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- Subject: exotica-digest V2 #649
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-
- exotica-digest Sunday, March 12 2000 Volume 02 : Number 649
-
-
-
- In This Digest:
-
- (exotica) New additions & updates as of 3/1
- (exotica) House of Games on Live365
- (exotica) Eilert is back
- (exotica) the Pretenders and exotica
- (exotica) Is it Live or is it Memorex?
- (exotica) Tracklist needed for Montenegro LPs
- (exotica) Lyrics Look-Up
- (exotica) Three Suns / Prado
- Re: (exotica) LP Rarity, "Brazilian Mancini"
- Re: (exotica) Tracklist needed for Montenegro LPs
- (exotica) new exotica/easy/lounge sales
- (exotica) warning!!
- Re: (exotica) live music propaganda
- Re: (exotica) LP Rarity, "Brazilian Mancini"
- (exotica) Re: Cribbed Record Covers
- (exotica) Re: Cribbed Record Covers
- (exotica) Re: Cribbed Record Covers
- (exotica) Michel Legrad
- (exotica) World Standard "Country Gazette"
- Re: (exotica) live music propaganda
-
- ----------------------------------------------------------------------
-
- Date: Sat, 11 Mar 00 12:00:12 -0800
- From: "B.J. Major" <bjbear71@mindspring.com>
- Subject: (exotica) New additions & updates as of 3/1
-
- New additions/updates as of 3/1/00:
-
- - --Added "Musician Photographs (WW Trio, U.S. Studio & Brazilian =
- Musicians)" section to site (see index on Page 1 for exact location)
-
- - --Added: "MOJO CLUB PRESENTS DANCEFLOOR JAZZ, VOL. 7:
- GIVE ME YOUR LOVE" to Page 5 CD Reissue section.
-
- - --Corrected release date of "Brazil's Greatest Hits". All Music =
- Guide lists it as 1972 and it is actually 1980. Added back cover LP =
- photo to listing.
-
- - --WW Site mentioned in the 3/4/00 edition of the "O Estado de S=E3o =
- Paulo" (a Brazilian newspaper) at =
- http://www1.estado.com.br/edicao/pano/00/03/03/ca2530.html The =
- newspaper article was also reprinted in its entirety and linked on =
- the Portugese version of the "Clube do Tom" (Jobim) website at =
- http://jobim.com.br/e.index.html
-
- - --San Francisco artist BRUNI gives permission to include her artist =
- portrait of WW on website; it has been added to Page 6.
-
- - --Added WW's grandson Rick Garcia Mendon=E7a's interview/letter to =
- Page 6.
-
- - --Added interview with Bruni Sablan, portrait artist (who knew WW =
- personally) to Page 6.
-
- - --Split Page 6 due to its increase in size and added Page 7 to the =
- site.
-
- Regards,
- - --bj
- The Walter Wanderley Pictorial Discography:
- http://members.xoom.com/bjbear71/Wanderley/main.html
- http://bjbear3.freeservers.com/Wanderley/main.html
-
-
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-
- ------------------------------
-
- Date: Sat, 11 Mar 2000 12:17:41 -0800
- From: "Ron Grandia" <rgrandia@xtabay.com>
- Subject: (exotica) House of Games on Live365
-
- Whatever you think of jack Diamond, you have to agree he's quite the college
- of musical knowledge, and can spin a heckuva set. He now has a server set
- up on Live365, and a 2-hour show running at 56k (Sorry - Cable, DSL only at
- the moment.) More reported to be on the way.
-
- I particularly enjoy the fact that he's one of the only net-dj's that give
- any kind of back-announcing (yay) and his too-cool-for-you patter is fun to
- listen to.
-
- here's the link:
- http://www.live365.com/cgi-bin/directory.cgi?autostart=houseofgames
- Enjoy.
- Ron
-
-
-
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-
- ------------------------------
-
- Date: Sat, 11 Mar 2000 21:56:58 +0100
- From: "Arjan Plug" <ajplug@bart.nl>
- Subject: (exotica) Eilert is back
-
- Anyone knows Swedish? Magnus?
