Dom Salvador e Abolição – Som, Sangue e Raça (1971)

DOM SALVADOR E ABOLIÇÃO
SOM, SANGUE E RAÇA
1971 CBS (137735)

First CD pressing – Sony Music (Brasil) / Columbia (2-495859) 2001

Reissue on Selo Cultura / Sony Music 2010

1 Uma vida (Dom Salvador, Abolição)
2 Guanabara (Arnoldo Medeiros, Dom Salvador)
3 Hei! Você (Getúlio Côrtes, Nelsinho)
4 Som, sangue e raça (Marco Versiani, Dom Salvador)
5 Tema pro Gaguinho (Dom Salvador)
6 O Rio (Arnoldo Medeiros, Dom Salvador)
7 Evo (Pedro Santos, Dom Salvador)
8 Numbre one (Dom Salvador)
9 Folia de reis (Paulo Silva, Jorge Canseira)
10 Moeda, reza e cor (Marcos Versiani, Dom Salvador)
11 Samba do malandrinho (Dom Salvador)
12 Tio Macrô (Arnoldo Medeiros, Dom Salvador)

Dom Salvador – piano and accordion
Luiz Carlos – drums and vocals
Rubão Sabino – bass
Oberdam P. Magalhães – Alto sax and flute
Serginho – trombone
Darcy – trumpet and flugelhorn
José Carlos – guitar
Nelsinho – percussion and vocal
Mariá – vocal

Artistîc direction – Ian Guest
Photography – Franklin Correâ

Reeissue project supervision by Charles Gavin
Remastered from the original tapes by Luigi Hoffer at DMS Studies, Rio

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This is a huge album — and the ONLY album — from Dom Salvador e Abolição, who were part of the Brazilian soul music explosion in the wake of Tim Maia’s first record, performing at festivals alongside Tim, Toni Tornado, Antonio Adolfo e Brazuca, and others. Long forgotten about, perhaps because it was ahead of its time in its eclecticism and sophistication, it was reissued on CD for the first time some years ago — I am not sure when, unfortunately. This pressing is part of a brand-new series of reissues put out by my favorite book & recordstore, Livraria Cultura. (Think a Brazilian Borders or Barnes and Noble, but with occasional art openings, lectures, and live performances..) I bought it the same week it arrived, and found this review from Tarik de Souza (possibly my favorite Brazilian music critic at the moment) had been online for some time, indicating that it had already seen a CD reissue previously.

I have translated the first paragraph of that review into English. As you can see, this band contained the nucleus of Banda Black Rio, who would become icons of the funk and soul movement in Brazil. The rest of the review talks about pianist Dom Salvador’s background as part of jazz trios such as Rio 65 and Copa Trio, the latter of which provided backing support to both Elis Regina and Jorge Ben. He goes on to describe a few chosen tracks and their use of electric and acoustic piano, brass, cuíca and accordion in their mixture of funk, samba, baião, and jazz. Dom Salvador moved to the USA later in the 70s and has never left. He also has a website, which also includes a page with this sadly small discography on it but little else.

I can’t really add much to Tarik’s review as he is very good at what he does! Enjoy this one.
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Partial Flabber translation

This isn’t just a seminal album recovered by the meticulous work of researcher Charles Gavin (Titãs). It is an estuary. All the black rivers that would form Brazilian funk/hip-hop flow through it. Led by Paulista pianist Salvador Silva Filho – Dom Savlador – “Som, Sangue, e Raça” from 1971, one year after the explosion of Tim Maia on the scene, catalyzed the bossa nova and jazz background of its leader with the rhythm and blues of its members like saxophonist Oberdã Magalhães, newphew of samba-enredo master Silas de Olvieira and future leader of Banda Black Rio, who since the group Impacto 8 (which had, among others, Robertinho Silva on drums and Raul de Souza on trombone) had already been trying to reconcile MPB with Stevie Wonder and James Brown. Add to all this a mixture of samba, Nordestino accent, and even the black side of the Jovem Guarda represented by the authorial presence of of Getúlio Cortes (older brother of Gerson King Combo, our James Brown “cover”) in ‘Hei! Você’, one of the most-played tracks here. Alongside these elements and the preseence of Rubão Sabino (bass), who still called himself ‘Rubens’, drummer Luis Carlos (another member of Black Rio), the disc enlists the trumpet and flugelhorn of symphonic musician Darcy in place of the original Barrosinho (yet one more founder of Black Rio), who was traveling during the recording but would end up being a leading force of the band.

