny Rae, drums; Laurindo Almeida, acoustic guitar; Milt Holland, percussion; Changuito, congas; Paul Horn, flute; Bernard Fleisher, John Lowe & Don Shelton, reeds; arr. by Clare Fischer
The ex-Dave Brubeck drummer who gained prominence as a master of vibes, Cal Tjader was the first latin-jazz legend to fall in love with bossa nova. Throughout his career, he developed memorable collaboration with João Donato, resulting on such albums as “Solar Heat” (Skye) and “The Prophet” (Verve), besides their many live gigs and the entirely Brazilian-oriented “Amazonas” (Fantasy), a project with Airto, Hermeto Pascoal and Egberto Gismonti centered on Donato’s title track. This graceful version of “Meditação” comes from Tjader’s first Brazilian adventure, at the suggestion – one more time – of Creed Taylor. Another constant bossa lover, Clare Fischer applies his magic touch, while Stan Kenton’s veteran Laurindo Almeida, who Creed would later pair with Stan Getz, provides the typical guitar bossa beat. Bossa-jazz lounge at its best.
19. Anna Lúcia: Água de Beber (2:07)
(Antonio Carlos Jobim/Vinicius de Moraes)
from “O Encanto e A Voz de Anna Lucia “ (Philips 630.4431)
Produced by Armando Pittigliani; P. 1961 (Released March, 1961)
Anna Lúcia, vocal;
A singer’s singer, Anna Lúcia shined in the early days of bossa nova, cutting many cult albums. One of them, “Anna Lúcia Canta Triste” (RGE) is an enduring best-seller in Japan, the bossa nova equivalent to Sonny Clark’s “Cool Struttin” (Blue Note) on the bop scene. Her first album for Philips, the follow-up to her debut on Chantecler one year earlier, became an instant collector’s item. Among the reasons was the inclusion of the debut recording of a new song, “Água de Beber”, later retitled when Norman Gimbel added English lyrics and Frank Sinatra recorded it. “I went to learn the song at Vinicius de Moraes’ house, and Jobim was there too to help him to teach me all phrasings they wanted”, remembers Anna Lucia. “We spent all the afternoon drinking scotch and singing the song probably over one hundred times”, she laughs. In the mid-Sixties, Anna Lúcia married and abandoned the musical career, which she reactivated for a short period in the mid-Eighties, doing an acclaimed comeback at the Beco da Pimenta nightclub in Rio. But, soon after, she unfortunately retired.
20. Baden Powell: Blues a Volonte (8:53)
(Baden Powell/Janine de Waleyne)
from “É de Lei” (Philips 6349.036)
Produced by Joachim-Ernst Berendt; P. 1972 (Rec. October 25, 1971)
Baden Powell, vocal & acoustic guitar; Janine de Waleyne, vocal; Ernesto Gonçalves, acoustic bass; Joaquim Paes Henriques, drums; Alfredo Bessa, percussion
Powell’s only hit in the dancefloor jazz scene, this intoxicating track was recently reconstructed by both The Maxwell Implosion and Freddy Fresh for the 2-LP set “Mojo Club – The Remix Album” in 1999. The original version, recorded at MPS Studio in Villigen in a very spontaneous jam-session mood, for the album “Images on Guitar”, was released in Brazil on the album “É de Lei”. A very simple bossa-blues, clearly inspired by Quincy Jones’ “Soul Bossa Nova”, another dancefloor anthem, this exciting performance features extended solos by Baden himself (playing more jazzier than ever) and Janine de Waleyne, a former member of vocal group Double Six of Paris. They had met in a hotel in Berlin just some days prior to the recording, during a break of a tour Janine was doing with Gilbert Bécaud. Really impossible to resist to its dance appeal!
21. The Sandpipers: Wave (2:29)
(Antonio Carlos Jobim)
from “The Wonder of You” (A&M SP 4180)
Produced by Tommy LiPuma; P. 1969
The Sandpipers, vocal; arr. & cond. by Nick De Caro
There was a time when every album not only by jazz artists, but also by pop acts, should include at least one bossa tune. It was hip, it was cool! After Elvis Presley, the king of rock ‘n’ roll, hit the Billboard charts in 1968 singing Luiz Bonfá’s delicate bossa, “Almost in Love”, who else would not try to do the same? Well, The Sandpipers (a male vocal trio formed by Jim Brady, Mike Piano, and Richard Shoff) was no exception. Originally known as The Four Seasons, and later The Grads, the group cut several unexpressive singles for A&M, in spite of Herb Alpert’s promotional investments. Suddenly, thanks to an odd suggestion by producer Tommy LiPuma that they should record an old South American folk tune, The Sandpipers exploded worldwide. The song was the kitsch “Guantanamera”, a Top 10 hit in 1966. Three years later, they recorded Jobim’s “Wave”, the last bossa nova standard, getting the non-credited contribution of songstress Pamela Ramcier.
22. Palmyra & Levita with João Donato: Where’s J.D.? aka Ahiê (2:25)
(João Donato/Eumir Deodato/Paulo César Pinheiro)
Windswept Music, admin. By EMI Music – ASCAP
from “Come Rain or Come Bossa Shine” (JSR 6044)
Produced by Arnaldo DeSouteiro; P. 2002 (Rec. October, 2002)
Palmyra, vocal; Paulo Levita, acoustic guitar; João Donato, acoustic piano; arr. by Paulo Levita
After fourteen years living in the USA, João Donato was already planning to return to Brazil when he signed with Muse Records in early 1973 to do the album eventually released as “Donato/Deodato”. Donato created the basic sketches for some songs, did a first session on March 1973, got the royalty advance, and… took the first plane to Rio, delivering a message to Deodato: “finish the project, please!” Thus the title of this tune, “Where’s J.D.?”, completed by Deodato when Donato didn’t show up for the second session. Later that same year, the song was retitled “Ahiê”, after poet Paulo César Pinheiro added lyrics. This brand-new recording belongs to the second collaboration between Donato and a sensational duo from Bahia, Palmyra & Levita, their follow-up to the acclaimed “Here’s That Rainy Bossa Day”, a Top 10 album in Japan in 2001.
