Toquinho e Vinicius – O Poeta e o Violão (1975)

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O POETA E O VIOLÃO (1975)
TOQUINHO E VINICIUS
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RGE (303.0032)

1 Tristeza
(Haroldo Lobo, Niltinho)
2 Marcha da quarta-feira de cinzas
(Carlos Lyra, Vinicius de Moraes)
3 Morena flor
(Toquinho, Vinicius de Moraes)
4 Chega de saudade
(Tom Jobim, Vinicius de Moraes)
5 Dora
(Dorival Caymmi)
6 Canto de Ossanha
(Baden Powell, Vinicius de Moraes)
7 Rosa desfolhada
(Toquinho, Vinicius de Moraes)
8 Berimbau
(Baden Powell, Vinicius de Moraes)
Consolação (Baden Powell-Vinicius de Moraes)
9 Januária
(Chico Buarque)
10 Insensatez
(Tom Jobim, Vinicius de Moraes)
11 Apelo
(Baden Powell, Vinicius de Moraes)
12 Garota de Ipanema
(Tom Jobim, Vinicius de Moraes)
13 O velho e a flor
(Bacalov, Toquinho, Vinicius de Moraes)
14 Nature Boy
(Eden, Ahbez)

Toquinho (Antônio Pecci Filho) – guitar and vocal
Vinicius de Moraes – vocal

Luis Enríquez Bacalov – piano on “O velho e a flor”

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TRANSCRIPTION INFO

Vinyl -> 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. No EQ or compression.

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It’s a simple enough idea, and it works beautifully. Take these two masters, these two entities incorporating the bohemian culmination of seventeen years of the bossa nova lifestyle known as Vinicius and Toquinho, and put them in a room with nothing but a guitar and some microphones and have them play for four hours. This album plays like we are listening in on a rehearsal or a casual backstage jam session with all the tunes spun off the cuff, but if you listen carefully the sheen of spontaneity dims a little as you realize there is no way that these two — especially the old lush, Vinicius – could have nailed all these tracks so angelically in one take. On their earliest collaborations, Toquinho and Vinicius didn’t always sound this confident in their vocals and often brought in one or another chanteuse to fill the spotlight (Maria Bethania, Maria Cruesa, Miucha). The tracklist is a leisurely stroll through the bossa nova songbook, and the in-between song banter makes it sound like they are deciding on the repetoire right there on the spot. But, again, I ain’t buying it. The song choices, sequence, and arrangments are just too damn perfect – but this is a compliment and not a complaint. The only slightly false step is `Chega de saudade`, to which they add a whole lot of nothing special. Among the other song interpretations that do NOT have the name of Vinicius in the credits, is a respectable version of Chico Buarque’s “Januária”, jazz standard, Nat King Cole hit and touchstone of the bossa nova crowd “Nature Boy,” and a tune from Caymmi, “Dora.” The latter is one of Dorival Caymmi’s rare compositions that is *not* about Bahia but instead is an homage to the city of Recife. The remainder of the tunes dip into all of Vinicius’ famous writing partnerships – Tom Jobim, Carlos Lyra, and especiallY Baden Powell. Toquinho’s guitar playing may not have had the mercurial energy and vision of Powell, but he has a great sense of dynamics and a lovely voice that blends excellently with Vinicius, giving an urgency and excitement to ‘Canto de Ossanha” and “Berimbau” that do justice to everyone involved, and in the case of “Apelo” make the song particularly suited to the style of this duo.

It pays to remember that in 1975, there were not yet thousands of coffee shops, restaurants, airports and the like with some poor sap paid to sit on a stool plunking away at “Garota de Ipanema.” I sometimes feel empathy for these poor souls, unless they have decided to accompany themselves with a drum machine or sequencer, in which case I silently curse them and all of their offspring for seven generations. But I digress. Even without the official designation of this song to background restaurant dinner music (which, in fact, most likely had already occurred by 1975), there is just not a lot of room to make this song terribly interesting beyond the first, initial burst of recordings by singers and jazz-bossa combos. But Toquinho and Vinicius manage to give it a bit of a nudge back into relevance and remind us that we are, after all, listening to masters of the genre. Last but not least, the songs that Toquinho and Vinicius actually composed together are likely to lose place to their more famous brethren on this record, and there are only three selections out of fourteen songs represented here. But those three demonstrate that not only could they hold their own in the company of ‘the classics’ but that their partnership was really onto something during the first half of the 1970s. “Morena flor” featuring heavily their interwoven vocal harmonies; “Rosa desfolhada” is more of a solo vehicle for Toquinho and had heavy overtones of Chico; the penultimate track on the album “O velho e a flor” is one of the most interesting, as it also features Argentinian composer and arranger Luis Bacalov on the piano. (The casual between song banter becomes rather tongue-in-cheek here as Bacalov just *happens* to be hanging around the studio, and with a piano, to help them out…)

This album was recorded in Milan, Italy. As per the back cover:
“This album was recorded in 4 hours of studio time in Milan with the special participation of mestres Bacalov and Bardotti, in a climate of total distraction.”