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Este não é apenas um disco seminal, recuperado pelo trabalho meticuloso do titã pesquisador Charles Gavin. É um estuário. Todos os rios negros que formaram o funk/hip hop nativo confluem para ele. Comandado pelo pianista paulista Salvador Silva Filho, o Dom Salvador, Som, Sangue e Raça, de 1971, um ano depois da explosão de Tim Maia, cataliza a formação bossa nova & jazz do lider com rhythm & blues de integrantes como o saxofonista Oberdã Magalhães, sobrinho do mestre do samba enredo Silas de Oliveira e futuro líder da Banda Black Rio, que desde o grupo Impacto 8 (entre outros Robertinho Silva, bateria, Raul de Souza, trombone) já vinha tentando agregar MPB com Stevie Wonder & James Brown. Entram ainda na mistura samba, sotaque nordestino e até o lado negro gato da Jovem Guarda representado pela presença autoral de Getúlio Cortes (irmão do posterior Gerson King Combo, o nosso James Brown cover) em Hei Você!, uma das faixas mais destacadas. Além destes elementos e da presença de Rubão Sabino (baixo), que ainda se assinava Rubens, do baterista Luis Carlos (outro que integraria a Black Rio), o disco arregimenta o trompete e flugelhorn do músico de sinfônica Darcy no lugar do original Barrosinho (mais um fundador da BR), que estava excursionando durante a gravação, mas seria o titular da banda.

Egresso do Beco das Garrafas e a caminho dos EUA, para onde se mudaria em definitivo ainda nos 70, Dom Salvador liderou o Copa Trio ao lado do baixista Gusmão e do batera Dom Um Romão. O grupo serviria de suporte para as decolagens de Elis Regina e Jorge Ben (antes do Jor), entre outros. Formou também o Rio 65 Trio com o baterista Edison Machado. O noneto Abolição (aí incluído o vocal de sua esposa, Mariá) foi uma saída para o desgastado formato trio da bossa nova. E não só. Cada faixa de Som, Sangue e Raça é diferente da anterior por conta de um cuidadoso trabalho de fusão de elementos sonoros até contraditórios como o pique folk de retreta de Folia de Reis moldado em acordeon, sopros (até tu, tuba?) e uma intrusa cuíca. Moeda, Reza e Cor tem um encadeamento de sopros que lembra os arranjos de Gil Evans para Miles Davis, mas logo desagua num solo de piano funkiado pelo baixo elétrico. Samba do Malandrinho levado pianinho (no elétrico digitar de Don Salvador) remete para a bossa nova com direito a improvisos jazzísticos.

Já Tio Macrô, repleto de reviradas de sopro e contraritmo sustentado por baixo engata num samba funk. Intercalando grandiloquencia e balanço, Uma Vida abre com declamação e uma longa introdução pianística depois picotada pelos sopros. E tome funk na veia como nas instrumentais Guanabara e Number One. O piano elétrico alicerça O Rio, um funk andante que desata em samba de escola com direito a apitos. Também a construção de sopros funkiados da faixa título acaba num samba, movido a cuíca. Com acordeon e costura acústica, Tema pro Gaguinho lembra o choro dos regionais, só que devidamente turbinado. Hey! Você (belíssima a condução de sopros) combina R&B com um ritmo de baião que antecipa a fusão de Burt Bacharach. A tamborilada Evo emoldura um funkafro com cuíca e coro. A riqueza das combinações torna o resultado muito acima da média do pop ralo das FMs, o que talvez explique o fato de o disco não ter estourado a despeito de tantos ganchos no recheio. Agora em CD remasterizado haveria até uma nova chance, se a situação não tivesse mudado. Para pior.(Tárik de Souza)

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The inside sleeve blurb by Charles Gavin:
The album ‘Som, sangue e raça’ paves the way for future generations of musicians and producers of the carioca scene at the beginning of the 1970s. The lyrics that dealt with the question of race and the explosive fusion of samba, soul, jazz and funk, elaborated by Dom Salvador and his troupe, Abolição, established the bases for the development of new sounds and tendencies in Brazilian music.

