Marcos Valle – Braziliance! (1967)

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Braziliance!

a música de Marcos Valle

1967 Odeon (MOFB 379)

Reissued 2011 as part of the box `Marcos Valle Tudo`

1 Os grilos

(Paulo Sergio Valle, Marcos Valle)

2 Preciso aprender a ser só

(Paulo Sergio Valle, Marcos Valle)

3 Batucada surgiu

(Paulo Sergio Valle, Marcos Valle)

4 Seu encanto

(Paulo Sergio Valle, Pingarrilho, Marcos Valle)

5 Samba de verão

(Paulo Sergio Valle, Marcos Valle)

6 Vamos pranchar

(Paulo Sergio Valle, Marcos Valle)

7 Tando andei

(Marcos Valle)

8 Dorme profundo

(Pingarrilho, Marcos Valle)

9 Deus brasileiro

(Paulo Sergio Valle, Marcos Valle)

10 Patricinha

(Paulo Sergio Valle, Marcos Valle)

11 Passa por mim

(Paulo Sergio Valle, Marcos Valle)

12 Se você soubesse

(Paulo Sergio Valle, Marcos Valle)

Marcos Valle – acoustic guitar, piano on ‘Patricinha’ and vocals on ‘Deus brasileiro’

Eumir Deodato – piano and arrangements on all tracks except ‘Patricinha’

Luiz Marinho and Sérgio Barroso – bass

Wilson das Neves – drums

Rubens Bassini and Jorge Arena – percussion

Ed Maciel, Raul de Souza, and Norato – trombone

Maurílio Santos – trumpet and flugelhorn

Aurino Ferreira and Alberto Gonçalves – baritone sax

Zé Bodega, Cipó, Walter Rosa – tenor sax

Paulo Moura and Jorginho – alto sax

Copinha, Jorginho, J.T.Meirelles – flute

Neco, Geraldo Vespar, Roberto Menescal – electric guitar

Marcos Valle doesn’t have much to say about this album. In fact it is the ONLY disc out of the 11 in this set in which he didn’t write an introductory blurb. It is almost as if he is saying, curtly, to the press, “No comment.” Well, I don’t have much to say either. It is the weakest disc in the box and contributes to bossa nova undeserving reputation as `elevator music` to those who don’t know any better.

He tells a bit of the backstory about this album only in passing, when introducing the “unreleased album” at the end of the boxset. In short, when “Samba de Verão” became a huge international hit and ended up being recorded in the USA by the likes of Connie Francis (!) and Johnny Mathis, record company executives were clammering at his door to bring him to the US and record. In a confusing rapid sequence of events which were only partly clarified for me by Marcos` notes in another disc in this set, but which in truth only left me confused until the contributions of one of my blog friends here, pawylshyn, set me straight, this album was NOT recorded in the US in spite of what I consider a very “American sound.” A production credit by West Coast lyricist Ray Gilbert (who, aside from writing English lyrics for songs penned by Brazilian composers, is probably most famous for the tune “Zip-a-Dee-Doo-Dah”) further threw me off in my having thought this album was recorded in Los Angeles or someplace. Nope, it was recorded in Lapa, RJ, but with Gilberto and Aloysio de Oliveira (founder of Elenco Records) and NOT Milton Miranda Once more, a whole bunch of great players here — it’s as if every album adds more incredible musicians who want to work with Marcos, this time bringing in new folks on horns like the inimitable Paulo Moura as well as Zé Bodega. Geraldo Vaspar and Roberto Menescal on electric guitar? This almost seems like a typographical error… Anyway, in spite of the huge cast of great musicians here, and the presence of Deodato again as arranger, the album has a very, well, “American” sound. Too many strings for my taste. Not enough horns, not enough jazz, and most definitely not enough of MARCOS VALLE. Still, there’s some gems here — its the first appearance of ‘Os grilos’ in this box, a song that appears on `Samba 68` with lyrics. It’s an infectiously good tune and would be recorded a few more times by Marcos himself. The version of “Samba de verão” is not too shabby, and “Batucada surgui” actually kind of smokes with jazz swing. Others are sadly watered down, musak-like versions of otherwise great songs. “É preciso aprender a ser só” being one of those. You can pick the others yourself. On the other hand this may be prime material for the crowd who likes ‘kitsch’ and cheesy lounge music to sit around and practice being ironic.

