Assorted Reups Oct.5 – Jackson, Maysa, Fuentes, Purdie, Donato, Ben


I’ve been fixing dead links on this site piecemeal and decided to announce at least a few of the ones that have received requests.  I don’t always publish comments from people reporting dead links, because most of the time they can’t be bothered to even say ‘thanks for this post’.  Anyway here are a handful of fixed posts with more to come in the near future

Jackson do Pandeiro – Os Grandes Sucessos de …
Maysa – Maysa, Amor… e Maysa (1961)
Colombia! The Golden Age of Discos Fuentes 1960-1976
Pretty Purdie & The Playboys – Stand By Me (Whatcha See Is Whatcha Get) (1971)
João Donato – The New Sound of Brazil / Piano of João Donato (1965)
Jorge Ben – Raridades e Inéditas (2009)

Maysa – Maysa, Amor… e Maysa (1961) Mono Vinyl


Maysa (1961)


1 Estou para dizer adeus (Benil Santos, Raul Sampaio)

2 Quem quiser encontrar o amor (Carlos Lyra, Geraldo Vandré)

3 Quizas, quizas, quizas (Oswaldo Farrés)

4 Chorou, chorou (Luiz Antônio)

5 I love Paris (Cole Porter)

6 Raizes (O. Guilherme, Denis Brean)

7 Murmúrio (Djalma Ferreira, Luiz Antônio)

8 Besame mucho (Consuelo Velazquez)

9 É fácil dizer adeus (Tito Madi)

10 Chão de estrelas (Silvio Caldas, Orestes Barbosa)

Vinyl First Pressing -> Pro-Ject RM-5SE turntable (with Sumiko Blue Point 2 cartridge, Speedbox power supply) > Creek Audio OBH-15 -> M-Audio Audiophile 2496 Soundcard -> Adobe Audition 3.0 at 24-bits 96khz -> Click Repair light settings, additional clicks and pops removed in Audition -> dithered and resampled using iZotope RX Advanced -> ID Tags done in foobar2000 v.1.0.1 and Tag & Rename.


Time for a break from the flood of Marcos Valle! This post was actually prepared and written months ago, but somehow I never got around to actually posting it. So, here it is, from a tasty damn-near perfect promo copy of this 1961 LP.

Although strictly speaking Maysa’s work is not jazz, her vocal phrasing (dramatic and filled with vibrato), the instrumentation, and the arrangements on this one are enough to convince me that she fits nicely alongside any other vocal jazz crooner out there. Maysa, whose life story was interesting enough that they made a TV mini-series about, began her singing career quite young — essentially being disowned by her wealthy family for it, since `respectable ladies` from Brazil`s upper class in the 1950s didn’t do things such as sing in night clubs. She was already well respected as a chanteuse of Brazilian romantic and popular song when the bossa nova wave hit the shores, and she quickly incorporated the sounds and repertoire, most famously in her recording of `O barquinho` which resulted in an album that is a touchstone of bossa nova.

This album has become one of my favorites of hers. I just love the lushness and simplicity of the arrangements and instrumentation, the coloration added by the stray jazzista solo. A violin solo here, funky organ chords, trap kits played with brushes, and a voice like velvet. It’s quite possible that the estimable Walter Wanderley is on organ here too. A repertoire that covers some classic composers of Brazilian romantic song and samba canção, bossa nova, and music from elsewhere in Latin America — her recording of “Quizas, quizas, quizas” was actually among the first handful of versions of this song that would end up being recorded probably hundreds of times (including many anglicized versions) The album closes with one of the most poetic tunes in the Brazilian canon, by the master of ‘seresta’ ou ‘serenata’, Silvio Caldas – somebody whose work I have really been getting into: “Chão de Estrelas” was his signature song and a master composition, and Maysa gives it a royal treatment here.