-
- http://www.panorama.no/plater/anmeldelser/P-T/EilertIsBack.htm
-
- Seems the new Eilert Pilarm album is out for a while now. Heard Andi Kershaw
- on his worldmusic program on the World Servive playing a few songs from it :
- "Hound Dog" and "Jailhouse Rock", the latter one sounding something like
- "Ale'ous'ock ", even more appalling than his usual standard. Speaking of
- Elvis covers, Kershaw played a manic version of Jailhouse Rock by former
- Ecuadorian president Abdala "Madman" Bucaram in the same program too.
-
- Arjan
-
-
-
-
-
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-
- ------------------------------
-
- Date: Sat, 11 Mar 2000 17:26:01 -0500
- From: itsvern@ibm.net
- Subject: (exotica) the Pretenders and exotica
-
- I saw the Pretenders perform live earlier this week, and they
- incorporated a bit of exotica into their show. As the group was walking
- on stage to start off the show, the background music playing was 'Moon
- Mist' by the Out-Islanders. I recognized it from the 'Mondo Exotica'
- CD, which is volume one of the Ultra-Lounge series. Of course, it could
- have been some other artist and version that sounded similar to this
- version.
-
- This segment was short lived, lasting only 20-30 seconds. The crowd was
- cheering as they walked out, and I had this small, very small thought,
- that perhaps the sold-out audience was cheering for the 'exotica'
- spirit, and not for Chrissie Hynde and her bandmates walking out on
- stage.
-
- Then they started playing their own music, and no more exotica was heard
- that night.
-
- Vern
-
-
-
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-
- ------------------------------
-
- Date: Sun, 12 Mar 2000 09:58:49 +1100
- From: "Keith E. Lo Bue" <keith@lobue-art.com>
- Subject: (exotica) Is it Live or is it Memorex?
-
- Funny that this live music/recorded music spread should be birthed, wiggling
- and vital, from the (now tired) What is Jazz thread. Quite possibly the
- music that CAN suffer greatest between recorded and live performance is
- improvisational jazz! Even though I would give up seeing any more live
- shows if it meant I couldn't have my recordings, the crackle of watching an
- artist you love thinking and intuiting his way spontaneously around a tune
- is indeed a hard experience to match! I'm thinking of a fantastic Bill
- Frisell trio gig at the Vanguard, and there was a thirty-second moment
- during one of Bill's solos when everything fell away and it was unfettered
- brilliance, without bravado, but just RIGHT. I knew it, the rest of the
- audience sure knew it, and he knew it too, as witnessed by the child-like
- grin thatspread on his face as the moment receded.
-
- Ain't music grand????
-
- Keith
-
- ****************************
- http://www.lobue-art.com
- A virtual gallery and info
- site for the artwork and
- workshops of KEITH E. LO BUE
- ****************************
-
-
-
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-
- ------------------------------
-
- Date: Sat, 11 Mar 2000 19:46:24 EST
- From: Pearmania@aol.com
- Subject: (exotica) Tracklist needed for Montenegro LPs
-
- Could anyone furnish a track list for either or both of the following Hugo
- Montenegro LPs?:
-
- Hugo Montenegro and His Orchestra (Time Label Process 70)
- Russian Grandeur
-
- Please let me know
-
- Thanks
-
- Sean
-
-
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-
- ------------------------------
-
- Date: Sat, 11 Mar 2000 18:20:51 -0800 (PST)
- From: Peter Risser <knucklehead000@yahoo.com>
- Subject: (exotica) Lyrics Look-Up
-
- Does anyone know of a place where you can search for a
- song based on a lyric? All the lyrics sites I've seen
- only let you view lyrics if you know the song.
-
- It's a classic rock song, and I oughta know it, so I'm
- gonna appeal to your kinder, gentler instincts and
- post the line at the end of this post. It's driving
- me crazy, so please take pity on me if you know the
- song.
-
- But, seriously, is there a place where you can do this
- reverse song look-up?
-
- Also, on an exotica note, does anyone have the English
- and Hawaiian lyrics for Hawaiian War Chant.
-
- Thanks,
- Peter
-
-
- "I believe... My soul.. is on fiii-ire..."
- <it sounds like the eagles>
- __________________________________________________
- Do You Yahoo!?
- Talk to your friends online with Yahoo! Messenger.