 24bit

Alaide Costa – Canta Suavamente (1960)

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“On Alaíde Costa’s second LP, the singer loaned her suave voice to the masters of bossa nova, a movement that was still establishing itself in that year of 1960. People like Roberto Menescal, Ronaldo Bôscoli, Carlos Lyra, Sérgio Ricardo, Chico Feitoso, alongside – of course – Tom Jobim and his partners Newton Mendonça and Aloysio de Oliveira. What is interesting is that Alaíde’s interpretations mixed the delicacy of her timbre with the intensity of someone who grew up hearing the samba-canções and boleros on the radio waves of the 1950s. On this CD, she sings some of the first versions of “Discussão,” “Chora Tua Tristeza” and “Fim de Noite”
– Rodrigo Faour, back cover of the reissue

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ALAÍDE CANTA SUAVEMENTE
1960 RCA Victor (BBL 1062)

This is Alaíde Costa’s second long-player record. Her first album was largely put together at the instigation of João Gilberto, who saw in her a perfect vehicle for the emergent bossa nova movement. Previously she had recorded a few 78’s including the tune ‘Tarde Demais’ ((Hélio Costa/Anita Andrade), and Gilberto heard something special that he felt he had to tap into. It is not hard to imagine why. Unlike Elizete Cardoso, whose career was already well-established when she first cut her version of ‘Chega de Saudades’, here was a brand new talent whose musical identity had yet to be ossified into one genre or another. Moreover, unlike Cardoso’s brash, powerful voice, Alaíde Costa had a lightness and subtlety that must have seemed to João’s ears as tailor-made for the new music they were creating. The first album she made for RCA, ‘Gosta de Voce’ (1959) featured tunes from Gilberto, Carlos Lyra,Bôscoli, Tom & Vinicius, and also classics from Dolores Duran and other ancestors. This second album was even more a full-fledged Bossa Nova album (in capital letters) and among its highlights are lovely versions of Jobim’s “Esquecendo Você” and the often-recorded “Dindi” and Carlos Lyra’s “Ciúme.” As Rodrigo Faour notes in the reissue jacket (translated above) this album also debuted some classics of bossa nova like “Discusão” and “Fim da Noite” the former a partnership between Jobim and the short-lived Newton Mendonça.

It is a bit baffling to me that Alaíde Costa’s legacy and importance to bossa nova is not as celebrated as it ought to be. To some extent it may have something to do with her having to drop out of music for nearly quite a few years in the late sixties and early seventies due to health problems — She suffered some extensive hearing damage and loss when she attended a Who concert in São Paulo in 1968 and was positioned right in front of Pete Townsend’s amplifier when he began smashing his guitar.

Odette Lara – Contrastes (1966)

Odette Lara
CONTRASTS
1966 Elenco ME-38
Mono

1 Tem mais samba 2:32
Chico Buarque –
2 Canção em modo menor 2:45
(Antônio Carlos Jobim – Vinícius de Moraes)
3 Apelo 2:36
(Baden Powell – Vinícius de Moraes)
4 Minha desventura 2:39
(Carlos Lyra – Vinícius de Moraes)
5 Sem mais adeus 1:46
(Francis Hime – Vinícius de Moraes)
6 Pra você que chora (Cançao para Gongoba) 2:37
(Edu Lobo – Gianfranco Guarnieri)
7 Meu refrão 2:34
(Chico Buarque)
8 Canção do amor ausente 4:24
(Baden Powell – Vinícius de Moraes)
9 Funeral do lavrador 2:48
(Chico Buarque – João Cabral de Mello)
10 Morrer de amor 3:26
(Oscar Castro Neves – Luvercy Fiorini)

Arrangements by Moacir Santos

Odette Lara only recorded two albums (her main career was as an actress). The first was the classic with Vinicius de Moraes, the first album released on the Elenco label. This is her second album from 1966. I actually think I prefer it to the first. The lead-off track, a version of Chico Buarque’s “Tem Mais Samba”, is possibly the weakest cut on the album. She excels at the more downbeat stuff. Typical lack of musician credits on Elenco continue to bug the hell out of me. The Hammond organ work on this is wonderful — I am guessing it might be Ed Lincoln. It is also very possible that Baden Powell is playing guitar on this. “Canção do amor ausente” is one of the most gorgeous songs on the record, and sees Odette singing a duet with Edu Lobo (we think, see the comments below and thanks to the blog readers for helping out).  

Odette could never top Nara Leão’s recording of “Funeral do lavrador”, the ‘engajada’ protest song. Not only is Nara phenomenal and amazing but you also know she means every work of the tune (authored by Chico Buarque and Pernambucan poet João Cabral de Mello Neto), whereas hearing it come from bombshell-gorgeous Odette just doesn’t convince me, because I`m superficial like that. The musical arrangement, however, is bit funkier than Nara’s version and I like that about it.

Enjoy the CONTRASTES of Odette Lara!!!

