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“A Trip To Brazil Vol. 4: Summer Pop Samba" Verve 2-CD Set 06024 981884
Compiled, Annotated & Produced by Arnaldo DeSouteiro (JSR)
Compiled, Annotated & Produced by Arnaldo DeSouteiro (JSR)
Release Date: May 2, 2005
1. Emilio Santiago: O Amigo de Nova York
(Macau/Durval Inácio Ferreira) Warner Chappell Brasil
from “Mais Que Um Momento” (Philips 8140831)
Produced by Durval Ferreira
(P) 1983 Universal Music Ltda
One of the best bossa-nova guitarists/composers (“Estamos Aí”, “Batida Diferente”), Durval Ferreira was a member of Sergio Mendes’ Bossa Rio Sextet on its first incarnation, performing on the legendary Bossa Nova Concert at Carnegie Hall and recording on Cannonball Adderley’s “Cannonball’s Bossa Nova” LP in 1962. Back in Brazil, Durval, known by the nickname Gato (Cat), took part in the first two albums by the Tamba Trio and led the all-star group Os Gatos, which recorded a couple of albums for Philips (one of their best tracks, “Silk Stop”, is featured in the first volume of this series). Later on, Durval also became a successful producer, whose credits included Emilio Santiago’s debut LP in 1975 for the CID label, as well as Sandra de Sá’s second session for RGE, which featured several songs by “soul” composer Macau. In 1983, Durval resumed his collaborations with both Emilio and Macau in this funky track, “O Amigo de Nova York”, arranged by keyboardist Lincoln Olivetti, the man who shaped the Brazilian pop sound of the 80s.
2. Marina: Charme do Mundo
(Marina Lima/Antônio Cícero) Sony/ATV Music Publishing
from “Certos Acordes” (Ariola 201.629)
Produced by Pisca
(P) 1982 Universal Music Ltda
The Moog analog synthesizer played by Azymuth’s genius keyboardist José Roberto Bertrami adds a spaced-out mood to “Charme do Mundo”, one of the greatest hits by one of the best singers to emerge in the Brazilian pop-scene in the late 70s/early 80s, Ms. Marina Lima. “Charme do Mundo” was the smooth laidback opening track from her third solo album, and the second she recorded for the Ariola label (her debut LP came out in 1979, on Warner). She co-wrote the song in 1981 with her most constant partner, her brother Antônio Cícero, one of Brazil’s best pop lyricists. Besides Bertrami, providing excellent support are Pedro Machado (Yamaha CP-70 electric piano), Pedrão (electric bass), Sergio Della Monica (drums) and Pisca (electric guitar), plus Marina herself on the Ovation guitar. Sharing the arranger’s hats are Marina, Paulo Machado, and Pisca.
3. Azymuth: Melô da Cuíca
(José Roberto Betrami/Alexandre Malheiros) Warner Chappell Brasil
from “Azimuth” (Polydor EP 2249.036)
Produced by Azymuth
(P) 1975 Universal Music Ltda
Speaking of Bertrami and Azymuth, here they are in a track from their four-song rare EP released by Polydor in 1975. Thanks to the DJs who made this song a big dancefloor hit during the acid-jazz heyday in the mid-90s, that EP became one of these mythical US$ 200,00 records, being shamelessly bootlegged in the UK after I helped to resuscitate the group by booking icons like them, Marcos Valle and Dom Um Romão for gigs at London’s Jazz Café in Camden Town. In Brazil, back in 1975, this song was a minor-hit after its inclusion as a cop theme in the soundtrack of a novela (Brazilian TV soap opera) titled “Pecado Capital”. Bertrami’s arsenal includes Hammong organ model M-102, Fender Rhodes electric piano, Moog and Arp Strings synthesizers. Special guest percussionist Neném da Cuíca plays the “cuíca” parts.
4. Joyce: Como Vai, Vai Bem?
(Nelson Angelo)
from “Encontro Marcado” (Philips 765.099)
Produced by Armando Pittigliani
(P) 1969 Universal Music Ltda
Two other artists who have been performing lately at Jazz Café, the acid-jazz meca, the “carioca” singer Joyce Silveira Palhano de Jesus and the “mineiro” guitarist/composer/arranger Nelson Angelo Martins (an important figure in the “Clube da Esquina” movement, having performed with Milton Nascimento for over 10 years) were married at the time of this song, the first single issued from Joyce’s second album. There’s a fascinating psychedelic mood on Luiz Eça’s arrangement, somehow also incorporating elements of the “tropicalia” style. A few months later, the swinging couple would join a new group, “A Sagrada Família”, formed by Luiz Eça after he decided to take a vacation from Tamba 4. The band (also including drummer Gegê, bassist Maurício Maestro, percussionist Naná Vasconcelos, and hornmen Claudio Roditi, Ion Muniz and Zeca do Trombone) performed in Mexico for some months, during & after the 1970 World Cup won by Brazil soccer team, recording only one album (“Onda Nova do Brasil”) and thus achieving the status of a mythological ensemble few Brazilians were ever able to listen to.
5. Jorge Ben: O Plebeu
(Jorge Ben)
from “África Brasil” (Philips 6349.187)
Produced by Mazola
(P) 1976 Universal Music Ltda
From “Mas Que Nada” (1963) to “W/Brasil” (1990), from the early days with the Copa 5 to powerful combos like Admiral Jorge V and A Banda do Zé Pretinho, Jorge Duilio Lima Menezes aka Jorge Ben aka Jorge Benjor, like he prefers to be called nowadays, has been “the hitmaker” in terms of afro-brazilian-samba-funk. “O Plebeu” belongs to “África Brasil” (1976), the same album that yielded “Xica da Silva”, and “Ponto de Lança Africano” (aka “Umbabarauma”), one of Jorge Ben’s biggest dancefloor hits. Not to mention a remake of “Taj Mahal”, the song that “inspired” Rod Stewart’s “Do You Think I’m Sexy?”. Featuring outstanding musicians like José Roberto Bertrami (keyboards & orchestral arrangements), Dadi (bass), Pedrinho (drums), and a large percussion section (Djalma Correa, Ariovaldo, Hermes, Doutor, Luna, Gustavo, Canegal and Nenem da Cuíca), plus Jorge on vocals & guitar, “África Brasil” received a 5-star rating at All Music Guide. “This is undoubtedly one of the greatest classics of Brazilian popular music, with Jorge Ben mixing funky samba, Afro-Brazilian beats, and crunching guitars to create one of the most fascinating sounds ever recorded in Brazil”, Philip Jandovsky wrote. And Jorge himself considers it his personal favorite album. It’s not difficult to find out why.
6. Quarteto Em Cy: Salve O Verde
(Jorge Ben) Editora Musical Novo Rumo Ltda
from “Querelas do Brasil” (Philips 6349.351)
(P) 1978 Universal Music Ltda
Another track composed by Jorge Ben, the ecologycal guitarist anthem “Salve O Verde” is a highlight from Quarteto Em Cy’s 1978 studio album, the follow-up to the excellent “Resistindo” live date. It represented a new direction for the Quarteto, with emphasis directed to a more contemporary pop approach. The four founding members of the group (Cybele, Cyva, Cynara, and Cylene), all born in Itabira, Bahia, moved to Rio to study music with Carlos Lyra in the early 60s. Discovered by poet Vinicius de Moraes, they were featured on “Vinicius & Caymmi no Zum-Zum” (Elenco) and did their debut bossa-nova album in 1965 for the Forma label headed by businessman Wadi Gebara and the late producer Roberto Quartin. Later they recorded two albums for Warner-USA, produced by Aloysio de Oliveira, under the name Girls From Bahia (with Regina Werneck replacing Cylene). At the time of this recording of “Salve O Verde”, in 1978, the group was formed by Cyva (who was married to Aloysio de Oliveira), Cynara, Soninha and Dorinha Tapajós, with guitarist/arranger Luiz Claudio Ramos serving as their musical director.
7. Gerson King Combo: Mandamentos Black
(Augusto César - Pedrinho - Gerson King Combo)
from “Gerson King Combo” (Polydor 2451.093)
(P) 1977 Universal Music Ltda
The title track from a landmark album in the history of “Brazilian black music”. Period. But, misteriously, Gerson Rodrigues Côrtes remains an underrated artist, one of Brazilian funk’s best kept secrets. He started his career as backing singer for Wilson Simonal and Erlon Chaves, took part briefly in the groups The Fevers and Fórmula Sete, adopted the artistic name Gerson King Combo as a tribute to the King Curtis Combo, recorded two solo albums for Polydor in 1977 and 1978, and suddenly disappeared from the music scene. Now he is being regarded as a rap pioneer because of the way he used to improvise speeches that sounded like orations over funky patterns, always talking about the importance of the black culture – like he does on “Mandamentos Black”. Rediscovered by singer Andrea Dutra in 2000, Gerson appeared as special guest in many of her gigs during that year, trying to do a solo comeback the following year through the album “Mensageiro da Paz”.
8. Tim Maia: O Descobridor dos Sete Mares
(Gilson Mendonça/Michel) Peermusic Germany
from “O Descobridor dos Sete Mares” (Polygram 812.714-1)
(P) 1983 Universal Music Ltda
Another prominent figure of the “black” movement, Tim Maia reached higher popularity and prestige than Gerson King Combo, being regarded as the father of Brazilian soul-music. Not an easy person to deal with: sarcastic, ironic and always fighting against record companies and TV networks, while being prosecuted by managers for missing concerts or going off the stage after any technical problem. Gifted with a beautiful bariotone voice, Tim, who passed away in 1998 at age 55, of a heart attack, scored many big hits during his career. Curiously however, the title track from one of his best-selling albums ever, “O Descobridor dos Sete Mares”, was not composed by Tim, although everybody believes so. Later, this song was covered by singer Lulu Santos in 1995, once again becoming a big hit in Brazil, selling over 500,000 copies.
9. Rita Lee: Tatibitati
(Roberto de Carvalho/Rita Lee) Neue Welt Musikverlag GmbH
from “Saúde” (Som Livre 403.6243)
Produced by Rita Lee & Roberto de Carvalho
(P) 1981 EMI Music Ltd. Brazil
Rita Lee wrote with her husband, Roberto de Carvalho, all the original songs for this album, “Saúde”, the third one the smart couple recorded for the Som Livre label during their heyday as untamable hitmakers. A very talented arranger and multi-instrumentalist, equally at ease on keyboards and guitars, Roberto helped Rita in establishing a new direction for her career, focused on dance-oriented tunes (her previous works as the vocalist for the famed tropicalia group “Os Mutantes”, and as the leader of the Tutti Frutti band, were based on rock ‘n’ roll elements). In the late 70s and early 80s, Rita & Roberto became the most-in-demand composers team in the Brazilian pop scene, creating big hits for such stellar names as Elis Regina (“Alô Alô Marciano”) and even gaining the respect of bossa pope João Gilberto. Keyboardist Lincoln Olivetti (playing Yamaha CP-70 electric piano plus synths) was a key figure on the album, recorded in September 1981 featuring his late partner Robson Jorge (guitarist who passed away in 1993, at age 39), Jamil Joanes (bass), Picolé (drums) and Ariovaldo (percussion).
10. Lô Borges: Ritatá
(Telo Borges) EMI Songs Do Brasil
from “Nuvem Cigana” (EMI/Odeon 064.422898)
(P) 1980 Warner Music Brasil Ltda.
Back in 1972, when Milton Nascimento decided to feature Lô Borges’ name in the cover of the fabled “Clube da Esquina” album, everybody in the music business asked: who is this 19-year old Lô Borges? Well, Salomão Borges Filho, his birthname, is now famous for having wriiten such unforgettable songs as “O Trem Azul”, “Tudo Que Você Podia Ser”, “Pra Lennon and McCartney” and “Paisagem da Janela”. Besides releasing brilliant solo albums like “Via Láctea”, he also conceived a family project titled “Os Borges”, in 1980, featuring his brothers and sisters: Marilton, Solange, Nico, Yê, Marcio, and Telo Borges. The latter was once again prominently featured on “Ritatá”, a track from Lô’s album for EMI two years later. They share the lead vocals, with Telo also taking care of the Rhodes electric piano and the Arp synthesizer. Toninho Horta (electric guitar), Paulinho Carvalho (electric bass), Mario Castelo (drums) and the couple Robertinho Silva & Aleuda (percussion) complete the group.
11. Claudette Soares: Shirley Sexy
(Fred Falcão/Arnoldo Medeiros) Musikverlag Intersong
from “Claudette” (Philips 6245.001)
Produced by Roberto Menescal
(P) 1971 Universal Music Ltda
Luiz Carlos Ramos’ guitar opens “Shirley Sexy”, a short but delightful song from a 5-track EP recorded by singer Claudette Soares in 1971, with arrangements by Ramos and Chiquinho de Moraes, and a long sub-title: “Quem Não É A Maior Tem Que Dar Mais Amor”. Produced by Roberto Menescal, then the A&R man at Philips, the sessions were engineered by a young Marco Mazola, now a powerful pop producer and owner of his own MZA label. “Shirley Sexy” had been originally introduced a few months earlier by actress Marilia Pera in “O Cafona”, the first novela soundtrack album issued by Globo TV’s label Som Livre (at that time, the artists themselves used to sing the songs written for their carachters in the TV soap operas). But Claudette Soares did a better job.
12. Golden Boys: Pra Esquecer A Vida
(Roberto Correia/Sylvio Son) Pergola Ed. Musicais Ltda.
from “Golden Boys” (Polydor 2451.109)
(P) 2004 Universal Music Ltda
Inspired by the North American vocal group The Platters, The Golden Boys was a quartet formed in 1958 by three Rio-born brothers – Roberto, Renato and Ronaldo Correia – and a cousin, Valdir Anunciação. Besides cutting over a dozen of LPs, they’ve also composed many hits for people like Roberto Carlos and Wanderléa during the rock-influenced movement called “jovem guarda”. Renato left in 1971, to become an A&R man at Odeon. “Pra Esquecer A Vida” comes from their 1978 reunion album for Polydor. Most recently, Renato Correia returned and they reunited for Jorge Ben Jor’s “Acústico MTV” project (2002). Valdir, who had left the group in 1996, passed away in 2004.
