Som Três – Som Três Show (1968) (BOM24183)

Som Tres – Som Tres Show (1968)
Original: 1968 Odeon MOFB 3541
Reissue: 2010 Bomba Records, Japan – BOM24183
Originally Odeon MOFB 3541

1. Leonardo
2. Falsa Baiana
3. Amazonas (Keep Talking)
4. The World Goes On
5. The Look Of Love
6. Frevo Rasgado
7. Jungle
8. Sá Marina
9. Watch What Happens
10. Emília
11. Balanço Zona Sul Continue reading

Dora Lopes – Enciclopédia da Gíria (1957 Mocambo)

Dora Lopes – Enciclopédia da Gíria
Mocambo / Rozenblit 1957

Is this a Pride Month post?  Sort of, because Dora Lopes was possibly the first “out” singer in Brazilian popular music.   But this record was  before anyone outside Rio scenesters knew or cared about her sexuality, and even before she was the proprietor of O Caixotinho, one of Rio’s first lesbian nightclubs that served the Copacabana area beginning in the second half of the 60s.  This 1957 album is notable for other reasons, like being released on the small Recife imprint Mocambo, and for the fact that Dora gets composer credits on all but a couple songs here in a era when women songwriters were not the norm.  The songs and arrangements fit more in the jazz-samba world than the nascent bossa nova scene. Continue reading

Roberto Carlos – O Inimitável (1968)

ROBERTO CARLOS –  O  INIMITÁVEL
1968 CBS Records (Brasil)
This CD pressing 199_? Columbia 850.105/2-464065

12 Days of Christmas – Day 12 – For Three Kings Day, you get one king. O Rei, the incomparable, inimitable Roberto Carlos.  This is a thoroughly excellent record with the exception of one song that annoys the crap out of me.  See if you know Dr. Vibes’ tastes well enough to figure out which one it is, and win a free year’s subscription to Flabbergasted Vibes!  I’m exhausted, too exhausted to give this album a worthy write-up, but maybe I will share the MONO version of it sometime soon and unloosen my tongue with aplomb.   Meanwhile this early CD pressing of the stereo mix sounds pretty good, at least it isn’t crushed / brick-walled like the version include with the “Pra Sempre” boxset.    I hope you have all enjoyed this 12 Days of Christmas, perhaps inaugurating a new tradition as the blog continues into its second decade (!!).  I’m going to be extremely busy in the next few months, so I don’t know how often you’ll hear from me, but may you all be free of trouble in this New Year!

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João Donato & Deodato – DonatoDeodato (1973)

João Donato & Deodato – DonatoDeodato
1973 Muse Records MR 5017

Vinyl rip in 24 bit 192 khz | Art at  300 dpi
24-bit 192 khz – 1.22 GB | 24 bit 96 khz – 645 MB | 220 MB 16-bit 44.1 khz
Jazz-Funk – Latin – Brazilian

 

Dr. Vibes’ 12 Days of Christmas – Day 5:  Quite a lineup on this short gem of a record. I mean, if I could have added Chuck Rainey, Idris Muhammad, and Phil Upchurch to it, it would have been PERFECT but heck, I’ll take this…  This is a nice, short, mildly psychedelic jazz-funk gem, if not quite the explosive results you might expect for a meeting of the minds like Donato & Deodato.  Ray Barretto and Airto are kept on kind of a short leash, for example.  Considering the total album time clocks in at around 30 minutes, one wonders why they couldn’t have stretched out a little more on a few of these tunes.  The band surely could have handled it.

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Walter Wanderley Trio – Chegança (1966) (1971 reissue)

The Walter Wanderley Trio – Cheganca
Original release 1966 on Verve
1971 Reissue MGM Records
Series: MGM Latino Series – 10,010 MGS 610

Like many musicians looking for reprieve from the turmoil of mid-60s Brazil, keyboardist Walter Wanderley had left the country and settled in the United States.   He emigrated at the behest of Creed Taylor and made half a dozen albums for Verve. Most of them can be classed under ‘lounge’ or ‘exotica’ music, which has its own charms, although often as sweet as the half ton of bagged sugar featured on the front of this album.  But “Chegança” is more like the bossa-jazz records Wanderley made in Brazil and has much less of the Creed Taylor background-music schmaltz factor.   The whole band grooves together.  There is appropriately unsubtle cuica playing on O Ganso (“The Goose”)  The highlight, though,  is still the organ playing.  Have a listen to the solo in “Você e eu” below. Continue reading

Ismael Silva – Se você jurar (1973)

 

Ismael Silva
Se Você Jurar
1973 RCA-Victor (original release)
2004 Reissue RCA Victor 82876640692

Tonight, Brazil is poised on the brink of an abyss where half the country is ready to elect a military thug who openly celebrates the dictatorship of 1964-1985, and promised to initiate a new one .   It’s been a while since I’ve been able to visit there, and watching events unfold from a distance has been a slow, muted kind of heartbreak.  No matter what happens tomorrow, things are going to be rough for a while – the slumbering, unslain beast of the country’s authoritarian, slave-ocratic past has been stirred into action, calling for a ‘restoration of tradition’ through bloody retribution.  Those forces have convinced half of all Brazilians that democracy is a dirty word,  so I wouldn’t expect them to respect the results of any election that is not in their favor.    At this point the most I can do, perhaps the most anyone can  do at this hour, is to light a candle, pray to the Orixá of your choice, and play some samba.

So I’ve chosen this Ismael Silva album, his first and only ‘long player’ released during his lifetime.  Ismael Silva founded the first samba school, Deixa Falar, in the late 1920’s.  Although he did make some recordings under his own name in that era, he is most famous for supplying a steady stream of hits to the singer Chico Alves, one of the great early stars of samba.  (As was the custom, Francisco Alves was documented as a composer on these, whether or not he ever contributed a single idea).  In the wake of the “roots” samba revival of the 1960s, a whole host of sambistas began getting “rediscovered” and putting out records under their own name, like Adoniran Barbosa, Cartola, Zé Keti, and Nelson Cavaquinho.  This was Ismael’s turn.  The album is a soundtrack, really, for a theatrical concert production telling his life story, alongside that of Carmen Costa, that was written and produced by Ricardo Cravo Albin, who also wrote the original liner notes.  “Side A” of the album contains medleys of his classic compositions from the ‘Golden Era’ of samba, while “Side B” features material the world had yet to hear on record.  It’s a lively affair, with some “modern” flourishes like a groovy Walter Wanderley / Ed Lincoln-style organ riffs propelling things in the arrangements of Messias Santos, Jr, alongside more traditional samba instrumentation.   But I’ll be quiet now, and let the music speak for itself — Continue reading