23. Márcio Faraco: O Destino Espera (4:01)
(Márcio Faraco)
from “Interior” (EmArcy 064.159)
Produced by Márcio Faraco & Laurent Bizot; P.2002 (Rec. March, 2002)
Márcio Faraco, vocal & acoustic guitar; Kenny Barron, acoustic piano; Marc Bertaux, acoustic bass; Luiz Augusto Cavani, drums; Julio Gonçalves & Mino Cinelu, percussion; Patrice Larose, folk guitar; Zé Nogueira, soprano sax; arr. by Márcio Faraco
Born in Alegrete, in Southern Brazil, close to the Argentine border, Márcio Faraco lived in Brasilia and Rio de Janeiro before moving to France in 1992. Tired of the endless difficulties he’d met with in trying to make his voice heard in his own country, he made the decision – a “poetic exile”, in his own words – to settle in Europe. Now approaching forty, Faraco is enjoying a career that is finally taking off. His debut album, “Ciranda” (2000), sold over 60,000 copies. This follow-up, “Interior”, recorded between Paris, Rio and NY, reveals a mature composer who travels through several Brazilian rhythms. Among them, of course, the bossa nova of “O Destino Espera”, filled with jazzy nuances in an introspective arrangement that features Kenny Barron’s piano.
24. Copa Trio: Meu Fraco É Café Forte (5:29)
(Dom Salvador)
from “É Tempo de Música Popular Moderna” (Philips 632.736)
Produced by Armando Pittigliani; P. 1964 (Rec. August 7, 1964)
Dom Salvador, acoustic piano; Manuel Gusmão, acoustic bass; Dom Um Romão, drums
Funded by Manuel Gusmão, with Toninho Oliveira on piano and João Palma on drums, the Copa Trio acquired a kind of mythological status. Although it was considered, by fellow musicians, the best bossa trio ever, the group never got a record deal! When Palma entered the Army, he was replaced by Dom Um Romão, who later brought Dom Salvador from São Paulo. Jorge Ben started his career as their crooner, and the group backed many important shows by people like Elis Regina and Quarteto Em Cy, before disbanding in 1965 when Romão moved to the USA. So, this track is the only available recording of such a legendary act! It belongs to a live album which reunited many bossa nova stars (Luiz Henrique, Os Cariocas, Jorge Ben, Tamba Trio) for a single-night benefit concert on August 7, 1964, at Leme Palace Hotel, organized by Stella Marinho, wife of Brazil’s mass-media group emperor, Roberto Marinho, owner of the Globo (Radio, TV, journal) enterprises, having famous soccer speaker Mario Luiz as MC. Really a collector’s item.
CD2
1. Luiz Eça: Zazueira (2:30)
(Jorge Ben)
from “Brazil 70” (Philips 765.109)
Produced by Roberto Menescal; P. 1970
Luiz Eça, piano & arranger.
From 1967 to 1970, countless Brazilian artists lived in Mexico: Carlos Lyra, João Gilberto, Raul de Souza, Leny Andrade, Pery Ribeiro, Breno Sauer, and even entire groups like Bossa Tres (led by Luiz Carlos Vinhas), Vox Populi and Anjos do Inferno. Why? “Because everybody was running away from the worst and most violent period of the military dictatorship in Brazil. Besides the fact that bossa was considered dead and the market only wanted rock ‘n’ roll”, answers bassist Manuel Gusmão, who spent four years in Mexico City leading his own trio. Tamba 4 was there too, for the first time with a new keyboardist, Laercio de Freitas, replacing group founder Luiz Eça. But Eça also went to Mexico, leading a combo named A Sagrada Família, which included the Joyce-Nelson Angelo couple plus Novelli on bass and Vitor Manga on drums. This intriguing and psychodelic rendition of Jorge Ben’s funky-samba “Zazueira”, comes from the first album Eça did after returning to Brazil, somehow celebrating our victory in the Soccer Championship.
2. Azymuth: Que É Que Você Vai Fazer Nesse Carnaval? (2:37)
(Azymuth)
from “Azymuth” (Polydor EP 2249.036)
Produced by Azymuth; Rec. 1975
José Roberto Bertrami, keyboards, percussion & vocal; Alex Malheiros, electric bass & vocal; Ivan “Mamão” Conti, drums, percussion & vocal; Ariovaldo Contesini, percussion; arr. by J.R. Bertrami.
Another one of these mythical US$200 records! Recorded in 1975 for Polydor, after their debut album on Som Livre (“Linha do Horizonte”) and before their second album, issued by WEA/Atlantic (“Águia Não Come Mosca”), this ultra-rare EP achieved a status of collector’s item after I helped to resurrect the group in the European dancefloor-jazz scene in the mid-Nineties, when I booked them, Marcos Valle and Dom Um Romão for gigs at London’s Jazz Café. At that time, another track from this EP, “Melô da Cuica”, became shamelessly bootlegged in UK. But the rhythmically contagious “Que É Que Você Vai Fazer Nesse Carnaval?” remained a forgotten gem. Please note that, in the original cover of this EP, the name of the group still was Azimuth, since only after 1976 they changed the name to Azymuth, to avoid legal problems with the other Azimuth unit led by Norma Winston, John Taylor and Kenny Wheeler.
3. Luiz Bonfá: Bahia Soul (2:34)
(Luiz Bonfá)
from “Black Orpheus Impressions” (Dot DLP 25848)
Produced by Gerry Granahan; P. 1968
Luiz Bonfá, 6 &12-string acoustic guitars; Ron Carter, acoustic bass: Dom Um Romão, drums & percussion; Phil Bodner, flute; arr. by Luiz Bonfá
Speaking of dancefloor-jazz, surely one of its market biggest hits was “Underwater Love”, the debut single by London group Smoke City in 1996. Actually, this song, used even in a Levi’s TV ad in the mid-Nineties, was a sample of Bonfa’s “Bahia Soul”, with lyrics added by band members Chris Brown and Nina Miranda. A bossa pioneer who was living in New York since 1957, long before the bossa craze in the USA during the next decade - when he collaborated with Stan Getz, Tony Bennett and Frank Sinatra -, Luiz Bonfa wrote the soundtrack for such movies as “Black Orpheus” and “The Gentle Rain”. “Bahia Soul” sounds very cinematographic indeed, a musical painting of scenes that represent the typically sensual atmosphere of the Salvador city. From the intro, with that hypnotic groove provided by Bonfa’s guitar and Dom Um’s berimbau, you know you are in for a treat.