It truly seems like Marcos would rather just forget that he made this album. Obviously (see the comments below from readers), some people like this album or at least find it pleasant. I could call it pleasant, in fact, since it’s not as if it *offends* me or anything. It’s not terrible music; it’s just not terribly interesting.


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Marcos Valle – Samba "Demais" (1963) Remaster with bonus tracks

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SAMBA “DEMAIS”
Marcos Valle
1963 Odeon (MOFB 3376)

Reissue 2011 in Boxset `Marcos Valle Tudo` (EMI 026460-2)

1 Vivo sonhando
(Tom Jobim)
2 Amor de nada
(Paulo Sérgio Valle, Marcos Valle)
3 Moça flor
(Luiz Fernando Freire, Durval Ferreira)
4 Canção pequenina
(Pingarilho)
5 Razão do amor
(Paulo Sérgio Valle, Marcos Valle)
6 Tudo de você
(Paulo Sérgio Valle, Marcos Valle)
7 Sonho de Maria
(Paulo Sérgio Valle, Marcos Valle)
8 Ela é carioca
(Tom Jobim, Vinicius de Moraes)
9 Ilusão à toa
(Johnny Alf)
10 Ainda mais lindo
(Paulo Sérgio Valle, Marcos Valle)
11 E vem o sol
(Paulo Sérgio Valle, Marcos Valle)
12 A morte de um Deus de sal (Roberto Menescal, Ronaldo Bôscoli)

BONUS TRACKS
13. Amor de nada (instrumental version)
14. Ainda mais lindo (instrumental version)

Marcos Valle – vocal, acoustic guitar
Eumir Deodato – piano, organ, arrangements
Sérgio Barroso – bass
Juquinha – drums
Ugo Marotta – vibraphone
Roberto Menescal, Geraldo Miranda – acoustic guitar
Marçal – percussion
Copinha – flute
Hamilton and Edson Maciel – trombone
Maurilio Santos – trumpet
Jorginho – alto sax
J.T. Meirelles and Cipó – tenor sax
Alberto Gonçalvez – baritone sax

Produced by Milton Miranda

Flabber general blurb about this boxset: IT’S ABOUT FUCKING TIME. At least half the albums in this box have been out of print for years, another shameful legacy of an unappreciative middle class (the only Brazilians with disposable income for non-pirated CDs) and an industry more concerned with quick profits than preserving its own legacy.

There have been a boat-load of career retrospective boxsets released in Brazil over the last year or so. I have not heard all of them, nor do I have interest in hearing all of them — but of the ones I own or have heard, this is by far the best. Marcos Valle was directly involved in the project with Charles Gavin and it seems like a real labor of love. The sound is nice and warm (it is hard for me to compare to original vinyl, since I have only heard one of these on vinyl in my entire life and would probably have to sell a kidney to buy one. Or, kidnap a street urchin and sell HIS kidney.) Each album except one includes bonus tracks – in many cases, just instrumental mixes of the same takes used on the album, in other cases B-sides to singles, and in still others alternate instrumental mixes.

Marcos also wrote introductions for each album (except one) – short but informative and adding a nice personal touch that is missing from boxes such as, for example, the Jorge Ben box.

This is not a *complete* discography for this time period. It is lacking three albums that I know of: “Samba 68” recorded for Verve in the United States, “O Fabuloso Fittipaldi” from 1973, a rare-as-fuck film soundtrack that I’ve never heard, and “Vila Sesamo”, the TV soundtrack for the Brazilian version of Sesame Street, which I uploaded a long time ago here. These were all released on different record labels, which surely accounts for their being left out of this box.