13. Novos Baianos: Besta É Tu
(Luis Galvão/Pepeu Gomes/Moraes Moreira) Som Livre
from “Acabou Chorare” (Som Livre 6004)
Produced by Eustáquio Sena
(P) 1972 Sigla-Sistema Globo De Audio-Visuals Ltd
Highly praised by João Gilberto and avant-garde poet Augusto de Campos, “Acabou Chorare”, the second Novos Baianos album (produced by Eustáquio Sena under the coordination of João Araujo) had the impact of an atomic bomb in the Brazilian music scene back in 1972. Fusing samba and rock in a completely unusual and original way, influenced by the “trio elétrico” aesthetic, the supergroup was the natural development of a hippie community founded four years earlier by Luis Galvão, Paulinho Boca de Cantor and Moraes Moreira. But not all of them were “baianos”. Baby Consuelo (aka Baby do Brasil), the female lead singer, was born in Niteroi, not in Bahia. She later married Pepeu Gomes, when he joined the band as lead guitarist and main arranger. Moraes Moreira (then known only as Morais in the album cover) is the vocal soloist on “Besta É Tu”, backed by Pepeu (acoustic guitar), Dadi (bass), Jorginho (cavaquinho), Baixinho (bass drum), Paulinho (tambourine), and Baby (shaker, triangle), with backing vocals by all of them.
14. Baby Consuelo: Ziriguidum
(Jadir Teixeira de Castro/Luiz Bittencourt) Warner Chappell Music Publishing
from “Pra Enlouquecer” (Atlantic/WEA 30.109)
Produced by Guti
(P) 1978 WEA International Inc.
The opening track from Baby Consuelo’s second solo effort, produced by Guti Carvalho in 1979, is a frenetic rendition of “Ziriguidum”, made famous in the 50s by legendary singer/percussionist Jackson do Pandeiro. Pepeu Gomes arranged it, with the horn section (conducted by keyboardist Luciano Alves) including trumpetists Marcio Montarroyos and Formiga, tenorist Zé Bodega and altoist Jorginho Ferreira da Silva. The song composer, Jadir de Castro, is also a legend himself, one of the first Brazilian drummers to record as a leader (in the 50s). Since the late 80s, many of his recordings – some of them, like “Ozônio” and “Repimar”, from heavy “batucada” albums he did with Dom Um Romão – became dancefloor sensations all over Europe, being included in such best-selling compilations as “Batucada – The Sound of the Favelas”, issued by the London-based label Mr. Bongo. Jadir and Dom Um reunited in 1998 on Mr. Romão’s “Rhythm Traveller” album. Currently, Jadir is preparing a new solo album. It’s also interesting to note that Jadir was featured on Brigitte Bardot’s first film, “Et Dieu Creá La Femme”, directed by Roger Vadim in 1956.
15. Chico Buarque: Brejo da Cruz
(Chico Buarque) Marisco
from “Chico Buarque” (Barclay 825.161)
Produced by Chico Batera & Homero Ferreira
(P) 1984 Universal Music Ltda
Guitarist extraordinaire, born in Argentina but now a Brazilian citzen, Victor Biglione was a member of Chico Buarque’s group around the time of this recording. “Actually, my first recording session with Chico was “Bye Bye Brasil”, in 1980, and later I joined his band”, Victor remembers. “The first time we rehearsed “Brejo da Cruz”, I was completely blown away. So rich chord sequences in sixths, a wondrous melody. And when we finally played it in a live concert, it was a moving experience for me, because it happened in Buenos Aires’ Luna Park, celebrating the fact that democracy was once again reigning in Argentina. Back in Rio we recorded the basic track in a very spontaneous way, with Fernando Souza on bass, Teo Lima on drums, myself on guitar, and two keyboardists: Hugo Fattoruso and Rique Pantoja. Later on, Toninho Horta overdubbed the acoustic guitar a la Earl Klugh, Chico Batera, Marcelo Costa and Ricardo Cristladi added percussion and special effects, and arranger Luiz Claudio Ramos prepared the backing vocal lines for a choir that included Dorinha Tapajós, Chico’s sister Miucha and his niece Bebel Gilberto, among others. I’m very proud I took part on it”. Also noteworthy is the perfect solo by Uruguay-born keyboard whiz Hugo Fattoruso (founder of the legendary OPA trio), whose creativity in the choice of electronic textures and colors in analog vintage synthesizers is matched only by Joe Zawinul.
16. Nara Leao & Gilberto Gil: Sarará Miolo
(Gilberto Gil) Neue Welt Musikverlag GmbH
from “Os Meus Amigos São Um Barato” (Philips 6349.338)
Produced by Roberto Santana
(P) 1977 Universal Music Ltda
“Sarará Miolo” (later covered by Flora Purim on “Carry On”, in 1979) was the first track recorded for Nara Leão’s “Os Meus Amigos São Um Barato”, her most challenging project ever. Nara (1942-1989) herself wrote in the original liner notes for the LP: “I met Gil and asked for a song. That was November, 1976. In December I received an answer. The song was already done. I went to the studio where Gil was recording his album. His head was covered with braids and he was full of joy and energy, I got scared and shrunk to the size of an ant. I felt more shy than I already am because he was showing such exuberance that I got nervous. I heard the song quickly and I instantly though: "I'm not capable to emit so much joy in my life, let alone in this recording." And Gil would say: "Look, I've made this song for you, not for the way people see you." And I loved it. After some of my initial inhibition had passed, I asked him: "What does "Sarará Miolo" mean?" Gil told me that, in Bahia, this is how they usually call blond-haired people with an afro-hair style. Directing the musicians and playing, Gil is extraordinary. Everything he does is so vital, with such energy that I kept envying him and wishing I could be more like him. Little by little I got encouraged and I did it. It had to be Gil to make me capable of saying: Yeahh!" Jamil Joanes is on bass, J.T. Meirelles is on flute, and Gil himself played guitar and did the arrangement, besides sharing the vocals with Nara.
17. Miucha: Naturalmente
(João Donato/Caetano Veloso) Arabella Musikverlag Gmbh
from “Miucha” (Philips EP 6245.041)
Produced by Paulinho Tapajós
(P) 1975 Universal Music Ltda
After having appeared on Stan Getz/João Gilberto’s “The Best of Two Worlds” and Antonio Carlos Jobim’s “Urubu”, both recorded in NY, Miucha – the nickname of Heloisa Maria Buarque de Hollanda, Chico Buarque’s oldest sister and João Gilberto’s second wife – returned to Rio and did her solo recording debut in 1975, produced by Paulinho Tapajós. The sessions yielded five tracks – one never saw the light of the day, and four were released in a rare EP. “Correnteza” was included on “A Trip To Brazil Vol.3” and now is the time to rediscover the “sensual” (for the lack of a better word) “Naturalmente”, co-written by João Donato and Caetano Veloso for Donato’s “Lugar Comum” album released a few months earlier. Miucha is backed by her friends Luiz Cláudio Ramos (guitar), Ariovaldo & Chacal (percussion), Alex Malheiros (bass) and Franklin (flute).
18. Ivan Lins: Daquilo Que Eu Sei
(Ivan Lins/Vitor Martins) Neue Welt Musikverlag GmbH
from “Daquilo Que Eu Sei” (Philips 6328.341)
(P) 1983 Universal Music Ltda
Since Luiz Bonfá and Antonio Carlos Jobim in the late 50s/early 60s, no other Brazilian composer was able to achieve more stardom in the international music market than Ivan Lins. Curiously, this process started only in 1980, thanks to a deal with Quincy Jones’ publishing company that led Quincy to include Ivan’s songs in all the albums he would eventually produce. Many of Ivan’s songs received English lyrics and became “contemporary standards” after being introduced to American listeners through such stars as George Benson (“Love Dance”) and Patti Austin (“The Island”). Another song, “Daquilo Que Eu Sei”, was later retitled “Believe What I Say”, being recorded as a Patti/Ivan duet on the albums “Juntos” and “Brazilian Kinghts And A Lady”. But the track we’ve selected here is the original version of the song, used as title track on Ivan’s 1981 album. Two longtime Ivan collaborators, both working with him since 1974, were featured: Gilson “Modo Livre” Peranzzetta, who did the arrangement, played keyboards and accordion, and lyricist Vitor Martins, Ivan’s future business partner in the small Velas label in the 90s.
CD2
1. Caetano Veloso: Quero Um Baby Seu
((Paulo Zdanowski - Luiz Carlos Siqueira) Musikverlag Intersong GmbH
from “Outras Palavras” (Philips 6328.303)
Produced by Caetano Veloso
(P) 1981 Universal Music Ltda
For almost forty years Caetano Veloso’s revolutionary impetus has astounded listeners all over the world. New themes specially written by Vinicius Cantuária, Péricles Cavalcanti, Paulo Leminski, and even a rendition of Henri Salvador’s “Dans Mon Ile”, found place in the repetoire of Caetano’s “Outras Palavras” album. In this dance-oriented track, the iconoclastic mentor of the “tropicalismo” (or tropicália, as David Byrne prefers), sings and plays Ovation guitar with the support of Tomas Improta (Fender Rhodes electric piano & synths), Arnaldo Brandão (bass), Vinicius Cantuária (drums), Perinho Santana (electric guitar), Bolão (congas). Backing vocalists Sonia Burnier, Solange Rosa, Jane Duboc and Viviane Godoi were also invited to the proceedings. You’ll be blown away with this sizzlin’ performance.
2. Zizi Possi: Cruzada
(Márcio Borges - Tavinho Moura) EMI Songs Musikverlag GmbH
from “Zizi Possi” (Philips 6485 215
Produced by João Augusto
(P) 1980 Universal Music Ltda
Regarded as one of the best lyricists of the “Clube da Esquina” team, partner of both Milton Nascimento (“Tarde”) and Nelson Angelo (“Tiro Cruzado”) in superb songs, Marcio Borges co-wrote “Cruzada” with fellow “mineiro” Tavinho Moura for a great Zizi Possi album produced by João Augusto in 1980. Lincoln Olivetti, the most-in-demand arranger in the Brazilian pop scene of the 80s, provided impeccable charts played by such great musicians as Jamil Joanes (former Banda Black Rio bassist), Azymuth’s Ivan Conti (drums), Robson Jorge (guitar) and Ariovaldo Contesini (percussion). Lincoln himself is heard on Yamaha CP-70 electric grand piano, Mini-Moog and Oberheim synths, also conducting the dream-team horn section with Marcio Montarroyos and Bidinho (trumpets), Serginho (valve trombone), Oberdan Magalhães (founder of Banda Black Rio, on alto sax), José Carlos “Bigorna” Ramos (tenor sax), and Leo Gandelman (baritone sax).
3. Joao Bosco: Papel Marché
(João Bosco/José Carlos Capinan) Sony/ATV Music Publishing Germany
from “Gagabirô” (Philips 823.694-1)
(P) 1991 Universal Music Ltda
“Bosco's lengthy and productive partnership with lyricist Aldir Blanc reached a creative peak on this 1984 recording, a dazzling, highly sophisticated fusion of African and Brazilian rhythms and styles”, Terri Hinte wrote in her review of “Gagabirô” for the All Music Guide website. This track, “Papel Marché”, is a beautiful João Bosco bolero, with lyrics by Capinam and became a big radio hit in Brazil. Actually, Brazilian composers always had a speciall affinity with boleros, to the point that a combination of bolero and samba rhythms resulted in a style called “sambolero” in the 50s – not surprisingly, even two bossa nova masters, Luiz Bonfá and João Donato, wrote songs with this funny title. Of course the purists reacted, claiming it was not a “pure Brazilian style”. To disguise the influence, most of the artists began to use another term, “samba-canção”.
4. Elis Regina: Dois Pra Lá, Dois Pra Cá
(João Bosco/Aldir Blanc) Musik Edition Discoton GmbH
from “Elis” (Philips 6349.121)
(P) 1974 Universal Music Ltda
Like she had done in 1966 with Milton Nascimento, becoming the first singer to record one of his compositions (“Canção do Sal”), Elis Regina (1945-1982) was an essential figure in the career of the João Bosco & Aldir Blanc songwriting team. Her fantastic 1974 album “Elis”, arranged by her keyboardist and new husband Cesar Camargo Mariano (she had divorced from lyricist Ronaldo Boscoli in 1971), featured three of the Bosco-Blanc songs: “O Mestre Sala dos Mares”, “Caça à Raposa” and a charming bolero, “Dois Pra Lá, Dois Pra Cá”, which remains one of their biggest hits ever. Besides the former Sambalanço Trio’s leader Mariano (herad on Fender Rhodes electric piano), the track also includes great performances by Ariovaldo Contesini (bongos), Luizão Maia (electric bass), Chico Batera (percussion), Toninho Pinheiro (drums), and Helio Delmiro (electric guitar). It’s a great showcase for Elis’ insuperable vocal artistry.
5. Azymuth: Tempos Atrás
(José Roberto Betrami) Ervolksmusik Musikverlag
from “Azimuth” (Polydor EP 2249.036)
Produced by Azymuth
(P) 1975 Universal Music Ltda
Here’s the original version of “Tempos Atrás”, later recorded by Airto Moreira as “Dreams Are Real” on his “Touching You…Touching Me” album for Warner in 1979, featuring Bertrami on the keyboards. It’s another track from the same EP that includes “Melô da Cuíca”, “Que É Que Você Vai Fazer Neste Carnaval” (included on “A Trip To Brazil Vol.3”) and “Zombie” (a track we are saving for the next volume). Although officially working as a trio – founded by keyboardist José Roberto Bertrami, bassist Alexandre Malheiros and drummer Ivan “Mamão” Conti – the group received essential help by late percussionist Ariovaldo Contesini on this EP, as well as on their first (“Linha do Horizonte”, released by Som Livre in 1975) and second (“Águia Não Come Mosca” for Atlantic in 1977) albums. It’s always worth to mention that in the original cover of this EP their name was still written as Azimuth (with “i”). Only in the following year, already preparing to develop an international career, they would change the name to Azymuth (with “y”), to avoid legal problems with the other Azimuth led by John Taylor, Kenny Wheeler and Norma Winstone in Europe.