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Eumir Deodato – Os Catedráticos 73 (1973)

Eumir Deodato
“Os Catedráticos 73”
originally released 1973
This reissue 2008 on Atração Fonográfica (ATR41066)

Remastered by Cláudio Abuchaim
This album is no stranger to the blogosphere, being posted about on quite a few blogs featuring Brazilian music and rare groove delights. This post highlights a recent reissue on the label Atração Fonográfica that has given us a new remastering and fancy fold-out digipack graphic design, the same they have used for their other Deodato issues. I suspect that this album is so popular among rare groove enthusiasts because it has the same musical sensibility of post-bossa Brazilian jazz fusion infused with North American soul and funk that characterized his more famous recordings for CTI, but here they shine completely free of the sterile and sterilizing production prison of Creed Taylor. One other difference, however, is that Deodato almost exclusively plays the Hammond organ on this disc, with some occasional electric and acoustic pianos hanging back in the mix on a few cuts. An ignorant reviewer at AMG (which I realize is a redundant phrase..) talks about this record as some revolutionary marriage of the organ with Brazilian music that hadn’t been done before, which is of course utter bullshit — Walter Wanderley and Ed Lincoln were exploring this territory long before Sr.Eumir. But Deodato definitely takes the funky factor up a notch, and also incorporates the rhythms and cadence of other Latin American musical traditions — something he most definitely picked up in multicultural North America, and *not* in Brazil. And like all of Deodato’s work, there is a dose of “lounge” in the sound that is either an asset or a detriment depending on your orientation, but this album manages to swing pretty hard even when it gets ‘light,’ and anyone in their right mind has to give props for the arranging skills shown here. It should be mentioned that Os Catedráticos was also the name of a jazz-bossa combo that Deodato put together in the 60s, but as far as I can tell this record is a total reinvention with completely different musicians involved.The lineup on this album is rather crowded and confusing, so I have taken the liberty of using Doug Payne’s breakdown of it which is the most thorough I have seen, albeit a little tricky to read. It’s worth noting the presence of drummer Mamão from Azymuth and percussionist Orlandivo. Payne has also given a release history of the various labels this has appeared on (minus this more recent reissue on Atração). The album has also been issued as ‘Skyscrapers’ in some countries, with different song titles in English, and there has been at least one bootleg version on vinyl with the original cover according to Discogs.com. Note also the writing credits on two tracks to the Brothers Valle.

from the website of dougpayne.com

Eumir Deodato (p,org,arr,cond); Durval Ferreira (g, el-g); Zé Menezes (12 string g); Sergio Barroso (el-b); Ivan Conti (Mamão) (d); Bebeto (cga); Helcio Milito, Orlandivo (perc).

overdubbed in New York City: September and October 1972
Marvin Stamm, John Frosk (tp,flhrn); Phil Bodner (ts, c-flute); Romeo Penque (bs, g-flute); Eumir Deodato (el-p,arr,cond).

a. Arranha Céu (Skyscrapers) (Eumir Deodato) – 4:49
b. Flap (Marcos Valle/Paulo Sergio Valle) – 3:17
c. Rodando Por Aí (Rudy’s) (Eumir Deodato) – 3:09
d. O Jogo (Soccer Game) (Pacífico Mascarenhas) – 2:28
e. Atire A 1a Pedra (aka The First Stone) (Ataulfo Alves-Mário Lago) – 3:18
f. Puma Branco (The White Puma) (aka Elizeth)
(Marcos Valle/Paulo Sergio Valle) – 3:30
g. Passarinho Diferente (The Bird) (aka The Byrd) (Eumir Deodato) – 1:52
h. Extremo Norte (The Gap) (Eumir Deodato) – 3:52
i. Tô Fazendo Nada (Down The Hill) (Eumir Deodato) – 2:55
j. Menina (Boy Meets Girl) (Eumir Deodato) – 3:10
k. Carlota & Carolina (Carly & Carole) (Eumir Deodato) – 3:12

Issues: a-k on Equipe (Br) EQS 100.001, Ubatuqui (Sp) UBCD-105 [CD], Bomba (Jap) BOM-22068 [CD]. a-k also on Irma (It) 509563-1, Irma (It) 509563-2 [CD] titled SKYSCRAPERS.