Odette Lara – Contrastes (1966) in 320kbs em pee tree

Odette Lara – Contrastes (1966) in FLAC LOSSLESS AUDIO

Baden Powell – Canta Vinicius de Moraes e Paulo Cesar Pinheiro (1977)

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Baden Powell – Canta Vinicus De Moraes e Paolo Cesar Pinheiro

01. Labareda [0:04:48.77]
02. Linda Baiana [0:02:49.18]
03. Cavalo Marinho [0:04:00.20]
04. Samba De Bencao [0:09:02.65]
05. E de lei [0:04:21.06]
06. Cancioneiro [0:03:43.76]
07. Figa de guine [0:03:40.61]
08. Falei e Disse [0:03:10.36]
09. Bezouro manganga [0:03:01.98]

AMG Rating: 4 Stars
Release Date: Feb 21, 2006
Recording Date: Apr 1977
Label: Universal

Andre Arpino – Drums
Raymond Guiot – Flute
Raymond Katarzynski – Trombone
Sam Kelly – Percussion
Nilton Marcelino – Percussion
Baden Powell – Guitar, Vocals
Luigi Trussardi – Bass
Vilson Vasconcelos – Percussion


Review by Thom Jurek
Only 38-minutes long, Canta Vinicius De Moraes e Paolo Cesar Pinheiro is one of the truly great Baden Powell recordings. Long before alcoholism took its toll on the great guitarist and composer, he recorded this set in 1977 for the Festival label at the behest (read: strongarm tactics) of Jacques Lubin, his A&R man at Barclay, as a tribute to the two great lyricists and collaborations in his life. This CD issue was released by the jazz label Sunnyside, and licensed from Universal International. Powell is supported on this program buy a small group of truly sympathetic studio musicians who held him in awe. His small, tender, but deeply moving voice on such classics as “Labaréda,” and “Samba de Bênção” — both of which are based on the chants, rhythms, and melodies of the Afro-Brazilian Candoble religion — that holds the magic. On the gorgeous and dreamy “Cavalo Marinho,” in which Raymond Guiot’s flute gently invokes the lyric of “Fly Me to the Moon,” from Powell’s melody in the intro, Powell’s voice gently swoons, as if singing to a lover in the wee hours of morning. There is a sadness in it too; one that holds its place even in the most expressively romantic passages. All of these were written with Vinicius De Moraes, a man far more educated and cultured in the European sense; he was also from a wealthy class and was economically secure. It was the deep knowledge of Brazilian song and rhythmic traditions that Powell brought to his poetic lyrics and which made the tunes they wrote together work so well. The lyrics written by Paulo César Pinheiro are less elegant, but more directly expressively “folk.” They have an authority about them in that they speak from the working classes and to them. Check the wild and celebratory “É de Lei,” or the taut, seductive carnival march of “Cancioneiro,” and the slow, steamy “Faleie Disse,” where the ache in Powell’s voice tells you everything you need to know about the lyrics. This is a wonderful album by Powell, one of his very best, recorded at an artistic peak. That it is available at all in America is a wonder. It should not be missed.

Baden Powell – Canta Vinicius de Moraes e Paulo Cesar Pinheiro (1977) in 320kbs

Baden Powell – Canta Vinicius de Moraes e Paulo Cesar Pinheiro (1977) in FLAC LOSSLESS

Vinicius & Toquinho / Toquinho & Vinicius (1974) 320kbs

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1 Como é duro trabalhar (Toquinho – Vinicius de Moraes)

2 Samba da volta (Toquinho – Vinicius de Moraes)

3 A carta que não foi mandada (Toquinho – Vinicius de Moraes)

4 Triste sertão (Toquinho – Vinicius de Moraes)

5 Carta ao Tom 74 (Toquinho – Vinicius de Moraes)

6 Canto e contraponto (Toquinho – Vinicius de Moraes)

7 Samba pra Vinicius (Chico Buarque – Toquinho)

8 Sem medo (Toquinho – Vinicius de Moraes)9 Samba do jato (Toquinho – Vinicius de Moraes)

10 As cores de abril (Toquinho – Vinicius de Moraes)

11 Tudo na mais santa paz (Toquinho – Vinicius de Moraes)

I hope this entry to Flabbergasted Vibes brings some joy to your weekend. This is a fantastic record from start to finish from a duo that could do no wrong during the early 70s. The album starts out with the best use of a Moog on a bossa nova song, Como é duro trabalhar. If you speak or read any Portuguese, the lyrics are as brilliant as you might expect from Vinicius de Moraes. “The Letter That Was Not Sent” is a fine example of piece that stands alone as poetry just fine, but comes alive with music. The two tracks I’ve included as samples are particular high points for me. “Triste Sertão” is some of the funkiest post-bossa nova you will ever hear, with a slightly-gritty Fender Rhodes jamming away under the fingers of who I suspect is João Donato. “The Colors of April” is one of those perfect compositions of Vinicius and Toquinho that tend to run through my head for hours and hours after hearing it. If there is anything annoying going on here, its that RGE tended to not credit musicians on many of these records. Aside of Donato, I can only guess at what other heavy-hitters are probably playing on these sessions. Definitely Chico Buarque is singing on his own composition with Toquinho, Samba pra Vinicius. Anyone who has more detailed information please leave a comment.