Month: July 2009

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Wilson Simonal – Ninguém Sabe o Duro Que Dei (2009)

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simonal

WILSON SIMONAL
“Ninguém Sabe o Duro Que Dei”
2009
Soundtrack to the film by Claudio Manoel

This is a fantastic compilation to get you familiar with Wilson Simonal’s musical legacy. Other than the song featured on the well-known Samba Soul compilation (Não vem que não tem), most of his body of work has been underappreciated and mostly unknown outside of Brazil since his ‘fall from grace.’ His discography is vast and somewhat confusing, with only a small portion of it making it to CD. There is a tragic story behind why Simonal, at one time the most popular singer in Brazil, is so seldom talked about today, in spite of his importance to MPB and especially to Brazilian soul. The film for which this is the soundtrack tells that story. I have yet to see it, as sadly it only played in one theatre where I live and it was clear on the other side of the city. But you can check out the trailer on YouTube here.

Also the bio from allbrazilianmusic says a little about it.


The Rio de Janeiro native started his career singing calypsos and rock songs. From ball to ball, he was discovered by songwriter Carlos Imperial, who invited Simonal to perform on his TV show. His first single was the cha-cha-cha “Teresinha” (Imperial). From club to club, he ended up in Beco das Garrafas, the bossa nova temple. In 1963, Simonal released his first LP, which featured the hit track “Balanço Zona Sul” (Tito Madi). After touring South and Central America with the group Bossa Três, he put out the bossa nova album “A Nova Dimensão do Samba” (hit tracks: “Nanã” and “Lobo Bobo”). In 1966 and 67, he hosted the TV show Show em Si Monal. His career would peak soon, with hits like “País Tropical”, “Mamãe Passou Açúcar em Mim”, “Meu Limão, Meu Limoeiro” and “Sá Marina”, originating a style full of swing, known as Pilantragem (something like rascally). The downward spiral started in 1972, when he was accused of having hired cops to beat up his accountant, who had supposedly stolen money from Simonal – during the hearings, a police officer revealed that Simonal collaborated with the militaries (and against so-called communist artists). With this charge upon him, Simonal faced a long ostracism period that lasted until 1994, when the compilation “A Bossa de Wilson Simonal” was released.

One look at the track list below and you can see that along with original material, Simonal was recording memorable versions of tunes penned by Gilberto Gil, Antonio Adolfo, Moacir Santos, Tito Madi, and especially Jorge Ben. One can only hope that this new film will help spur a resurgence of interest and a more thorough reissuing of Wilson Simonal’s recorded legacy.

simonal

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Paulo Diniz – Quero Voltar pra Bahia (1970)

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PAULO DINIZ
“Quero Voltar Pra Bahia”

1970
Odeon
MOFB 3664

1 – Piri Piri

(Odibar – Paulo Diniz)

2 – Um chope pra distrair

(Odibar – Paulo Diniz)

3 – Ninfa mulata

(Odibar – Paulo Diniz)

4 – Quero voltar pra Bahia

(Odibar – Paulo Diniz)

5 – Felicidade

(Lupicínio Rodrigues)

6 – Marginal III

(Odibar – Paulo Diniz)

7 – Chutando pedra

(Nenéo)

8 – Chega

(Odibar – Paulo Diniz)

9 – Canseira

(Odibar – Paulo Diniz)

10 – Ponha um arco-íris na sua moringa

(Odibar – Paulo Diniz)

11 – Me leva

(Nanuk)

12 – Sujeito chato

From cliquemusic

Nascido no interior de Pernambuco, foi para Recife trabalhar como crooner e baterista em casas noturnas. Foi locutor e ator de rádio e televisão, em Pernambuco e no Ceará. Em 1964 foi para o Rio de Janeiro, onde trabalhou na Rádio Tupi e passou a compor com mais freqüência. Sua primeira gravação saiu em 1966, com a música “O Chorão”. Quatro anos depois lançou dois LPs, e em seguida dedicou-se à tarefa de musicalizar poemas de língua portuguesa de autores como Carlos Drummond de Andrade (“E Agora, José?”), Gregório de Matos (“Definição do Amor”), Augusto dos Anjos (“Versos Íntimos”), Jorge de Lima (“Essa Nega Fulô”) e Manuel Bandeira (“Vou-me Embora pra Pasárgada”). Suas músicas foram gravadas por Clara Nunes, Emílio Santiago, Simone e outros. Entre seus sucessos destacam-se “Pingos de Amor”, gravado por vários intérpretes, “Canoeiro”, “Um Chopp pra Distrair”, “I Want to Go Back to Bahia” (uma homenagem a Caetano Veloso, então exilado em Londres) e “Quem Tem um Olho É Rei”, todas em parceria com Odibar.

