Wilson Simonal – Na Odeon 1961 – 1971 (2004)




WILSON SIMONAL
Wilson Simonal na Odeon 1961-1971

9 CD Boxset
Released on EMI, 2004

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Disc 1 – Tem Algo Mais and A Nova Dimensão do Samba  (1963-64)

1- TUDO DE VOCÊ
2- AMANHECENDO
3- TELEFONE
4- SAUDADE
5- SAMBA CROMATICO
6- MENINA FLOR
7- LAGRIMA FLOR
8- BALANCO ZONA SUL
9- MENINO TRISTE
10- MEU COMPORTAMENTO
11- SAMBA E VERBO
12- MANHA NO POSTO SEIS
13- NANA
14- MAIS VALIA NAO CHORAR
15- LOBO BOBO
16- SO SAUDADE
17- ELA DIZ QUE ESTOU POR FORA
18- SAMBA DE NEGRO
19- JEITO BOM DE SOFRER
20- ELA VAI, ELA VEM
21- RAPAZ DE BEM
22- INUTIL PAISAGEM
23- CONSOLACAO
24- NANA
25- MAIS VALIA NAO CHORAR

 

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Disc 2 –  Simonal and S’imbora (1965)

 1- GAROTA MODERNA
2- SELECAO DE SAMBA DE ARY BARROSO
3- SO TINHA DE SER COM VOCÊ
4- MARINA
5- MESTICO
6- AS MOCAS DO MEU TEMPO
7- RIO DO MEU AMOR
8- OPINIAO
9- JUCA BOBAO
10- CHUVA
11- DUVIDO DIVIDIR
12- BRUXARIA
13- MANGANGA
14- FICA MAL COM DEUS
15- SONHO DE CARNAVAL
16- SAMBA DO CARIOCA
17- DUAS CONTAS
18- SE TODOS FOSSEM IGUAIS A VOCÊ
19- LADEIRA DO PELOURINHO
20- BALANCO ZONA SUL
21- NOS DOIS
22- O APITO NO SAMBA
23- O TEU AMANHA
24- LENDA
25- LADEIRA DO PELOURINHO

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DISC 3 – Vou Deixa Cair and Tempos De Pilantragem (1966-67)

1- VENTO DE MAIO
2- MEU LIMAO MEU LIMOEIRO
3- O CARANGO
4- MINHA NAMORADA
5- SEM VOCÊ EU NAO VIVO
6- ENXUGUE OS OLHOS
7- MARIA
8- A FORMIGA E O ELEFANTE
9- MAMAE PASSOU ACUCAR EM MIM
10- FRANQUEZA
11- TEM DO
12- SAMBA DO MUG
13- SE VOCÊ GOSTOU
14- A BANDA
15- DISPARADA
16- QUEM SAMBA FICA
17- MASCARA NEGRA
18- TRIBUTO A MARTIN LUTHER KING
19- DEIXA QUEM QUISER FALAR
20- ELA E DEMAIS
21- BALADA DO VIETNAM
22- O MILAGRE

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DISC 4 – Show Em Simonal (1967)

1- BARRA LIMPA
2- RODA
3- THE SHADOW OF YOUR SMILE
4- CANTIGA BRAVA
5- ESTRELA PRINCIPAL
6- ROCINHA ESTUPIDA (SOMETHING STUPID)
7- CONSOLACAO
8- O MORRO NAO TEM VEZ
9- O QUE FACO P´RA ESQUECER
10- PEGUEI UM ITA NO NORTE
11- UN HOMME ET UNE FEMME
12- NEM VEM QUE NAO TEM
13- MEXIRICO DA CANDINHA
14- QUEM TE VIU QUEM TE VE
15- CONSELHO
16- ARUEIRA
17- MEU LIMAO MEU LIMOEIRO
18- TRIBUTO A MARTIN LUTHER KING
19- ESTA CHEGANDO A HORA

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DISC 5 – Alegria, Alegria Volumes 1 and 2 (1967-68)