4. Milt Jackson: Só Danço Samba (2:12)
(Antonio Carlos Jobim/Vinicius de Moraes/Norman Gimbel)
from “Jazz ‘n’ Samba” (Impulse AS-70)
Produced by Bob Thiele; P. 1964 (Rec. August 7, 1964)
Milt Jackson, vibes; Barry Galbraith & Howard Collins, acoustic guitars; Richard Davis, acoustic bass; Connie Kay, drums; Jimmy Heath, tenor sax; Lilian Clark, vocal
Every time that Milt Jackson slip away (sneak out) of the Modern Jazz Quartet’s stylistic rigor, he took chances. Not always the results were so memorable like on his CTI masterpiece, “Sunflower”, but often he gave his fans some very enjoyable moments. “You can’t get along, in music or in life, without a certain amount of flexibility and variety. That’s one of the reasons I made this album”, Milt explained in the original liner notes for “Jazz ‘n’ Samba”. The Jobim song, which became famous in the USA thanks to Stan Getz/Charlie Byrd’s version on the legendary “Jazz Samba” (Verve) in 1962, gets a funkier sauce through Milt’s mallets. The vocalist is Lilian Clark, then married to the great arranger Sy Oliver, and who had caused some good impression in the jazz scene after appearing with organist Shirley Scott, then Mrs. Stanley Turrentine.
5. Wes Montgomery: Insensatez (3:46)
(Antonio Carlos Jobim/Vinicius de Moraes/Norman Gimbel)
from “Tequila” (Verve V6-8653)
Produced by Creed Taylor; P. 1966 (Rec. March 17-May 18, 1966)
Wes Montgomery, guitar; Ron Carter, bass; Grady Tate, drums; Ray Barretto, congas; George Devens, vibes; strings section; arr. & cond. by Claus Ogerman
After being acclaimed as the guitarist’s guitarist in his early days at the Riverside label, Wes Montgomery crossed over the jazz boundaries to become a household pop name thanks to Creed Taylor’s Midas touch. In most of the albums he produced for Wes in both the Verve and A&M/CTI labels, Creed paired him with arranger Don Sebesky. However, in this “Tequila” album, the guitarist was helped by another genius, Claus Ogerman, who added very subtle orchestrations using a small string ensemble (only eight violins plus four cellos), which gave the darker mood so marvelously heard in this version of Jobim’s classic “How Insensitive”, based on Chopin’s Prelude. The basic track was cut on March 17, 1966, with the strings overdubbed on May 18 at Van Gelder’s studio in New Jersey. Wes’ short solo is, as usual, stunning.
6. Miucha: Correnteza (3:02)
(Luiz Bonfá/Antonio Carlos Jobim)
from “Miucha” (Philips EP 6245041)
Produced by Paulinho Tapajós; P. 1975
Miucha, vocal; Helvius Villela, piano; Alex Malheiros, bass; Luiz Cláudio Ramos, guitar; Ariovaldo & Chacal, percussion; Franklin, flute:
Miucha, the nickname of Heloisa Buarque de Hollanda, Chico Buarque’s oldest sister and João Gilberto’s second wife, did his recording debut at the invitation of Philips’ A&R man, composer Paulinho Tapajós, in 1975. The sessions yielded five tracks – four of them released on an EP. Among them, “Correnteza”, co-written by Luiz Bonfá and Antonio Carlos Jobim, which appeared two years earlier in an album by singer Luiz Claudio. Curiously, though the song had been composed in the late Fifties (Bonfá wrote the first part, Jobim the second), both took a long time to record it. Jobim only decided to cut his own version in October 1975 for the “Urubu” album arranged by Claus Ogerman. Bonfá waited twenty years more, until this annotator/producer convinced him to record it on the album “Almost in Love – Ithamara Koorax Sings The Luiz Bonfá Songbook”, a Top 15 album in Japan.
7. Luiz Henrique with Sivuca: Vivo Sonhando (2:55)
(Antonio Carlos Jobim)
from “Barra Limpa” (Verve V6-8697)
Produced by Bob Morgan; P. 1967 (Rec. March 10, 1967)
Luiz Henrique, vocal & acoustic guitar; Sivuca, accordion; Don Payne, electric bass; Donald MacDonald, drums; arr. by Luiz Henrique & Sivuca
The essence of the sambalanço! Usually recorded in a slow tempo, like a bossa-ballad, “Vivo Sonhando” (Dreamer) is performed by Luiz Henrique in a very exciting way, guaranteed to send any club crowd into an ecstatic frenzy, despite the romantic lyrics. There’s no use of keyboards, but Sivuca’s accordion helps to put the track on fire, with Don Payne (one of the first American musicians who became experts in bossa-nova, after he played at the Copacabana Palace with Tony Bennett in 1961 and spent a week in Rio learning the subtleties of the new rhythm) pumping on electric bass. One of Brazil’s most underrated artists, the late Henrique is the composer of “A Trip to Brazil”, the song from which we “borrowed” the title for this series.
8. Kai Winding: O Amor em Paz (3:48)
(Antonio Carlos Jobim/Vinicius de Moraes)
from “Penny Lane & Time” (Verve V6-8691)
Produced by Creed Taylor; P. 1967 (Rec Feb 13, 1967)
Kai Winding, trombone; Ron Carter, bass; Grady Tate, drums; Joe Beck & Bucky Pizzarelli, acoustic guitars; Hubert Laws & Romeo Penque, flutes; Jerry Dodgion, alto sax; Danny Bank, alto sax & flutes; Tommy Mitchell & Bill Watrous, trombones; arr. & cond. by Kai Winding.
Under Creed Taylor’s guidance, trombone magician Kai Winding recorded the most successful albums not only of his solo career, as well as of his unsurpassed duo with J.J. Johnson. As always happened to artists associated with Taylor, Winding suffered accusations of selling out his career, by doing commercial albums. But, as Winding’s widow, Ezshwan, recently told music historian B.J. Major: “Kai had a family with children to support. He wasn’t supposed to be a commercial success and sell a lot of albums? Why on earth not?“. Despite such ridiculous criticism, what we listen here is a monster musician using his velvet-like trombone to sing an impeccable version of Jobim’s haunting bossa-ballad “O Amor em Paz”, retitled “Once I Loved” after receiving English lyrics.
9. Lorez Alexandria: O Barquinho (2:14)
(Roberto Menescal/Ronaldo Boscoli/Buddy Kaye)
from “More of the Great Lorez Alexandria” (Impulse AS-76)
Produced by Tutti Camerata; P. 1965
Lorez Alexandria, vocal; Wynton Kelly, acoustic piano; Al McKibbon, acoustic bass; Jimmy Cobb, drums; Ray Crawford, guitar; Paul Horn, flute
Born Dolorez Alexandria, this soulful singer achieved the peak of her career when, after longtime deals with the King and Argo labels, she signed with Impulse! in the mid-Sixties. Thanks to some good production work, her unique style, forged in r&b, but smoothed by her association with jazz musicians, took her artistry to a new level of expression. This song, “O Barquinho”, is a proof that not all of the bossa nova hymns became popular outside Brazil. A bossa anthem since its debut recording by singer Maysa for CBS, in 1962, it later received English lyrics and was retitled “Little Boat” in order to appeal to the American market. Despite the promotional efforts of its publishers, the mission failed, and a few recordings were made. Among them, Alexandria’s loose and moody version stands out.