Samplers: b & f also on Irma (It) 507901-2 [CD] titled SUMMER SAMBA.

Producer: Eumir Deodato. Executive Producer: Oswaldo Cadaxo (Equipe (Br) EQS 100.001). Eumir Deodato, Arnaldo DeSouteiro. Executive Producer: Carl Rosenthal (Ubatuqui (Sp) UBCD-105 [CD], Bomba (Jap) BOM-22068 [CD], Irma (It) 509563-1, Irma (It) 509563-2 [CD]).

Engineer: Ary Perdigão & Walter, George Klabin

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Baden Powell – Swings with Jimmy Pratt (1963)

 

“Baden Powell Swings with Jimmy Pratt”
Elenco ME-4, 1963

Musicians: Baden Powell (git)
Jorge “Jorginho” Ferreira da Silva, Copinha (fl)
Moacir Santos (sax, vcl)
Sandoval (cl)
Sergio Barroso (b)
Jimmy Pratt (dr)
Rubem Bassini (perc)
unknown piano playerProduction: Aloysio de Oliveira
Direction: Jimmy Pratt
Production Manager: Peter Keller
Studio: Philips of Brasil
Sound Engineer: Norman Sternberg
Recording Technician: Celio Martins
Cover Layout: Cesar G. Villela
Photos: Francisco PereiraGuitar Model: Author 3 by luthier Reinaldo DiGiorgioAlso issued as: Developments (LP, 1970)
O Mestre do Violao Brasileiro (CD-Box, 2003)

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Flabbergasted Vinyl Transfer Specs:

Original Elenco (ME-4) pressing -> Pro-Ject RM-5SE turntable / Sumiko Blue Point 2 cartridge / Pro-Ject Speedbox power supply -> Creek OBH-18 MM Phono Preamp -> M-Audio Audiophile 2496 soundcard. Recorded at 24-bit / 96 khz resolution to Audacity. Click Repair on very light settings to remove some clicks and popsm, some manual click removal using Audition. Track splitting in Adobe Audition 3.0. Dithered to 16-bit using iZotope M-Bit noise-shaping. Converted to FLAC and mp3 using DbPoweramp. ID tags done with Foobar2000.

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I don’t know anything about Jimmy Pratt other than he plays the skins on a whole bunch of jazz records from the 40s and 50s, having done sessions with Charlie Parker, Stan Getz, Zoot Sims, Oscar Pettiford, Bud Shank, and Anita O’Day. Busy guy. But this record may be one of the most famous he played on. Partly because he essentially receives co-billing on the marquee with Baden. But also he was, in a way, in the right place at the right time to really connect with the Bossa Nova explosion.

From the back cover:

“When the drummer Jimmy Pratt was in Brazil accompanying Caterina Valente, he heard Baden play guitar like everyone that was exposed to Baden’s art, he was profoundly enthusiastic. The enthusiasm provoked the idea for this recording. And from the recording was also born a friendship and mutual admiration between the two artists. ‘Baden Powell Swings with Jimmy Pratt’ is a tribute from Baden to his friend and American colleague.” – Aloysio de Oliveira

The observent among might notice Mr. Pratt apparently did not make the photo session for the album or else closely guards his image against potential feitiço and witchcraft.. He is absent from the shots taken in the recording studio, unless we are looking at the back of his head in the shot where Vinicius de Moraes appears for no particular reason — it’s an instrumental record bereft of his lovely lyrics, he didn’t play anything, and he only has a writing credit on the very first tune, ‘Deve Ser Amor.’ Anyway, I find it amusing.

In the photo to the right of this we see Baden playing into a Neumann U-87 microphone, and looking like he wants to walk into the control room and slap somebody. I’m not sure why because it’s a great-sounding recording.

Fantastic playing from everyone involved, including Moacir Santos who contributes his own compositions, Coisas No.1 and Coisas No.2. It`s the clarinet, however, that really slays me on this record: while doing the vinyl transfer and processing, I swear I listened to Coisas No.1 about ten times in a row at one point. When you hear it you will know why. There is nothing groovier on earth.

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