Marcos Valle and his brother Paulo Sérgio worked with a truly mind-blowing number of first class musicians and arrangers, as we will see as this boxset ‘unfolds’ on the tracker. Literally, too many ‘heavy weight’ figures to list here without the tracker rejecting my upload (again).

But perhaps the biggest testimony to Valle’s integrity is the inclusion of a bonus disc of a totally unreleased album. Not a collection of outtakes, b-sides, or rarities included on compilations or soundtracks. A full album that actually went unreleased, because it was never completed (we’ll talk about why not when we get to it). And what is *particularly* noble about this is that whereas many artists would have decided to ‘finish’ the album by recording new tracks to “complete their vision” (Brian Wilson and “Smile”, anyone?), Marcos made the commendable choice to… do nothing at all. He presents the album just as it was when it was abandoned — only a couple songs have vocal tracks, the rest leaving it to our imaginations. And it’s great.

——————–

MARCOS IN HIS OWN WORDS (free translation by Flabbergasted Enterprises LTD)

My first musical influences were in the northeastern music of Luiz Gonzaga and Jackson do Pandeiro, so much so that (many years later) I would begin to play the accordion. Afterwards came samba, Ravel, Debussy (at six years old, when I began to study piano and classical music), rock, jazz, black American music, and bossa nova. But on my first album `Samba “Demais”` what dominates is the influence of bossa – I was fascinated by the music of Tom Jobim, João Gilberto, Carlos Lyra, Johnny Alf, Roberto Menescal, Sérgio Ricardo and others.

I have a certain special affection for this album – it contains ‘Sonho de Maria’, my first composition to be recorded, also in 1963, by the Tamba Trio. The lyrics are by my brother Paulo Sérgio (it was the beginning of our partnership) and the arrangements are by Eumir Deoodato (he was already immensely talented and alter we became great friends).

With ‘Samba “Demais”‘ I received my first accolades as an emerging composer and interpreter.

-Marcos Valle, 2011

FLABBER review of *this* album:

Valle’s debut record, which I believe has stayed in print pretty consistently, is solid, quality bossa nova, but it is not among my favorites in his catalog or in the genre. It got great reviews at the time and was nominated for several awards. It’s a strong album, really it is. My problems with it are quibbles, really. Released when Marcos was all of 20 years old, it is the only of his albums to feature other composer’s work: one of the most remarkable things about his discography is the immense number of songs written by him and his brother Paulo Sérgio Valle, when the standard in Brazil at the time was for singers to rely heavily on other composers. And while the compositions on this record are fine in themselves, his SECOND album really blows me away, so I can’t help thinking of this as a ‘first step’, which obviously it was (being a debut album, duh..). And although the material of other composers is well chosen, some of the lyrics (including some of Paulo Sérgio, who would only get better and better over the years) are fairly trite drivel.

The lyrics on this album ask the question: How many different ways can you compare a woman to a flower? Rhyme-laden, saccharine lyrics like those on ‘Moça Flor’ are probably what artists like Nara Leão and others had in mine when they criticized bossa nova for a sentimentalism that was increasingly out of touch with the turbulent times and vast social inequities and injustices of the 1960s:

“Moça flor
Tem a cor do amor
Seu olhar a brilhar
E essa lágrima leve querendo chegar”

… I tried to translate this into English but every time I started, I would throw up in my mouth a little bit. Let me try my own bilingual musical criticism instead: Cada um tem seu gosto, mas… isso é uma grande merda. // Everyone is entitled to their own taste, but… this is total crap. Still, apparently a lot of people DO like this song as its been recorded quite a few times.
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A look at the musician and arranger credits should be enough to convince any fan of Brazilian music to give this a try if you don’t already know the album. The arrangements from Eumir Deodato are first-class and the musicianship is superb. If the album as a whole doesn’t blow you away on first listen, don’t worry – his albums kept getting better, and we’re going to listen to a bunch of them together! This is a strong start for one of Brazil’s most prolific talents.