1- OS ESCRAVOS DE JO
2- AGORA E CINZA
3- VESTI AZUL
4- AOS PES DA CRUZ
5- BELINHA
6- PRA QUE ?
7- NEM VEM QUE NAO TEM
8- FIM DE SEMANA EM PAQUETA
9- PARA PEDRO
10- ESTA CHEGANDO A HORA
11- REMELEXO
12- DISCUSSAO
13- ALEGRIA, ALEGRIA
14- PATA PATA
15- SA MARINA
16- CAE CAE
17- MANIAS
18- RECRUTA BIRUTA
19- NESTE MESMO LUGAR
20- ZAZUEIRA
21- NAO TENHO LAGRIMAS
22- DE COMO UM GAROTO APAIXONADO PERDOOU POR CAUSA DE UM DOS MANDAMENTOS
23- CARTAO DE VISITA
24- PARAÍBA
25- GOSTO TANTO DE VOCÊ
26- VAMOS S’IMBORA
27- NAMORADINHA DE UM AMIGO MEU

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 DISC 6 – Alegria, Alegria Volumes 3 and 4 (1969)

1- SILVIA LENHEIRA
2- MUSTANG COR DE SANGUE
3- MENININHA DO PORTAO
4- SILÊNCIO
5- PRECE AO VENTO
6- WHAT YOU SAY
7- MOCA
8- ALELUIA, ALELUIA
9- MAMAE EU QUERO
10- MEIA-VOLTA (ANA CRISTINA)
11- PENSANDO EM TI
12- ATIRA A PRIMEIRA PEDRA
13- MULHER DE MALANDRO
14- SE VOCÊ PENSA
15- MAQUILAGEM
16- PORQUE HOJE E DOMINGO
17- EVIE
18- BRASILEIRA
19- OLHO D’AGUA
20- CANCAO DA CRIANCA
21- EU FUI NO TORORO
22- QUE MARAVILHA
23- UMA LOIRA
24- QUEM MANDOU
25- PAÍS TROPICAL
26- ADIOS, MUCHACHO v

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DISC 7 – Simonal and Jóia (1970-71)

1- SEM ESSA
2- DESTINO E DESATINO DE SEVERINO NONÔ NA CIDADE DE SAO SEBASTIAO DO RIO DE JANEIRO ( OH YEAH! )
3- COMIGO E ASSIM
4- O MUNDO IGUAL DE CADA UM
5- SISTEMA NERVOSO
6- NA BAIXA DO SAPATEIRO
7- MORO NO FIM DA RUA
8- DEIXA O MUNDO E O SOL ENTRAR
9- AI VOCE COMECA A CHORAR
10- NAO TEM SOLUCAO
11- NA TONGA DA MIRONGA DO KABULETÊ
12- OURICO
13- AFRICA, AFRICA
14- DE NOITE NA CAMA
15- GEMEDEIRA
16- IMPOSSIVEL ACREDITAR QUE PERDI VOCE
17- TRISTEZA
18- TUDO E MAGNÍFICO
19- LAMPIAO EM PROSA E VERSO
20- GAROA DIFERENTE
21- VOCÊ ABUSOU
22- NA GALHA DO CAJUEIRO
23- FOTOGRAFIA

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DISCs 8 and 9 – Singles, lados B e raridies (Singles, B-sides, and rarities)

1- TEREZINHA
2- BIKINIS E BORBOLETAS
3- EU TE AMO
4- BEIJA MEU BEM
5- TEM QUE BALANCAR
6- OLHOU PRA MIM
7- ESTA NASCENDO UM SAMBA
8- GAROTA LEGAL (You Must Have Been A Beautiful Baby)
9- FALE DE SAMBA QUE EU VOU
10- WALK RIGHT IN
11- SO DANCO SAMBA
12- NAO PODE SER
13- EU SOU MAIS EU
14- DE MANHA
15- DAS ROSAS
16- CUIDADO CANTOR
17- TA POR FORA
18- MAMAE PASSOU ACUCAR EM MIM
19- MAMAE PASSOU ACUCAR EM MIM ( Versao em Espanhol inedita )
20- A PRACA
21- SAMBA DO CRIOULO DOIDO
22- A ROSA DA RODA
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1- TEREZINHA DE JESUS
2- A SAUDADE MATA A GENTE
3- CORRENTEZA
4- PAÍS TROPICAL
5- ECCO IL TIPO CHE IO CERCAVO
6- NO CLARAO DA LUA CHEIA
7- AS MENININHAS DO LEBLON
8- KIKI
9- EU SONHEI QUE TU ESTAVAS TAO LINDA
10- AQUI E O PAÍS DO FUTEBOL 11- HINO DO FESTIVAL INTERNACIONAL DA CANCAO
12- CANCAO Nº21
13- QUE CADA UM CUMPRA COM O SEU DEVER
14- RESPOSTA
15- BRASIL EU FICO
16- OBRIGADO PELE
17- O XOTE DAS MENINAS
18- MADALENA
19- A NOITE DO MEU BEM