- http://im.yahoo.com
-
-
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-
- ------------------------------
-
- Date: Sat, 11 Mar 2000 18:31:35 -0800
- From: "Stephen W. Worth" <bigshot@spumco.com>
- Subject: (exotica) Three Suns / Prado
-
- exotica-digest wrote:
-
- >Date: Fri, 10 Mar 2000 19:17:11 EST
- >From: Rcbrooksod@aol.com
- >Subject: (exotica) Suns and Prado Recommendations
- >
- >Can anyone recommend a good CD of both The Three Suns and Perez Prado?
-
- The best Three Suns CDs are the two volume "Best of" on Circle
- Records. The Three Suns 1949-156 (Circle CCD-75) and "The Three
- Suns Second Volume 1949-1953 (Circle CCD-145). The V-Disc two
- CD set is good too. "V Disc: A Musical Contribution by America's
- Best For Our Armed Forces Overseas: Three Suns" (No Stock # but
- it's available from Collectors Choice Music www.ccmusic.com)
-
- For Prez Prado, just about everything he did is good, but the
- best single CD compilation is "Prez Prado: King of Mambo" (RCA
- ND90424). I believe Rhino put out a collection that was very
- similar to this collection. Other great CDs are Bear Family's
- "Havana 3 AM / Mambo Mania" (BCD15462) and Voodoo Suite / Exotic
- Suite of the Americas (BCD15463).
-
- I also highly recommend Xavier Cugat "Mambo Vol 1" (Blue Moon
- BMCD 2004) and "Mambo Vol 2" (Blue Moon BMCD 2005).
-
- Hope this helps...
-
- See ya
- Steve
-
-
- Stephen Worth
- bigshot@spumco.com
-
- The Web: http://www.spumco.com
- Usenet: alt.animation.spumco
- Palace: cartoonsforum.com:9994
-
- Spumco International
- 415 E. Harvard St. Ste. 204
- Glendale, CA 91205
-
-
-
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-
- ------------------------------
-
- Date: 11 Mar 2000 23:27:35 -0800
- From: bag@hubris.net
- Subject: Re: (exotica) LP Rarity, "Brazilian Mancini"
-
- At 10:49 PM 10-03-00 -0800, bj wrote:
- >an article to be written on the entire event on 3/4/00 in Brazil's "O
- Estado de S=E3o Paulo" newspaper. There is an online (Portugese) version of
- the complete article at=20
- >http://www1.estado.com.br/edicao/pano/00/03/03/ca2530.html
-
- I ran it through babelfish and got the usual half translation, but figured
- out most of it. Pretty interesting.
-
- By taking the album notes from the original album, I found it interesting
- how translations work and thought you might like to see my probably
- erroneous Jobim rosetta stone:
-
- The first paragraph is the Portugese from the original article.
-
- The second paragraph is the "translation" by Babelfish.
-
- The third is my rough translation using the original text from the album
- instead of the re-translation. I took a big jump in my interpretation
- which may be totally incorrect, so I would like to know what the Portugese
- writer was getting at.
-
- I didn't get the logic behind 200 years (200 anos), so I referred to the=
- quote
- as something that still applied 35 years after Johnny Magnus wrote the
- liner notes. If that is not what the author of the article meant, I would
- like to know the correct translation.
-
- So, now I know what Carumba means in Yankee English...it is "By Golly!" =20
-
- Byron
-
-
- ~~~~~~~~~~
-
-
- O radialista Johnny Magnus, autor do texto da contracapa de Brazilian
- Mancini - escrito numa =E9poca em que o mercado americano estava inundado de
- bossa nova gravada por americanos -, faz uma observa=E7=E3o de interesse par=
- a
- os que, hoje, 200 anos depois, ainda discutem a nacionalidade da bossa
- nova: "Essa forma de express=E3o, t=E3o encantadora e sens=EDvel quanto
- profundamente r=EDtmica", diz ele, "originou-se no Brasil e dos brasileiros =
- - -
- e eles a fizeram popular em toda parte. N=F3s, seus vizinhos, apenas a
- adotamos como nossa - e o que pode ser mais americano do que isso? Caramba,
- isso =E9 t=E3o americano!"=20
-
-
- Broadcaster Johnny Magnus, author of text of contralayer of Brazilian
- Mancini -
- written at a time where the American market was flooded of bossa new=
- recorded
- for Americans -, an interest comment makes for that, today, 200 years
- later, still argue the nationality of bossa new: " This form of expression,
- so charming and sensible how much deeply rhythmic ", it says, " he
- originated in Brazil and from the Brazilians - and they had made it popular
- in all part. We, its neighbors, only adopt it as ours - and what he can be
- American of the one than this? Caramba, this is so American "=20
-
- Broadcaster Johnny Magnus wrote the liner notes for "Brazilian Mancini" at
- a time when the American market was flooded with Bossa Nova recorded for
- Americans. One interesting comment he made 35 years ago still applies to
- the national origin of Bossa Nova: "The charming sensitive, soulful
- rhythmic expressions", he says, "originated in Brazil and the
- Brazilians...and only they have made them popular elsewhere. We neighbors
- had adopted them and taken them as our own, and could be more American than
- that? By golly, that is American!"
