Posts Tagged ‘bossa nova’
When this record was released 2003 I had to write a review about it for a music magazine and there were only 3 days left until the deadline. I don´t remember exactly why, maybe I wasn´t in the right mood for it or just hadn´t the time to listen to it extensive enough, but I wrote a very capricious review. Not a bad record, but nothing special. Only a few days after the deadline I realised that this was a very foolish rating. Which should warn you about the so called music critics on the one hand, but also give you another good advice: take some time for José Gonzáles and I am sure you will recognize the beauty in it.
González is a swedish singer-songwriter with argentinean parents who plays music informed by british and latin american, especially brazilian folk-pop. This guy is one serious talent and his music feels confined by the city in a very strong way, which let´s “Veneer” burst out of the folk. A striking collection of hushed and autumnal songs that reside on the hi-fi end of the lo-fi spectrum, this is more than a Simon & Garfunkel or Nick Drake repackage, every piece is rich in its own bare beauty.
Groovy, groovy, groovy. Pianist Cesar Camargo Mariano kicks out with his trio some smart and entertaining ultra tight played jazzy and bossa nova flavoured tunes. Brasil groove of the late 60s which puts together Jazz, Funk, Bossa Nova and Blues and vary regulary the moods, without loosing the thread. Awesome instrumentals and some tracks also offer slight vocals. Relax and groove with the Som Três Show, brasil fusion.
I´m back and in the meanwhile urbanology reached the 100.000th visitor, hurray!
“Tranquilo” is Marcelinho da Lua´s, producer, DJ and singer from Brasil (or the moon?) first record and is anything, but not calm as the title suggests. I don´t want to spend to many words on this record (in fact I´m just to lazy to read all the informations about him, which are only in portuguese), just let you know the record includes a cover version of “Cotidiano” by Chico Buarque, woah. And Marcelinho da Lua is brewing a killer mix of electronic styles on his debut and beside the cover version of that classic brasilian song Seu Jorge and Gilberto Gil are participating. Woah for the third time today, an awesome ecclectic record and I guess you will say whoaah too, after listened to this record.
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.
After some hours of diggin´ in a lovely second hand recordstore I bought a whole bunch of vinyl, mainly brasilian flavoured music from the 60s and 70s. The owner recognized my interest in brasilian music easily and we talked some time about the LPs I was going to buy, he also strongly recommended me José Mauro. I never heard of this guy and he told me what he knew about him, after some time he ran away and came back with the José Mauro CD, “for you, have fun!”
Back home I first listened to the “obnoxius” record, the first and only record from José Mauro who died before the release of the album in a car accident. First impression: okay, that is nice, but not as good as expected.
But of course I remembered his words: “The record is wonderful, but it takes a while to really grab hold of the beauty within.” Wise words, I grabbed the CD a lot of times in the weeks after my shopping tour and played it. Every listen I got deeper into the beauty of the record, it is worth a try.
After José Mauro´s death the promotion of the record was cancelled, the record was never sold commercially until it was rereleased decades later. Today a lot of people talk about the record as one of the best albums recorded in Brasil at that time (recorded 1970). And there wasn’t much happening in music outside Brazil from whom Obnoxius needs to hide. In fact, the album is a triumph, but until today not earning the attention it is worth.
Grand orchestral Brazilian pop, influenced by Bossa Nova and brasilian folk, yet dissimilar to the established paths of back then as much as now. Composed by Jose Mauro and Ana Maria Bahiana, arranged by Gaya and recorded with the particapation of many famous brasilian musicians, the songs were new and unorthodox.
Jose Mauro reached with his melancholy but confident baritone such depths and in the songs there are passages where the music seems to reach a state of stasis. Only slow, impressionist chords shifts and the orchestrations make progressions, and a deep sadness is evoked. That such a young man can reach those depths, which would seem to require experience, is a marvel. This was the first record for José Mauro and sadly also his last, it is a sensation to record such music as debut. There’s that aura of innocence here, when a young talent reaches for the sky even though he is still in many ways unexperienced. And there’s that grandezza of those Pop albums that transcend the limitations of formated Pop and reach the level of true art.
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.