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208 songs
Nearly-complete artwork (booklet will not scan)
Composer credits embedded in ID tags
Correct Portuguese orthographic characters in ID tags
This box is out of print
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So a few days ago, stuck in a mire of holiday malaise, I considered closing this blog completely.  Five years is a long time to keep one of these things going, even though I don’t update it as often as I would like.  I took it offline temporarily, and the only way to do that was to “restrict” access to blog authors, but the settings here made it look like it became an invitation-only place.  Don’t worry, you were not excluded from the club, it was just a party of one.

I reconsidered.  Thanks to M. for being reasonable when I couldn’t manage it, and to the handful of people who sent messages.  They were much appreciated.

To make up for the brief lapse in judgment, I am sharing this behemoth of a boxset.  I have contemplated doing to many, many times, but always felt this massive burden of having to write some insightful and elegiac homage to Simonal and so I never felt up to the task.  This is in addition to feeling like I had to write reviews of every album here.  The guy was putting out two records a year for a ten-year span, so excuse me if this write-up consists only of saying “Hey this is really good and you should check it out.”  Simonal had been one of Brazil’s most popular singers before some unfortunate altercations with his accountant and/or the military government put him on the wrong side of history for a few decades.  A documentary film about his career as well as this boxset – both mostly spearheaded by his sons – managed to reset the scales of justice a little.  The guy was a force of nature, with a croony swagger that could evoke casino show-biz performances, chilling on the beach, or cruising in your favorite fashionable low-mileage automobile.  This is the part of the write-up where I could just start dropping names to emphasize how important he was, so why not just get right to it – Carlos Imperial, Elis Regina, Som Três and César Camargo Mariano, Orlandivo, Stockhausen, Jorge Ben … Mug.

I am not even going to try and start singling stuff out, because some internaut hipster will inevitably come along and leave comments to the effect of “I can’t believe you didn’t mention X, Y, or Z, which is so obviously the best thing here yadda yadda”, like some people did for the Marcos Valle posts I did a few years ago.  And then I would start thinking about closing the blog again.  So to hell with it, it’s Christmas, you got this stuffed in your stocking and if that’s not enough then I  can insert a piece of coal in your orifice of choice.

This is a lot of music.  It will take anyone a while to digest it.  One of these days I might start posting some needledrops of individual records, as I have mono pressings of some of these that sound quite different – in those days, a stereo hi-fi was basically a piece of furniture with speakers built in, so stereo panning tended to be quite dramatic by today’s standards.  I think the mono mixes have a little more UMPH in many cases.  So whenever I get around to that, I will give more individualized comments on these records.

Did I mention this is filled with rarities?  Almost every disc has some bonus tracks, and then the final 2-CD set is entirely comprised of – you guessed it! – singles, B-sides, and rarities.  In some cases this means we get versions of the same song in Portuguese, Spanish, and Italian but who cares.

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Nara Leão, Edu Lobo, Tamba Trio – 5 Na Bossa (1965)

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5 NA BOSSA
Edu Lobo / Nara Leão / Tamba Trio
1965 Philips 632.769 L
2013 Remaster


1 – Carcará  (José Cândido, João do Vale)   
2 – Reza  (Ruy Guerra, Edu Lobo)   
3 – O trem atrasou  (Paquito, Vilarinho, Estanislau Silva)   
4 – Zambi  (Edu Lobo, Vinicius de Moraes)   
5 – Consolação  (Baden Powell, Vinicius de Moraes)   
6 – Aleluia  (Ruy Guerra, Edu Lobo)   
7 – Cicatriz  (Zé Keti, Hermínio Bello de Carvalho)   
8 – Estatuinha  (Gianfrancesco Guarnieri, Edu Lobo)   
9 – Minha história  (Raymundo Evangelista, João do Vale)   
10 – O morro não tem vez (Tom Jobim, Vinicius de Moraes)   