6. Leila Pinheiro: Um Samba
(João Donato/Gilberto Gil) EMI Music Publishing Germany GmbH & CoKG
from “Olho Nu” (Philips 830144-1)
Produced by João Augusto
(P) 1986 Universal Music Ltda
An oustanding track from Leila Pinheiro’s third album (and her second for Philips), recorded during the peak of her career, “Um Samba” was specially written for the “Olho Nu” sessions by João Donato & Gilberto Gil. Keyboardist Wilson Jorge Nunes (acoustic piano, Yamaha DX-7 and Roland JX8P synths), the singer’s musical director at that time, creates a loose arrangement over the electronic bass-drum rhythmic pattern provided by producer João Augusto on the then-fashionable Linn 9000 Digital Drums machine. Three percussionists (Don Chacal on congas, Celsinho on pandeiro, Nilton Marçal on cuica, shaker and tamborim) join the tight rhythm section comprised of Jamil Joanes (electric bass), Teo Lima (drums), and Ricardo Silveira (guitars). The nature of this performance is divided between high energy and subdued playing. Check this out.
7. Marcos Valle: Samba de Verão
(Marcos Valle/Paulo Sergio Valle) Universal Music Publishing
from “Marcos Valle” (Som Livre 403.6282)
Produced by Lincoln Olivetti & Paulo Sergio Valle
(P) 1997 Universal Music Ltda
The third most recorded Brazilian song ever, behind only Jobim’s “Garota de Ipanema” and Bonfá’s “Manhã de Carnaval”, “Samba de Verão” (“Summer Samba”) was composed in 1964. That same year, Deodato did the debut instrumental recording leading his group Os Catedráticos on the “Impulso!” album. In 1965, he arranged Marcos Valle’s vocal version, with original Portuguese lyrics by his brother Paulo Sergio, for the “O Compositor e O Cantor” LP. Then came Norman Gimbel’s English translation (“So Nice”), recorded by Wanda de Sah & Sergio Mendes Trio. Organist Walter Wanderley made it a mega-hit in 1966, with the single reaching the Billboard charts (# 3 Adult Contemporary, # 26 Pop), while the “Rain Forest” album reached # 22 in the Pop Albums list. Marcos himself recorded it once again for “Samba ‘68” (Verve) and, then, a third time for his second Som Livre date in 1983, produced/arranged by Lincoln Olivetti. This song has been covered more than 200 times, including recent best-selling takes by Ithamara Koorax (“Bossa Nova Meets Drum ‘N’ Bass”) and Bebel Gilberto (“Tanto Tempo”).
8. Moraes Moreira: Marília
(João Donato/Moraes Moreira) EMI Music Publishing
from “Coisa Acesa” (Ariola 201904)
Produced by Marcelo Falcão & Moraes Moreira
(P) 1982 Universal Music Ltda
Brazilian pop goes latin. And João Donato’s artistry shines once again as keyboardist/arranger/conductor in this unexpected collaboration with former Novos Baianos member Moraes Moreira, born Antonio Carlos Moreira Pires. By that time (1982), Moraes had already established himself as a very successful solo act. The syncopated melody is typically Donato’s, while Moraes’ lyrics are a tender love letter to his wife, Marília. Two percussionists – Carlinhos Ogam on guiro and the legendary Tamba 4 member Rubem Ohana de Miranda doubling on congas & timbales – add the latin spice, with Chile-born Nacho Mena on drums. The 6-man horn section is comprised by Maciel & Serginho (trombone), Bidinho & Marcio Montarroyos (trumpet), Oberdan (flute & alto sax), and Raul Mascarenhas (flute & soprano sax).
9. Ney Matogrosso: Deixa a Menina
(Chico Buarque) Arabella Musikverlag Gmbh
from “Ney Matogrosso” (Ariola 201.620)
Produced by Mazola
(P) 1981 Universal Music Ltda
Ney Matogrosso exploded in the Brazilian music scene in 1971, as the lead singer of rock trio Secos & Molhados, adopting an extremely extravagant profile and androgynous look. Started his solo career three years later, when the group disbanded. The opening track of his gold-certified self-titled solo album for Ariola, produced by Mazzola in 1981, features Cesar Camargo Mariano’s keyboards and arrangement for Chico Buarque’s latin-tinged “Deixa a Menina”, with Pedro Baldanza (bass and 7-string guitar), Sergio Della Monica (drums), Chacal, Nô & Jorginho (percussion), Pisca (acoustic guitar & cavaquinho), Natan Marques (electric guitar), plus the first-call musicians of the horn section: Marcio Montarroyos & Bidinho (trumpets), Serginho (trombone), Oberdan Magalhães (tenor sax), and José Carlos “Bigorna” Ramos (baritone sax).
10. Fabio Fonseca & Luiz Melodia: A Mulher de 15 Metros
(Fabio Fonseca/Mathilda Kovac) Sony/ATV Music Publishing
from “Tradução Simultânea” (Philips 512123-1)
Produced by Fabio Fonseca
(P) 1992 Universal Music Ltda
Although Fabio Fonseca started his career in the 80s, only in the next decade he would become a very successful pop producer and keyboardist, working with such singers as Marina Lima, Claudio Zoli and Fernanda Abreu. All of them were on board as very special guests in one of the few albums that Fabio has recorded as a leader. Released in 1992, “Tradução Simultânea” soon went out-of-print and became a hard-to-find collector’s item. Undoubtely the album masterpiece, “A Mulher de 15 Metros” finds Fabio and Luiz Melodia doing the lead vocals on top of João Donato’s sumptuous orchestral arrangement. The sense of lightness and delicacy in Donato’s score works to exceptional effect in this magnificent track, with Donato on piano, Arismar do Espírito Santo on bass, Wilson das Neves on drums, Firmino on percussion, and Celso Fonseca on guitar. That collaboration with Donato had a deep impact in Fábio Fonseca’s career, thus leding him to become closer to his jazz roots by recording and touring Europe in the late 90s with singer Ithamara Koorax (“Serenade in Blue”) and drummer Dom Um Romão (“Rhythm Traveller”).
11. Maria Bethânia: Baila Comigo/Shangrilá
(Rita Lee/Roberto de Carvalho) Universal Music Publishing GmbH/Neue Welt Musikverlag GmbH
from “Nossos Momentos” (Philips 6328.526)
Produced by Perinho Albuquerque
(P) 1982 Universal Music Ltda
Not even a more traditional singer like Maria Bethânia, Caetano Veloso’s sister, remained immune to the influence of Rita Lee in the early 80s. When transforming her acclaimed “Nossos Momentos” show (musical direction by Gilberto Gil) in a dense live album (produced by Perinho Albuquerque), Bethânia had to select only 28 of the 50 songs heard during the engagement at Rio de Janeiro’s famous Canecão from September 8 to October 3, 1982. She kept the medley of two Rita & Roberto de Carvalho’s recent tunes, “Baila Comigo” and “Shangrilá”, singing them in a more introspective way in a contrast with the original takes that made both songs to set the Rio dancefloor on fire. Bethânia’s touring band at that time was conducted by pianist José Maria Rocha (founder of Terra Trio), with Tulio Mourão on synthesizers plus Moacyr Albuquerque (bass), Tutty Moreno (drums), Juarez Araújo (reeds), Djalma Correa & Bira da Silva (percussion), and Ricardo Silveira (guitar).
12. Jorge Ben & Caetano Veloso: Ive Brussel
(Jorge Ben) Neue Welt Musikverlag GmbH
(P) 1979 Sigla-Sistema Globo De Audio-Visuals Ltd
Surprisingly few duets have been recorded by these two titans of the post-bossa nova generation, but this is one of the best", states the DJ, writer and album compiler John Armstrong, who lives in East London but dreams in Portuguese. This is not the original version of the song composed by Jorge Benjor (then Jorge Ben), but a 1979 remake - featuring Caetano Veloso - for one of his albums for the Som Livre label, a subsidiary from Brazil's leading TV network, Rede Globo. "It's an exuberant and exhilarating track, which actually comes up on quite a few compilations", says music historian Doug Payne. The talent and care that went into the album production translated itself into a highly sucessful session.
13. Angela RoRo: Simples Carinho
(João Donato/Abel Silva) EMI Music Publishing
from “Simples Carinho” (Philips 2451.196)
Produced by Antonio Adolfo
(P) 1982 Universal Music Ltda
The big and beautiful tone of Jamil Joanes’ electric bass sets the pace for Angela RoRo’s original recording of João Donato’s gorgeous ballad, “Simples Carinho”, to which poet Abel Silva added sensuous lyrics. Arranged by keyboardist Antonio Adolfo, who collaborated with Angela in all her first five albums, it also features Brazil’s top harmonica player, Mauricio Einhorn. Born Angela Maria Diniz Gonçalves, in 1949, got the nickname RoRo because of her husky laughter. Influenced by Maysa, Jacques Brel, and Janis Joplin, started her career singing and playing (at the piano) self-penned blues-oriented tunes in nightclubs around Copacabana and Ipanema, signing with the Polydor label in 1979. Ironically, despite her productive career as a composer (Maria Bethânia and rock group Barão Vermelho covered her songs), João Donato’s “Simples Carinho” still remains her biggest hit ever.
14. Emilio Santiago: Dentro de Você
(Marcos Valle/Leon Ware/Laudir de Oliveira/Paulo Sergio Valle) Pergola Ed. Musicais Ltda.
from “Ensaios de Amor” (Philips 6328.521)
Produced by João Augusto & Alexandre Agra
(P) 1982 Universal Music Ltda
Emilio Santiago, one of the most accomplished singers to emerge in Brazil in the 70s, showcases his velvet-like voice and tremendous phrasing skills in the irresistible samba-funk “Dentro de Você”. Originally titled “Somewhere” – composed by Marcos Valle and Chicago’s percussionist Laudir Soares de Oliveira specially for Quincy Jones’ former vocalist Leon Ware’s third solo album for Elektra in 1982 –, this song received Portuguese lyrics added by Paulo Sergio Valle, Marcos’ brother. Emilio’s album was produced by João Augusto & Alexandre Agra, with Lincoln Olivetti providing most of the arrangements. Playing Yamaha CP-70 electric piano, Oberheim OBX-A and Korg synths, Lincoln assembled his usual gang: Robson Jorge (electric guitar), Jamil Joanes (bass), Paulo Braga (drums), Ariovaldo (percussion), Marcio Montarroyos & Bidinho (trumpets), Oberdan (alto sax), José Carlos “Bigorna” Ramos (tenor sax), and Leo Gandelman (baritone sax), plus backing vocalists Gastão Lamounier, Jane Duboc, Marisa Fossa, Pedrão, Reginaldo Pi, and Ronaldo Barcellos.
15. Nara Leão: Amor Nas Estrelas
(Roberto de Carvalho/Fausto Nilo) Sony/ATV Music Publishing Germany/Neue Welt Musikverlag GmbH
from “Romance Popular” (Philips 6328 316)
Produced by Raimundo Fagner & Fausto Nilo
(P) 1981 Universal Music Ltda
Another proof of the huge influence that Rita Lee’s musical aesthetic had over new and old Brazilian acts during the 80s. Nara Leão (1942-1989), in spite of being wrongly regarded as “the bossa nova muse” (her contributions to that style were in fact minimal), navigated in many other musical areas. She helped to resurrect traditional samba composers like Cartola and Zé Keti, recorded many “political” tunes known as “canções de protesto” (protest songs), joined the tropicalia movement in 1968 (appearing alongside Cateno Veloso, Gilberto Gil and Gal in the cult album “Panis et Circenses, and even devoted an entire project to the songs of the “jovem guarda” king Roberto Carlos. Her 1981 album, “Romance Popular” (produced by Northern composers Raimundo Fagner & Fausto Nilo!) was another surprise, a collection of pop songs in arrangements nobody expected to hear in a Nara session. “Amor nas Estrelas” was one of these songs that she commissioned Roberto de Carvalho (Rita Lee’a husband and musical director) to write. The arranger? Lincoln Olivetti, of course. Even today, when this track receives airplay, people say: oh, that lovely song that Rita wrote to Nara!….
16. Gilberto Gil: Palco
(Gilberto Gil) EMI Music Publishing GmbH
from “Luar” (WEA 36.180)
Produced by Liminha
(P) 1995 WEA International Inc.
Although including gorgeous ballads like“Se Eu Quiser Falar Com Deus” and “Flora”, “Luar” became a best-selling album in the career of Gilberto Gil (currently Brazil’s Minister of Culture since 2003) thanks to a hedonistic disco track, “Palco”. Once again, the controversial Lincoln Olivetti applied his Midas touch. Strongly influenced by acts like Earth Wind & Fire, he was a master in preparing infectious dance grooves and horn riffs a la Tom Tom 84 (aka Tom Washington). Like he did on Gilberto Gil’s monster-hit “Palco”. Lincoln also played Fender Rhodes electric piano, Yamaha and MiniMoog synths, while his most frequent partner, Robson Jorge, is heard on the Yamaha CP-70 electric grand piano (maybe the most used instrument in Brazilian pop sessions throughout the 80s) and on electric guitar. Jamil Joanes (bass), Jorginho Gomes (drums), Perinho Santana (guitar), Charles Negrita (congas) complete the rhythm section. Gil himself plays Ovation guitar and overdubbed percussion parts along with Liminha, the album producer. The horn section includes Barrosinho (member of both Dom Salvador’s Abolição and Banda Black Rio) and Bidinho on trumpets & flugelhorns, Serginho (trombone), Black Rio’s founder Oberdan Magalhães (alto sax), José Carlos “Bigorna” Ramos (tenor sax), and Leo Gandelman (doubling on bass clarinet & baritone sax). The backing vocalists: Pi, Rosana, Ronaldo Barcelos and Lucia Turnbull.
17. Fafá de Belém: No Meio da Roda
(Octavio Bonfá Burnier/Geraldo Eduardo Carneiro) Universal Music Publishing
from “Essencial” (Philips 6328.390)
Produced by Sergio Carvalho
P. 1982 Universal Music Ltda
Maria de Fátima Palha de Figueiredo, better known as Fafá de Belém – a reference to the beautiful city she was Born, in the State of Pará in North Brazil – recorded her debut single (“Emoriô”, included on “A Trip To Brazil Vol. 2”) in 1975. Her popularity increased a lot in the 80s, when she began to record romantic songs in the so-called “brega” (kitsch) style, selling over 500,000 copies of her “Atrevida” album (1986). Fafá also invested in the pop market through songs like “No Meio da Roda”, composed by Octavio Burnier, Luiz Bonfa’s nephew and a great guitarist who was working at that time as musical director for Globo TV network, after having recorded two landmark albums with Claudio Cartier as an acclaimed duo (Burnier & Cartier). “It was one of the few songs I wrote with Geraldinho Carneiro, Egberto Gismonti’s favorite lyricist”, remembers Burnier, currently performing under the name Tavynho Bonfá. “I’ve played a 12-string guitar in that track, alongside Dadi on bass, Paulo Braga on drums, and Antonio Adolfo on keyboards. It’s a happy song, with very positive vibes. Sergio Carvalho was the album producer”.
