Jorge Ben – Jorge Ben (1969) [Salve, Jorge! Boxset]


JORGE BEN
1969
Philips (R 765.100 L)

This reissue, Salve Jorge! Boxset, 2009
The Dusty Groove America pressing of this album from only a few years ago is on the blog HERE for your comparison. I have the original Philips pressing but without artwork (copy from a friend made a few years ago) if anybody is dying to compare all three pressings…

One of Jorge Ben’s best albums. The liner notes on the new reissue refer to it as a ‘comeback album’ — what they don’t tell you is that its also a ‘coming back to the Philips label’ album.. Ben had recorded one album for the United Artists label in 1967, O BIDU – SILÊNCIO NO BROOKLIN, that is not featured in this boxset for that very reason — which is really unfortunate since this boxset would otherwise be a complete document of his output up to 1976… I believe that Jorge Ben was in some kind of contractual dispute (such as disagreement on the terms of a new recording contract) that caused him to record for UA, but I’m not actually sure.

Regardless, ‘comeback’ notwithstanding, this is an amazing album, proving again that — just like his debut album — Jorge Ben was at his best when recording his own songs. EVERY track on this is his own. It is also remarkable and noteworthy that while other albums made by those more closely associated with Tropicália (e.g. any of the records made by Gilberto Gil, Caetano, or Gal in 68 or 69) contain little material that those artists would continue to perform (with some major exceptions scattered about…”Baby”, or “Aquele Abraço” for example), this album is packed with songs that continue to form staples of Jorge Ben’s repertoire.

This highlights one of the things I admire most about Jorge Ben — throughout the classic phase of his career, he could change elements of his stylistic approach while always retaining the ‘essence’ that was unmistakably Jorge Ben. Albums that are as different as they could be in terms of execution, approach, production — compare “Samba Esquema Novo”, this album, “A Tábua de Esmeralda”, and “África Brasil”, for example — never actually represent dramatic departures in Jorge Ben’s style of composition or playing. And I think this is a wonderful and remarkable thing. The notes on the boxset (sparse as they are, unfortunately) get things right when they demonstrate that in a very important way, Jorge Ben was always on the fringes of what was accepted as ‘serious’ music by the critics of his day — too much rock and jovem guarda for the bossa nova crowd, too much swing in his samba, too much funk in his feijoada. And in spite of critics he continued to be popular and to influence the music made by those artists more celebrated as ‘serious’, like the Tropicalístas, for whom (like Nara Leão) he was sort of an honorary member, a fellow-traveler whose career preceded the efflorescence of that movement and stood a bit further away from its center.

1 Crioula
2 Domingas
3 Cadê Teresa
4 Barbarella
5 País tropical
6 Take it easy my brother Charles
7 Descobri que eu sou um anjo
8 Bebete vãobora
9 Quem foi que roubou a sopeira de porcelana chinesa que a vovó ganhou da baronesa?
10 Que pena
11 Charles, Anjo 45

with Trio Mocotó and Os Originais do Samba

Arrangementes – José Briamonte, Rogerio Duprat (on “Descobri que eu sou um anjo” and “Barbarella”
Recorded at Scatena (São Paulo) and C.B.D. / Philips (Rio) studios
Recording technicians: Ary Carvalhaes, Célio Martins, Didi, Stélio Carlini, and João Kibelestis
Cover: Albery
Photo: Johnny Sálles
Layout: Lincoln
Violão: Jorge Ben
Produced by Manoel Barenbein

2009 Reissue mastered by Luigi Hoffer at DMS Mastering Solutions
Texts by Ana Maria Bahiana

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Jorge Ben – Big Ben (1965) (Salve, Jorge! Box)


Jorge Ben
“Big Ben”
1965
Philips
P 632 768 L
Reissued with Salve Jorge! Boxset, 2009

1 Na Bahia tem
(Nestor Nascimento)
2 Patapatapatá
(Jorge Ben)
3 Bom mesmo é amar
(Jorge Ben)
4 Deixa o menino brincar
(Babu)
5 Lalari – olalá
(Gaya)
6 Jorge Well
(Jorge Ben)
7 O homem, que matou o homem, que matou o homem ma
(Jorge Ben)
8 Quase colorida (Veruschka)
(Jorge Ben)
9 Maria Conga
(Nélio da Silva)
10 Acendo o fogo
(Ivo Elias)
11 Telefone de brotinho
(Maurício Scherman, Max Nunes, João Roberto Kelly)
12 Agora ninguém chora mais
(Jorge Ben)