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MIRROR ONE        or   MIRROR TWO

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João Donato – A Bad Donato (1970)

joão donato
joão donato

João Donato
“A Bad Donato”
Released 1970 on Blue Thumb
This reissue 2004 Dubas Music (Brasil)

1 The Frog (A Rã) 2:37
2 Celestial Showers 2:36
3 Bambú 2:20
4 Lunar Tune 4:56
5 Cadê Jodel? (The Beautiful One) 2:07
6 Debutante’s Ball 3:00
7 Straight Jacket 3:27
8 Mosquito (Fly) 2:59
9 Almas Irmãs 1:53
10 Malandro 2:32

‘ “A Bad Donato” was an attempt to break into the contemporary overseas market. I wanted to be successful and bossa nova wasn’t my thing anymore, it was too much singing — João Gilberto, Astrud Gilberto, Antonio Carlos Jobim were all working closely with lyrics. Frank Sinatra had recorded their songs. Yet, my music didn’t fit into any genre, or if it did it was jazz that wasn’t such a commercial success. Jazz musicians were moving more into popular music, such as Miles Davis and Wes Montgomery, and they were starting to play to big audiences. Fusion came along and my record was something like that, a fusion of Brazilian music with jazz rock and electronica.’

“I don’t play acoustic piano on this record at all, just the keyboards. At the time, music was very raw, noisier. The Beatles were happening, shouting out their lyrics, and Jimi Hendrix … who shouted with his guitar. And I made the noisiest record I can ever remember making.”

–João Donato, 2004, liner notes

João Donato – organ, piano
Ernie Watts, Jack Nimitz, Bill Hood, Don Menza – reeds
Pete Candoli, Conte Candoli, Jimmy Zito – trumpets
Jimmy Cleveland, Ken Shroyer – trombone
Bud Shank – flute
Oscar Castro Neves – acoustic guitar
Warren Klein – electric guitar
Chuck Domanico – bass
Mark Stevens, Paulinho Magalhães, Dom Um Romão – drums
Joe Porcaro, Emil Reichards – percussion

All songs by João Donato
Arranged by João Donato and Eumir Deodato

Produced by Emil Richards
Recording engineer – Hank Cicalo (A&M)
Mixing engineer – Gary Kellgren (The Record Plant)
Photography and design – Tom Wilkes & Berry Feinstein (Camouflage Productions)

This record has so accumulated so much respect among the “rare groove” crowd that it is no longer particularly rare or known. As the quotes above show, this could be looked at an effort by Donato to “cash in”, so to speak, but with lovely results. Having been approached by the label Blue Thumb to make any kind of record he wanted, he felt encouraged to update his sound and gave him a bunch of cash to go buy new electronic instruments and contemporary albums to contextualize them. The only old tune on here is the first one, ‘The Frog (A Rã)’, which had been a hit for Sergio Mendes and would be recorded quite a few other times (including by Gal Costa on an album he arranged for her, ‘Gal Canta’). The rest of the material is written for the session. Also unique is that he wanted to have “two of everything” — drummers, guitarists, bassists… The two-bass idea didn’t work out, however. Donato chose to use a bunch of musicians from Stan Kenton’s orchestra, in particular Bud Shank who had helped João out considerably after his move to the United States, along with Brazilian luminarias like Dom Um and Oscar Castro Neves. They brought Eumir Deodato in after the sessions had already begun, and João is right to point out that this collaboration precedes ‘Thus Sprach Zarathrustra’ by two years but basically sets the blueprint for it. And the closer you look and listen, the more it is obvious that this album is not at all about ‘cashing in’, as much as jazz purists would have called this album a sell-out. Donato was taking his cues from what interested him in contemporary music while dealing with the perpetual musical wanderlust he has always demonstrated. When he was not collaborating with some of the most significant figures of musical hybridities in the second half of the twentieth century (Cal Tjader, Mongo Santamaria, Eddie Palmieri and Dizzy Gillespie for starters) Donato was constantly pioneering trends and then abandoning them for new pastures while others made them into successful and lucrative genres. From when he essentially invented bossa nova on the accordian (inspiring João Gilberto), inaugurated bossa-jazz combos, or making one of the adventurous early jazz-funk-rock/fusion albums in ‘A Bad Donato’, he was always one step ahead of just about everyone. And in all this electric career his playing and arranging style has always been inimitably his own and warmly recognizable. Every track on this album is intense even when offset by sunny jazz-pop sensibilities. The two-drummer approach lends an almost ominous quality to certain moments much like double-tracked drums can achieve. Personally I would like to have heard what some these tunes sounded like with only one drummer (Dom Um Romão, principally) just to hear the difference, as sometimes I wonder if its a touch ‘too much’ having two — although, as is the case with many a classic album, I don’t really think I would want it any other way. Not much point in picking highlights since this short record is a winner from start to finish, but lately I have been particularly fond of ‘Celestial Showers’, the appropriately-titled ‘A Lunar Tune’, and the percussion-heavy ‘Debutante’s Ball’.