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The first time I put this record on I thought to myself, “Groovy, man, groovy…”, and my second thought was, wow, this guy has a voice like a Brazilian Neil Diamond with a less emotive voice and more restricted range. Now, it depends on your personal taste whether or not this is a good thing, but I have a soft spot for Mr. Diamond and so kept an open mind. The album cover is much more psychedelic than anything you will hear in its contents, a visual tribute to the hit title song which was intended as an homage to then-exiled Caetano Veloso. Musically the record is in some weird plane of existance where Jovem Guarda, Tropicália, and Brazilian soul music, and harpsichord-laden baroque pop mingle and mutate. I can imagine Raul Seixas — who had yet to realize a solo album at this point — grooving out to this record. I think the main flaw in this record is that Diniz sings virtually every single tune the same way, with an overly-blown out belting that doesn’t have the nuance his own songs sometimes call for. It’s probably because of this that he is better known as the author of songs made famous by others. But this obscure little gem is rewarding for any fan of Brazilian music or early 70’s psych-inflected pop-rock. In addition to the title song, other highlights include “Felicidade” (not the bossa nova tune, but a reworking of Lupicínio Rodrigues), “Chutando Pedra”, and the gorgeous “Chega.”

Paulo Diniz – Quero Voltar pra Bahia (1970) in 320 kbs mp3

16-bit 44.1 khz

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VA – Nigerian Disco Funk Special: The Sound of the Underground Lagos Dancefloor 1974-79 (2008)

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While not as compelling as the 2-disc “Nigeria Special” collection, this is a righteous set of songs in its own right. There are actually some weaker cuts on this one, especially for those whose tastes run like Clint Striker who said “I’m not really into all that wah-wah guitar stuff.” Maybe the problem is that the collection kicks off with its strongest cut, “Take Your Soul” (1976) from The Sahara All Stars of Jos.” The momentum of the rest of the album just never quite reaches those heights again. Tracks like the seriously-flanged “Lagos City” (1976) from Asiko Rock Group, and the closer, Afro-beatish “Love Affair” (1976) by SJOB Movement, keep the stew simmering. “Greetings” (1978) from Joni Hastruup — which manages to be both the most melodic cut here and also one of the funkiest, with some tight riffing on sax, flute, and Rhodes that match Joni’s stident voice. — keep it interesting in between some of the more monochromatic jams here. It’s probably my favorite track on this compilation. The sound quality varies between the tracks here, no doubt due to most if not all of these tracks being sourced from vinyl, but if you are seeking stuff like this out then you probably won’t care much about that. If this doesn’t quite reach the same level as Soundway’s other Nigerian compilations, its only because they set such a high benchmark with them.

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From CD Universe
Nigerian music is known for its polyglot character, a fact that is exemplified by its native juju and highlife–a perfect storm of indigenous music traditions bolstered by Western technology. Lesser-known are Nigerian attempts to adopt Western trends wholesale, as with the exquisitely rare disco and funk groups compiled for NIGERIA DISCO FUNK SPECIAL: THE SOUND OF THE UNDERGROUND LAGOS DANCEFLOOR 1974-1979. Taking obvious cues from stateside horn-driven funk ensembles like B.T. Express, Ohio Players and the J.B.’s, the propulsive dancefloor beats are punctuated by horn blasts and the scratchy, repetitive insistence of rhythm guitars–a sound with distinctive echoes of the ringing melodicism of highlife guitar sections. Highlights on this funky slice of Afro-disco include: Asikos’s “Lagos City,” an energetic blast of African brass, and Dr. Adolf Ahanotu’s “Ijere,” a slick, overdriven funk number done in a distinctly Nigerian style.

Nigerian musicians adopt ’70s funk and disco in this collection of rarities.Uncut (p.103) – 4 stars out of 5 — “The Afrobeat thunder is still strong on NIGERIA DISCO FUNK SPECIAL….T-Fire could be the Lagos branch of Clinton’s P-Funk family.”