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Maysa with Tamba Trio – Barquinho: Bossa com Maysa (1961)

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Maysa: Barquinho – Bossa com Maysa
with Tamba Trio
released 1961, CBS 37161
This reissue on Columbia 88697320312

1 Barquinho – Maysa – (Ronaldo Boscoli & Roberto Menescal) (2:18)
2 Você e Eu – Maysa – (Carlos Lyra & Vinicius de Moraes) (2:15)
3 Dois Meninos – Maysa – (Roberto Menescal & Ronaldo Boscoli) (2:45)
4 Recado à Solidão – Maysa – (Francisco Feitosa) (2:33)
5 Depois do Amor – Maysa – (Normando & Ronaldo Boscoli) (2:25)
6 Só Você (Mais Nada) – Maysa – (Paulo Soledade) (1:53)
7 Maysa – Maysa – (Luiz Eça & Ronaldo Boscoli) (2:25)
8 Errinho à Toa – Maysa – (Roberto Menescal & Ronaldo Boscoli) (1:42)
9 Lágrima Primeira – Maysa – (Ronaldo Boscoli & Roberto Menescal) (2:46)
10 Eu e o Meu Coração – Maysa – (Inaldo Vilarim & Antonio Botelho) (2:14)
11 Cala Meu Amor – Maysa – (Tom Jobim & Vinicius de Moraes) (2:06)
12 Melancolia – Maysa – (Luiz Eça & Ronaldo Boscoli) (3:17)


Maysa led quite a storied life. Storied enough that there was even a mini-series not too long ago telling all those stories. If I had seen it, I could probably tell you everything about her (joke). As it stands I don’t know a whole lot. She was born in a wealthy family, and married into an even wealthier one: she got hitched with a millionaire 20 years older (smart girl). She began recording and releasing records in 1956 when discovered by a music producer, and quickly found stardom. Both her own ‘traditional’ family and her husbands’ found such a turn of events distasteful — a pop singer was a not reasonable pursuit for a “respectable” woman — and she soon divorced. She also became hooked on pain killers and ended up in the hospital by 1959, returning with a triumphant record titled “Voltei” (I’ve returned) in 1960. This album, from 1961, is considered a milestone in the blossoming bossa nova phenomenon. So much so that its famous cover (with Guanabara Bay featured beautifully as its backdrop) is featured in the opening pages of Ruy Castro’s wonderful book about bossa nova titled “Chega de Saudade.” This album gets overlooked in the bossa canon (at least, it was by me) and deserves to be in your collection!!

“The so-called ‘café society’ where she circulated was only circumstantial to Maysa, an artist whose work asked no pardon for situating itself between the magnetism of Elis Regina and the introversion of Elizeth Cardoso. On this record, she plays with both.”
–Tarik de Souza, review excerpted further below
Review (first part only) by Tarík de Souza on, Translated by Flabbergast. You can find the whole review HERE
One more testament that bossa nova did not appear out of nowhere nor was it created in one day (and not even in one year). This album of singer Maysa Monjardim (1936-77) was recorded in 1960, two years after the official launching of the movement with the 78-rpm disc `Chega de Saudade` from Joâo Gilberto. Even so, it mixes elements of an earlier scene — an atmosphere of samba canção de fossa, of which Maysa was one of the leading lights with her path-breaking ‘Ouça’ and ‘Meu Mundo Caiu’ — and anticipates future modifications like the appearance of the revolutionary Tamba Trio, whose rising star was still embryonic. Its members, the pianist Luís Eça (author of the arrangements on this CD), Bebeto (bass and flute), and Hélcio Milito (drums) form the instrumental base of the recording alongisde multi-instrumentalist, arranger, and bandleader Roberto Menescal and pianist Luis Carlos Vinhas. On the back cover (correctly reproduced by the meticulous Charles Gavin)* Ronaldo Bôscoli, one of the proponents of the new movement called them all the “boys of the New Wave”, yet more proof that the label bossa nova still had not quite stuck. The small ensemble in dialog with a large string orchestra (check out the loose, improvised feel to the opening of ‘Dois Meninos,’ that cites old folk songs,) framing the smoldering, heavy, and melancolic voice of Maysa, an interpreter with excellent technical precision and a style of profound emocional density, unjustly hidden away from new generations.
*This review must be referencing a different pressing, because mine essentially has NO backcover — a very generic baby-blue with the titles and author credits. There is a little insert included in the digipack that has…. exactly the same thing. Not sure what the point of this is. Hell, it does not even mention that Tamba Trio is her backing band on this… Lame, no?
**This is a black man steering their boat. He does not play on the record. But he did fetch them coffee and snacks while they were recording it.