-
- ~~~~~~~~~~~~~
-
-
-
- Byron Caloz
- Portland, Oregon, USA, Earth, Sol, Milky Way
- http://www.hubris.net/zolac
- The Mr. Smooth site: http://www.hubris.net/zolac/smooth
-
-
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-
- ------------------------------
-
- Date: Sun, 12 Mar 2000 21:11:07 +1100
- From: Philip Jackson <pdj@mpx.com.au>
- Subject: Re: (exotica) Tracklist needed for Montenegro LPs
-
- on 12/3/00 11:46 AM, Pearmania@aol.com at Pearmania@aol.com wrote:
-
- >
- > Could anyone furnish a track list for either or both of the following Hugo
- > Montenegro LPs?:
- >
- > Hugo Montenegro and His Orchestra (Time Label Process 70)
-
- Sequence on lp is different from that stated on the cover.
-
- on lp.
-
- A:
- 1. Rachmaninoff Rhapsody
- 2. Cry Me A River
- 3. Dark Eyes
- 4. My Prayer
- 5. Flight Of The Bumble Bee
- 6. Rags To Riches
-
- B:
- 1. In A Persian Market
- 2. Palm Canyon Drive
- 3. Fantasy Impromptu
- 4. Because Of You
- 5. I Concentrate On You
- 6. Be My Love
-
- Philip
-
-
-
-
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-
- ------------------------------
-
- Date: Sun, 12 Mar 2000 12:32:39 +0100
- From: Moritz R <exotica@web.de>
- Subject: (exotica) new exotica/easy/lounge sales
-
- Does anybody by chance know the sales figures of contemporary
- lounge/easy/exotica reissues and compilations? How much do these records
- really sell? How big is the audience of the type of music discussed here
- in comparison to other music genres? I heard that some of the lounge
- compilations of the last 5 years sold more than 100.000 units; can
- anybody confirm or disprove that? How much did the Martin Denny and Les
- Baxter original reissues sell so far? Does new lounge music a la
- Combustible/Pizz5 et al sell better or less than reissues of old
- original lounge?
- Any help very much appreciated!
-
- Mo
-
-
-
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-
- ------------------------------
-
- Date: Sun, 12 Mar 2000 09:11:57 -0500
- From: Citizen Kafka <ckafka@dti.net>
- Subject: (exotica) warning!!
-
- I had a huge problem when trying to listen to Jack Diamond's radio show
- at the link below... first i had to download an update for my realplayer
- (no sweat). then the site couldn't see it. then my netscape crashed.
- after rebooting, tried again, netscape crashed, then i no longer had
- access to my inbox (mail). maybe has to do with the talkback on that
- site??? anyway, can't listen, i suspect that site is trying to pull some
- info from my netscape, too bad i want to listen!
-
- any ideas?
-
- ck
-
- here's the link:
- http://www.live365.com/cgi-bin/directory.cgi?autostart=houseofgames
- Enjoy.
-
-
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-
- ------------------------------
-
- Date: Sun, 12 Mar 2000 11:49:07 -0500
- From: mimim@texas.net (Mimi Mayer)
- Subject: Re: (exotica) live music propaganda
-
- Moritz queried, So what IS the difference between 'live' and 'recorded'?
