Carlos Lyra – Saravá (1970)


Originally released on RCA, S.A. de C.V. (Mexico) MKL/S-1839, in 1970

1 Vacilada (Carlos Lyra)

2 ¿Quien te manda? (Carlos Lyra – Vinicius de Moraes)

3 Para no decir adios (Walmir Ayala – Carlos Lyra)

4 Solo tu no vienes (Carlos Fernando Fortes – Carlos Lyra)

5 Balanceo (Carlos Lyra)

6 Tristeza (Haroldo Lobo)

7 El jacal (Gianfrancesco Guarnieri – Carlos Lyra)

8 Paz sin amor (Nelson Lins e Barros – Carlos Lyra)

9 Viene del amor (Nelson Lins e Barros – Carlos Lyra)

10 Lugar comum (Francisco de Assis – Carlos Lyra)

11 Samba de la bendicion (Saravá) (Baden Powell – Vinicius de Moraes)

From the back cover

Recorded in Mexico in 1970 and released only now for the first time in Brazil, “Saravá” includes some of the most beautiful songs of Carlos Lyra, like “Também Quem Mandou”, “Feio Não É Bonito” and “O Bem do Amor,” together with the swing-influenced “Até Parece” and “Sambalanço”. Alongside these are inspired recreations of “Tristeza,” the Haroldo Lobo and Niltinho classic, and of “Samba de Benção,” from Baden Powell and Vinicius de Moraes, in a Castillian version prepared by Lyra himself.

Produced by Rubén Fuentes
Released originally in 1970
Reissue produced by Arnaldo DeSouteiro (Jazz Station Productions)

Musical director: Magallanes
Production assistant: Enrique Okamura
Sound Engineer: Carlos Castillo
Photo: L.Isaac
Remastered by Carlos Freitas and Jade Pereira, Classic Master SP, using Sonic Solutions, No Noise, Cedar and Manley equipment

Front cover photo taken from a vinyl copy kindly lent by Carlos Lyra!!


The liner notes tell of a Mexico City that had blossomed into the unofficial “capitol of Brasil” by way of the number of musicians living and working there. Names like Luiz Eça (leading a band calling A Sagrada Família that included Joyce, Nelson Angelos, Novelli, Vitor Manga, Rose and more), O Tamba 4, Luiz Carlos Vinhas and Bossa 3, Leny Andrade, Pery Ribeiro, Osmar Milito, Breno Sauer, Ely Arcoverde and the groups “Alegria Alegria” and Brasília 71.” Add to this list famous bands like Vox Populi and Anjos do Inferno that passed time there, and João Gilberto who came to spend a ten days in 1969 with Chico Batera and his wife Miúcha, and ended up staying two years, and you get the idea of how active the scene was. 1969 even saw the First Festival of Brasilian and American Music with participants like Milton Nascimento, Eumir Deodato, Airto Moreira and Bola Sete.

“In Mexico, the people were crazy for bossa nova, which had already gone out of fashion in Brazil,” tells lengendary bassist Manuel Gusmão, contributor to records by Jorge Ben, Flora Purim, and Dom Um Romão. “The market for work in Rio and São Paulo was horrible, as much in terms of recording sessions as in shows. To make things worse, the festivals were on the decline, with bossa substituted by the Jovem Guarda and by Tropicalismo on the new TV programs. There was the terror of AI-5 (see note), and many people wanted to get out of Brazil for a variety of reasons. So when we discovered the interest of the entrepreneurs and businessment and the Mexican public for our sound, there was a huge migration of artists,” explains Gusmão, who lived for four years in Mexico, playing with local musicians and leading his own trio, with Edison Machado on drums and Moacir Peixoto on piano.”

The ’empresários’ (which I’ve translated as businessmen and entrepreneurs) were the owners of the many lush hotels that were featuring bossa nova and Brazilian artists. Into this stew enters Carlos Eduardo Lyra Barbosa, one of the original luminaries of bossa nova, who had toured Mexico with Stan Getz previously. Upon taking up residence in Mexico, Lyra found plenty of work — writing jingles for TV commercials, working as an announcer and translator during the 1968 Olympics, writing soundtracks for close to ten short films, and working various theatrical productions. He even met his future wife there, the North American singer Katherine “Kate” Lyra (…notes don’t give her maiden name..)

