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Sergio Mendes & Brasil 65 - In Person At El Matador[Eac Flac Cue](TntVillage)

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Description

Artist: Sergio Mendes
Title Of Album: In
Person At El Matador (Live)
Etichetta: Atlantic Record
Pubblicazione: LP: 1966 CD:2004
Genre:
BossaJazz
Source: CD
Playing Time: 37.57
Total Size: 197,74 MB
Quality:
FLAC+Cue+Log+Info+Cover[Front + Back + CD]
Bitrate: Lossless




1. REZA [04.52]
2. O MORRO [02.37]
3. SANBA DO ASTRONAUTA [03.02]
4. TEM
DO DE MIN [02.41]
5. JODEL [03.36]
6. SAMBA DE JOSE [01.59]
7. NOA NOA [02.47]
8. BLACK ORPHEUS
MEDLEY [06.23]
9. ARRASTÃO [04.03]
10. VAIDE VEZ [03.00]
11. CAMINHO DE CASA [02.52]






Chauvinism is as reprehensible and as expendable in music as it is in politics,
painting
or plumbing. Nevertheless, when an esthetic point has to be made, one
that involves a particular group of artists
and the very special form they have
created, it is both agreeable and enlightening to observe them under the
same
musical roof, with no outsiders on hand.

This is not an oblique way of saying "Give bossa nova back
to the Brazilians" or
"Yankee go home." It is merely a reminder that no matter how much wonderful
music may
have derived, in altered style, from the Brazilian popular music that
invaded the United States three or four years
ago, there remains nevertheless
a substantial body of musicians who are entitled to call themselves the
original,
the genuine article. Such a group is Sergio Mendes and his Brasil '65 ensemble.

The concept
behind the formation of this combo was a logical one. It entailed a
desireto present to American audiences an
all-Brazilian, self-contained unit,
packaged in Rio for export to a country that has heard most of its Brazilian
music played by men who have never been farther South than South Bend.

Sergio Mendes was born February 11,
1941 in Niteroi, which is more or less the
Oakland of Rio, just across the bay. (Contrary to intelligence in an
earlier album,
Ipanema is not a town; it is merely the name of a nearby beach.) Since bringing
his show here
in November of 1964, Sergio has lived in the U.S. He now makes
his home with his wife and infant son in Studio
City, Calif.

Sergio's bassist, 34-year-old Sebastiao Neto, is also from Niteroi. Chico Batera,
21, comes
from Governor Island, near Rio, and Paulinho, whose full name is
Paulino Magalhaes, is a Rio-born Los Angeles
percussionist added specially
for this occasion.

When this live date was taped at "El Matador," the
popular Latin-pop-and-jazz
music club in San Francisco, the group was completed by the 21-year-old
Wanda Maria
Sa, a Rio girl professionally known as Wanda De Sah, and by
Maria Rosa Cannellas, professionally known as Rosinha
de Valenca or Little
Rose of Valenca, after her home town. Rosinha, who is 23, was inspired by
Baden Powell to
take up the guitar; she has a phenomenal ear but cannot read
music and does not know the name of a single chord.

There is a little confusion concerning the discoverers of the group. Actually it
was a music lover named
Dick Adier, now their manager, who helped Sergio
to assemble the Brasil '65 unit in Rio and bring it to this
country. Sergio also
says, "I will never forget the help I had from my godfather, Mario Dias Costa,
in the
Cultural Division of the Brazilian Foreign Office, who aided us financially
in getting started; and from Raul
Smandeck, the Brazilian Consul in Los Angeles,
who helped us when we arrived here."

Tern do de Mim
features Wanda and Sergio. Written by Carlos Lyra, it is a
typically relaxed and charming Brazilian melody. 0
Morro, sung by Wanda,
means "the hill" and tells a wistful story about the poor people who live in the
slums
but are, within prescribed limitations, happy in their sadness (like the
blues people who are pictured as laughing
just to keep from crying).

Arrastao is a song about fishermen casting their nets on the waters. Written by
de Moraes and Eduardo Lobo, a new melodist, it won a $5,000 award in Brazil
recently as best new song of the
year. My Portuguese being roughly on a level
with my Swahili, I cannot vouch for the lyrics, but the melodic
contours and the
harmony have a unique charm, and there is a suspenseful quality to the main
statement. The
performance has a form and variety ofmoods and tempos that
lend additional strength to Wanda's interpretation.