-
- I agree with some of the distinctions you draw, Moritz, but not all of
- them. First, though, gotta point out that I don't think recorded music is
- necessarily better than live music; they are very different experiences.
- Nor do I prefer one over the other. An obvious statement, perhaps, but
- since you defend one type of experience over the other, I say it up front.
- As a wise woman of my acquaintance often said, "Is not good, is not bad, is
- different."
-
- I think Mo's first two examples turn on the power of nostalgia in going to
- a live concert and listening to a concert recording...Or later playing a
- tape you bought on holiday to evoke that sense of happiness you enjoyed one
- transient evening. In these cases, the payoff or pleasure is a chance to
- revel in nostalgia. It's about memory, an experience that cannot convey the
- immediacy of hearing music live and seeing gifted musicians perform it.
- Naturally memory cannot reproduce the physical sensations of a live show.
-
- With music, there's a disjunction between what you remember hearing at the
- concert and what you actually hear listening to a recording of that concert
- days later in your cozy living room. Part of the disjunction is due to the
- technical limitations of live recordings. But another factor feeds the
- disjunction: you get caught in the difference between your remembered
- experience and what you actually hear. In fact, I'd say you can't escape
- that disjunction. And that's where the disappointment may crop up when you
- listen to a recording of a live performance--it's built into that
- disjunction. Plus, there's all the factors Moritz pointed out, which shape
- that memory and color the expectations you naturally bring to the music the
- first time you play a recording of a live show. As you listen to the
- recording, you expect to recapture all the feelings of excitement or
- pleasure or thrill you had at the show. And you can't. Result?
- Disappointment that may be bittersweet. Sweet because there's something
- satisfying about nostalgia.
-
-
- >If you record a live concert the difference between the two soundtracks,
- >the live live and the recorded live, is obviously minimal.... So if there
- >is a difference between a concert and the recording
- >of the very same concert, then it can't possibly be the music that is
- >different, it must be something else. I leave it to you, dear reader, to
- >draw your own conclusions.
-
- Here's what I conclude, dear Moritz: I think oftentimes live music IS
- different, and I mean the music itself. Here's an admittedly extreme
- example. Say you attend a show by saxist Oliver Lake. The show is in a long
- narrow room with stone walls and low ceiling, affecting the acoustics, the
- physics of what the audience hears. Lucky you, you get a seat at a table 15
- feet from the stage. Lake plays solo, mixing performance poetry with music,
- performing from a tight script. Still, there's room for improvisation in
- the script; the music is scored for improvs. You know the music is scored
- because he'll occasionally bounce over to a music stand and play as he
- sight reads. Most of the time, though, he plays from memory.
-
- And near the end of the show, Lake decides to improvise bigtime. It's a
- climatic moment. As you watch and listen, Lake stands center stage and
- plays a complex scale, then variations on it. He starts to swing his sax in
- circles and the swinging motion and maybe how he's breathing change the
- sound of the notes. My god, you realize, he is playing with the acoustics
- of the room, using the acoustics to affect the tone of the notes! Your
- companion whispers, "Hear that? He's playing harmonics!" Since you're
- uncertain exactly what harmonic tones are, you nod. But still, your ear can
- tell the difference--the actual sounds are more complex--they seem to
- embellish the basic sounds of the notes with real subtle overtones. And
- compared to the music you've been listening earlier in the show, these
- notes actually feel different in your body. Maybe that's caused by how the
- sound waves are bouncing around the room. But you don't want to figure out
- how the music is happening or why it's affecting you that way or even parse
- out all the different ways the music IS affecting you, cuz you just want to
- get lost in the moment.
-
- What an astonishing experience! And it's almost unique in the 100s of
- concerts and live shows you've attended--only one other time have you heard
- sounds like this: at a Keith Jarrett show years before, in a big
- auditorium, where you were 300 feet from the stage. Both experiences are
- extraordinary.