Carols Lyra was invited by RCA Mexico to record this album. He wrote nine of its eleven compositions, and was accompanied exclusively by Mexican musicians. You might notice some confusion on the back cover regarding the fact that the songs were given different titles in Spanish than their original names in Portuguese. For example “Sambalanço” becomes “Balanceo” (not too hard to figure out) and “Feio Não É Bonito,” recorded on Nara Leão’s first album in 1963, becomes “El Jacal”, which is very hard to figure out by titles alone…

This is a remarkably sweet and mellow album, a rewarding listen from the first moment to the last. The playing is great, the empathy for bossa nova from the Mexican musicians would convince any listener they are Brazilian, and the songs are wonderful. The harpsichord and scat singing that open up the first track Vacilada grab your attention immediately, as does the funky vibrato-laden organ. My favorite track from the whole album comes early with “Quem Té Manda?” The melody is unforgettable, and orchestrations deepen the richness, the epitomy of love-as-escapism that in a big way characterized bossa nova. It was this escapism that drew criticisms from Brazilian musicians during the mid-70s in the wake of the right-wing dictatorship: bossa nova began to be called “alienated” and “false consciousness,” as many artists began to move away from the romanticism of bossa and into more political and socially-engaged material. This is completely understandable given the political persecution and stripping of political and civil rights, the exiles, the disappearances and imprisonments. But in thinking about the paradise-in-exile created by the bossa nova musicians flocking to Mexico City, perhaps it pays to recall the words of Mr. Ché Guevara who said, “At the risk of sounding ridiculous, let me say that the true revolutionary is guided by feelings of love.”

(Translator’s note: Institutional Act 5 of late 1968, which severely heightened the level of repression and violence of the military dictatorship that had begun with the coup of 1964)”

Lyra would later briefly return to doing some work in advertising, writing jingles and licensing the cover photo of this album for a product endorsement.


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

maysa thumb

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.

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


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.

Alaide Costa – Afinal (1963) 320kbs

Alaide Costa – Afinal (1963) 320 kbs


Insensatez (Jobim, Vinicius de Moraes)

A insensatez que você fez
Coração mais sem cuidado
Fez chorar de dor
O seu amor
Um amor tão delicado
Ah, porque você foi fraco assim
Assim tão desalmado
Ah, meu coração quem nunca amou
Não merece ser amado

Vai meu coração ouve a razão
Usa só sinceridade
Quem semeia vento, diz a razão
Colhe sempre tempestade
Vai, meu coração pede perdão
Perdão apaixonado
Vai porque quem não
Pede perdão
Não é nunca perdoado
This is a marvelous record from start to finish. It is nice of RGE to feature the original album cover art, but it would be much nicer if they could reproduce it in a way that was legible. Lots of liner notes that look interesting as well as complete lyrics. The players (I had to squint much to get this, so please appreciate!):
Piano – César
Guitar – Theo
Bass – Naba
Drums – Hamilton
Vocal chorus on track 2 and — Trio Seleno
Arrangements – Gaya

I was never on a first-name basis with these chaps but apparently the Brazilian listening public of 1963 was.. Or maybe not. Either way there is excellent playing throughout, very sensitive to the dynamics of Alaide’s voice. There are also uncredited musicians on here, playing xylophone, sax, trombone, flute and probably a few other instruments I am forgetting. I hope you enjoy this as much as I have, it has brightened my days of late. It is truly beautiful.

1. Afinal
2. E Agora?
3. Natureza
4. Cadê O Amor
5. Ouvi Tua Voz
6. Igrejinha
7. Insensatez
8. Estorinha
9. Tristeza De Amar
10. Manhã Chegou
11. Rimas De Ninguém
12. Como Eu Gosto De Você

Vinicius & Odette Lara (1963)

All compositions by Baden Powell & Vinicius de Moraes
Arrangements by Moacir Santos

1. Berimbau
2. Só Por Amor
3. Deixa
4. Seja Feliz
5. Mulher Carioca
6. Samba Em Prelúdio
7. Labareda
8. E Hoje Só
9. O Astronauta
10. Deve Ser Amor
11. Samba da Bênção
12. Além Do Amor

Credits: Arranged By, Conductor – Moacir Santos
Liner Notes – Ruy Castro
Artwork By [Cover] – Cesar G. Villela
Artwork By [Original Covers Courtasy] – Caetano Rodriguez
Other [Lyrics Research] – Luiza Reis
Other [Tape Archives] – William Tardelli
Photography – Francisco Pereira
Producer [Assistant] – José Delphino Filho
Producer [Manager] – Peter Keller
Producer [Production Director] – Aloysio De Oliveira
Recorded By [Recording Engineer] – Norman Sternberg
Remastered By [Restored & Adapated From Original Lps] – Cilene Affonso
Remastered By, Edited By – Carlos Freitas , Jade Pereira
Vocals – Odette Lara (tracks: 2 to 8, 10 to 12) , Vinicius De Moraes (tracks: 1, 3, 5 to 7, 9 to 11)
Written-By – Baden Powell , Vinicius De Moraes
Notes: Recorded in 1963 at studio Rio Som S.A.
Originally released on the brazilian Elenco Label, 1963.
Remastered and edited at Classic Master, São Paulo in July/August, 2003.