Produced by Armando Pittligliani
Sound Engineer: Sylvio Rbaello
Sound Technicians: Célio Martins
Layout: Rodgrigo Octavio
Foto: Armando Amaral

2009 Remastering by Luigi Hoffner at DMS Mastering Solutions

The sound on this disc seems harsher, brasher, and more compressed to me than some of the other CDs in the boxset. But since its almost impossible to find the original CD pressing, it will do for me! The albums rocks out more than his previous albums, at times approximating early Beatles and Beach Boys but with a over-stimulated jazz compo backing him up. “Agora ninguém chora mais” is a classic, “Na Bahia tem” is also great and vaguely similar to Dorival Caymmi’s famous “O que a Baiana tem?”. Lindolfo Gaya even has a song on here, the interesting “Lalali-olalá”.

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Jorge Ben – Ben é Samba Bom (1964) [Salve, Jorge! Boxset]



Jorge Ben
Ben é Samba Bom (1964)
Philips / Compania Brasileira dos Discos (P632.727 L)

This pressing, Salve, Jorge! Boxset 2009

1. Descalço No Parque (Jorge Ben)
2. Onde Anda O Meu Amor (Orlandivo – Roberto Jorge)
3. Bicho do Mato (Jorge Ben)
4. Vou De Samba Com Você (João Mello)
5. Samba legal (Henrique de Almeida – Claudionor Sant’Anna)
6. Ôba Lá Lá (João Gilberto)
7. Gabriela (Jorge Ben)
8. Zope Zope (Jorge Ben)
9. Saída Do Porto (Zil Rosendo)
10. Dandara Hei (Jorge Ben)
11. Samba Menina (Jorge Ben)
12. Guerreiro Do Rei (Jorge Ben)

Produced by Armando Pittigliani
Recording Technician – Célio Martins
Sound engineer – Sylvio Rabello
Cover design – Paulo Bréves
Photo – Mafra
———————————-
~Dusty Groove review of the SOUL & SAMBA pressing:
Amazing stuff! Jorge Ben never made a bad record in the 60s — and this is one of his best! The album’s filled with tight jaunty numbers that mix big band samba arrangements with quickly strummed guitar, and Jorge’s wonderfully raw vocals — all classic stuff for Jorge, but a style that we never tire of! Every track’s a winner, and the album glides effortlessly from number to number, grooving along with a stunning mix of instruments, vocals, and this incredible echoey production. Titles include “Vou De Samba Com Voce”, “Rip Rei”, “Descalco No Parque”, “Lamento Nago”, “Saindo Do Porto”, “Bicho Do Mato”, and “Zope Zope”.~~
———————————–
Flabber mini-review

I probably wouldn`t give such an unconditional laudatory review to this album. It has its classics, for sure, but for me it might be the weakest of Ben`s early output. It is also the second album he released in 1964, and contains more songs written by other people than any other Jorge Ben album from this first phase of his career. His take on João Gilberto’s “Oba, lá, lá” is great (although it probably annoyed the hard-to-please Gilberto), the songs “Descalço no parque”, “Danderei, hei”, and “Guerreiro rei” are all classics. “Zope zope” was, I believe, a hit, and definitely aims itself at the youngsters under the spell of Wilson Simonal, in my opinion. A good solid album, just not as great as his first two.

in 320kbs em pee three

Jorge Ben – Ben é Samba Bom (1964) in FLAC LOSSLESS AUDIO format

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Jorge Ben – Sacudin Ben Samba (1964) [Salve, Jorge! Boxset]


SACUDIN BEN SAMBA
1964
Philips
P 632.193 L

Reissue 2009, “Salve Jorge!” Boxset

1 Anjo azul

2 Nena Naná

3 Vamos embora “Uau”

4 Capoeira

5 Gimbo

6 Carnaval triste

7 A Princesa e o plebeu

8 Menina do vestido coral

9 Pula baú

10 Jeitão de Preto Velho

11 Espero por você

12 Não desanima não

A very underrated Jorge Ben album, his second LP after the hard-to-follow debut of Samba Esquema Novo didn´t storm the pop music charts like that album, nor did it produce staples in his live repertoire. The track ‘Capoeira’ is probably the best-known of this set and has been rerecorded by quite a few other artists. The second song on this album, ‘Nena Naná’, is a bit of shameless self-plagiarizing of his own ‘Mas Que Nada’, just in case you had forgotten about that huge smash hit that would continue to be played until the end of time. On the whole this album is a lot more of a straight jazz-bossa orientation than his first album, neither a complete retread of the first but also not a conquering of new territory. The band is incredible, though, with some riveting bebop-tinged horn solos and well-lubricated rhythm arrangements. It is an essential piece of Ben’s discography and also has one of the most classic album covers ever.