18. Gal Costa: Azul
(Djavan) Luanda Ed./EMI Songs Do Brasil
from “Minha Voz” (Philips 6328.523)
Produced by Mariozinho Rocha
(P) 1982 Universal Music Ltda
An outstanding track from an outstanding album. After selling half-million copies of “Fantasia” (1981), Gal Costa hired the same producer (Mariozinho Rocha) and the same arranger/conductor (Lincoln Olivetti) to the follow-up project, “Minha Voz”, released by Philips in November 1982 on time for the Christmas sales. As usual, Brazil’s most celebrated songwriters composed new tunes especially for Gal’s crystalline voice. People like Caetano Veloso, João Donato, Gilberto Gil, Moraes Moreira, and Djavan, who wrote “Azul”, a monster radio hit. “Djavan gave me this song so sweet, so tender and delicate, done for my voice, so it fitted perfectly well with my singing style”, Gal remembers.
19. Ed Motta: Manuel
(Fabio Fonseca/Márcia Serejo) Manuskript
from “Ed Motta & Conexão Japeri” (WEA 00387)
Produced by Vitor Farias, João Barone & Ed Motta
(P) 1998 Universal Music Ltda
Tim Maia’s nephew, singer and multi-instrumentalist Ed Motta is regarded as the heir of his uncle legacy. A young Renaissance man who’s already established himself as Brazil’s leading pop-funk act, Ed was only 17 years old when he recorded his debut album, “Ed Motta & Conexão Japeri”, co-produced by João Barone (drummer of rock trio Paralamas do Sucesso) and Vitor Farias back in 1988. Fabio Fonseca, then his most constant partner, wrote nothing less than four songs for that album. Among them, the huge hit “Manuel”, by now a dancefloor classic. Musicians: Ed (vocal, rhythm guitar, congas, bongos, brass arrangement), Fabio (Oberheim OBX-A and assorted keyboards), Bom Bom (bass), João Barone (drums), Fran Bouéres (cowbell, tambourine), and Luiz Fernando (electric guitars), plus a horn section (Tinho Martins on sax, Lucio on trombone, and Silvério Pontes on trumpet) by courtesy of Tim Maia’s Vitória Régia band. After the group Conexão Japeri (previously known as “Estação Realengo”) disbanded, Ed started a solo career in 1990. Despite some other hits like “Fora da Lei” (from a first-rate 1997 LP, “Manual Prático Para Bailes, Festas e Afins”), he will be forever remembered for “Manuel”.
20. Rita Lee: Lança Perfume
(Rita Lee/Roberto de Carvalho) Universal Music Publishing
from “Rita Lee” (Som Livre 403.6217)
Produced by Guto Graça Mello
(P) 1998 Universal Music Ltda
Rita Lee’s best-selling album ever. Eight perfect tracks making a perfect album. Her previous session, which started her partnership with Roberto de Carvalho and featured “Mania de Você”, was already excellent. But its follow-up, “Rita Lee” (1980), produced by Guto Graça Mello, became an instant classic, selling over 800,000 copies. All tracks were radio hits, with “Lança Perfume” topping the pop charts for six months. Guess who was “the man behind the music”? Yeah, Lincoln Olivetti (Yamaha CP-70 electric piano, Yamaha CS-80 synth, brass arrangement) surrounded by Robson Jorge (guitar), Jamil Joanes (electric bass), Picolé (drums), Ariovaldo (congas), Bidinho (trumpet), Serginho (trombone), Oberdan (alto sax), José Carlos “Bigorna” Ramos (tenor sax), Leo Gandelman (baritone sax). Plus Rita herself on MiniMoog, Roberto de Carvalho on additional keyboards, Aníbal (Caruaru whistle), and Naíla Skorpio, then Graça Mello’s wife, playing “surdo” (bass drum). Last but not least, that album is also a tribute to the genius of the late Celio Martins, João Gilberto’s favorite sound engineer ever. Now, please do yourself a favour: stop reading this booklet, play this CD once again from the top, get up, and dance! The party is only beginning!
Compiled, Annotated and Produced by Arnaldo DeSouteiro (JSR)
Executive Producer & Production Coordinator: Sven Fobbe
Idea & Concept: Christian Kellersmann
Mastered by: Moritz von Oswald at Basic Channel Studios, Berlin
Art Direction & Design: Stefan Kassel/www.stefankassel.com
Cover Photo: Angelo Cavalli/Getty Images
Special Thanks from Verve Records to:
Ulli Maier, Cristina Ruiz-Kellersmann, Marcos Maynard, Mike Laugalies, Hans-Peter Eckardt, Alexandre Sarthou, Renate Schreiber, Vivian Deike, Christine Braun, Cláudia Godinho, Peter Van Calker, Christina Costa, Pat Philips, Marelva Borgschot, Cecilia “Xixa” Nunes
Very Special Thanks from Verve Records to: Alda Baltazar
Special thanks from the producer Arnaldo DeSouteiro to:
Elge Agricola, Anna Ramalho, Hildegard Angel, Sylvia Castro, Seth Rothstein, Doug Payne, Victor Biglione, Fabio Fonseca, Tavynho Bonfá, Gal Costa, Jadir de Castro, Quincy Jones, Umbi Damiani, Fabrizio Carrer, Frank Siccardi, Massimo Bennini, Corrado Dierna, Delza Agricola DeSouteiro, João Donato, Deborah Dumar, João Gilberto, Ira Gitler, Alex Henderson, Ithamara Koorax, Jamil Joanes, Jason Koransky, Jennifer Ruban, Dan Ouellette, Mark Donkers, Thom Jurek, John Bush, Scott Yanow, Andy Kim, Rita Lee, Miucha, Kazuko Maeda, Anna Ly, Alessandra Maestrini, Mariana de Moraes, Adriana Ramos, Shioji Mori, Keyla Orgam, Marcia Peltier, José Pimentel de Pinho, Elza Barroso, Cristina Fragoso Pires, Emilio Santiago, Kaz Sawatari, Walter Souteiro, Tárik de Souza, Thiago de Mello, Djalma Limongi, William Tardelli, Zezinho Costa, and Fernanda Telles
Extra Special Thanks from the producer Arnaldo DeSouteiro to Christian Kellersmann, Sven Fobbe and Detlef Diederichsen
***********
"A Trip To Brazil Vol.4: Summer Pop Samba" (2004)
Credits:
Arnaldo DeSouteiro - Compilation Producer, Liner Notes
Emilio Santiago - Vocal
Marina - Vocal, Ovation guitar, Arranger
Pedro Machado - Yamaha CP-70 Electric Piano, Arranger
Pedrão - Electric Bass
Sergio Della Monica - Drums
Pisca - Electric Guitar, Acoustic Guitar, Cavaquinho, Arranger
José Roberto Bertrami - Hammong Organ model M-102, Fender Rhodes Electric Piano, Moog and Arp Strings synthesizers, Arranger
Alex Malheiros - Electric Bass
Ivan Conti (Mamão) - Drums
Ariovaldo Contesini - Percussion, Bongos, Congas
Neném da Cuíca - Cuíca
Joyce - Vocal
Azymuth - Performer
Luiz Eça - Arranger, Conductor
Jorge Ben - Vocal, Electric Guitar, Arranger
Dadi - Electric Bass
Pedrinho - Drums
Djalma Correa - Congas
Hermes Contesini - Ganzá
Luna - Surdo
Gustavo Schroeter - Percussion
Canegal - Percussion
Doutor - Percussion
Evinha - Background Vocal
Regininha - Background Vocal
Claudinha - Background Vocal
Marisa Fossa - Background Vocal
Quarteto Em Cy - Performer
Cyva - Vocal
Cynara - Vocal
Soninha - Vocal
Dorinha Tapajós - Vocal
Gerson King Combo - Vocal
Tim Maia - Vocal
Roberto de Carvalho - Keyboards, Electric Guitar
Picolé - Drums
Lô Borges - Vocal
Telo Borges - Fender Rhodes Electric Piano, Arp synthesizer
Toninho Horta - Electric Guitar
Paulinho Carvalho - Electric Bass
Mario Castelo - Drums
Robertinho Silva - Percussion
Aleuda - Percussion
Claudette Soares - Vocal
Luiz Claudio Ramos - Electric Guitar, Acoustic Guitar, Arranger
Chiqinho de Moraes - Arranger, Conductor
Golden Boys - Vocals
Moraes Moreira - Vocal
Pepeu - Acoustic Guitar, Electric Guitar, Percussion, Agogô, Arranger
Jorginho - Cavaquinho
Baixinho - Surdo (bass drum)
Novos Baianos - Performer
Paulinho - Pandeiro (tambourine)
Baby Consuelo - Shaker, Triangle, Vocal
Luciano Alves - Keyboards, Conductor
Didi Gomes - Electric Bass
Jorginho Gomes - Drums & Surdo (bass drum)
Charlie - Pandeiro (tambourine)
Marcio Montarroyos - Trumpet, Flugelhorn
Formiga - Trumpet, Flugelhorn
Zé Bodega - Tenor sax
Jorge Ferreira da Silva (Jorginho) - Alto Sax
Chico Buarque - Vocal
Hugo Fattoruso - Keyboards, Synthesizers
Rique Pantoja - Keyboards
Fernando Souza - Electric Bass
Teo Lima - Drums
Victor Biglione - Electric Guitar
Chico Batera - Percussion, Special Effects
Marcelo Costa - Percussion, Special Effects
Ricardo Cristladi - Percussion & Special Effects
Bebel Gilberto - Background Vocals
Nara Leão - Vocal
J.T. Meirelles - Flute
Miucha - Vocal
Don Chacal - Percussion
Franklin - Flute
Ivan Lins - Vocal, Piano
Gilson Peranzzetta - Keyboards, Accordion, Arranger
Caetano Veloso - Vocal, Ovation Guitar
Tomás Improta - Fender Rhodes Electric Piano, Synthesizers
Arnaldo Brandão - Electric Bass
Vinicius Cantuária - Drums
Perinho Santana - Electric Guitar
Bolão - Congas
Sonia Burnier - Background Vocals
Solange Rosa - Background Vocals
Jane Duboc - Background Vocals
Viviane Godoi - Background Vocals
Zizi Possi - Vocal
Lincoln Olivetti - Yamaha CP-70 Electric Grand Piano, Mini-Moog, Korg, Yamanha CS-80 & Oberheim OBX-A Synthesizers, Arranger, Conductor
Jamil Joanes - Electric Bass
Robson Jorge - Electric Guitar, Keyboards, Arranger, Yamaha CP-70 Electric Grand Piano
Bidinho - Trumpet, Flugelhorn
Serginho Trombone - Valve Trombone
Oberdan Magalhães - Alto Sax, Flute
José Carlos “Bigorna” Ramos - Tenor Sax, Baritone Sax
Leo Gandelman - Baritone Sax
João Bosco - Vocal & Acoustic Guitar
Elis Regina - Vocal
Cesar Camargo Mariano - Fender Rhodes Electric Piano, Keyboards, Arranger
Luizão Maia - Electric Bass
Toninho Pinheiro - Drums
Helio Delmiro - Electric Guitar
Leila Pinheiro - Vocal
Wilson Jorge Nunes - Acoustic Piano, Yamaha DX-7 & Roland JX8P Synthesizers
João Augusto - Linn 9000 Digital Drums
Celsinho - Pandeiro
Marçal - Cuica, Shaker, Tamborim
Ricardo Silveira - Electric Guitars
Marcos Valle - Vocal & Keyboards
Moraes Moreira - Vocal
João Donato - Acoustic Piano, Arranger, Conductor
Paulo Sauer - Fender Rhodes Electric Piano
Guilherme Maia - Electric Bass
Toni Costa - Electric Guitar
Carlinhos Ogam - Guiro
Rubem Ohana de Miranda - Congas, Timbales
Nacho Mena - Drums
Ed Maciel - Trombone
Raul Mascarenhas - Flute, Soprano Sax
Ney Matogrosso - Vocal
Chico Pedro Baldanza - Electric Bass, 7-string Guitar
Sergio Della Monica - Drums
Nô - Percussion
Jorginho - Percussion
Natan Marques - Electric Guitar
Oberdan Magalhães - Tenor Sax
Luiz Melodia - Vocal
Celso Fonseca - Electric Guitar
Arismar do Espírito Santo – Electric Bass
Wilson das Neves – Drums
Firmino – Percussion
Maria Bethânia - Vocal
José Maria Rocha (Zé Maria) - Acoustic piano, Arranger
Tulio Mourão - Synthesizers
Moacyr Albuquerque - Electric Bass
Tutty Moreno - Drums
Juarez Araújo - Reeds, Tenor Sax, Flute
Djalma Correa - Percussion
Nelson Angelo - Acoustic Guitar, Electric Guitar
Bira da Silva - Percussion
Ricardo Silveira - Electric Guitar
Angela RoRo - Vocal
Antonio Adolfo - Keyboards, Arranger
Mauricio Einhorn - Harmonica
Gastão Lamounier - Background Vocal
Pedrão - Background Vocal
Reginaldo Pi - Background Vocal
Ronaldo Barcellos - Background Vocal
Gilberto Gil - Vocal, Ovation Guitar, Percussion
Jorginho Gomes - Drums
Perinho Santana - Electric Guitar
Charles Negrita - Congas
Liminha - Percussion
Barrozinho - Trumpet, Flugelhorn
Bidinho - Trumpet, Flugelhorn
Rosana - Background Vocal
Ronaldo Barcelos - Background Vocal
Lucia Turnbull - Background Vocal
Fafá de Belém - Vocal
Octávio Bonfá Burnier -12-string Guitar
Paulo Braga - Drums
Gal Costa - Vocal
Ed Motta - Vocal, Rhythm Guitar, Congas, Bongos & Brass Arrangement
Fabio Fonseca - Vocal, Keyboards, Oberheim OBX-A Synthesizer
Bom Bom - Electric Bass
João Barone - Drums
Fran Bouéres - Cowbell, Tambourine
Luiz Fernando - Electric Guitars
Tinho Martins - Alto Sax
Lucio - Trombone
Silvério Pontes - Trumpet
Rita Lee - Vocal & MiniMoog Synthesizer
Roberto de Carvalho - Keyboards
Aníbal - Whistle
Naíla Skorpio - Surdo
1. Emilio Santiago: O Amigo de Nova York
(Macau/Durval Inácio Ferreira) Warner Chappell Brasil
from “Mais Que Um Momento” (Philips 8140831)
Produced by Durval Ferreira
(P) 1983 Universal Music Ltda
One of the best bossa-nova guitarists/composers (“Estamos Aí”, “Batida Diferente”), Durval Ferreira was a member of Sergio Mendes’ Bossa Rio Sextet on its first incarnation, performing on the legendary Bossa Nova Concert at Carnegie Hall and recording on Cannonball Adderley’s “Cannonball’s Bossa Nova” LP in 1962. Back in Brazil, Durval, known by the nickname Gato (Cat), took part in the first two albums by the Tamba Trio and led the all-star group Os Gatos, which recorded a couple of albums for Philips (one of their best tracks, “Silk Stop”, is featured in the first volume of this series). Later on, Durval also became a successful producer, whose credits included Emilio Santiago’s debut LP in 1975 for the CID label, as well as Sandra de Sá’s second session for RGE, which featured several songs by “soul” composer Macau. In 1983, Durval resumed his collaborations with both Emilio and Macau in this funky track, “O Amigo de Nova York”, arranged by keyboardist Lincoln Olivetti, the man who shaped the Brazilian pop sound of the 80s.
