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Posts Tagged ‘Antônio Carlos Jobim

dom

The cover artwork remembers me of the legendary CTI records and that is not a bad start. But Dom Um Romão is not needing authenticy, the drummer and percussionist was one of the best from Brazil. He played drums from childhood on and recorded with legends like Elizete Cardoso, Ron Carter, João Gilberto, Cannonball Adderley, Annette Peacock and Vinícius de Moraes. He played in the band of Sérgio Mendes and in the 70s joined fusion jazz supergroup Weather Report. And this legend also participated in the groundbreaking Frank Sinatra and Antonio Carlos Jobim colloboration record. He passed away in Rio de Janeiro 2005, but left this record with great rhythms and soul before. I will continue with name dropping, on “lake of perseverance” pianist Luciano Alves, vocalist Ithamara Koorax, guitarist Dorival Caymmi, keyboardist Eumir Deodato and saxophonist Jose Carlos Ramos participate, a good mix of young brazilian talents and old heroes. What can go wrong with musicians like these? Well, not much. Only slightly based on post-bop jazz Romão brings his distinctly Brazilian style of drumming to Kenny Dorham’s “blue bossa” as well as two gems from John Coltrane’s repertoire. But “lake of perseverance” is not an album for jazz snobs, many tunes have trip-hop, hip-hop or even house influences, Jorge Ben´s world famous “mas que nada” even is played in a exuberant version. But for all its diversity Romão manages to give this album a certain continuity, certainly a eclectic taste will help to enjoy this great record!

House Carnival!

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stoneflower

Antonio Carlos Jobim is to brasilian music what Duke Ellington is to American jazz—an innovative, prolific, sublime pianist and songwriter whose art has come to symbolize a certain time and place. Influenced as much by the cool sounds of ’50s West Coast jazz as by the melodies of Claude Debussy and the rhythms of the Brazilian samba, Jobim wrote the songs that, when performed by the likes of Stan Getz and Astrud Gilberto, drove the global bossa nova craze of the’60s.

Jobim started his career in the late Forties, working as a piano player in Rio de Janeiro’s nightclubs. In 1958 Jobim wrote all the songs and the arrangements for an album by songstress Elizeth Cardoso, “Cançao do Amor Demais”, which featured João Gilberto’s uncredited guitar on two tracks. One of them, “Chega de Saudade”, became a legendary recording, considered officially as the first bossa nova recording. The following year, with the release of João Gilberto’s debut solo album, also titled “Chega de Saudade” and also arranged by Jobim, the bossa nova craze was born. And after the famous Bossa Nova Concert in Carnegie Hall, in 1962, Jobim’s impact in the jazz world increased.

1970 he recorded “stone flower”, a perfect blend of his subtle bossa genius with moody electric sound. Jobim plays electric and acoustic piano, guitar, and sings a bit — and Deodato handled the arrangements with a breezy brilliance that matches all the magic of Jobim’s wonderful compositions. Far from a conventional bossa nova album, Stone Flower was ambitious and original, infused with all of Jobim’s creativity and tender soulfulness. The album is a cohesive whole, unfolding song by song, gradually filling the listener with its dreamy vibe. And because mood is everything, there are surprisingly few solos taken, despite the presence of such major jazz talents as Joe Farrell on soprano sax and Hubert Laws on flute. These musicians play with uncharacteristic restraint, stepping out occasionally to punctuate the music with just the right color and shading.

Until his death in 1994 Jobim several times referred to “Stone Flower” as one of his favorite albums ever. Choro.

Antônio Adolfo was an important composer and arranger for brazil music scene, having written songs recorded by so many artists… the list would be too long write down here. In the 60s he played piano in different small bands, he took part in the music scene of the “Beco das Garrafas” in Rio, where in the bars and clubs bossa nova, MPB and jazz met. In these eventful years from the late 50s and 60s musicians from all over the world found musical inspiration in Brazil. The Copa Trio started to play “samba-jazz” there, fusing jazz with bossa nova. Brazilian greats Leny Andrade, Sérgio Mendes and Elis Regina performed there, too, and foreign jazz artists started to appear at the “Beco das Garrafas” late at night, after their performances in Rio’s concert halls. Horace Silver, Paul Winter, the Modern Jazz Quartet and other jazz legends jammed with the local musicians. In the eye of the storm the young Antonio Adolfo, who started accompanying important artists of Brazilian popular music, including one of Brazil’s best-known singers of that period, Elis Regina. At the age of 20 Antonio Adolfo collaborated with lyricist Tibério Gaspar (the start of a lifelong collaboration for both) and their song “Sá Marina” became a hit, it catapulted Adolfo into his new career. During the mid-60s, Adolfo was a frequent guest at Antônio Carlos Jobim’s home in Rio, a popular gathering place for musicians.

After he lived some years in Paris he returned to Brazil in 1975 and started to launch his own record label, one of the first independent labels in Brazil. Adolfo was sick of working together with the major labels and released 1977 his own second record on Artezanal records: “feito em casa”. After some releases with his former group “Brazuca” and his first solo record “Venice” 1972, a moody masterpiece – a real treasure of brazil music. A moody jazzy piano, played with this indescribably ease, breezy tunes. This marvelous album sold like crazy and went from having a hand-pressed cover and distribution out of Adolfo’s car to mass production.

Saudade


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