-
- That word "extraordinary" is important. The moments in both shows are
- exceptions, exceptional. And they are products of the acoustics of the
- room, the artists' sensibilities and skill, their knowledge of their
- instruments and the range of sounds their instruments can make. And as much
- as I adore records and recorded music, I doubt recording technology is
- capable of capturing these sounds for reproduction. I'd love for someone to
- tell me I'm wrong and direct me to some recordings that reproduce
- accurately these subtle harmonics or microtones or whatever it was Oliver
- Lake and Keith Jarrett were able to make in concert. I've not heard these
- tones outside of live music--not even on an old Keith Jarrett recording,
- The Koln Concert, a fairly famous ECM recording made in Jan '75. But a
- hunger to hear such sound again has kept me going to live shows again and
- again and again.
-
- And I think a failing of recorded music is that, it's an experience at
- least one step removed from live music. Yeah, as Moritz and BJ say, a
- recording can be perfected--and I love that experience of perfected studio
- created/studio recorded music too.
-
- >The only really substantial difference I can detect in this thread would
- >be the difference between music that is played simultaneously by hand,
- >wether recorded or disappearing into the ether forever, and programmed
- >music whith the parts of it put together piece by piece and only when
- >everything is finished you hear the final result, the actual music.
- >Bands who play gigs with preproduced programmed music give me a
- >substancially different feeling or experience than music that is
- >actually played live.
-
- Moritz, what do you think of Fripp and Frippertronics? Have you ever gone
- to a Fripp show? To my ears, Frippertronics live are a provocative, yummy
- mix of preprogrammed music and live improvisation on it--a fact that hit me
- at a Fripp show I attended recently.
-
- >I'm not sure though, if I prefer an excited life performance better than
- >a "cool" precise studio recording. It's just two different things. I
- >only know that I prefer listening to a "studio" record to a "live"
- >recording. "Live" only works live.
-
- Generally true. But if "live" recordings are the only way you get to hear
- the music, then you don't have any substantive point of comparison. It's
- easy to be satisfied with a concert recording of a band or solo musician
- who's left this veil of tears or no longer performs.
-
- I'd also like to say there's lots of music that works only because it's the
- product of the recording studio--Esquival is a prime example. These musics
- offer different payoffs than live music, differnt kinds of complexity and
- richness and excitement. I really wish there was someone on this list who
- could tell tales of seeing Esquival live and describe the differences
- between his live and studio performances. Maybe someone can compare live vs
- recorded music of another musician known for studio wizardry...Frank Zappa
- perhaps. Any takers?
-
- I'd talk more about live vs. recorded music but I'm written out here. Plus,
- I'd really like to challenge a couple of Moritz's other points, but don't
- want to bore the list. Maybe this discussion should go offlist.
-
- Enough! As someone used to say, thanks for the bandwidth. And my apologies
- to digesters. Mimi
-
-
-
-
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- ------------------------------
-
- Date: Sun, 12 Mar 00 10:11:05 -0800
- From: "B.J. Major" <bjbear71@mindspring.com>
- Subject: Re: (exotica) LP Rarity, "Brazilian Mancini"
-
- >At 10:49 PM 10-03-00 -0800, bj wrote:
- >>an article to be written on the entire event on 3/4/00 in Brazil's "O
- >Estado de S=E3o Paulo" newspaper. There is an online (Portugese) version =
- of
- >the complete article at
- >>http://www1.estado.com.br/edicao/pano/00/03/03/ca2530.html
- >
- >. . .The third is my rough translation using the original text from the =
- album
- >instead of the re-translation. I took a big jump in my interpretation
- >which may be totally incorrect, so I would like to know what the Portugese
- >writer was getting at.
-
- Thanks, Byron for doing that. Here below is the very rough =
- translation that my friend Sergio sent me in email when the article =
- appeared. It's not the entire article, but it is most of it.
-
- - --bj
- - -------------------------------------------
-
- Saturday,
- 4 of March of 2000
- "Secret" Album of Tom Jobim appears after all this time
-
- A brazilian researcher locates `Brazilian Mancini ', the LP that Jobim
- recorded in 1965 in the United States, touching guitar and using the =
- pseudonym of
- Tony Brazil
-
- RUY CASTRO
-
- Special
-
- All the researchers that, in the last years have pledged in raising =
- the discografia of Antonio Carlos Jobim, had a problem: a mysterious =
- LP that Tom said to have recorded as guitarist in Los Angeles in =
- middle of the 1960s, as accompanying of the piano of jazz artist Jack =
- Wilson - in which, instead of being presented as the star of the =
- disk, he appeared in the credits with the pseudonym of Tony Brazil. =
- The proper Tom liked to count history, without supplying to greater =
- details on the disk, but it gave to understand that this had been one =
- of the troubles of his first times in U.S.A.. " For the American, the =
- Brazilian is latin to lover ", it said, " and latin to lover has to =
- touch guitar. " By the way, he was one of the reasons for which, in =
- the famous disk with Frank Sinatra, in 1967, Tom also would play =
- guitar, not piano, even though the guitar was far of being his first =
- instrument.