2. Marina: Charme do Mundo
(Marina Lima/Antônio Cícero) Sony/ATV Music Publishing
from “Certos Acordes” (Ariola 201.629)
Produced by Pisca
(P) 1982 Universal Music Ltda
The Moog analog synthesizer played by Azymuth’s genius keyboardist José Roberto Bertrami adds a spaced-out mood to “Charme do Mundo”, one of the greatest hits by one of the best singers to emerge in the Brazilian pop-scene in the late 70s/early 80s, Ms. Marina Lima. “Charme do Mundo” was the smooth laidback opening track from her third solo album, and the second she recorded for the Ariola label (her debut LP came out in 1979, on Warner). She co-wrote the song in 1981 with her most constant partner, her brother Antônio Cícero, one of Brazil’s best pop lyricists. Besides Bertrami, providing excellent support are Pedro Machado (Yamaha CP-70 electric piano), Pedrão (electric bass), Sergio Della Monica (drums) and Pisca (electric guitar), plus Marina herself on the Ovation guitar. Sharing the arranger’s hats are Marina, Paulo Machado, and Pisca.
3. Azymuth: Melô da Cuíca
(José Roberto Betrami/Alexandre Malheiros) Warner Chappell Brasil
from “Azimuth” (Polydor EP 2249.036)
Produced by Azymuth
(P) 1975 Universal Music Ltda
Speaking of Bertrami and Azymuth, here they are in a track from their four-song rare EP released by Polydor in 1975. Thanks to the DJs who made this song a big dancefloor hit during the acid-jazz heyday in the mid-90s, that EP became one of these mythical US$ 200,00 records, being shamelessly bootlegged in the UK after I helped to resuscitate the group by booking icons like them, Marcos Valle and Dom Um Romão for gigs at London’s Jazz Café in Camden Town. In Brazil, back in 1975, this song was a minor-hit after its inclusion as a cop theme in the soundtrack of a novela (Brazilian TV soap opera) titled “Pecado Capital”. Bertrami’s arsenal includes Hammong organ model M-102, Fender Rhodes electric piano, Moog and Arp Strings synthesizers. Special guest percussionist Neném da Cuíca plays the “cuíca” parts.
4. Joyce: Como Vai, Vai Bem?
(Nelson Angelo)
from “Encontro Marcado” (Philips 765.099)
Produced by Armando Pittigliani
(P) 1969 Universal Music Ltda
Two other artists who have been performing lately at Jazz Café, the acid-jazz meca, the “carioca” singer Joyce Silveira Palhano de Jesus and the “mineiro” guitarist/composer/arranger Nelson Angelo Martins (an important figure in the “Clube da Esquina” movement, having performed with Milton Nascimento for over 10 years) were married at the time of this song, the first single issued from Joyce’s second album. There’s a fascinating psychedelic mood on Luiz Eça’s arrangement, somehow also incorporating elements of the “tropicalia” style. A few months later, the swinging couple would join a new group, “A Sagrada Família”, formed by Luiz Eça after he decided to take a vacation from Tamba 4. The band (also including drummer Gegê, bassist Maurício Maestro, percussionist Naná Vasconcelos, and hornmen Claudio Roditi, Ion Muniz and Zeca do Trombone) performed in Mexico for some months, during & after the 1970 World Cup won by Brazil soccer team, recording only one album (“Onda Nova do Brasil”) and thus achieving the status of a mythological ensemble few Brazilians were ever able to listen to.
5. Jorge Ben: O Plebeu
(Jorge Ben)
from “África Brasil” (Philips 6349.187)
Produced by Mazola
(P) 1976 Universal Music Ltda
From “Mas Que Nada” (1963) to “W/Brasil” (1990), from the early days with the Copa 5 to powerful combos like Admiral Jorge V and A Banda do Zé Pretinho, Jorge Duilio Lima Menezes aka Jorge Ben aka Jorge Benjor, like he prefers to be called nowadays, has been “the hitmaker” in terms of afro-brazilian-samba-funk. “O Plebeu” belongs to “África Brasil” (1976), the same album that yielded “Xica da Silva”, and “Ponto de Lança Africano” (aka “Umbabarauma”), one of Jorge Ben’s biggest dancefloor hits. Not to mention a remake of “Taj Mahal”, the song that “inspired” Rod Stewart’s “Do You Think I’m Sexy?”. Featuring outstanding musicians like José Roberto Bertrami (keyboards & orchestral arrangements), Dadi (bass), Pedrinho (drums), and a large percussion section (Djalma Correa, Ariovaldo, Hermes, Doutor, Luna, Gustavo, Canegal and Nenem da Cuíca), plus Jorge on vocals & guitar, “África Brasil” received a 5-star rating at All Music Guide. “This is undoubtedly one of the greatest classics of Brazilian popular music, with Jorge Ben mixing funky samba, Afro-Brazilian beats, and crunching guitars to create one of the most fascinating sounds ever recorded in Brazil”, Philip Jandovsky wrote. And Jorge himself considers it his personal favorite album. It’s not difficult to find out why.
6. Quarteto Em Cy: Salve O Verde
(Jorge Ben) Editora Musical Novo Rumo Ltda
from “Querelas do Brasil” (Philips 6349.351)
(P) 1978 Universal Music Ltda
Another track composed by Jorge Ben, the ecologycal guitarist anthem “Salve O Verde” is a highlight from Quarteto Em Cy’s 1978 studio album, the follow-up to the excellent “Resistindo” live date. It represented a new direction for the Quarteto, with emphasis directed to a more contemporary pop approach. The four founding members of the group (Cybele, Cyva, Cynara, and Cylene), all born in Itabira, Bahia, moved to Rio to study music with Carlos Lyra in the early 60s. Discovered by poet Vinicius de Moraes, they were featured on “Vinicius & Caymmi no Zum-Zum” (Elenco) and did their debut bossa-nova album in 1965 for the Forma label headed by businessman Wadi Gebara and the late producer Roberto Quartin. Later they recorded two albums for Warner-USA, produced by Aloysio de Oliveira, under the name Girls From Bahia (with Regina Werneck replacing Cylene). At the time of this recording of “Salve O Verde”, in 1978, the group was formed by Cyva (who was married to Aloysio de Oliveira), Cynara, Soninha and Dorinha Tapajós, with guitarist/arranger Luiz Claudio Ramos serving as their musical director.
7. Gerson King Combo: Mandamentos Black
(Augusto César - Pedrinho - Gerson King Combo)
from “Gerson King Combo” (Polydor 2451.093)
(P) 1977 Universal Music Ltda
The title track from a landmark album in the history of “Brazilian black music”. Period. But, misteriously, Gerson Rodrigues Côrtes remains an underrated artist, one of Brazilian funk’s best kept secrets. He started his career as backing singer for Wilson Simonal and Erlon Chaves, took part briefly in the groups The Fevers and Fórmula Sete, adopted the artistic name Gerson King Combo as a tribute to the King Curtis Combo, recorded two solo albums for Polydor in 1977 and 1978, and suddenly disappeared from the music scene. Now he is being regarded as a rap pioneer because of the way he used to improvise speeches that sounded like orations over funky patterns, always talking about the importance of the black culture – like he does on “Mandamentos Black”. Rediscovered by singer Andrea Dutra in 2000, Gerson appeared as special guest in many of her gigs during that year, trying to do a solo comeback the following year through the album “Mensageiro da Paz”.
8. Tim Maia: O Descobridor dos Sete Mares
(Gilson Mendonça/Michel) Peermusic Germany
from “O Descobridor dos Sete Mares” (Polygram 812.714-1)
(P) 1983 Universal Music Ltda
Another prominent figure of the “black” movement, Tim Maia reached higher popularity and prestige than Gerson King Combo, being regarded as the father of Brazilian soul-music. Not an easy person to deal with: sarcastic, ironic and always fighting against record companies and TV networks, while being prosecuted by managers for missing concerts or going off the stage after any technical problem. Gifted with a beautiful bariotone voice, Tim, who passed away in 1998 at age 55, of a heart attack, scored many big hits during his career. Curiously however, the title track from one of his best-selling albums ever, “O Descobridor dos Sete Mares”, was not composed by Tim, although everybody believes so. Later, this song was covered by singer Lulu Santos in 1995, once again becoming a big hit in Brazil, selling over 500,000 copies.
9. Rita Lee: Tatibitati
(Roberto de Carvalho/Rita Lee) Neue Welt Musikverlag GmbH
from “Saúde” (Som Livre 403.6243)
Produced by Rita Lee & Roberto de Carvalho
(P) 1981 EMI Music Ltd. Brazil
Rita Lee wrote with her husband, Roberto de Carvalho, all the original songs for this album, “Saúde”, the third one the smart couple recorded for the Som Livre label during their heyday as untamable hitmakers. A very talented arranger and multi-instrumentalist, equally at ease on keyboards and guitars, Roberto helped Rita in establishing a new direction for her career, focused on dance-oriented tunes (her previous works as the vocalist for the famed tropicalia group “Os Mutantes”, and as the leader of the Tutti Frutti band, were based on rock ‘n’ roll elements). In the late 70s and early 80s, Rita & Roberto became the most-in-demand composers team in the Brazilian pop scene, creating big hits for such stellar names as Elis Regina (“Alô Alô Marciano”) and even gaining the respect of bossa pope João Gilberto. Keyboardist Lincoln Olivetti (playing Yamaha CP-70 electric piano plus synths) was a key figure on the album, recorded in September 1981 featuring his late partner Robson Jorge (guitarist who passed away in 1993, at age 39), Jamil Joanes (bass), Picolé (drums) and Ariovaldo (percussion).
10. Lô Borges: Ritatá
(Telo Borges) EMI Songs Do Brasil
from “Nuvem Cigana” (EMI/Odeon 064.422898)
(P) 1980 Warner Music Brasil Ltda.
Back in 1972, when Milton Nascimento decided to feature Lô Borges’ name in the cover of the fabled “Clube da Esquina” album, everybody in the music business asked: who is this 19-year old Lô Borges? Well, Salomão Borges Filho, his birthname, is now famous for having wriiten such unforgettable songs as “O Trem Azul”, “Tudo Que Você Podia Ser”, “Pra Lennon and McCartney” and “Paisagem da Janela”. Besides releasing brilliant solo albums like “Via Láctea”, he also conceived a family project titled “Os Borges”, in 1980, featuring his brothers and sisters: Marilton, Solange, Nico, Yê, Marcio, and Telo Borges. The latter was once again prominently featured on “Ritatá”, a track from Lô’s album for EMI two years later. They share the lead vocals, with Telo also taking care of the Rhodes electric piano and the Arp synthesizer. Toninho Horta (electric guitar), Paulinho Carvalho (electric bass), Mario Castelo (drums) and the couple Robertinho Silva & Aleuda (percussion) complete the group.
11. Claudette Soares: Shirley Sexy
(Fred Falcão/Arnoldo Medeiros) Musikverlag Intersong
from “Claudette” (Philips 6245.001)
Produced by Roberto Menescal
(P) 1971 Universal Music Ltda
Luiz Carlos Ramos’ guitar opens “Shirley Sexy”, a short but delightful song from a 5-track EP recorded by singer Claudette Soares in 1971, with arrangements by Ramos and Chiquinho de Moraes, and a long sub-title: “Quem Não É A Maior Tem Que Dar Mais Amor”. Produced by Roberto Menescal, then the A&R man at Philips, the sessions were engineered by a young Marco Mazola, now a powerful pop producer and owner of his own MZA label. “Shirley Sexy” had been originally introduced a few months earlier by actress Marilia Pera in “O Cafona”, the first novela soundtrack album issued by Globo TV’s label Som Livre (at that time, the artists themselves used to sing the songs written for their carachters in the TV soap operas). But Claudette Soares did a better job.
12. Golden Boys: Pra Esquecer A Vida
(Roberto Correia/Sylvio Son) Pergola Ed. Musicais Ltda.
from “Golden Boys” (Polydor 2451.109)
(P) 2004 Universal Music Ltda
Inspired by the North American vocal group The Platters, The Golden Boys was a quartet formed in 1958 by three Rio-born brothers – Roberto, Renato and Ronaldo Correia – and a cousin, Valdir Anunciação. Besides cutting over a dozen of LPs, they’ve also composed many hits for people like Roberto Carlos and Wanderléa during the rock-influenced movement called “jovem guarda”. Renato left in 1971, to become an A&R man at Odeon. “Pra Esquecer A Vida” comes from their 1978 reunion album for Polydor. Most recently, Renato Correia returned and they reunited for Jorge Ben Jor’s “Acústico MTV” project (2002). Valdir, who had left the group in 1996, passed away in 2004.