Recorded live at the Paramount Theater, São Paulo

Remastered by Luigi Hoffer and Carlos Savalla at Digital Mastering Solutions

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Well there isn’t a tremendous amount to say about this brief live record.  Solid performances from everyone involved, although the recording itself is less than prestine and seems to have been made worse by questionable remastering that now makes the album feature clipped samples and very obvious noise reduction artifacts… Why do I keep buying CDs just to hear myself complain when I know they’ll screw them up?  Well this otherwise pretty rare so there’s one reason.

Tamba Trio sounds fantastic, as usual, and the two cuts they have to themselves here are nice and long showcases.  Nara is a bit uneven, unfortunately.  Her imperfect intonation was always part of her charm, but in this live setting – inside a large auditorium-style theater and no stage monitors (being 1965) – her pitch is more off than usual.  In fact “Cicatriz,” a song that goes outside her vocal range to begin with, is a downright painful listen.  She sounds excellent singing with Edu Lobo on Aleluia, though.  Sr. Lobo just celebrated his 70th birthday, so it’s a particularly good time to enjoy this rare live recording of him in his youth.  The liner notes thank Aloysio de Oliveira (the man behind Elenco) for loaning him out for this recording.  He sings one of my favorite compositions of his too, “Reza.”

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Various Artists – Bossa Nova: Sua História, Sua Gente (1975)

Bossa Nova Sua Historia Sua Gente
Philips / Polygram
Original release 1975
CD reissue, unknown date

DISC 1

01 – Sofrer é da Vida – Mario Reis
02 – Você – Dick Farney e Norma Bengel
03 – Nós e o Mar – Doris Monteiro
04 – Só Danço Samba – Donato e Seu Trio
05 – Mocinho Bonito – Billy Blanco
06 – Samba do Avião – Cariocas
07 – Rio – Lucio Alves
08 – As Praias Desertas – Elizete Cardoso
09 – Último Canto – Agostinho dos Santos
10 – Influência do Jazz – Leny Andrade
11 – Minha Saudade – Tamba Trio
12 – Por Toda Minha Vida – Lenita Bruno
13 – Tristeza de Nós Dois – Luiz Eca
14 – Tem Mais Samba – Quarteto em Cy
15 – Boranda – Edu Lobo & Tamba Trio
16 – Berimbau – Baden Powell
17 – The Girl From Ipanema – Astrud Gilberto
18 – Carta ao Tom 74 – Vinícius e Toquinho

DISC 2

01 – Samba da Pergunta – João Gilberto
02 – Samba de Verão – Roberto Menescal e Seu Conjunto
03 – Demais – Maysa
04 – Folha de Papel – Sergio Ricardo
05 – Chora Tua Tristeza – Conj Oscar Castro Neves
06 – Ao Amigo Tom – Claudette Soares
07 – Você e Eu – Sylvia Telles
08 – Coisa Mais Linda – Carlos Lyra
09 – Ela é Carioca – Sergio Mendes e Bossa Trio
10 – Maria Bonita – Nara Leão
11 – Upa Neguinho – Lennie Dale
12 – Que Maravilha – Zimbo Trio
13 – De Palavra em Palavra – Mpb4
14 – Chuva – Os Gatos
15 – Tema do Boneca de Palha – Rosinha de Valença
16 – Olha Maria – Chico Buarque
17 – So Tinha de Ser com Você – Elis & Tom
18 – Ana Luiza – Tom Jobim