Jorge Ben – Sacudin Ben Samba (1964) in 320kbs in em pee three

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Jorge Ben – Samba Esquema Novo (1963) Salve Jorge! Boxset

Photobucket
Photobucket

Jorge Ben
“Samba Esquema Novo”
Released as Philips P-632.161-L
Reissue in “Salve, Jorge!” Boxset, 2009, Pt. 1 of 14

01 – Mas Que Nada (Jorge Ben)
02 – Tim Dom Dom (João Mello / Clodoaldo Brito)
03 – Balança Pema (Jorge Ben)
04 – Vem Morena Vem (Jorge Ben)
05 – Chove Chuva (Jorge Ben)
06 – É Só Sambar (Jorge Ben)
07 – Rosa Menina Rosa (Jorge Ben)
08 – Quero Esquecer Você (Jorge Ben)
09 – Uala Ualalá (Jorge Ben)
10 – A Tamba (Jorge Ben)
11 – Menina Bonita Não Chora (Jorge Ben)
12 – Por Causa de Você Menina (Jorge Ben)
Personnel

J.T. Meirelles e os Copa 5
(01, 12, 09, 07, 04)

Os Bossa Três
(10, 05)

Maestro Gaya
(arrangements on 03, 08, 11, 06)

Carlos Monteiro de Souza
(arrangements on 02)

Photobucket

I am not even sure there is anything I can say about this album — it is simply classic, timeless, and essential to any discography of Latin American music, not to mention Brazilian music. Rejected by the gate-keepers of good taste, music critics, the album sold like hotcakes. Again, with the passage of time it is difficult to see how ‘revolutionary’ this music was, but it definitely made subversive waves in 1963 and has stood the old time-test to be a gorgeous landmark of twentieth-century popular music. For now I will say that this remaster seem a bit on the loud side but not horribly so, and on this title at least Ben’s vocals sound very nice and up front, and this album has some of the most soulful vocals of his career. It’s also worth mentioning that Ben wrote every song but one on this debut album, something that wasn’t too common for anybody in 1963.http://www.blogger.com/img/blank.gifhttp:http://www.blogger.com/img/blank.gif//www.blogger.com/img/blank.gif

Includes complete artwork and all the rest.
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Jorge Ben – Ben (1972) {Salve Jorge! boxset}


A1 Morre O Burro Fica O Homem 2:09
A2 O Circo Chegou 2:46
A3 Paz E Arroz 2:48
A4 Moça 4:57
A5 Domingo 23 3:48
A6 Fio Maravilha 2:13

B1 Quem Cochicha O Rabo Espicha 3:25
B2 Caramba 2:21
B3 Que Nega E Essa 3:34
B4 As Rosas Eram Todas Amarelas 3:45
B5 Taj Mahal 5:30

For me, this has always been the Holy Grail of Jorge Ben albums. A sentiment fueled largely by its scarcity since the time I got into the man’s music — This was one of the last of the classic Ben albums I managed to hear. I finally got my hands on it by way of an ex-girlfriend, and (not unlike the girl herself) it was damaged goods — the disc was scratched up and skipped, the cover artwork had long disappeared. But (not unlike the girl herself), it was better than nothing, and I made a personal copy of it anyway, skips and all. The vinyl for this baby has long been out of my price range (until I am lucky enough to find one at a random record stall), so this particular title is one of the main reasons I bought the Salve Jorge boxset.

A set of eleven songs, all written entirely by Jorge Ben, with unfortunately uncredited musicians after the departure of Trio Mocotó. Whoever it is playing the fretless bass on this album is just incredible. Crisp production and arrnangements by Paulinho Tabajós (with some help from Osmar Milito on a few tracks), this is probably the sparest, most stripped-down album of Ben’s discography. For all its wonderful glory, there are actually few ‘staples’ on this album that would continue to appear in Jorge’s live performances and various collections, with the major exceptions of Fio Maravilha (here presented in an extremely laid back, downbeat interpretation), Caramba!, and the earliest version of Taj Mahal which has an “Eastern-sounding” acoustic guitar solo in the middle of it.

Also, if you play the song Domingo 23 backwards, you will here references to the future death / murder of Michael Jackson, using imagery from the film BEN for which Jackson sang the theme song, also released in 1972.

Saravá Jorge, filho de Ogun!

Oh, and this is most likely my last blog post of 2009, so … HAPPY NEW YEAR!!!! Thanks to all the readers of this blog — especially those of you kind enough to take the time to leave comments! Lots of light and inspiration to you all in the new aeon.

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