Track Listing

1. Take Your Soul – The Sahara All Stars
2. Will of the People – T-Fire
3. Lagos City – Asiko Rock Group
4. Greetings – Johnny Haastrup
5. You’ve Gotta Help Yourself – The Groovies/Bongos Ikwue
6. Some More – Jay U Experience
7. Mota Ginya – Voices of Darkness
8. Ijere – Dr. Adolf Aonotu
9. Love Affair – S-Job Movement

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Clementina de Jesus – Marinheiro Só (1973)

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clementina,samba

Marinheiro só
Released 1973

1 Marinheiro só (Caetano Veloso)

2 Na linha do mar (Paulinho da Viola)

3 Madrugada (Antônio Motta – B. Miranda)

4 Sai de baixo (Eduardo Marques)

5 Taratá (Folclore adpt – Clementina de Jesus)

6 Essa nega pede mais (Paulinho da Viola)

7 Moro na roça (Zagaia – Folclore adpt – Xangô da Mangueira)

8 Cinco cantos religiosos:
• Oração de Mãe Menininha (Dorival Caymmi)
• Fui pedir às almas santas (Arr. Adpt. Clementina de Jesus)
• Atraca, atraca (Arr. Adpt. Clementina de Jesus)
• Incelença (Arr. Adpt. Clementina de Jesus)
• Abaluaiê (Waldemar Henrique)

9 Marinheiro só (Caetano Veloso)
• Me dá o meu boné (Padeirinho)
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“Marinheiro só” is an amazing samba record from the early 70s. Leading off with the Caetano Veloso song of the same name, it is start to finish an engaging listen. There are two tracks from Paulinho da Viola — “Na linha do mar” and “Essa nega pede mais” — and one from Caymmi included in the a medley of religious songs. The whole album is gold, but of particular note is this 12-minute suite of religious songs that celebrates sambas roots in candomblé and umbanda. It is recorded, performed, and presented in a way that communicates the feeling of a ‘terreiro’ (place of worship for Afro-Brazilian religious ceremony). A landmark record that brings some feeling of the old guard to the new 70s samba revival.

*note: This upload is taken from a 2 for 1 that includes “Gente de antiga,” which will be coming here soon. Because of this the track numbers run from 13 to 21.

Clementina de Jesus – Marinheiro Só (1973)320 kbs

Clementina de Jesus – Marinheíro So (1973) [FLAC]

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Leny Andrade – Estamos Aí (1965)

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Happy Birthday to Flabbergasted Vibes! We are 1 years old!!

 

 

Leny Andrade
“Estamos Aí”
Released 1965 on CID/ODEONProduced by Milton Miranda
Orchestral arrangements by Eumir Deodato1-Estamos aí
(Regina Werneck – Maurício Einhorn – Durval Ferreira)
2-A resposta
(Paulo Sergio Valle – Marcos Valle)
3-Pot-pourri:
• Deixa o morro cantar
(Tito Madi)
• O morro não tem vez
(Tom Jobim-Vinicius de Moraes)
• Opinião
(Zé Keti)
• Enquanto a tristeza não vem
(Sergio Ricardo)
• Reza
(Edu Lobo-Ruy Guerra)
4-Clichê
(Maurício Einhorn – Durval Ferreira)
5-Olhando o mar
(Ronaldo Soares – Arthur Verocai)
6-Banzo
(Odilon Olyntho – Marcos Valle)
7-Samba de rei
(Pingarilho – Marcos de Vasconcellos)
8-Tema feliz
(Regina Werneck – Durval Ferreira)
9-Razão de viver
(Paulo Sergio Valle – Eumir Deodato)
10-Esqueça não
(Tito Madi)
11-Samba em Paris
(Nelsinho)
12-Coisa nuvem
(Roberto Nascimento – Victor Freire)

Recorded when she was only 22 years old, this record is what one might call a “powerhouse.” Not only is she performing compositions by a stable-full of the great songwriters of bossa nova — Tito Madi, Marcos Valle, Jobim & Vinicius, Edu Lobo / Ruy Guerra, Zé Keti, and the still under-appreciated Arthur Verocai — she is also one of the most energetic and sophisticated vocalists of the genre. In particular she brings an incredible jazz sensibility and ferocious scat singing to many of these songs. Just last weekend I had the privilege of watching her perform with Roberto Menescal, and was blown away by her phrasing, her scat improvisation, and her voice that is still in top notch shape. Leny Andrade has a place among the greatrdy jazz singers of North America. This record is a delight from start to finish. If you ever have some unlightened person in your house, your apartment, or your car who refers to bossa nova as “elevator music,” put on this record and they will shut the hell up.
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bio from allbrazilianmusic