-
- In either case, the LP with Jack Wilson continued outside of the =
- Jobim discografias because nobody seemed to know the title, the name =
- of the recording company or who played on it. I never had seen it =
- much less heard it. But, in a few weeks, an implacable Paulistan =
- researcher of bossa nova, Sergio Ximenes, killed the charade. =
- Ximenes, 50 years old, is
- a consultant of information technology. He works in great designs =
- for the financial system, in S=E3o Paulo and Brasilia, and passes is =
- free time working on his site www.sombras.com.br. that it has if =
- disclosed an inestimable source for those who want to locate the lost =
- coffers of bossa nova. But, in the case of the disk of Tom, it was =
- chance that helped Sergio.
-
- In the start of the year, Ximenes was contacted by the American =
- Barbara Major, whose site =
- http://members.xoom.com/bjbear71/wanderley/main.html is dedicated - =
- as the name it indicates - to the organista and Brazilian arranger =
- Walter Wanderley (1932-1986). Upon Barbara's asking, he supplied the =
- vast Brazilian discografia to her of Wanderley. In swap, she gave =
- Sergio the American produced discography (and in so doing, both had =
- completed their discografia of Walter Wanderley) and offered to look =
- for other rare albums. Ximenes then remembered "the secret" LP of =
- Tom and gave to the Barbara the only information of that it made use =
- (taken from the book of Helena Jobim, "Antonio Carlos Jobim - a =
- Illuminated Man"): to that Mancini was about a disk with songs of =
- Henry Mancini.
-
- Barbara put Ximenes in contact with a researcher of Mancini, Mike =
- Newcomb, who works for NASA in the Challenger design. And Newcomb, =
- clearly, had the disk: Brazilian Mancini, recorded in 1965 for the =
- obscure Vault label, of Los Angeles. It was new Mancini in bossa and =
- the musicians were Jack Wilson on the piano, Roy Ayers to vibrafone, =
- the Sebasti=E3o Brazilians (Ti=E3o) Neto to the contrabass and Chico =
- Batera to the drums - and, as "invited artist special", according to =
- liner notes, a stranger named Tony Brazil to the guitar. The surprise =
- biggest was Newcomb's, when learning that Tony Brazil was simply =
- Antonio Carlos Jobim. And then it was discovered why this LP was =
- missing from the discografias of Jobim: becauase, as the airplanes =
- that fly low are not seen by the radar, an entire disk with songs of =
- Mancini
- would not have been perceived by the researchers of Tom, more =
- accustomed to work with disks which contain the songs of his =
- authorship.
-
- Ximenes asked Newcomb for a tape and Xerox of the cover of the LP, =
- but the generous Newcomb made better: it forwarded by post office the =
- entire original LP to him. And, with this, came to tona in Brazil a =
- unit of the disk where Tom, to the guitar, forms with great the =
- Ti=E3o Neto and Chico Batera a delicate but powerful rhythmic =
- session, interpreting classic Mancini such as Days of Wine and Roses, =
- Mr. Lucky, Sally's Tomato and six others. Whereby, now anyone who =
- wants to complete their discografia of Jobim, already can now write =
- down: Jack Wilson Plays Brazilian Mancini, Vault 1001, 1965.
-
- It is not a disk of only historical interest. It is also a beautiful =
- disk. Wilson, then with 29 years, was a pianista respected in the =
- West Coast and impressed the proper Tom for his technique. The =
- vibrafonista Roy Ayers, of only 25 yrs., was a disciple of Milt =
- Jackson. It practically does not have ground of Tom, but it is felt =
- the slightness of its finger in some arrangements. Because of the =
- formation (piano-vibrafone-viol=E3o-softly-drums), the listener can =
- be reminded to think about George Shearing, but the Brazilian =
- rhythmic base does not allow the lesser doubt: one is about a disk =
- "to bossa nova", exactly that with American and recorded repertoire =
- in U.S.A. - more "bossa nova", in fact, than that shameful jazz that =
- many Brazilian trios at the same time were recording here.