It is nice that the reissue CD prompted João Donato to write new liner notes reflecting back on this album which. It is a drag that they couldn’t find some outtakes or bonus tracks from the session, however — since the original album clocks in at a mere 28 minutes of music. This is the first official release of the album on CD.

Eumir Deodato – Os Catedráticos 73 (1973)

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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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Eumir Deodato / Neco – Samba Nova Concepção (1964)

Eumir Deodato
Samba Nova Concepção
Released 1964 on Equipe label (EQ-803)
Reissue 2007 on Atração Fonográfico (ATR41035)

The inner panel that contains some info specifically about this album is barely legible in the included scan, due to the way the digipak is constructed. I have therefore taken the liberty of reproducing it here, and translating it from Portuguese to English:

————————

///// An album originally released on vinyl by the Equipe label in 1964, “Samba Nova Concepção” counts among its participants some of the musicians that would be join together for the band “Os Catedráticos do Samba,” that accompanied Eumir Deodato on his subsequent albums like “Impulso” and “Ataque”. Amidst those who formed the group were drummer Wilson das Neves, saxophonist Alberto Gonçalves, bassist Luiz Marinho, and Daudeth de Azevedo, also known as Neco, guitarist responsible for the disc’s arrangements and the direction of the musicians during the recording. Eumir Deodato played piano on all 12 cuts.* (see note at bottom)

In the repertoire of the album we have themes from the record “Coisas” by master Moacir Santos, such as ‘Coisa no.1″ and “Nanã (Coisa no.5), songs from representatives of Bossa Nova like Roberto Menescal, Ronaldo Boscoli, and the brothers Valle (Marcos and Sérgio), alongside one song by Jorge Ben Jor, “Capoeira”, from his second album “Sacundin Ben Samba” released the same year of 1964.

Just like all the other five discs of the Brazilian maestro and pianist released in the Coleção Galeria (on the Atração label) ……. “Samba Nova Concepção” shows the early musical production by one of the Brazilian artists most highly-esteemed outside Brazil, with his roots in bossa nova, in samba, and in jazz.

**Note: as pointed out below in the info lifted from a wonderful online discography of Deodato I’ve come across, this album was not originally released under his name but rather that of Neco — guitarist, arranger, and conductor for the sessions. That the Atração label omits this fact in their liner notes is… interesting.
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SAMBA NOVA CONCEPÇÃO
Neco
Rio de Janeiro, Brazil: c. 1964
Clélio Ribeiro (tp); José Araújo (Zé Bodega) (ts); Jorge Ferreira Da Silva (Jorginho) (as,f); Emilio Baptista (as); Alberto Gonçalves (bs); Eumir Deodato (p); Daudeth de Azevedo (Neco) (g,arr,cond); Luiz Marinho (b); Wilson Das Neves (d); Jorge Arena (cga); Humberto Garin (guiro); Rubens Bassini (perc).