10. Lúcio Alves: Samba da Minha Terra (2:23)
(Dorival Caymmi)
from “A Bossa é Nossa” (Philips 630.418)
Produced by Armando Pittigliani; P. 1960
Lucio Alves, vocal; Chiquinho do Acordeom, accordion; Vidal, acoustic bass; Juquinha, drums; Milton Banana, Amaury Rodrugues & Rubens Bassini, percussion; Copinha, flute; arr. & cond. by Gaya
In the pre-bossa days, Brazil’s best modern singers were Dick Farney and Lucio Alves. While many others still performed with operatic voices, even when singing traditional sambas, both Farney and Alves showcased a more sophisticated and subtle approach, singing softly with their velvet-like voices. Both suffered prejudice from the Brazilian press, often accused of being Americanized artists…Specially Farney, who was known as “the Brazilian Sinatra” and also made a strong reputation as a tremendous jazz pianist. Lucio Alves, more connected to samba, became famous as the lead singer in the legendary vocal group Namorados da Lua from 1941 to 1947, when he opted for a solo career. Always ahead of his time, Alves felt at home when bossa nova appeared, quickly joining the team of young talents that emerged everyday. This track comes from his debut album on Philips, a song by the greatest composer from Bahia, Dorival Caymmi.
11. Egberto Gismonti: O Gato (3:40)
(Egberto Gismonti)
from “Egberto Gismonti” (Elenco ME-54)
Produced by Durval Ferreira; P. 1969
Egberto Gismonti, acoustic piano & organ; Sergio Barroso, acoustic bass; Wilson das Neves, drums; Jorge Arena, congas; arr. by Egberto Gismonti
Probably the only samba-funk-jazz track ever cut by Gismonti, it’s a highlight from his debut album - released on Elenco but not produced by the label founder, Aloysio de Oliveira, who had already sold the company to Philips. The title of this intriguing tune relates to the album producer, guitarist Durval Ferreira, whose nickname, “Gato” (Cat), also baptized the all-star group Os Gatos (please check their track, “Silk Stop”, in the first volume of this series). This loose performance, on which the leader doubles on piano & organ, became a cult hit in the European dancefloor scene. Somehow blending influences of the early bossa trios with Jimmy Smith’s funky-jazz recordings, sounds completely different from Gismonti’s avant-garde chamber-jazz style later patented on many acclaimed dates for ECM, most often featuring his guitar playing. To complete the meltdown process, the congas add an afro-tinge to bassist Sergio Barroso’s solo. Really exhilarating stuff.
12. Helen Merrill: Casa Forte (2:54)
(Edu Lobo)
from “Casa Forte” (EmArcy 558.848-2) Tokuma TKCB-70037/Inner City 1125
Produced by Helen Merrill & Torrie Zito; P. 1980 (Rec. April 11, 1980)
Helen Merrill, vocals; Dom Um Romão, drums & percussion; Francesco Centeno, electric bass; Bucky Pizzarelli, acoustic guitar; Urbie Green, trombone; James Buffington, John Clark & Peter Gordon, French horns; arr. & cond. by Torrie Zito
Originally released on the now-defunkt Inner City label, “Casa Forte” is a very peculiar album on Helen Merril’s discography, an adventure outside the jazz ballad territory on which she is a one-of-a-kind singer. Here she applies her husky voice to some bossa standards, a couple of post-bossa tunes, and also a few standards spiced with the bossa beat. This scintillating version of Edu Lobo’s “Casa Forte” features Merrill’s wordless vocals propelled by the rhythmic fury of the Mephistophelean-faced (Stan Corny’s words) Dom Um Romao on drums & percussion. Bucky (father of John) Pizzarelli gets the groove, while Torrie Zito’s ingenious horn arrangement benefits from the special colour generated by the combination of Urbie Green’s trombone with three French horns.
13. Wilson Simonal: Irmãos de Sol (3:12)
(Marcos Valle/Paulo Sérgio Valle)
from “Se Dependesse de Mim” (Philips 6349.049)
Produced by Roberto Menescal & Nelson Motta; P. 1972
Wilson Simonal, vocal; Sergio Carvalho, acoustic piano; Sergio Barroso, electric bass; Pascoal Meirelles, drums; Chacal, percussion; Maurilio Santos, trumpet; Zeca do Trombone, trombone; Oberdan Magalhães & Zé Roberto Simonal, tenor sax; Aurino Ferreira, baritone sax; strings; arr. & cond. by Sergio Carvalho
In the early Seventies, Singer Wilson Simonal was living the worst period of his “inferno astral”. Accused to be a pimp (a pander? A squealer?) , collaborating with the Brazilian military dictatorship by denouncing artists that were against the militaries (something that was never proved!), Simonal, after a huge success during the Sixties – when he cut memorable albums with Deodato, Panicalli, and Cesar Mariano for the Odeon label – saw his career went downhill. No gigs, no TV shows, no radio airplay. “Andre Midani, then President of Philips-Brazil, and a very powerful businessman who had been the main man for the tropicalia behind the scenes, said: I will sign Simonal to rehabilitate his career at any cost. Maybe it was the only mission in Midani’s career that proved impossible”, remembers Brazil’s top pop critic, Tárik de Souza. One of these attempts was the album “Se Dependesse de Mim”, which featured, in 1972, this tune by brothers Marcos & Paulo Sergio Valle, some of the few composers who accepted to provide Simonal with new songs, such intense was the antipathy against him in the music circles. Now, 30 years later, many of his albums are being reissued, and his sons Max de Castro and Wilson Simoninha are receiving critical acclaim in the pop scene.