The Black Orpheus medley opens with a delicate and simple treatment of
Mahna de Carnaval by Rosinha, in a
melancholy mood in which Sergio and
the rhythm section are soon involved. A bold percussion interlude spans the
bridge into Samba de Orfeu, Sergio's delineation of which invited immediate
recognition and applause from the
generally quiet and attentive audience.
Wanda, with unison vocal assistance from her colleagues, completes the
medley with A Felicidade, a paradoxically minor-mode song about happiness.

Samba do Astronauta, which is
not dedicated to the Wright Brothers, is a Baden
Powell melody that serves as a delightful vehicle for the
dexterity of Miss de
Valenca. The mood it was designed to evoke does not involve the space ship but
rather the
view of the earth as seen from beyond. There are lyrics, I am told, by
de Moraes, but in this version Rosinha
manages to tell the story most effectively
with her own genius-tipped fingers.

Vai de Vez, which means
get lost, or don't come back, was composed by Menescal
and has a particularly easy, legato rhythmic feeling that
seems to me to symbolize
the whole mood of bossa nova, or at least the most essentially Brazilian elements of
this often-distorted idiom. Rosinha plays the melody just as it was written; the only
ad libbing is offered by
Sergio, whose single-note lines have some of the delicacy
of a John Lewis.

Samba de Jose, featuring
Rosinha, was composed by a fel-low-guitarist, Jose
Menezes. As in so much of the album, the rhythm is understated
yet never wants
for virility (if one dare ascribe such a quality to a group that includes Miss Valenca).
Sergio's light touch and improvisational flair can be scrutinized in Noa Noa, his
own composition. ("I named it
for the island where Gauguin went.") There is more
of Mendes, incidentally, in his own album, The Swinger from Rio,
on Atlantic 1434.

Caminho de Casa, meaning the road home, was composed by Joao Donate, a
pianist from
Brazil who now lives in Los Angeles. The very basic chords here will
sound familiar to those who have heard some of
Vince Guaraldi's work.

"I don't like to play a lot of notes or use the familiar jazz cliches," says Sergio,
an
observation the truth of which is reflected in his relaxedtreatment of Joao Donato's
Jodel. This track
offers a moment in the spotlight to bassist Sebastiao Neto, whose
ideas seem equally unpretentious. This is, all in
all, the most charming instrumental
track in the album.

Reza, the theme number of the Brasil '65 unit,
is described by Sergio as "based on
an African prayer, and with lyrics by Rui Guerra to a melody by Eduardo
Lobo."
The main melodic figure, consisting of only two notes, has a haunting quality that
leaves people
singing it as they walk out of El Matador-or out of the living room as
they finish playing this fascinating
album.

Brasil '65 has undergone one or two changes in personnel since this session
took place, but the
spirit remains the same. Now that we have Sergio Mendes
permanently among us, we can only hope that he will
continue to remind us North
American adaptors and imitators that his music doesn't have to concern itself about
whether it sounds authentic. It was born that way. May it continue to manifest its
intriguing characteristics in
Brasil '66, Brasil '67 and so forth far into the Pan-American
future.



[quote]Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 3. May 2012, 14:32

Sergio Mendes & BRASIL'65 / IN PERSON AT EL MATADOR !

Used drive  : HL-DT-STDVDRAM GSA-T40N  
Adapter: 0  ID: 0

Read mode               : Secure
Utilize accurate stream : Yes
Defeat audio cache
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Make use of C2 pointers : No

Read offset correction                      : 667
Overread
into Lead-In and Lead-Out          : No
Fill up missing offset samples with silence : Yes
Delete leading and
trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                
             : Native Win32 interface for Win NT & 2000
Gap handling                                : Appended to
previous track

Used output format              : User Defined Encoder
Selected bitrate                :
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Quality                         : High
Add ID3 tag                     : No
Command line
compressor         : C:\Program Files\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -8 -V -T
"ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T
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TOC of the extracted CD

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---------------------------------------------------------
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21905   
        2  |  4:52.06 |  2:37.51 |     21906    |    33731   
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        5  | 13:13.64 | 
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       10  | 32:04.24 |  3:00.69 |    144324    |  
157892   
       11  | 35:05.18 |  2:52.53 |    157893    |   170845   


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Track  2

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Track  3

  
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Track  4

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Track  5

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Track  6

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Track  7

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Track  8

  
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Track  9

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Track 10

     Filename H:\MY EAC[.FLAC]\Sergio
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Track 11

     Filename H:\MY EAC[.FLAC]\Sergio Mendes e Brasil 65 - In
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No tracks could be verified as accurate
You may have a different pressing from the one(s) in the
database

No errors occurred

End of status report

==== Log checksum
524C20150E91ED8C41B55693F08D5873511072141EC77563FADE0C5595609FCB ====[/quote]

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