13. Novos Baianos: Besta É Tu
(Luis Galvão/Pepeu Gomes/Moraes Moreira) Som Livre
from “Acabou Chorare” (Som Livre 6004)
Produced by Eustáquio Sena
(P) 1972 Sigla-Sistema Globo De Audio-Visuals Ltd
Highly praised by João Gilberto and avant-garde poet Augusto de Campos, “Acabou Chorare”, the second Novos Baianos album (produced by Eustáquio Sena under the coordination of João Araujo) had the impact of an atomic bomb in the Brazilian music scene back in 1972. Fusing samba and rock in a completely unusual and original way, influenced by the “trio elétrico” aesthetic, the supergroup was the natural development of a hippie community founded four years earlier by Luis Galvão, Paulinho Boca de Cantor and Moraes Moreira. But not all of them were “baianos”. Baby Consuelo (aka Baby do Brasil), the female lead singer, was born in Niteroi, not in Bahia. She later married Pepeu Gomes, when he joined the band as lead guitarist and main arranger. Moraes Moreira (then known only as Morais in the album cover) is the vocal soloist on “Besta É Tu”, backed by Pepeu (acoustic guitar), Dadi (bass), Jorginho (cavaquinho), Baixinho (bass drum), Paulinho (tambourine), and Baby (shaker, triangle), with backing vocals by all of them.
14. Baby Consuelo: Ziriguidum
(Jadir Teixeira de Castro/Luiz Bittencourt) Warner Chappell Music Publishing
from “Pra Enlouquecer” (Atlantic/WEA 30.109)
Produced by Guti
(P) 1978 WEA International Inc.
The opening track from Baby Consuelo’s second solo effort, produced by Guti Carvalho in 1979, is a frenetic rendition of “Ziriguidum”, made famous in the 50s by legendary singer/percussionist Jackson do Pandeiro. Pepeu Gomes arranged it, with the horn section (conducted by keyboardist Luciano Alves) including trumpetists Marcio Montarroyos and Formiga, tenorist Zé Bodega and altoist Jorginho Ferreira da Silva. The song composer, Jadir de Castro, is also a legend himself, one of the first Brazilian drummers to record as a leader (in the 50s). Since the late 80s, many of his recordings – some of them, like “Ozônio” and “Repimar”, from heavy “batucada” albums he did with Dom Um Romão – became dancefloor sensations all over Europe, being included in such best-selling compilations as “Batucada – The Sound of the Favelas”, issued by the London-based label Mr. Bongo. Jadir and Dom Um reunited in 1998 on Mr. Romão’s “Rhythm Traveller” album. Currently, Jadir is preparing a new solo album. It’s also interesting to note that Jadir was featured on Brigitte Bardot’s first film, “Et Dieu Creá La Femme”, directed by Roger Vadim in 1956.
15. Chico Buarque: Brejo da Cruz
(Chico Buarque) Marisco
from “Chico Buarque” (Barclay 825.161)
Produced by Chico Batera & Homero Ferreira
(P) 1984 Universal Music Ltda
Guitarist extraordinaire, born in Argentina but now a Brazilian citzen, Victor Biglione was a member of Chico Buarque’s group around the time of this recording. “Actually, my first recording session with Chico was “Bye Bye Brasil”, in 1980, and later I joined his band”, Victor remembers. “The first time we rehearsed “Brejo da Cruz”, I was completely blown away. So rich chord sequences in sixths, a wondrous melody. And when we finally played it in a live concert, it was a moving experience for me, because it happened in Buenos Aires’ Luna Park, celebrating the fact that democracy was once again reigning in Argentina. Back in Rio we recorded the basic track in a very spontaneous way, with Fernando Souza on bass, Teo Lima on drums, myself on guitar, and two keyboardists: Hugo Fattoruso and Rique Pantoja. Later on, Toninho Horta overdubbed the acoustic guitar a la Earl Klugh, Chico Batera, Marcelo Costa and Ricardo Cristladi added percussion and special effects, and arranger Luiz Claudio Ramos prepared the backing vocal lines for a choir that included Dorinha Tapajós, Chico’s sister Miucha and his niece Bebel Gilberto, among others. I’m very proud I took part on it”. Also noteworthy is the perfect solo by Uruguay-born keyboard whiz Hugo Fattoruso (founder of the legendary OPA trio), whose creativity in the choice of electronic textures and colors in analog vintage synthesizers is matched only by Joe Zawinul.
16. Nara Leao & Gilberto Gil: Sarará Miolo
(Gilberto Gil) Neue Welt Musikverlag GmbH
from “Os Meus Amigos São Um Barato” (Philips 6349.338)
Produced by Roberto Santana
(P) 1977 Universal Music Ltda
“Sarará Miolo” (later covered by Flora Purim on “Carry On”, in 1979) was the first track recorded for Nara Leão’s “Os Meus Amigos São Um Barato”, her most challenging project ever. Nara (1942-1989) herself wrote in the original liner notes for the LP: “I met Gil and asked for a song. That was November, 1976. In December I received an answer. The song was already done. I went to the studio where Gil was recording his album. His head was covered with braids and he was full of joy and energy, I got scared and shrunk to the size of an ant. I felt more shy than I already am because he was showing such exuberance that I got nervous. I heard the song quickly and I instantly though: "I'm not capable to emit so much joy in my life, let alone in this recording." And Gil would say: "Look, I've made this song for you, not for the way people see you." And I loved it. After some of my initial inhibition had passed, I asked him: "What does "Sarará Miolo" mean?" Gil told me that, in Bahia, this is how they usually call blond-haired people with an afro-hair style. Directing the musicians and playing, Gil is extraordinary. Everything he does is so vital, with such energy that I kept envying him and wishing I could be more like him. Little by little I got encouraged and I did it. It had to be Gil to make me capable of saying: Yeahh!" Jamil Joanes is on bass, J.T. Meirelles is on flute, and Gil himself played guitar and did the arrangement, besides sharing the vocals with Nara.
17. Miucha: Naturalmente
(João Donato/Caetano Veloso) Arabella Musikverlag Gmbh
from “Miucha” (Philips EP 6245.041)
Produced by Paulinho Tapajós
(P) 1975 Universal Music Ltda
After having appeared on Stan Getz/João Gilberto’s “The Best of Two Worlds” and Antonio Carlos Jobim’s “Urubu”, both recorded in NY, Miucha – the nickname of Heloisa Maria Buarque de Hollanda, Chico Buarque’s oldest sister and João Gilberto’s second wife – returned to Rio and did her solo recording debut in 1975, produced by Paulinho Tapajós. The sessions yielded five tracks – one never saw the light of the day, and four were released in a rare EP. “Correnteza” was included on “A Trip To Brazil Vol.3” and now is the time to rediscover the “sensual” (for the lack of a better word) “Naturalmente”, co-written by João Donato and Caetano Veloso for Donato’s “Lugar Comum” album released a few months earlier. Miucha is backed by her friends Luiz Cláudio Ramos (guitar), Ariovaldo & Chacal (percussion), Alex Malheiros (bass) and Franklin (flute).
18. Ivan Lins: Daquilo Que Eu Sei
(Ivan Lins/Vitor Martins) Neue Welt Musikverlag GmbH
from “Daquilo Que Eu Sei” (Philips 6328.341)
(P) 1983 Universal Music Ltda
Since Luiz Bonfá and Antonio Carlos Jobim in the late 50s/early 60s, no other Brazilian composer was able to achieve more stardom in the international music market than Ivan Lins. Curiously, this process started only in 1980, thanks to a deal with Quincy Jones’ publishing company that led Quincy to include Ivan’s songs in all the albums he would eventually produce. Many of Ivan’s songs received English lyrics and became “contemporary standards” after being introduced to American listeners through such stars as George Benson (“Love Dance”) and Patti Austin (“The Island”). Another song, “Daquilo Que Eu Sei”, was later retitled “Believe What I Say”, being recorded as a Patti/Ivan duet on the albums “Juntos” and “Brazilian Kinghts And A Lady”. But the track we’ve selected here is the original version of the song, used as title track on Ivan’s 1981 album. Two longtime Ivan collaborators, both working with him since 1974, were featured: Gilson “Modo Livre” Peranzzetta, who did the arrangement, played keyboards and accordion, and lyricist Vitor Martins, Ivan’s future business partner in the small Velas label in the 90s.
CD2
1. Caetano Veloso: Quero Um Baby Seu
((Paulo Zdanowski - Luiz Carlos Siqueira) Musikverlag Intersong GmbH
from “Outras Palavras” (Philips 6328.303)
Produced by Caetano Veloso
(P) 1981 Universal Music Ltda
For almost forty years Caetano Veloso’s revolutionary impetus has astounded listeners all over the world. New themes specially written by Vinicius Cantuária, Péricles Cavalcanti, Paulo Leminski, and even a rendition of Henri Salvador’s “Dans Mon Ile”, found place in the repetoire of Caetano’s “Outras Palavras” album. In this dance-oriented track, the iconoclastic mentor of the “tropicalismo” (or tropicália, as David Byrne prefers), sings and plays Ovation guitar with the support of Tomas Improta (Fender Rhodes electric piano & synths), Arnaldo Brandão (bass), Vinicius Cantuária (drums), Perinho Santana (electric guitar), Bolão (congas). Backing vocalists Sonia Burnier, Solange Rosa, Jane Duboc and Viviane Godoi were also invited to the proceedings. You’ll be blown away with this sizzlin’ performance.
2. Zizi Possi: Cruzada
(Márcio Borges - Tavinho Moura) EMI Songs Musikverlag GmbH
from “Zizi Possi” (Philips 6485 215
Produced by João Augusto
(P) 1980 Universal Music Ltda
Regarded as one of the best lyricists of the “Clube da Esquina” team, partner of both Milton Nascimento (“Tarde”) and Nelson Angelo (“Tiro Cruzado”) in superb songs, Marcio Borges co-wrote “Cruzada” with fellow “mineiro” Tavinho Moura for a great Zizi Possi album produced by João Augusto in 1980. Lincoln Olivetti, the most-in-demand arranger in the Brazilian pop scene of the 80s, provided impeccable charts played by such great musicians as Jamil Joanes (former Banda Black Rio bassist), Azymuth’s Ivan Conti (drums), Robson Jorge (guitar) and Ariovaldo Contesini (percussion). Lincoln himself is heard on Yamaha CP-70 electric grand piano, Mini-Moog and Oberheim synths, also conducting the dream-team horn section with Marcio Montarroyos and Bidinho (trumpets), Serginho (valve trombone), Oberdan Magalhães (founder of Banda Black Rio, on alto sax), José Carlos “Bigorna” Ramos (tenor sax), and Leo Gandelman (baritone sax).
3. Joao Bosco: Papel Marché
(João Bosco/José Carlos Capinan) Sony/ATV Music Publishing Germany
from “Gagabirô” (Philips 823.694-1)
(P) 1991 Universal Music Ltda
“Bosco's lengthy and productive partnership with lyricist Aldir Blanc reached a creative peak on this 1984 recording, a dazzling, highly sophisticated fusion of African and Brazilian rhythms and styles”, Terri Hinte wrote in her review of “Gagabirô” for the All Music Guide website. This track, “Papel Marché”, is a beautiful João Bosco bolero, with lyrics by Capinam and became a big radio hit in Brazil. Actually, Brazilian composers always had a speciall affinity with boleros, to the point that a combination of bolero and samba rhythms resulted in a style called “sambolero” in the 50s – not surprisingly, even two bossa nova masters, Luiz Bonfá and João Donato, wrote songs with this funny title. Of course the purists reacted, claiming it was not a “pure Brazilian style”. To disguise the influence, most of the artists began to use another term, “samba-canção”.
4. Elis Regina: Dois Pra Lá, Dois Pra Cá
(João Bosco/Aldir Blanc) Musik Edition Discoton GmbH
from “Elis” (Philips 6349.121)
(P) 1974 Universal Music Ltda
Like she had done in 1966 with Milton Nascimento, becoming the first singer to record one of his compositions (“Canção do Sal”), Elis Regina (1945-1982) was an essential figure in the career of the João Bosco & Aldir Blanc songwriting team. Her fantastic 1974 album “Elis”, arranged by her keyboardist and new husband Cesar Camargo Mariano (she had divorced from lyricist Ronaldo Boscoli in 1971), featured three of the Bosco-Blanc songs: “O Mestre Sala dos Mares”, “Caça à Raposa” and a charming bolero, “Dois Pra Lá, Dois Pra Cá”, which remains one of their biggest hits ever. Besides the former Sambalanço Trio’s leader Mariano (herad on Fender Rhodes electric piano), the track also includes great performances by Ariovaldo Contesini (bongos), Luizão Maia (electric bass), Chico Batera (percussion), Toninho Pinheiro (drums), and Helio Delmiro (electric guitar). It’s a great showcase for Elis’ insuperable vocal artistry.
5. Azymuth: Tempos Atrás
(José Roberto Betrami) Ervolksmusik Musikverlag
from “Azimuth” (Polydor EP 2249.036)
Produced by Azymuth
(P) 1975 Universal Music Ltda
Here’s the original version of “Tempos Atrás”, later recorded by Airto Moreira as “Dreams Are Real” on his “Touching You…Touching Me” album for Warner in 1979, featuring Bertrami on the keyboards. It’s another track from the same EP that includes “Melô da Cuíca”, “Que É Que Você Vai Fazer Neste Carnaval” (included on “A Trip To Brazil Vol.3”) and “Zombie” (a track we are saving for the next volume). Although officially working as a trio – founded by keyboardist José Roberto Bertrami, bassist Alexandre Malheiros and drummer Ivan “Mamão” Conti – the group received essential help by late percussionist Ariovaldo Contesini on this EP, as well as on their first (“Linha do Horizonte”, released by Som Livre in 1975) and second (“Águia Não Come Mosca” for Atlantic in 1977) albums. It’s always worth to mention that in the original cover of this EP their name was still written as Azimuth (with “i”). Only in the following year, already preparing to develop an international career, they would change the name to Azymuth (with “y”), to avoid legal problems with the other Azimuth led by John Taylor, Kenny Wheeler and Norma Winstone in Europe.
6. Leila Pinheiro: Um Samba
(João Donato/Gilberto Gil) EMI Music Publishing Germany GmbH & CoKG
from “Olho Nu” (Philips 830144-1)
Produced by João Augusto
(P) 1986 Universal Music Ltda
An oustanding track from Leila Pinheiro’s third album (and her second for Philips), recorded during the peak of her career, “Um Samba” was specially written for the “Olho Nu” sessions by João Donato & Gilberto Gil. Keyboardist Wilson Jorge Nunes (acoustic piano, Yamaha DX-7 and Roland JX8P synths), the singer’s musical director at that time, creates a loose arrangement over the electronic bass-drum rhythmic pattern provided by producer João Augusto on the then-fashionable Linn 9000 Digital Drums machine. Three percussionists (Don Chacal on congas, Celsinho on pandeiro, Nilton Marçal on cuica, shaker and tamborim) join the tight rhythm section comprised of Jamil Joanes (electric bass), Teo Lima (drums), and Ricardo Silveira (guitars). The nature of this performance is divided between high energy and subdued playing. Check this out.