14. Soul Flutes: Bachianas Brasileiras (4:21)
(Heitor Villa-Lobos)
from “Trust in Me” (A&M/CTI SP 3009)
Produced by Creed Taylor; P. 1968 (Rec. Feb 21, 1968)
Joel Kaye, Herbie Mann, George Marge, Romeo Penque & Stan Webb, flutes; Paul Griffin, organ; Ron Carter, acoustic bass; Grady Tate, drums; Bucky Pizzarelli, acoustic guitar; Henry Watts, vibes; arr. & cond. by Don Sebesky
Brazil’s most celebrated classical composer, Heitor Villa-Lobos (1887-1959) was Antonio Carlos Jobim’s main idol and influence. It seems that Jobim always tried to achieve – when composing such works as “Saudades do Brasil” and “Arquitetura de Morar” - the same level of recognition reached by Villa-Lobos in the called “serious music” area. On his turn, Villa-Lobos considered J.S. Bach as “the supreme source of universal music”. This Don Sebesky adaptation of the Bachianas Brasileiras # 5 (a series of pieces that could be called “When Bach meets Brazil”) brings it to the sophisticated bossa-nova universe. The famous melody, originally composed in 1945 for soprano voice & cello ensemble, here features a flute section which recorded one of the most underrated albums from the A&M/CTI catalog. It’s worth to mention that Romeo Penque was among the most-in-demand session players in the NY scene, appearing in hundreds of projects – among them, the famous Miles Davis/Gil Evans collaborations. Later on, Creed Taylor would produce another version of this piece for Jackie & Roy’s “Time & Love” (CTI) in 1972.
15. Zimbo Trio: Festa no Sertão (3:23)
(Heitor Villa-Lobos)
from “Zimbo Opus Pop no.2” (Philips 6349.080)
Produced by Cyro Pereira; P. 1973
Hamilton Godoy, acoustic piano; Luiz Chaves, acoustic bass; Rubens Barsotti, drums; strings & horns; arr. & cond. by Cyro Pereira
Another great Villa-Lobos work (from 1937, the third movement of the “Ciclo Brasileiro” for piano solo), superbly adapted and orchestrated by Cyro Pereira for one of the most adventurous albums ever conceived by the legendary São Paulo-based Zimbo Trio, which remains active in the musical scene for 39 years! It’s very clear how much this kind of piece influenced Jobim, not only in the use of similar rhythmic motifs from Northeast Brazil (like the ones he applied on “Stone Flower”), as well as in the kind of lyricism which abounds in the second part of this work, and on its complete structure. Gifted with a enormous piano technique, due to his studies as classical pianist, Hamilton Godoy shines in an electrifying performance.
16. Antonio Carlos Jobim: Dax Rides (4:18)
(Antonio Carlos Jobim)
from “Um Homem de Aquarius” (Philips 6685.111)
Produced by João Donato; P. 1980
João Donato, acoustic piano; Jamil Joanes, electric bass; Robertinho Silva, drums & percussion; strings & horns; arr. & cond. by João Donato
Villa-Lobos’ influence on Jobim’s style abounds specially in the sumptuous “Urubu” and “Matita Perê” albums, as well as on the soundtrack from Lewis Gilbert’s film “The Adventurers”, recorded in London in 1969, with arrangements by Deodato, for the Paramount label. Such songs as “Children’s Games” and “Amparo” were soon after re-recorded for the CTI album “Stone Flower” in 1970, and later received lyrics. However, another fascinating composition, “Dax Rides” (named after the film main character, Dax, played by actor Bekim Fehmiu) remained an instrumental tune – and one that Jobim never touched again. Not even when hired, in 1980, to cut a new version for a 4-LP box set titled “Um Homem de Aquarius”. After waiting in vain for months to get a score from Jobim, the A&R men called João Donato to provide the new arrangement. Jobim was supposed to play at least the piano parts, but he failed to appear and Donato himself took care of the piano, besides conducting the orchestra. Never credited to Donato, and never reissued, it’s one of the rarest tracks in this compilation.
17. Bossa Rio: Blackbird (3:12)
(John Lennon/Paul McCartney)
from “Alegria” (Blue Thumb BTS-17)
Produced by Sergio Mendes; P. 1970
Manfredo Fest, keyboards; Octavio Bailly, electric bass; Ronnie Mesquita, drums; Gracinha Leporace & Pery Ribeiro, vocals; strings & horns
The Beatles go to Ipanema. That’s the impression of Bossa Rio’s rendition of “Blackbird”, one of the many pop hits composed by Lennon & McCartney. Regarding Bossa Rio, it must be clarified that what was born as Sergio Mendes’ first group in 1962, appearing at the Bossa Nova at Carnegie Hall Concert, recording with Cannonball Adderley for Riverside, and doing a fabulous album for Philips in 1964 (please check out their version of “Ela É Carioca” on the first volume of this series), later became a completely different unit. After Sergio became very famous and busy with his Brasil ’66, he had the idea to recreate Bossa Rio, since he had patented that name! Such decision not only allowed him to practice his production skills, as well as to make more money, by leading two bands at the same time, usually signed to different labels. Sometimes, thanks to a smart management, both groups were booked to the same festivals (!), like happened in the Expo ’70 in Osaka, when Brasil ’66 cut a live album for A&M the same night that Bossa Rio did his second date for Blue Thumb. The only restriction was that Sergio couldn’t perform with Bossa Rio, to avoid lawsuits. But it was never a problem, since he always hired great keyboardists (Manfredo Fest, Osmar Milito, João Donato) to appear with the band.
18. Edu Lobo with Hermeto Pascoal: Hey Jude (4: 13)
(John Lennon/Paul McCartney)
from “Sergio Mendes Presents Lobo” (A&M 3035)
Produced by Sergio Mendes; P. 1970
Edu Lobo, vocal & acoustic guitar; Hermeto Pascoal, flute & acoustic piano; Tião Neto, bass; Cláudio Slon, drums; Airto Moreira, percussion; Oscar Castro-Neves, guitars; arr. by Edu Lobo & Hermeto Pascoal
Liverpool meets Northeast Brazil. That’s the best definition possible to such an ingenious arrangement like the one that Edu Lobo & Hermeto Pascoal provided for “Hey Jude”. Jazz artists – from Wes to Ella to Shirley Horn – always loved them. Not to mention Sarah Vaughan and George Benson, who devoted entire albums to jazzy takes on Beatles’ repertoire. This kind of empathy never occurred with the bossa giants, and only occasionally some of our masters (like Jobim did as a sideman on a Gary McFarland version for “I Want to Hold Your Hand”, included on the first “A Trip To Brazil”) would eventually pay homage to the pop icons. This track comes from Lobo’s debut on the USA scene, a big commercial fiasco, despite Sergio Mendes’ production and Herb Alpert’s promotional efforts.
