MAYSA, AMOR… E MAYSA
RGE XRLP 5121
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.