7. Marcos Valle: Samba de Verão
(Marcos Valle/Paulo Sergio Valle) Universal Music Publishing
from “Marcos Valle” (Som Livre 403.6282)
Produced by Lincoln Olivetti & Paulo Sergio Valle
(P) 1997 Universal Music Ltda
The third most recorded Brazilian song ever, behind only Jobim’s “Garota de Ipanema” and Bonfá’s “Manhã de Carnaval”, “Samba de Verão” (“Summer Samba”) was composed in 1964. That same year, Deodato did the debut instrumental recording leading his group Os Catedráticos on the “Impulso!” album. In 1965, he arranged Marcos Valle’s vocal version, with original Portuguese lyrics by his brother Paulo Sergio, for the “O Compositor e O Cantor” LP. Then came Norman Gimbel’s English translation (“So Nice”), recorded by Wanda de Sah & Sergio Mendes Trio. Organist Walter Wanderley made it a mega-hit in 1966, with the single reaching the Billboard charts (# 3 Adult Contemporary, # 26 Pop), while the “Rain Forest” album reached # 22 in the Pop Albums list. Marcos himself recorded it once again for “Samba ‘68” (Verve) and, then, a third time for his second Som Livre date in 1983, produced/arranged by Lincoln Olivetti. This song has been covered more than 200 times, including recent best-selling takes by Ithamara Koorax (“Bossa Nova Meets Drum ‘N’ Bass”) and Bebel Gilberto (“Tanto Tempo”).
8. Moraes Moreira: Marília
(João Donato/Moraes Moreira) EMI Music Publishing
from “Coisa Acesa” (Ariola 201904)
Produced by Marcelo Falcão & Moraes Moreira
(P) 1982 Universal Music Ltda
Brazilian pop goes latin. And João Donato’s artistry shines once again as keyboardist/arranger/conductor in this unexpected collaboration with former Novos Baianos member Moraes Moreira, born Antonio Carlos Moreira Pires. By that time (1982), Moraes had already established himself as a very successful solo act. The syncopated melody is typically Donato’s, while Moraes’ lyrics are a tender love letter to his wife, Marília. Two percussionists – Carlinhos Ogam on guiro and the legendary Tamba 4 member Rubem Ohana de Miranda doubling on congas & timbales – add the latin spice, with Chile-born Nacho Mena on drums. The 6-man horn section is comprised by Maciel & Serginho (trombone), Bidinho & Marcio Montarroyos (trumpet), Oberdan (flute & alto sax), and Raul Mascarenhas (flute & soprano sax).
9. Ney Matogrosso: Deixa a Menina
(Chico Buarque) Arabella Musikverlag Gmbh
from “Ney Matogrosso” (Ariola 201.620)
Produced by Mazola
(P) 1981 Universal Music Ltda
Ney Matogrosso exploded in the Brazilian music scene in 1971, as the lead singer of rock trio Secos & Molhados, adopting an extremely extravagant profile and androgynous look. Started his solo career three years later, when the group disbanded. The opening track of his gold-certified self-titled solo album for Ariola, produced by Mazzola in 1981, features Cesar Camargo Mariano’s keyboards and arrangement for Chico Buarque’s latin-tinged “Deixa a Menina”, with Pedro Baldanza (bass and 7-string guitar), Sergio Della Monica (drums), Chacal, Nô & Jorginho (percussion), Pisca (acoustic guitar & cavaquinho), Natan Marques (electric guitar), plus the first-call musicians of the horn section: Marcio Montarroyos & Bidinho (trumpets), Serginho (trombone), Oberdan Magalhães (tenor sax), and José Carlos “Bigorna” Ramos (baritone sax).
10. Fabio Fonseca & Luiz Melodia: A Mulher de 15 Metros
(Fabio Fonseca/Mathilda Kovac) Sony/ATV Music Publishing
from “Tradução Simultânea” (Philips 512123-1)
Produced by Fabio Fonseca
(P) 1992 Universal Music Ltda
Although Fabio Fonseca started his career in the 80s, only in the next decade he would become a very successful pop producer and keyboardist, working with such singers as Marina Lima, Claudio Zoli and Fernanda Abreu. All of them were on board as very special guests in one of the few albums that Fabio has recorded as a leader. Released in 1992, “Tradução Simultânea” soon went out-of-print and became a hard-to-find collector’s item. Undoubtely the album masterpiece, “A Mulher de 15 Metros” finds Fabio and Luiz Melodia doing the lead vocals on top of João Donato’s sumptuous orchestral arrangement. The sense of lightness and delicacy in Donato’s score works to exceptional effect in this magnificent track, with Donato on piano, Arismar do Espírito Santo on bass, Wilson das Neves on drums, Firmino on percussion, and Celso Fonseca on guitar. That collaboration with Donato had a deep impact in Fábio Fonseca’s career, thus leding him to become closer to his jazz roots by recording and touring Europe in the late 90s with singer Ithamara Koorax (“Serenade in Blue”) and drummer Dom Um Romão (“Rhythm Traveller”).
11. Maria Bethânia: Baila Comigo/Shangrilá
(Rita Lee/Roberto de Carvalho) Universal Music Publishing GmbH/Neue Welt Musikverlag GmbH
from “Nossos Momentos” (Philips 6328.526)
Produced by Perinho Albuquerque
(P) 1982 Universal Music Ltda
Not even a more traditional singer like Maria Bethânia, Caetano Veloso’s sister, remained immune to the influence of Rita Lee in the early 80s. When transforming her acclaimed “Nossos Momentos” show (musical direction by Gilberto Gil) in a dense live album (produced by Perinho Albuquerque), Bethânia had to select only 28 of the 50 songs heard during the engagement at Rio de Janeiro’s famous Canecão from September 8 to October 3, 1982. She kept the medley of two Rita & Roberto de Carvalho’s recent tunes, “Baila Comigo” and “Shangrilá”, singing them in a more introspective way in a contrast with the original takes that made both songs to set the Rio dancefloor on fire. Bethânia’s touring band at that time was conducted by pianist José Maria Rocha (founder of Terra Trio), with Tulio Mourão on synthesizers plus Moacyr Albuquerque (bass), Tutty Moreno (drums), Juarez Araújo (reeds), Djalma Correa & Bira da Silva (percussion), and Ricardo Silveira (guitar).
12. Jorge Ben & Caetano Veloso: Ive Brussel
(Jorge Ben) Neue Welt Musikverlag GmbH
(P) 1979 Sigla-Sistema Globo De Audio-Visuals Ltd
Surprisingly few duets have been recorded by these two titans of the post-bossa nova generation, but this is one of the best", states the DJ, writer and album compiler John Armstrong, who lives in East London but dreams in Portuguese. This is not the original version of the song composed by Jorge Benjor (then Jorge Ben), but a 1979 remake - featuring Caetano Veloso - for one of his albums for the Som Livre label, a subsidiary from Brazil's leading TV network, Rede Globo. "It's an exuberant and exhilarating track, which actually comes up on quite a few compilations", says music historian Doug Payne. The talent and care that went into the album production translated itself into a highly sucessful session.
13. Angela RoRo: Simples Carinho
(João Donato/Abel Silva) EMI Music Publishing
from “Simples Carinho” (Philips 2451.196)
Produced by Antonio Adolfo
(P) 1982 Universal Music Ltda
The big and beautiful tone of Jamil Joanes’ electric bass sets the pace for Angela RoRo’s original recording of João Donato’s gorgeous ballad, “Simples Carinho”, to which poet Abel Silva added sensuous lyrics. Arranged by keyboardist Antonio Adolfo, who collaborated with Angela in all her first five albums, it also features Brazil’s top harmonica player, Mauricio Einhorn. Born Angela Maria Diniz Gonçalves, in 1949, got the nickname RoRo because of her husky laughter. Influenced by Maysa, Jacques Brel, and Janis Joplin, started her career singing and playing (at the piano) self-penned blues-oriented tunes in nightclubs around Copacabana and Ipanema, signing with the Polydor label in 1979. Ironically, despite her productive career as a composer (Maria Bethânia and rock group Barão Vermelho covered her songs), João Donato’s “Simples Carinho” still remains her biggest hit ever.
14. Emilio Santiago: Dentro de Você
(Marcos Valle/Leon Ware/Laudir de Oliveira/Paulo Sergio Valle) Pergola Ed. Musicais Ltda.
from “Ensaios de Amor” (Philips 6328.521)
Produced by João Augusto & Alexandre Agra
(P) 1982 Universal Music Ltda
Emilio Santiago, one of the most accomplished singers to emerge in Brazil in the 70s, showcases his velvet-like voice and tremendous phrasing skills in the irresistible samba-funk “Dentro de Você”. Originally titled “Somewhere” – composed by Marcos Valle and Chicago’s percussionist Laudir Soares de Oliveira specially for Quincy Jones’ former vocalist Leon Ware’s third solo album for Elektra in 1982 –, this song received Portuguese lyrics added by Paulo Sergio Valle, Marcos’ brother. Emilio’s album was produced by João Augusto & Alexandre Agra, with Lincoln Olivetti providing most of the arrangements. Playing Yamaha CP-70 electric piano, Oberheim OBX-A and Korg synths, Lincoln assembled his usual gang: Robson Jorge (electric guitar), Jamil Joanes (bass), Paulo Braga (drums), Ariovaldo (percussion), Marcio Montarroyos & Bidinho (trumpets), Oberdan (alto sax), José Carlos “Bigorna” Ramos (tenor sax), and Leo Gandelman (baritone sax), plus backing vocalists Gastão Lamounier, Jane Duboc, Marisa Fossa, Pedrão, Reginaldo Pi, and Ronaldo Barcellos.
15. Nara Leão: Amor Nas Estrelas
(Roberto de Carvalho/Fausto Nilo) Sony/ATV Music Publishing Germany/Neue Welt Musikverlag GmbH
from “Romance Popular” (Philips 6328 316)
Produced by Raimundo Fagner & Fausto Nilo
(P) 1981 Universal Music Ltda
Another proof of the huge influence that Rita Lee’s musical aesthetic had over new and old Brazilian acts during the 80s. Nara Leão (1942-1989), in spite of being wrongly regarded as “the bossa nova muse” (her contributions to that style were in fact minimal), navigated in many other musical areas. She helped to resurrect traditional samba composers like Cartola and Zé Keti, recorded many “political” tunes known as “canções de protesto” (protest songs), joined the tropicalia movement in 1968 (appearing alongside Cateno Veloso, Gilberto Gil and Gal in the cult album “Panis et Circenses, and even devoted an entire project to the songs of the “jovem guarda” king Roberto Carlos. Her 1981 album, “Romance Popular” (produced by Northern composers Raimundo Fagner & Fausto Nilo!) was another surprise, a collection of pop songs in arrangements nobody expected to hear in a Nara session. “Amor nas Estrelas” was one of these songs that she commissioned Roberto de Carvalho (Rita Lee’a husband and musical director) to write. The arranger? Lincoln Olivetti, of course. Even today, when this track receives airplay, people say: oh, that lovely song that Rita wrote to Nara!….
16. Gilberto Gil: Palco
(Gilberto Gil) EMI Music Publishing GmbH
from “Luar” (WEA 36.180)
Produced by Liminha
(P) 1995 WEA International Inc.
Although including gorgeous ballads like“Se Eu Quiser Falar Com Deus” and “Flora”, “Luar” became a best-selling album in the career of Gilberto Gil (currently Brazil’s Minister of Culture since 2003) thanks to a hedonistic disco track, “Palco”. Once again, the controversial Lincoln Olivetti applied his Midas touch. Strongly influenced by acts like Earth Wind & Fire, he was a master in preparing infectious dance grooves and horn riffs a la Tom Tom 84 (aka Tom Washington). Like he did on Gilberto Gil’s monster-hit “Palco”. Lincoln also played Fender Rhodes electric piano, Yamaha and MiniMoog synths, while his most frequent partner, Robson Jorge, is heard on the Yamaha CP-70 electric grand piano (maybe the most used instrument in Brazilian pop sessions throughout the 80s) and on electric guitar. Jamil Joanes (bass), Jorginho Gomes (drums), Perinho Santana (guitar), Charles Negrita (congas) complete the rhythm section. Gil himself plays Ovation guitar and overdubbed percussion parts along with Liminha, the album producer. The horn section includes Barrosinho (member of both Dom Salvador’s Abolição and Banda Black Rio) and Bidinho on trumpets & flugelhorns, Serginho (trombone), Black Rio’s founder Oberdan Magalhães (alto sax), José Carlos “Bigorna” Ramos (tenor sax), and Leo Gandelman (doubling on bass clarinet & baritone sax). The backing vocalists: Pi, Rosana, Ronaldo Barcelos and Lucia Turnbull.
17. Fafá de Belém: No Meio da Roda
(Octavio Bonfá Burnier/Geraldo Eduardo Carneiro) Universal Music Publishing
from “Essencial” (Philips 6328.390)
Produced by Sergio Carvalho
P. 1982 Universal Music Ltda
Maria de Fátima Palha de Figueiredo, better known as Fafá de Belém – a reference to the beautiful city she was Born, in the State of Pará in North Brazil – recorded her debut single (“Emoriô”, included on “A Trip To Brazil Vol. 2”) in 1975. Her popularity increased a lot in the 80s, when she began to record romantic songs in the so-called “brega” (kitsch) style, selling over 500,000 copies of her “Atrevida” album (1986). Fafá also invested in the pop market through songs like “No Meio da Roda”, composed by Octavio Burnier, Luiz Bonfa’s nephew and a great guitarist who was working at that time as musical director for Globo TV network, after having recorded two landmark albums with Claudio Cartier as an acclaimed duo (Burnier & Cartier). “It was one of the few songs I wrote with Geraldinho Carneiro, Egberto Gismonti’s favorite lyricist”, remembers Burnier, currently performing under the name Tavynho Bonfá. “I’ve played a 12-string guitar in that track, alongside Dadi on bass, Paulo Braga on drums, and Antonio Adolfo on keyboards. It’s a happy song, with very positive vibes. Sergio Carvalho was the album producer”.