19. Jackie & Roy: Corcovado (3:43)
(Antonio Carlos Jobim/Buddy Kaye/Gene Lees)
from “Love sick” (Verve V6-8688)
Produced by Creed Taylor; P. 1967 (Recorded December, 1966)
Jackie Cain, vocal; Roy Kral, vocal & piano; Don Payne, bass; Donald MacDonald, drums
Jacqueline Ruth Cain & Roy Joseph Kral worked as a duo from 1946 to 2002, when Roy Kral passed away. During their long marriage (52 years!) and brilliant career, they constantly crossed the boundaries of jazz clubs and cabaret circuit with no constraints. Their association with Creed Taylor began in 1956, at the ABC-Paramount, continued during his Verve years, and entered the Seventies, when they cut their masterpiece for CTI, “Time & Love”. This charming version of “Corcovado” represents the highest level of refinement & natural sophistication a duo can reach. Jackie, blessed with a crystalline timber, sings the seldom heard original English lyrics, written by Kaye & Lees. Later, Jobim would discredit Buddy Kaye’s contributions, keeping only the parts written by his friend Gene Lees.
20. George Benson: Jackie, All (2:15)
(Eumir Deodato)
from “Tell it Like it Is” (A&M/CTI SP 3020)
Produced by Creed Taylor; P. 1968 (Rec. April 30, 1969)
George Benson, electric guitar; Richard Tee, acoustic piano; Bob Bushnell, electric bass; Leo Morris aka Idris Muhammad, drums; Paul Alicea & Johnny Pacheco, percussion; Angel Allende, congas; Lew Soloff, trumpet; Jerry Dodgion, flute; Bob Porcelli & Jerome Richardson, flutes & alto sax; Arthur Clarke & Joe Farrell, tenor sax; arr. & cond. by Marty Sheller
The aristocratic blond beauty of Jackie Cain inspired Brazilian super-maestro Eumir “2001” Deodato to write this lovely latin-tinged melody, originally arranged by Deodato to Walter Wanderley’s “Moondreams”. It became the favorite track of the album producer, Creed Taylor, who later suggested George Benson to record it too. After Wes Montgomery’s passing, Taylor had quickly signed George Benson to the CTI label, then a kind of jazz division for A&M. And once again he succeeded, helping the guitarist to jump outside the jazz boundaries and crossover to the pop market. “Tell it Like it Is” was the second Benson &Taylor chapter in a collaboration that would reach its peak in the Seventies, through such masterpieces as “White Rabbit” and “Bad Benson”.
21. Ithamara Koorax with João Palma: Ligia (5:14)
(Antonio Carlos Jobim)
from “Love Dance – The Ballad Album” (JSR 6042)
Produced by Arnaldo DeSouteiro; P. 2002 (Rec. January, 2002)
Ithamara Koorax, vocal; José Roberto Bertrami, electric piano; Sergio Barroso, acoustic bass; João Palma, drums; Dom Um Romão, percussion; Juarez Araújo, clarinet; arr. by Arnaldo DeSouteiro
When Jobim cut the original version of “Ligia”, for the “Urubu” album in 1975, he was anchored by his longtime associates Ron Carter (bass) and João Palma, his drummer since 1969, having contributed a lot to the rhythmic sex-appeal of such items as “Tide”, “Stone Flower” and “Matita Perê”. So, for Brazil’s supreme ballad singer Ithamara Koorax (with whom Jobim did his final recording session in October 1984 on Koorax’s “Rio Vermelho” album), it was natural that Palma should play in her new reading of this gorgeous ballad, alongside Azymuth’s keyboardist J.R. Bertrami and some legendary musicians from the bossa nova era. One of Brazil’s best drummers ever, Palma took part on albums by Frank Sinatra, Paul Desmond, Michael Franks, Astrud Gilberto, and Milton Nascimento, to name a few. Currently he is touring with Koorax, voted one of the world’s best jazz singers in Down Beat’s Readers Poll in 2000 and 2002, behind only Cassandra Wilson, Diana Krall and Dianne Reeves.
22. Pingarilho & Deodato: Samba do Dom Natural (4:19)
(Carlos Pingarilho/Marcos Vasconcellos)
from “Stories & Dreams” (JSR 6043)
Produced by Arnaldo DeSouteiro; P. 2002 (Rec. July, 2002)
Pingarilho, vocal & acoustic guitar; Eumir Deodato, electric piano; Bebeto Castilho, electric bass; Marcelo Salazar & Thiago de Mello, percussion; arr. by Pingarilho & Deodato
After 35 years of a brilliant career as a composer, having his songs covered by people like João Gilberto, Luiz Bonfá, Laurindo Almeida, Sarah Vaughan, Astrud Gilberto, Chris Montez, and Andy Williams, to name a few, Carlos Pingarilho did his debut recording session in 1997, singing and playing guitar on Dom Um Romão’s “Rhythm Traveller” for JSR. He enjoyed the experience, and soon joined Dom Um’s band as a special guest during the promo tour of the album. Later on, he accepted to do his first recording as a leader: a track for an all-star benefit project titled “Street Angels”. Contributions to other all-star sessions (“Friends From Brazil 2001”, “Rio Strut”) followed, and now, at long last, he is releasing his debut solo album. The opening track is a splendid remake of “Samba do Dom Natural”, originally recorded in 1965 by Deodato, who contributes to this new rendition doing a truly perfect Rhodes solo, also swinging hard while Pingarilho unexpectedly raps (backed by Tamba Trio’s bassist, Bebeto) in the intro and in the finale of the track.
23. Bill Evans: The Dolphin – After (3:07)
(Luiz Eça)
from “From Left to Right” (MGM SE-4723)
Produced by Michael Leonard; P. 1970 (Rec. March 28, 1970; April 23, 1970)
Bill Evans, acoustic & electric pianos; John Beal, electric bass; Marty Morell, drums; Sam Brown, acoustic guitar; Gary Chester, percussion; strings & horns; arr. & cond. by Michael Leonard
Although Bill Evans was signed to Verve, this album came out on its parent company MGM as a decision of the marketing department. “It was an attempt to get Bill played on more than just the jazz radio stations”, explains arranger/producer Leonard, who later added strings, flutes and percussion to the basic track, bringing John Beal to overdub Eddie Gomez’s original part. He also had the idea to score Bill’s solo (on electric piano) for five flutes – one bass flute, two alto flutes, and two regular flutes -, overdubbing a piccolo an octave higher than the first flute. Regarding the use of the Rhodes electric piano, Leonard says: “Harold Rhodes tailored an instrument to match Bill’s specifications. He gave him one of the firsts 88-key model, Bill made some adjustments with the tines, and then Harold copied what Bill did.” The result, as always with Bill, is sublime!