There are a lot of bossa nova compilations out there, and a lot of them are pretty shitty.  This one is a good enough listen, though not nearly as
Earth-shaking as some of the reviews I’ve seen on the internet might indicate.   In fact, T. “Strokin”Jurek must have a different record than the one I
have – not only does it not feature any tracks by Jorge Ben as he claims (rather, it has a medley of Ben songs performed by Zimbo Trio, however, which is a big
difference), but it also does NOT contain “credits and complete song details” in any way.  What my copy has is an essay-style account of bossa nova with information on key composers, artists, producers and arrangers.  Not song credits.  Maybe Jurek has a different edition, or maybe he doesn’t read or speak Portuguese?  If so he should probably stop being paid to write reviews of anthological Brazilian releases. What Jurek also seems ignorant of is that astute fans of this music don’t gripe about compilations like this because they are fond of
“nit picking.” Usually they are motivated for a love of music that exceeds the profit motive of the companies that put it out.  A case in point can usually be found in any compilation claiming to represent an entire musical movement, such as this one.  Even in the 1960s, the Brazilian recording industry was consolidated in very few hands, with each label being pretty equally possessive of its own artists and covetous of its neighbors.  As you will see, that has resulted in some misleading attempts to anthologize.

This collection was originally released as a triple-LP box with an oversized booklet.  I had both the vinyl and CD and for once we are at least lucky to have a CD booklet that replicates
the info in the original vinyl down to the letter.  Unfortunately that info is still kind of vague on the sort of info fans want, such as the provenance of the tracks – the dates, the records they came from, who may have played on them – in fact just the sort of info that Jurek claims comes with this set but does not.   It’s my feeling this is a pretty deliberate choice.  Philips didn’t even
exist as a discrete record label during the heydey of bossa nova, but rather took over what had been CBD (Companhia Brasileira dos Discos) and eventually acquired the Elenco label and their catalog in the early 70s.  So this compilation is missing all kinds of crucial stuff released by the EMI-Odeon and RGE labels, for example.  To make things more confusing, some of the artists associated with those labels appear here on selections recorded after they had signed contracts with Philips (João Gilberto, Chico Buarque, Zimbo Trio).  They are great songs, but these artists’ canonical contributions to bossa nova are found on their first few records, and not the ones recorded for Phillips.

What this compilation does do really well is fill in gaps in the fan’s knowledge of artists either within bossa nova or who were seminal and influential on its formation (even if some of them – like Dick Farney – are once again featured in post-1970 contexts).  A lot of material, however, isn’t actually bossa nova but samba canção, a genre that provided a lot of the roots, repertoire, and inspiration for bossa nova but which is distinct enough that its progenitors were initially scandalized by the deviations in rhythms and intervals that the kids brought to the block.  Although it’s not clear how much is intentional and how much is a product of the contractual shenanigans on who has rights to what songs, this record ends up being a cool compilation that manages to
avoid repeating the cliched representations of bossa nova (with the exception fo Girl From Ipanema), even at the expense of omitting most of its key compositions and recordings.
Extra points for including tracks from Os Cariocas, Carlos Lyra, Agostinho dos Santos, US expatriat Lennie Dale, Silvia Telles, and Billy Blanco.

 

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Os Cobras – O LP (1964)

OS COBRAS
O LP

Released 1964 on RCA (BBL-1290) in Brazil
Reissue 2005 Sony-BMG France
In GLORIOUS MONOPHONIC

01 – Quintessência (J. T. Meirelles)
02 – Nanã (Moacir Santos / Mário Telles)
03 – Depois de Amro (Orlann Divo / Roberto Jorge)
04 – Adriana (Roberto Menescal / Luis Fernando Freire)
05 – Praia (Orlann Divo / Roberto Jorge)
06 – Uganda (Orlann Divo / Roberto Jorge)
07 – The Blues Walk (C. Brown)
08 – 40 Graus (Orlando Costa ”Maestro Cipó”)
09 – Chão (Amaury Tristão / Roberto Jorge)
10 – Menina Demais (Orlann Divo / Roberto Jorge)
11 – Mar Amar (Roberto Menescal / Ronaldo Bôscoli)
12 – Moça da Praia (Roberto Menescal / Luis Fernando Freire)

Tenorio Jr. (piano)
José Carlos “Zezinho” (bass)
Milton Banana (drums)
Raul de Souza (trombone)
Hamilton (trumpet)
Meirelles (sax alto, flute)
Paulo Moura (sax alto)

Special Guests

Jorginho (flute)
Aurino (sax baritono)
Cipó (sax tenor)
Roberto Menescal (guitar on 10 & 12)
Ugo (vibraphone on 10 & 12)

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Lately, in my real job,  I’ve been pushing my way through a chunk of writer’s block rough enough to leave your hands bleeding from the splinters.  That results in a few adverse effects that involve you, blog reader:  I have less time to put into writing for this place, and then when I do have free time it’s usually spent feeling like an idiot about the other stuff I’ve been working on.