18. Gal Costa: Azul
(Djavan) Luanda Ed./EMI Songs Do Brasil
from “Minha Voz” (Philips 6328.523)
Produced by Mariozinho Rocha
(P) 1982 Universal Music Ltda
An outstanding track from an outstanding album. After selling half-million copies of “Fantasia” (1981), Gal Costa hired the same producer (Mariozinho Rocha) and the same arranger/conductor (Lincoln Olivetti) to the follow-up project, “Minha Voz”, released by Philips in November 1982 on time for the Christmas sales. As usual, Brazil’s most celebrated songwriters composed new tunes especially for Gal’s crystalline voice. People like Caetano Veloso, João Donato, Gilberto Gil, Moraes Moreira, and Djavan, who wrote “Azul”, a monster radio hit. “Djavan gave me this song so sweet, so tender and delicate, done for my voice, so it fitted perfectly well with my singing style”, Gal remembers.
19. Ed Motta: Manuel
(Fabio Fonseca/Márcia Serejo) Manuskript
from “Ed Motta & Conexão Japeri” (WEA 00387)
Produced by Vitor Farias, João Barone & Ed Motta
(P) 1998 Universal Music Ltda
Tim Maia’s nephew, singer and multi-instrumentalist Ed Motta is regarded as the heir of his uncle legacy. A young Renaissance man who’s already established himself as Brazil’s leading pop-funk act, Ed was only 17 years old when he recorded his debut album, “Ed Motta & Conexão Japeri”, co-produced by João Barone (drummer of rock trio Paralamas do Sucesso) and Vitor Farias back in 1988. Fabio Fonseca, then his most constant partner, wrote nothing less than four songs for that album. Among them, the huge hit “Manuel”, by now a dancefloor classic. Musicians: Ed (vocal, rhythm guitar, congas, bongos, brass arrangement), Fabio (Oberheim OBX-A and assorted keyboards), Bom Bom (bass), João Barone (drums), Fran Bouéres (cowbell, tambourine), and Luiz Fernando (electric guitars), plus a horn section (Tinho Martins on sax, Lucio on trombone, and Silvério Pontes on trumpet) by courtesy of Tim Maia’s Vitória Régia band. After the group Conexão Japeri (previously known as “Estação Realengo”) disbanded, Ed started a solo career in 1990. Despite some other hits like “Fora da Lei” (from a first-rate 1997 LP, “Manual Prático Para Bailes, Festas e Afins”), he will be forever remembered for “Manuel”.
20. Rita Lee: Lança Perfume
(Rita Lee/Roberto de Carvalho) Universal Music Publishing
from “Rita Lee” (Som Livre 403.6217)
Produced by Guto Graça Mello
(P) 1998 Universal Music Ltda
Rita Lee’s best-selling album ever. Eight perfect tracks making a perfect album. Her previous session, which started her partnership with Roberto de Carvalho and featured “Mania de Você”, was already excellent. But its follow-up, “Rita Lee” (1980), produced by Guto Graça Mello, became an instant classic, selling over 800,000 copies. All tracks were radio hits, with “Lança Perfume” topping the pop charts for six months. Guess who was “the man behind the music”? Yeah, Lincoln Olivetti (Yamaha CP-70 electric piano, Yamaha CS-80 synth, brass arrangement) surrounded by Robson Jorge (guitar), Jamil Joanes (electric bass), Picolé (drums), Ariovaldo (congas), Bidinho (trumpet), Serginho (trombone), Oberdan (alto sax), José Carlos “Bigorna” Ramos (tenor sax), Leo Gandelman (baritone sax). Plus Rita herself on MiniMoog, Roberto de Carvalho on additional keyboards, Aníbal (Caruaru whistle), and Naíla Skorpio, then Graça Mello’s wife, playing “surdo” (bass drum). Last but not least, that album is also a tribute to the genius of the late Celio Martins, João Gilberto’s favorite sound engineer ever. Now, please do yourself a favour: stop reading this booklet, play this CD once again from the top, get up, and dance! The party is only beginning!
Compiled, Annotated and Produced by Arnaldo DeSouteiro (JSR)
Executive Producer & Production Coordinator: Sven Fobbe
Idea & Concept: Christian Kellersmann
Mastered by: Moritz von Oswald at Basic Channel Studios, Berlin
Art Direction & Design: Stefan Kassel/www.stefankassel.com
Cover Photo: Angelo Cavalli/Getty Images
Special Thanks from Verve Records to:
Ulli Maier, Cristina Ruiz-Kellersmann, Marcos Maynard, Mike Laugalies, Hans-Peter Eckardt, Alexandre Sarthou, Renate Schreiber, Vivian Deike, Christine Braun, Cláudia Godinho, Peter Van Calker, Christina Costa, Pat Philips, Marelva Borgschot, Cecilia “Xixa” Nunes
Very Special Thanks from Verve Records to: Alda Baltazar
Special thanks from the producer Arnaldo DeSouteiro to:
Elge Agricola, Anna Ramalho, Hildegard Angel, Sylvia Castro, Seth Rothstein, Doug Payne, Victor Biglione, Fabio Fonseca, Tavynho Bonfá, Gal Costa, Jadir de Castro, Quincy Jones, Umbi Damiani, Fabrizio Carrer, Frank Siccardi, Massimo Bennini, Corrado Dierna, Delza Agricola DeSouteiro, João Donato, Deborah Dumar, João Gilberto, Ira Gitler, Alex Henderson, Ithamara Koorax, Jamil Joanes, Jason Koransky, Jennifer Ruban, Dan Ouellette, Mark Donkers, Thom Jurek, John Bush, Scott Yanow, Andy Kim, Rita Lee, Miucha, Kazuko Maeda, Anna Ly, Alessandra Maestrini, Mariana de Moraes, Adriana Ramos, Shioji Mori, Keyla Orgam, Marcia Peltier, José Pimentel de Pinho, Elza Barroso, Cristina Fragoso Pires, Emilio Santiago, Kaz Sawatari, Walter Souteiro, Tárik de Souza, Thiago de Mello, Djalma Limongi, William Tardelli, Zezinho Costa, and Fernanda Telles
Extra Special Thanks from the producer Arnaldo DeSouteiro to Christian Kellersmann, Sven Fobbe and Detlef Diederichsen
***********
"A Trip To Brazil Vol.4: Summer Pop Samba" (2004)
Credits:
Arnaldo DeSouteiro - Compilation Producer, Liner Notes
Emilio Santiago - Vocal
Marina - Vocal, Ovation guitar, Arranger
Pedro Machado - Yamaha CP-70 Electric Piano, Arranger
Pedrão - Electric Bass
Sergio Della Monica - Drums
Pisca - Electric Guitar, Acoustic Guitar, Cavaquinho, Arranger
José Roberto Bertrami - Hammong Organ model M-102, Fender Rhodes Electric Piano, Moog and Arp Strings synthesizers, Arranger
Alex Malheiros - Electric Bass
Ivan Conti (Mamão) - Drums
Ariovaldo Contesini - Percussion, Bongos, Congas
Neném da Cuíca - Cuíca
Joyce - Vocal
Azymuth - Performer
Luiz Eça - Arranger, Conductor
Jorge Ben - Vocal, Electric Guitar, Arranger
Dadi - Electric Bass
Pedrinho - Drums
Djalma Correa - Congas
Hermes Contesini - Ganzá
Luna - Surdo
Gustavo Schroeter - Percussion
Canegal - Percussion
Doutor - Percussion
Evinha - Background Vocal
Regininha - Background Vocal
Claudinha - Background Vocal
Marisa Fossa - Background Vocal
Quarteto Em Cy - Performer
Cyva - Vocal
Cynara - Vocal
Soninha - Vocal
Dorinha Tapajós - Vocal
Gerson King Combo - Vocal
Tim Maia - Vocal
Roberto de Carvalho - Keyboards, Electric Guitar
Picolé - Drums
Lô Borges - Vocal
Telo Borges - Fender Rhodes Electric Piano, Arp synthesizer
Toninho Horta - Electric Guitar
Paulinho Carvalho - Electric Bass
Mario Castelo - Drums
Robertinho Silva - Percussion
Aleuda - Percussion
Claudette Soares - Vocal
Luiz Claudio Ramos - Electric Guitar, Acoustic Guitar, Arranger
Chiqinho de Moraes - Arranger, Conductor
Golden Boys - Vocals
Moraes Moreira - Vocal
Pepeu - Acoustic Guitar, Electric Guitar, Percussion, Agogô, Arranger
Jorginho - Cavaquinho
Baixinho - Surdo (bass drum)
Novos Baianos - Performer
Paulinho - Pandeiro (tambourine)
Baby Consuelo - Shaker, Triangle, Vocal
Luciano Alves - Keyboards, Conductor
Didi Gomes - Electric Bass
Jorginho Gomes - Drums & Surdo (bass drum)
Charlie - Pandeiro (tambourine)
Marcio Montarroyos - Trumpet, Flugelhorn
Formiga - Trumpet, Flugelhorn
Zé Bodega - Tenor sax
Jorge Ferreira da Silva (Jorginho) - Alto Sax
Chico Buarque - Vocal
Hugo Fattoruso - Keyboards, Synthesizers
Rique Pantoja - Keyboards
Fernando Souza - Electric Bass
Teo Lima - Drums
Victor Biglione - Electric Guitar
Chico Batera - Percussion, Special Effects
Marcelo Costa - Percussion, Special Effects
Ricardo Cristladi - Percussion & Special Effects
Bebel Gilberto - Background Vocals
Nara Leão - Vocal
J.T. Meirelles - Flute
Miucha - Vocal
Don Chacal - Percussion
Franklin - Flute
Ivan Lins - Vocal, Piano
Gilson Peranzzetta - Keyboards, Accordion, Arranger
Caetano Veloso - Vocal, Ovation Guitar
Tomás Improta - Fender Rhodes Electric Piano, Synthesizers
Arnaldo Brandão - Electric Bass
Vinicius Cantuária - Drums
Perinho Santana - Electric Guitar
Bolão - Congas
Sonia Burnier - Background Vocals
Solange Rosa - Background Vocals
Jane Duboc - Background Vocals
Viviane Godoi - Background Vocals
Zizi Possi - Vocal
Lincoln Olivetti - Yamaha CP-70 Electric Grand Piano, Mini-Moog, Korg, Yamanha CS-80 & Oberheim OBX-A Synthesizers, Arranger, Conductor
Jamil Joanes - Electric Bass
Robson Jorge - Electric Guitar, Keyboards, Arranger, Yamaha CP-70 Electric Grand Piano
Bidinho - Trumpet, Flugelhorn
Serginho Trombone - Valve Trombone
Oberdan Magalhães - Alto Sax, Flute
José Carlos “Bigorna” Ramos - Tenor Sax, Baritone Sax
Leo Gandelman - Baritone Sax
João Bosco - Vocal & Acoustic Guitar
Elis Regina - Vocal
Cesar Camargo Mariano - Fender Rhodes Electric Piano, Keyboards, Arranger
Luizão Maia - Electric Bass
Toninho Pinheiro - Drums
Helio Delmiro - Electric Guitar
Leila Pinheiro - Vocal
Wilson Jorge Nunes - Acoustic Piano, Yamaha DX-7 & Roland JX8P Synthesizers
João Augusto - Linn 9000 Digital Drums
Celsinho - Pandeiro
Marçal - Cuica, Shaker, Tamborim
Ricardo Silveira - Electric Guitars
Marcos Valle - Vocal & Keyboards
Moraes Moreira - Vocal
João Donato - Acoustic Piano, Arranger, Conductor
Paulo Sauer - Fender Rhodes Electric Piano
Guilherme Maia - Electric Bass
Toni Costa - Electric Guitar
Carlinhos Ogam - Guiro
Rubem Ohana de Miranda - Congas, Timbales
Nacho Mena - Drums
Ed Maciel - Trombone
Raul Mascarenhas - Flute, Soprano Sax
Ney Matogrosso - Vocal
Chico Pedro Baldanza - Electric Bass, 7-string Guitar
Sergio Della Monica - Drums
Nô - Percussion
Jorginho - Percussion
Natan Marques - Electric Guitar
Oberdan Magalhães - Tenor Sax
Luiz Melodia - Vocal
Celso Fonseca - Electric Guitar
Arismar do Espírito Santo – Electric Bass
Wilson das Neves – Drums
Firmino – Percussion
Maria Bethânia - Vocal
José Maria Rocha (Zé Maria) - Acoustic piano, Arranger
Tulio Mourão - Synthesizers
Moacyr Albuquerque - Electric Bass
Tutty Moreno - Drums
Juarez Araújo - Reeds, Tenor Sax, Flute
Djalma Correa - Percussion
Nelson Angelo - Acoustic Guitar, Electric Guitar
Bira da Silva - Percussion
Ricardo Silveira - Electric Guitar
Angela RoRo - Vocal
Antonio Adolfo - Keyboards, Arranger
Mauricio Einhorn - Harmonica
Gastão Lamounier - Background Vocal
Pedrão - Background Vocal
Reginaldo Pi - Background Vocal
Ronaldo Barcellos - Background Vocal
Gilberto Gil - Vocal, Ovation Guitar, Percussion
Jorginho Gomes - Drums
Perinho Santana - Electric Guitar
Charles Negrita - Congas
Liminha - Percussion
Barrozinho - Trumpet, Flugelhorn
Bidinho - Trumpet, Flugelhorn
Rosana - Background Vocal
Ronaldo Barcelos - Background Vocal
Lucia Turnbull - Background Vocal
Fafá de Belém - Vocal
Octávio Bonfá Burnier -12-string Guitar
Paulo Braga - Drums
Gal Costa - Vocal
Ed Motta - Vocal, Rhythm Guitar, Congas, Bongos & Brass Arrangement
Fabio Fonseca - Vocal, Keyboards, Oberheim OBX-A Synthesizer
Bom Bom - Electric Bass
João Barone - Drums
Fran Bouéres - Cowbell, Tambourine
Luiz Fernando - Electric Guitars
Tinho Martins - Alto Sax
Lucio - Trombone
Silvério Pontes - Trumpet
Rita Lee - Vocal & MiniMoog Synthesizer
Roberto de Carvalho - Keyboards
Aníbal - Whistle
Naíla Skorpio - Surdo
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