Quarteto Novo – Quarteto Novo
1967 Odeon (S)MFOB 3505
EU Reissue 2008 EMI – 5099921674624
Holy hell somebody grab a fire extinguisher because this record cooks so much it started a grease fire and may burn your whole house down. Don’t believe me? Yes, the record starts out gently with acoustic treatments playing Northeastern musical motifs (what would have still been called ‘folklore’ back in the 60s), featuring Airto Morreira on various percussion and Hermeto Pascoal on flute. Continue reading
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 SulContinue reading
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
Herbie Mann Do The Bossa Nova 1962 Atlantic 1397 Mono pressing
Before bossa nova became the semiotic index for the synthetic happiness of mass consumer culture and alienation (and long before it was featured in the supermarkets and the Commander’s dinner parties in the current adaptation of A Handmaid’s Tale), bossa nova was associated with the cool and cosmopolitan, with goatee-sporting hep cats like Herbie Mann. For this record, he went to Rio and actually recorded with a bunch of the leading lights of the movement, which sets this apart from a lot of the contemporary North American jazz-bossa crossovers of the time. The personnel includes Baden Powell, Paulo Moura, Tom Jobim, and Sérgio Mendes. A fun version of Clifford Brown’s ‘Blues Walk’ gives it a Brazilian twist.
Antonio Adolfo & A Brazuca
Antonio Adolfo & A Brazuca (No. 1)
1969 Odeon MOFB-3618 (Original issue)
2014 Reissue EMI: UICY 76458 Odeon: TOCP-66055
Brasil 1000 Best Collection
Japan reissue, released 23 Jul 2014
1 Juliana 3:18
2 Futilirama 2:47
3 Moça 2:51
4 Dois Tempos 2:43
5 Vôo Da Apolo 4:28
6 Porque Hoje É Domingo 3:09
7 Maria Aparecida 2:06
8 Psiu 1:56
9 A Cidade E Eu 3:16
10 Pelas Ruas Do Meu Bairro 4:05
11 Teletema 2:44 Bonus Tracks: Odeon 7BD-1203 EP (1970)
12 Gloria, Glorinha 3:07
13 O Baile Do Clube 2:07
14 Ao Redor 2:11
15 M.G.8-80-88 2:19
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Record Company – USM Japan
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Producer – Milton Miranda
Assistant Co-producer – Tibério Gaspar
Conductor – Laércio De Freitas
Cover – Victor Fernando
Musical director – Lyrio Panicali
Technical Director and engineer – Z. J. Merky
Orchestrated By – Antonio Adolfo
Photography By – Carlos Ribeiro, Franklin Corrêa, Victor Fernando
Recording engineers – Jorge, Nivaldo
Technician – Reny R. Lippi
“This is great summer smoothness.” – blog reader Verge
Listening to this breezy offering of carefree carioca tunes, I get the impression that – had he been inclined to move to the United States and and start recording anglophone versions of Brazilian hits – Antônio Adolfo could have beat Sérgio Mendes at his own game. But Adolfo was a busy guy in the 1960s, playing in various jazz-bossa and bossa-jazz combos and even backing up Elis Regina and Milton Nascimento for a short while. The first of two records with his short-lived group Brazuca, this one is immediately accessible and charming, if a bit less adventurous than their second album. The back cover features blurbs from celebs, a bit like book endorsements, from the likes of Carlos Imperial and Roberto Carlos, who likens them to an old tradition with a new sound. Adolfo and his writing partner Tibério Gaspar were frequent contenders in the televised song competitions of the day – they won 2nd place with “Julianna”, featured above. The whole album is very much of its time, its mini-skirt and Vespa vibe has a certain innocence to it where you would hardly know there is a dictatorship going on in the country where this was recorded. Lyricist Gasper, who passed away to little fanfare last February, says as much in “Hoje é domingo,” where the listener is encouraged to leave their troubles behind and enjoy the nearly-universal day of peace and quiet. Insisting on carrying on with a smile is its own kind of resistance, I guess. Adolfo and Gasper were responsible for quite a few songs in Brazil when that became huge hits for other artists. “Teletema”, which closes this album (it is followed by bonus tracks on the CD) is one of those. It was featured in a telenovela in a cloying version by “Regininha” later in the year, but I prefer the original
They also wrote the funky BR-3 for Toni Tornado, but probably their best-known hit was ” Sá Marina” as recorded by Wilson Simonal. You can go google that one up yourself but I feel obliged to share this cool clip of Stevie Wonder singing an anglicized version of it on Brazilian TV, renamed “Pretty World,” when Simonal’s version was still fresh in the collective memory. It starts out a little shaky but quickly picks up. I like his cute “obrigado” when he finishes. For those interested, you can find the whole hour-long TV special on YouTube as well. YouTube has kind of made blogs like mine a bit obsolete, hasn’t it? I mean you can find anything there, what do you need me for? Anyway, I still soldier on.
If the album is guilty of anything, it may be excessive cuteness. Dois Tempos is a kind of musical pun, a composition combining two time signatures with lyrics sketching a portrait of a person who seems to inhabit both a vanished past and contemporary space tinged with uncertainty, a sepia-toned photograph come to life, a sort of decadently picturesque anachronism. It’s a bit precious, and while some listeners may be charmed by that very quality, it’s one the group largely shed on the second album. Even the obligatory song dealing with space flight (because its 1969), Vôo da Apolo, starts like its going to blast off into some sort of exciting space bossa-funk number, but then kind of settles into something more pedestrian. On the second album, Adolfo and company would push the envelope a little further with songs like Transamazônica, named after the pharaonic project of constructing a massive highway connecting parts of the Amazon region with the rest of the country. The lyrics there are nothing special really, but musically the group is bolder and taking more chances. But don’t let me sour anybody on this very fine album, because it’s solid. It just happens to be one of those cases where I was introduced to what I consider their superior effort first, so I can’t help making the comparisons between the two. And idiosyncratic, impressionistic descriptions of long-player albums is what has made this blog tick for nine year so don’t expect me to change things too much now! Anyway, enjoy this groovy debut from Antônio Adolfo e A Brazuca.