But instrumental music is often the only music that I can write to when working on that “other stuff” and this record has gotten a few spins over the last month.  It’s kind of a super group, Brazilian jazz all-stars affair, the result of the label RCA-Victor approaching composer and arranger Roberto Jorge to make a record with the regular heavyweights in Rio’s jazz scene congregating around the jam sessions at places like Little Club and Bottle’s.   The result was a bold declaration of the samba-jazz sound at its best.  On the rhythm section there’s the ubiqutuous Milton Banana – Brazil’s own Art Blakey – on the drum kit, and Tenório Jr. on piano, who was also ubiquitous until he was “disappeared”  and murdered in Argentina while on tour with Vinicius & Toquinho in the mid 70s.   Zezinho is on bass, about whom I can’t tell you much of anything besides that he frequently played with Erlon Chaves.    In the way of horns, there is the brilliant Paulo Moura, whose passing a couple years ago was a huge loss for the world of music.   The guy has probably a million album credits of everything from choro to prog rock, but here we get to hear him in the same group with Meirelles, a sax man every bit his equal.  A lot of the arrangements are by Cipó, who worked with João Gilberto’s first band Garotos da Lua and also contributes one composition and a bit of tenor sax to this record.  There are also a few arrangements by Carlos Monteiro de Souza.

This album really highlights the symbiotic relationship between jazz in the United States and  samba-jazz, jazz-bossa or just jazz in Brazil.  Flows of mutual inspiration were resulting in an amazing amount of innovation and great music on both sides of the equator.  But like in many other contexts, the relationship was also lopsided and unequal.  The infatuation of American jazz for bossa nova, Brazil’s biggest musical export, unfortunately overlooked the immense variety of possibilities presented by other styles of music, such as samba.  If US jazz absorbed anything of samba, it was by way of bossa nova’s own mutations of it.   With apologies for making a simplified, unilineal argument, I’ll do it anyway and say that samba was to bossa nova what the blues was to jazz: the latter would not have existed without the former.  But the blindness to each other’s roots was reciprocal – the blues was not really in the repertoire of musical idioms available to Brazilians either, at least not in the early 60s.  Both jazz and bossa were transnational, globalized music long before anyone used that kind of language to describe them, but when you push back into their roots you find yourself at the limits of the culturally specific.  In spite of a multitude of sociological and economic similarities, a Mississippi sharecropper and a morro resident in Rio were speaking mutually unintelligible languages.

This is another record where singling out individual tracks seems almost superfluous, but their arrangements of a few classic tunes deserve pointing out.  “Naña”, one of Moacir Santos’ most gorgeous and most recorded compositions, is immediately compelling with Tenório’s sparse deconstruction of the chord sequence opening the tune before the lush harmonies of sax, trumpet and flute come in on the main melody.  Remind me some time to post Santos’ “Coisas” album here, as it’s essential listening that makes a lot of the “top 100” lists that people are always making.  Incidentally, Moacir Santos played in a completely unrelated combo calling themselves Os Cobras, who made a one-off album in 1960 and then disappeared.

Another ear-catching track is a version of Clifford Brown’s signature tune, “The Blues Walk”, proving that these guys hold their own on straight bop.  The album is infused with bop throughout, especially noticeable in Meirelles’s own composition “Quintessence” and “Praia” from Orlann Divo & Roberto Jorge, which still sound fresh.  They may start out a bit reverent playing Brown’s tune, but the sense of playfulness and fun soon overtakes everything else. This is followed by the Cipó composition “40 graus” which except for its choruses bears more than a passing resemblance to the rocking samba-jazz-bossa that J.T. Meirelles was making with Jorge Ben at the time.  It’s also the longest track here, clocking in at a whopping four and a half minutes.  The record closes with a short pretty composition by Luiz Fernando Freire and Roberto Menescal (“Moça da praia”, apparently a favorite theme of the bossa crowd), who also features on acoustic guitar.