Compiled, Annotated & Produced by Arnaldo DeSouteiro (JSR)
Art Direction & Design: Stefan Kassel
Cover photo: Peter Timmermans
Mastered by Williem Makkee at Emil Berliner Studios, Langenhagen
Special thanks from the producer to: Elge Agricola, Hildegard Angel, Sergio Barroso, Ricardo Boechat, Paul Bradshaw, Celso Brando, Luciana Camargo, Fabrizio Carrer, Sergio Carvalho, Jonah Colon, Umbi Damiani, Corrado Dierna, João Gilberto, Terri Hinte, Ralph Kaffel, Andy Kim, Ithamara Koorax, Kazuko Maeda, Paula Cabral de Menezes, B.J. Major, Susumu Morikawa, Hugo Nunes, Anna Ramalho, Adriana Ramos, Seth Rothstein, Cristina Ruiz-Kellersmann, Marcia Soares, William Tardelli, Creed Taylor, and Koichi & Motoko Yasuoka
Very special thanks to Roberto Muggiati, Douglas Payne, Tárik de Souza and Heloisa Tapajós for their invaluable assistance and generosity.
Extra special thanks to Christian Kellersmann and Matthias Künnecke
Various Artists: “A Trip To Brazil, Vol.3: Back To Bossa” [2003]
CD Release Date: January 7, 2003
Label: Universal
Catalog Number: 4400697102
SONGS
1. The Dolphin – Bill Evans
2. Samba de Orly – Tania Maria
3. Larari-Olalá – Jorge Ben
4. Mas Que Nada – Hank Jones & Oliver Nelson
5. Tristeza – Elis Regina
6. O Pato – Lennie Dale & Sambalanço Trio
7. Samba de Orfeu – Bob Brookmeyer
8. Baiãozinho – Leny Andrade
9. Tão Doce Que É Sal – Os Cariocas
10. Seu Encanto – Rio 65 Trio
11. Sambou…Sambou – Dóris Monteiro
12. Keep Talkin’ – Chris Montez
13. Rapaz de Bem – Lalo Schifrin
14. Você e Eu – Sylvia Telles & Tamba Trio
15. Samba do Avião – Gaya
16. Diz Que Fui Por Aí – Neyde Fraga & Walter Wanderley
17. Rosinha – João Gilberto
18. Meditação – Cal Tjader
19. Água de Beber – Anna Lúcia
20. Blues à Volonté – Baden Powell
21. Wave – The Sandpipers
22. Ahiê – Palmyra & Levita with João Donato
23. O Destino Espera – Márcio Faraco
24. Meu Fraco É Café Forte – Copa Trio
25. Zazueira – Luiz Eça
26. Que É Que Você Vai Fazer Nesse Carnaval – Azymuth
27. Bahia Soul – Luiz Bonfá
28. Só Danço Samba – Milt Jackson
29. Insensatez – Wes Montgomery
30. Correnteza – Miucha
31. Vivo Sonhando – Luiz Hnerique
32. Amor Em Paz – Kai Winding
33. O Barquinho – Lorez Alexandria
34. O Samba da Minha Terra – Lúcio Alves
35. O Gato – Egberto Gismonti
36. Casa Forte – Helen Merrill
37. Irmãos de Sol – Wilson Simonal
38. Bachianas Brasileiras – Soul Flutes
39. Festa no Sertão – Zimbo Trio
40. Dax Rides – Antonio Carlos Jobim
41. Blackbird – Bossa Rio
42. Hey Jude – Edu Lobo
43. Corcovado – Jackie & Roy
44. Jackie, All – George Benson
45. Ligia – Ithamara Koorax & João Palma
46. Samba do Dom Natural – Pingarilho & Deodato
47. The Dolphin, After – Bill Evans
CREDITS
Arnaldo DeSouteiro – Producer, Compilation Producer, Arranger, Liner Notes
Bill Evans – Piano (Acoustic), Piano (Electric)
Tania Maria – Vocal, Piano (Acoustic), Whistle
Jorge Ben – Vocal
Hank Jones – Harpsichord
Oliver Nelson – Arranger
Elis Regina – Vocal
Sambalanço Trio – Performer
Lennie Dale – Vocal
Bob Brookmeyer – Valve Trombone
Leny Andrade – Vocal
Os Cariocas – Performer
Ithamara Koorax – Vocal
João Palma – Drums
Carlos Pingarilho – Guitar (Acoustic), Vocal, Arranger
Deodato – Keyboards, Arranger
Rio 65 Trio – Performer
Dóris Monteiro – Vocal
Gaya – Arranger, Conductor
Chris Montez – Vocal
Lalo Schifrin – Arranger, Conductor, Piano (Acoustic)
Creed Taylor – Producer
Sylvia Telles – Vocal
Tamba Trio – Performer
Neyde Fraga – Vocal
Walter Wanderley – Organ
João Gilberto – Vocal, Guitar (Acoustic)
Cal Tjader – Vibraphone
Palmyra & Levita – Performer
Márcio Faraco – Vocal, Guitar (Acoustic)
Copa Trio – Performer
Luiz Eça – Piano (Acoustic), Arranger, Conductor
Herbie Mann - Flute
Luiz Bonfá – Guitar (Acoustic), Guitar (12-String), Arranger
Azymuth – Performer
Milt Jackson – Vibraphone
Wes Montgomery – Guitar (Electric)
Miucha – Vocal
Luiz Henrique – Guitar (Acoustic), Vocal
Sivuca – Accordion
Kai Winding – Trombone
Lorez Alexandria – Vocal
Egberto Gismonti – Organ, Arranger
Antonio Carlos Jobim – Performer
Lúcio Alves – Vocal
Soul Flutes – Performer
Don Sebesky – Arranger, Conductor
Helen Merrill – Vocal
Dom Um Romão – Drums, Percussion
Wilson Simonal – Vocal
Zimbo Trio – Performer
Edu Lobo – Guitar (Acoustic), Vocal
Bossa Rio – Performer
George Benson – Guitar (Electric)
Eumir Deodato – Keyboards, Arranger
Jackie & Roy – Performer
José Roberto Bertrami – Keyboards, Piano (Electric), Arranger, Vocal
Ivan Conti – Drums, Vocal
Alex Malheiros – Bass (Electric), Vocal
Ariovaldo Contesini – Percussion
Eddie Gomez – Bass (Acoustic)
Sam Brown – Guitar (Acoustic)
Michel Leonard – Arranger, Conductor