THIS ALBUM can be a little uneven at times but it very much worth having. It has been sitting on my fileserver so long that people were starting to find it and DL even though there were no links to it anywhere, so it’s about time I made a post!!!

Baden Powell – Le Monde Musical de Baden Powell

Deve Ser Amor – 3:54
Choro Para Metronome – 3:00
Adágio – 3:07
Berimbau – 3:03
Samba Em Prelúdio – 3:30
Chanson D’hiver – 2:27
Samba Triste – 3:33
Berceuse A Jussara – 2:37
Prelude – 2:54
Euridice – 3:05
Bachiana – 4:10
Garota De Ipanema – 2:59

AMG Rating: 3 Stars
Release Date: 2005
Recording Date: 1964
Label: Universal Music France

Baden Powell (git)
Alphonse Masselier (b)
Arthur Motta (dr)
Silvio Silveira (perc)
Paul Mauriat and his orchestra
Francoise Waleh (vcl on “Samba Em Preludio”)
1964 cover

Linernotes wrote:
Brazilian music is, as its country which is 16 times as big as France, diverse, varied, surprising, subtle and simple all at the same time. This music only asks, as Brazil, for regognition and love. With this album, which is the first he releases in Europe, the guitarist & composer BP presents us a complete palette of his musical world. From African rythms to his personal perceiving of classical european composers, and through delicate reminiscence of melodies from the Antilles, to negro american jazz accents: BP reminds all these influences on his guitar.

He’s 27 years old. Born in Rio. He played since 8 y.o. After having studied in Rio academy, where he improved his style and learned composition, he started like many other, in clubs with little rythmic entities. He eventually showed up in several Tv & radio broadcasts, and his compositions became very popular. He teamed with Tom Jobim, Carlos Lyra, Roberto Menescal for work and tours in several big cities in Brazil. He recorded with Herbie Mann and Jimmy Pratt just before his departure to the US. After some concerts in the Village Vanguard, his friend and poet Vinicius de Moraes made him come to Paris in the late of 63. He gave recitals and tv shows: Living room, musicorama etc… Asked for his guitaristic influences he answers: Segovia, Van Eps, Django are people that are part of the musical world i love. With this record you’ll be able to discover samples from this musical universe.

Here are the themes: DEVE SER AMOR: was recorded using play back device. Baden first recorded the rythmic part with the bass & drums. Afterwards he recorded the melody. The same process was involved with BACHIANA.
CHORO PARA METRONOME is quite a challenge. The choro which was originally an improvisation over folkoric patterns, turns here into a guitar piece. The metronome replaces the whole rythm section. Fitting perfectly with this souless rythm, BP shows here its astounding technique.

The Albinoni ADAGIO and the Bach PRELUDE so seduced the guitarist, that he did want to give a respectful homage to these composers by playing these two pieces.
BERIMBAU is the name of a musical instrument looking like an arc, which is used in the Capoeira. This is a dance which partly look like wrestle, and is done by Nordeste youth, especially in the Bahia area. It is undoubtly of African inspiration.

SAMBA EM PRELUDIO is made of two distincts melodies. Baden plays the first which is in turn played by the orchestra. Then the guitar plays the second theme, and then the two parts are played together, and taken by cello and Francoise Waleh’s voice. CHANSON D’HIVER is the first song that Baden wrote when he came to Paris in December 63.

SAMBA TRISTE opens on a very dark climate and dramatic first part, then the repetitive rythm takes over and leads to the conclusive chords. BERCEUSE A JUSSARA is a delicate composition, dedicated to his little niece “Sobrinha” Jussara. EURIDICE is a Vinicius de Moraes composition, which illustrates the Orphee myth. BACHIANA is a piece written with, once again, Johann S. Bach in mind. GAROTA is a new composition from Tom Jobim and Vinicius. Baden takes it as a basis for a free improvisation, with a complete command on the instrument.
Jacques Lubin, 1964.

Scott Yanow, AMG wrote:
When it was originally released in 1964, this set of music was a bit of a hit, selling over 100,000 copies. Brazilian guitarist-composer Baden Powell was working regularly in France at the time and he is joined on various selections by a French rhythm section and an orchestra. There are also some unaccompanied guitar solos. Listened to over four decades later, much of the music comes across as being overly sweet, safe and sleepy. Powell plays well enough, but the lack of mood variation and the unimaginative arrangements are unfortunate. Since the guitarist rarely gets beyond the melody, the overall results are pleasant background music, nice but predictable. [Universal reissued Le Monde Musical de Baden Powell on CD in 2005.]

This RIP and PRESENTATION courtesy of the almighty KUNG. I only uploaded this for him because he’s busy, and I’m still rebuilding my machine to do new rips and scans. This is essential listening, enjoy!!