Using the original liner notes, translated into French for this pressing, it is possible to reconstruct who plays what solo on which tunes.  Anyone who feels so inclined to do so is welcome to compile it and send it to me, and I’ll happily post it here.  As for me, it’s time to get back to chipping away at that writer’s block.

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Jose Roberto e Seu Conjunto – Organ Sound, Um Novo Estilo (1970)

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  José Roberto e Seu Conjunto
Organ Sound, Um Nôvo Estilo
Released 1970 Polydor
Japanese reissue 2008

01 – Aventura
02 – Smile a Little Smile for Me.
03 – Airport Love Theme
04 – Toboga
05 – Jingle, Jangle
06 – Viagem
07 – Samanta
08 – No Time
09 – Diamante cor de Rosa
10 – The Rapper
11 – Mon Ami
12 – Always Something There to Remind Me

This is pre-Azymuth José Roberto Bertrami.  He was working as a studio musician at the time and was probably on a hundred records you have in your collection, many without being credited.  Before this he was in the band A Turma da Pilantragem.

This is nice organ combo pop-jazz with an occasional bossa flair and spasms of funkiness.  Aside from the tracks “Aventura” and “Mon Ami”, which are his own, everything else here is comprised of other composer’s work.   Kind of easy-listening and loung-y but with just enough instrumental prowess and creative arrangements to keep it interesting.  His playing may not be nearly as inventive as what he would produce with Azymuth only a few years later, but Bertrami still coaxes enough otherworldly sounds out of his keyboards to prove why he was an in-demand session player.  In particular he has a penchant for using a horn patch on his analog synth that doubles the part played by actual brass instruments, which adds a loopy and campy touch.

The majority of the repertoire is taken straight from the Hit Parade of 1969-70 and represent a pretty interesting cross section of psychedelic rock, pop, and even an ‘easy listening’ soundtrack hit.  I’ve taken the trouble to notate the cover songs’ origins:

Smile a Little Smile for Me – The Flying Machine
Airport Love Theme – Vincent Bell, from the soundtrack to the film “Airport”, 1970
Jingle, Jangle – The Archies
No Time -The Guess Who
Diamante cor de Rosa – Roberto Carlos
The Rapper – The Jaggerz
Always Something There to Remind Me  (Bacharach/David tune recorded by Dionne Warwick, Sandie Shaw, and R.B.Greaves at Muscle Shoals.  Hard to say which version Bertrami had in mind but Greaves’ version was the most recent.)

Amusingly enough, the most exciting of these cover tunes is “Jingle Jangle” from the virtual cartoon band The Archies, which is replete with fuzz guitar.

The tune “Mon Ami” was featured as a theme to the Globo telenovela “Assim na terra como no céu” in 1970 in a version produced by Paulinho Tapajós.  As I’ve stated before on this blog, the study of telenovela soundtrack music — and it is a subject that deserves series study – is not one I’ve undertaken.  Not yet, anyway.  But I have a hunch that a lot of these Top 40 international hits were associated with contemporary telenovelas that would have made them instantly recognizable to a Brazilian audience even if their originals unknown.  Did ‘The Archies’ air on Brazilian TV?  I have no idea.  For that matter the Roberto Carlos hit was also part of a feature film vehicle for him with the same title.  The two songs credited to ‘Celinho’ are a mystery to me.  There was a Celinho from the state of Ceará who played the accordion and recorded a bunch of tunes in the era of 78s, but I’m fairly certain these aren’t his songs.  Anyone who knows, drop me a line.

This Japanese reissue has typically lovely, round sound.  It’s too bad I can’t read the notes in Japanese though.  It would be nice to know if the musicians are credited.  I suspect Victor Manga is on the drums but I have no confirmation, but he did play in the Turma de Pilantragem.

{edit} As per a comment left below by a reader, I’m updating the post with the following info on the lineup: Jonas Damasceno (Joninhas), Ivan Conti (Mamão), Luiz Carlos Siqueira –
all from “The Youngsters” band – plus the late Gegê on drums and Sergio
Barroso on bass.