John Beal – Bass (Electric)
José Boto – Drums
Lindolpho Gaya – Piano (Acoustic), Arranger, Conductor
Manuel Gusmão – Bass (Acoustic)
Grady Tate – Drums
George Duvivier – Bass (Acoustic)
Phil Woods – Sax (Alto)
Jurandir Meirelles – Bass (Acoustic)
J.J. Johnson – Trombone
Antonio Adolfo – Piano (Acoustic)
Britt Woodman – Trombone
Joe Newman – Trumpet
Ernie Royal – Trumpet
Wilson das Neves – Drums
Clark Terry – Trumpet
Snooky Young – Trumpet
Jimmy Cleveland – Trombone
Hermes Contesini – Congas
Cesar Camargo Mariano – Piano (Acoustic)
Airto Moreira – Drums, Percussion
Humberto Clayber – Bass (Acoustic)
Jerome Richardson – Sax (Alto), Flute
Jim Hall – Guitar (Acoustic)
Jerry Dodgion – Flute
Jimmy Rainey – Guitar (Acoustic)
Carmen Costa – Percussion, Cabassa
Gary McFarland – Vibraphone
George Duvivier – Bass (Acoustic)
Willie Bobo – Drums
Aloysio de Oliveira – Producer
José Paulo – Percussion, Tambourine
Tenório Jr. – Piano (Acoustic)
Milton Banana – Drums
Ismael Correa – Producer
Zezinho – Bass (Acoustic)
Edson Machado – Drums
Sergio Barroso – Bass (Acoustic)
Marcos Vasconcellos – Producer
Severino Filho – Arranger
Dom Salvador – Piano (Acoustic)
Zé Bodega – Sax (Tenor)
João Donato – Piano (Acoustic)
Paulinho Magalhães – Drums
John Pisano – Guitar (Acoustic)
Tommy LiPuma – Producer
Bob Matthews – Bass (Acoustic)
Nick De Caro – Arranger, Conductor
José Soares – Percussion
Cipó – Tenor Sax
Maurilio dos Santos – Trumpet
Mamão – Drums
Edson Maciel – Trombone
Jorge Ferreira da Silva – Sax (Alto)
Norato – Trombone
Julio Barbosa – Trumpet
Edmundo Maciel – Trombone
Chris White – Bass (Acoustic)
Rudy Collins – Drums
Bebeto – Bass (Acoustic), Bass (Electric)
Ohana – Drums
Luiz Marinho – Bass (Acoustic)
Clare Fischer – Keyboards, Arranger, Conductor
Joe Correro – Drums
Paul Horn – Flute
Laurindo Almeida – Guitar (Acoustic)
Jim Hughart – Bass (Acoustic)
Palmyra – Vocal
Michito Sanchez – Percussion
Richard Davis – Bass (Acoustic)
Connie Kay – Drums
Paulo Levita – Guitar (Acoustic), Arranger
Lilian Clark – Vocal
Jimmy Heath – Sax (Tenor)
Barry Galbraith – Guitar (Acoustic)
Phil Bodner – Flute
Howard Collins – Guitar (Acoustic)
Kenny Barron – Piano (Acoustic)
Ray Barretto – Congas
Claus Ogerman – Arranger, Conductor
Ron Carter – Bass (Acoustic)
Joe Beck – Guitar (Acostic)
Hubert Laws – Flute
Bucky Pizzarelli – Guitar (Acoustic)
Wynton Kelly – Piano (Acoustic)
Jimmy Cobb – Drums
Chiquinho do Acordeom – Accordion
Al McKibbon – Bass (Acoustic)
Copinha – Flute
Vidal – Bass (Acoustic)
Juquinha – Drums
Urbie Green – Trombone
Jim Buffington – French Horn
Torrie Zito – Arranger
Bill Watrous – Trombone
Danny Bank – Flute
Peter Gordon – French Horn
Tommy Mitchell – Trombone
Pascoal Meirelles – Drums
Sergio Carvalho – Piano (Acoustic), Arranger, Conductor
Don Chacal – Percussion
Oberdan Magalhães – Sax (tenor)
George Marge – Flute
Pery Ribeiro – Vocal
Ronnie Mesquita - Drums
Gracinha Leporace – Vocal
Mike Wofford – Arranger, Conductor
Jamil Joanes – Bass (Electric)
Robertinho Silva – Drums
Cyro Pereira – Arranger, Conductor
Hermeto Pascoal – Piano (Acoustic), Flute, Arranger
Tião Neto – Bass (Acoustic)
Claudio Slon – Drums
Aurino Ferreira – Sax (Baritone)
Oscar Castro-Neves – Guitar (Acoustic)
Idris Muhammad – Drums
Gary Chester – Percussion
Zeca do Trombone – Trombone
Zé Roberto Simonal – Sax (Tenor)
Richard Tee – Piano (Acoustic)
Joe Farrell – Sax (Tenor)
Don Payne – Bass (Acoustic)
Jackie Cain – Vocal
Marcelo Salazar - Percussion
Roy Kral – Piano (Acoustic), Arranger
Juarez Araujo - Clarinet
Lew Soloff - Trumpet
Marty Sheller – Arranger
Thiago de Mello – Percussion
Christian Kellersmann – Executive Producer
Willem Makkee – Engineer (Mastering)
Peter Timmersmans – Cover Photo
Stefan Kassel – Design, Art Direction
Matthias Kunnecke – Production Coordinator
Johnny Pacheco – Percussion
Arthur Clarke – Sax (Tenor)
Donald MacDonald – Drums
Manfredo Fest – Keyboards
Stan Webb – Flute
Octavio Bailly – Bass (Electric)
Sergio Mendes - Producer
Paul Griffin – Organ
Al McKibbon – Bass (Acoustic)
Henry Watts - Vibraphone
Ray Crawford – Guitar (Acoustic)
Francesco Centeno – Bass (Electric)
Paulinho Tapajós – Producer
Pedro Paulo – Trumpet
Amaury Rodrigues – Percussion
Luis Roberto – Vocal, Bass (Acoustic)
1 comment:
Hello! Quero dizer, olá. Admiro muito o seu trabalho, Arnaldo. Só duas perguntas curiosas: Quem foi o violeiro que acompanhou o Wilson Simonal na música "Irmãos de Sol"? Os músicos que acompanharam o cantor nesta faixa, participaram do disco inteiro, intitulado "Se Dependesse de Mim" (LP Philips - 1972)?
Thanks
Paulo
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