Born in Rio de Janeiro, Leny Andrade began studying the piano at the age of six. Later on, she sang on radio shows for amateur performers and won a scholarship to study at the Brazilian Conservatory of Music. At 15, Leny debuted as a professional singer as crooner of Permínio Gonçalves’ Orchestra. Subsequently, she performed at the nightclubs Bacará (with Sergio Mendes trio) and Bottle’s Bar. In 1965 she caught the public’s attention with the show “Gemini V”, performing with Pery Ribeiro and Bossa Três at the nightclub Porão 73, and released the live recording of that show. After a successful tour round Argentina, Leny moved to Mexico, where she lived for 5 years. In the 70’s, she made albums that mixed samba with avant-garde music, like “Alvoroço” (73) and “Leny Andrade” (75). In 1979, through Columbia, Leny recorded the LP “Registro”, returning to samba-jazz, a music style that Leny has always mastered.

Performing with renowned artists like Dick Farney, Luiz Eça, Wagner Tiso, Eumir Deodato, Francis Hime, Gilson Peranzzetta and João Donato, Leny Andrade established herself as the best Brazilian jazz singer, due to her outstanding ability to improvise. In the 80’s and 90’s, she divided her time between Brazil and the U.S., where she made several samba-jazz records, including classics like “Luz Neon”, for Eldorado. Leny also paid tribute to samba composers like Cartola and Nelson Cavaquinho. Some of her discs include the songs by composers like Cesar Camargo Mariano (“Nós”), Cristóvão Bastos (“Letra & Música/Tom Jobim) and Romero Lubambo (“Coisa Fina”). Leny also recorded a CD of American standards shaped as bossa nova (“Embraceable You”).

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Alaíde Costa – Coração (1976)

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Produced by Milton Nascimento and Mariozinho Rocha

Arrangements – Joao Donato

Joao Donato (piano)
Novelli (bass)
Robertinho Silva (drums)
Nelson Angelo (guitars)
Toninho Horta (electric guitar)
Ivan Lins (piano on track Corpos)
Joao Donato, Beto Guedes, Novelli, Nelson Angelo and Fernando Leporace (backing vocals)

01 – Pai Grande (Milton Nascimento)
02 – O Samba Que Eu Lhe Fiz (Sueli Costa)
03 – Coração (Nelson Ângelo / Ronaldo Bastos)
04 – Catavento (Milton Nascimento)
05 – Quem Sou Eu (Johnny Alf)
06 – Sonho e Fantasia (João Donato / Lysias Ênio)
07 – Corpos (Ivan Lins / Vitor Martins)
08 – Pé Sem Cabeça (Danilo Caymmi / Ana Borba)
09 – Tomara (Novelli / Paulo César Pinheiro / Maurício Tapajós)
10 – Viver de Amor (Toninho Horta / Ronaldo Bastos)
11 – Tempo Calado (Alaíde Costa / Paulo Alberto Ventura)
12 – O Que Se Sabe de Cor (Fernando Leporace)

Another fine album from Alaide Costa, this time with Milton Nascimento producing and the one and only João Donato on keys and arrangements. It’s a fine record, but Milton’s production is a bit on the slick side and, in my opinion, sometimes heavy-handed. Milton was well on the road to international respect as a Brazilian jazz-pop-fusion star, but this record sees him still clinging to some of the charms of the Clube da Esquina period. A bunch of the players from that Minas Gerais scene are here, and the repetoire includes songs penned by Toninho Horta, Nelson Angelo, Ronaldo Bastos, and of course Milton. The first song is from the latter’s 1970 album, where it received a much more psychedelic performance, and frankly this one leaves me cold but I suppose Milton wanted to make sure we knew he was producing this. But lest we forget of Alaíde’s bossa nova roots, we move right along with “O Samba Que Eu Lhe Fiz” and soon after, the highlight of this album for me — her version of Johnny Alf’s “Quem Sou Eu.” Other standout tracks are Danilo Caymi / Ana Borba’s “Pem Se Cabeça,” and “Viver de Amor” from Horta & Bastos, both songs bringing a bossa-informed MPB sound that suits Alaíde’s style quite nicely. The closer, “O Que Se Sabe De Cor,” is everything that makes Alaíde will leave you, well, wanting more as the alternate title says. The orchestration from Donato is very good throughout, helping keep things interesting in a set of songs that tend to stay around the same mid-tempo pace.