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password: vibes

 

Zimbo Trio – Zimbo Trio Vol.2 (1966) 24bit 96khz Vinyl

ZIMBO TRIO – VOL. 2
Zimbo Trio
1966 on RGE (XRLP 5277)
Mono pressing

1 Arrastão
(Edu Lobo, Vinicius de Moraes)
2 Balanço Zona Sul
(Tito Madi)
3 Zomba
(Maria Helena Toledo, Luiz Bonfá)
4 Insolação
(Adylson Godoy)
5 Zimba
(Tito)
6 Reza
(Ruy Guerra, Edu Lobo)
7 Samba 40 graus
(Adylson Godoy)
8 Garota de charme
(Maria Helena Toledo, Luiz Bonfá)
9 Vai de vez
(Luiz Fernando Freire, Roberto Menescal)
10 Balada de um sonho meu
(Hamilton Godoy)
11 O rei triste
(Luiz Chaves)
12 Aleluia
(Ruy Guerra, Edu Lobo)

Vinyl original mono pressing ; Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply); Creek Audio OBH-15; M-Audio Audiophile 2496 Soundcard ; WaveLab LE 7 at 32-bit float 96khz; Click Repair light settings; individual clicks and pops taken out with Adobe Audition 3.0 – dithered and resampled using iZotope RX Advanced (for 16-bit). Tags done with Foobar 2000 and Tag&Rename.

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This is a pretty incredible jazz-bossa album, with all the heat of a hard bop session but with that bossa sensibility of keeping all the tunes under 5 minutes long. Their version of “Arrastão” (from Edu Lobo and Vinícius) which opens this album is probably their ‘signature tune’, and it is instantly endearing by the time it crescendos into the chorus where the tempo is cut in half and swung very very heavy. Godoy’s classical training seeps through his playing everywhere, with strains of Chopin mingling with his jazz key tickling. Luiz Chaves is one hell of a bassist, and it is a shame and travesty, in my opinion, that Zimbo Trio has continued to perform without him (and — worse than that — included an ELECTRIC bass..). Rubinho Barsotti is also great on trap kit, his work with mallets and cymbals being some of the best I’ve heard in this genre. Although some of these tunes – like the two from Edu Lobo, ‘Arrastão’ and ‘Reza’ — were part of Elis Regina’s repetoire and thus receiving nightly treatments by the Zimbo Trio when they were backing her up, it is the original tunes here that really chama atenção. If the manic opening bass riff of ‘Insolação’ doesn’t call your attention, then just turn the record off and find something else to listen to because you can’t be satisfied. “Samba 40 graus” is another original that makes me wonder if these guys were into amphetamines, trying to save money on studio time, or just in a hurry, but the result is ear-engaging. These guys did know how to chill out as well, however, and “Balada de um sonho meu” is about as pretty a jazz ballad one could hope for, followed the by the gentling swinging ‘O rei triste’ penned by Chavez. For “the sad king” it actually sounds pretty uplifting to me, and has some of Godoy’s most inspired playing on the record.

I shouldn’t forget to mention the two tunes from Luiz Bonfá and Maria Helena Toledo, which are both marvelous. “Zomba” has what may be the most ethereal opening of a mid-60s jazz bossa album I can think of, beginning with only Godoy on piano playing a cluster of chords around one note that fades out like a slow raindrop as Luiz comes in on bowed bass strings, a splash of cymbals from Barsotti so subtle you might miss it – and then at nearly two minutes this orchestral evocation transforms, the urbane becomes urban and streetwise, and Godoy’s erudition tackles blue intervals and the band swings it and swings it hard. Check out how hard he rocks just two notes starting at 2 minutes and 50 seconds, for about five seconds, before breaking down the melody into a dozen fragments of different voicing and tempo. Throughout the whole second half he manages to squeeze in these vertiginous arpeggios into the rest of what he’s concocting. He plays a variation of the single-note trick on us again in the OTHER Bonfa/Toledo tune, “Garota de charme”, where he gently taps out some augmented and diminished chords with his right hand while his left plays a melody in unison with Luiz Chavez’s bass. Charming, indeed. It only last a few seconds but it makes the track for me; it’s these small moments of skin tightness that makes a tune that is only 2 minutes and 16 seconds long seem like it plays for five minutes.

I worked for quite a while on this vinyl rip of this relic, half-century old piece of petroleum, and I think it sounds pretty peachy. Hopefully you will too.

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