a. Samba No Congo (Jorge Ferreira da Silva) – 2:24
b. Adriana (Roberto Menescal/Luiz Fernando Freire) – 2:08
c. Estamos Aí (Durval Ferreira/Mauricio Einhorn) – 1:56
d. Carnaval Triste (Sergio Carvalho/Paulo Bruce) – 2:14
e. Nanã (Moacir Santos/Mario Telles) – 3:20
f. Straits Of McClellan (Don Elliott) – 3:13
g. Capoeira (Jorge Ben) – 2:23
h. Sonho De Maria (Marcos Valle/Paulo Sergio Valle) – 3:22
i. Samba A (Durval Ferreira/Mauricio Einhorn) – 2:53
j. Amor De Nada (Marcos Valle/Paulo Sergio Valle) – 2:22

same, except Euclides J. Conceição, Pedro Luiz de Assis (as); Adherbal Moreira (bs); Tenório Jr. (p).

k. Coisa No.1 (Moacir Santos/Clóvis Mello – 1:52
l. A Morte De Um Deus De Sal (Roberto Menescal/Ronaldo Bôscoli) – 3:08

Note: While the music on this album was originally released under Neco’s name (Equipe (Br) EQ-803), it has subsequently become credited in further issues and compilations to the music’s producer and pianist, Eumir Deodato (with kind thanks to Paulo Sá Pereira, musician and professor of MPB at Ribeirão Preto College – Sao Paulo, who alerted me to this fact).

Issues: a-l on Equipe (Br) EQ-803, Ubatuqui (Sp) UBCD-502 [CD], Ubatuqui (Sp) UBCD-102 [CD], Bomba (Jap) BOM-22083 [CD].
Samplers: a-j also on Irma (It) 508350-2 [CD] titled THE BOSSA NOVA SESSIONS VOL. 1. b also on Irma (It) 508814-2 [CD] titled A DAY IN RIMINI. h & j also on Irma (It) 507901-2 [CD] titled SUMMER SAMBA.
Producer: Eumir Deodato. Executive Producer: Ogide. (LP). Eumir Deodato & Arnaldo DeSouteiro (CD).
Engineer: Umberto Contardi
Notes: Myriam Conceição.

Note: As with all posts here over the last month or two, the ID TAGS included restored diacritical characters (ç, ã, é, and so on ) as well as songwriting credits on each individual track. You may need to configure your media player to see these while listening, but you can also simply right-click (on a Windows OS) and see songwriter credits under “properties”. Also note that if you decompress to WAV and archive (that means you, Simon..), as far as I know you completely lose these ID tags.

Eumir Deodato – Percepção (1972)


PERCEPÇÃO
Eumir Deodato
1972 London/Odeon
LLB-1080

1 Dia de verão
(Eumir Deodato)
2 A grande caçada
(Eumir Deodato)
3 O sonho de Judy
(Eumir Deodato)
4 Adeus amigo
(Eumir Deodato)
5 Bebê
(Hermeto Pascoal)
6 Neve
(Eumir Deodato)
7 Barcarole
(Eumir Deodato)
8 Serendipity
(Eumir Deodato)

All compositions by Eumir Deodato except “Bebê” by Hermeto Pascoal.


An interesting and beautiful album from Deodato, very different from his funkier work from the same period. It´s extremely short — only 24 minutes — but its a very engaging listen, even as it can make good ‘background’ music for chilling out with a good book (as I found out recently), which can’t be said of his very lively funk interpretations of pieces like ‘Also Sprach Zarathurstra’. It’s dominated by lush orchestrations, most of the pieces being rather slow and often melancholic, with a few upbeat numbers (“A grande caçada”, The Great Hunt, and “Bebê”, written by Hermeto Pascoal). This might be one of his lesser-known albums but I think it is some of his best work. Unfortunately the musicians are uncredited on the sessions.

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