-
- In contrast of that Tom also gave to understand, it was not for =
- paying his lease in Los Angeles that he accepted the invitation of =
- Ti=E3o Neto to take part in the disk of Jack Wilson. Brazilian =
- Mancini was made in the first semester of 1965, already during =
- Jobim's contract with Warner Brothers (in which he would record, =
- after that, "The Wonderful World of Antonio Carlos Jobim", with =
- arrangements of Nelson Riddle) and in the height of his presentations =
- in the program of TV of the singer Andy Williams. The money was =
- short: Jack Lewerke, owner of Vault, only could pay to it table to it =
- - - USS 70 per session. The disk was made in three seessions, what it =
- was valid to it, therefore, USS 210. Tom agree to participate in the =
- disk for friendship to Ti=E3o, but he left clearly that it could not =
- use his name. The pseudonym Tony Brazil was an idea of the proper =
- Ti=E3o Neto. And, as always it happened, Tom was not limited to touch =
- guitar in some bands: he had participation in the arrangements, =
- participated in entire disk and, if he could, would have made still =
- more.
-
- In reality, he was always like this. In his last life years, when =
- invited by singers to do a little participation, singing just one =
- track, Tom expend weeks no agreeing, just to, without credits, take a =
- large contribuition in others albums, with damage in his own work. =
- S=E9rgio Ximenes didn't finish yet or know of the number of other =
- artists albums Tom made those "little participations"--in the last =
- number it was more than 40!
-
- We didn't have Brazilian Mancini in CD form and we don't know if some =
- day it will be released. What happened with the Vault label? In =
- another American album recorded in 1964 (with Tom also), "Soft Samba =
- of vibraphonist Gary McFarland" (Verve) - this just last year was =
- reissued in New York. This album has just two participations of =
- Tom's guitar: in La Vie en Rose and in I Want to Hold Your Hand - =
- yeah, yeah, yeah. I said just becose all that is seen of bossa nova =
- guitar in all album is like Tom, diferent of Kenny Burrell's solos, =
- who has the name of guitar in the other ten tracks.
-
- Johnny Magnus, author of the text in the back of Brazilian Mancini - =
- wrote in an age when USA had a lot of bossa nova recorded by =
- Americans - made a curious observation for today years and years =
- after when some people didn't agree about the bossa nova birth: Bossa =
- Nova, he wrote, come from Brasil and from Brazilians - and they made =
- it popular in all world. We, their neighbors,
- just adopted it like ours - and what could be more american than that =
- ? It's so american!.
-
- Albums like Brazilian Mancini and Soft Samba are a good direction of =
- popular music - it could blend bossa nova, jazz, Mancini, Beatles and =
- what more will came, in a rich fusion. But, how we know since 1965 =
- it doesn't matter for the brazilian popular music.
-
- - ----------------------------------------------------------------------
-
-
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-
- ------------------------------
-
- Date: Sun, 12 Mar 2000 13:38:55 +0100
- From: Johan Dada Vis <Quiet@village.uunet.be>
- Subject: (exotica) Re: Cribbed Record Covers
-
- The Bartlebees: Little Teddy
- LP, Bite 001, UK, 1990's
-
- Sort of a Shaggs tribute. The front cover is a replica of the cover of the
- Shaggs' first LP. The album starts with a song that resembles the Shaggs --
- particularly the drumming and out of tune singing -- but the rest of the
- record sounds very much like the TV Personalities. Maybe they're involved,
- it wouldn't surprise me. (Dan Tracey on organ).
-
- Johan
-
-
-
-
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-
- ------------------------------
-
- Date: Sun, 12 Mar 2000 14:06:17 EST
- From: DJJimmyBee@aol.com
- Subject: (exotica) Re: Cribbed Record Covers
-
- Joe Jackson did one in the 8T's where he replicated an old Sonny Rollins Blue
- Note cover by posing identically with a sax. The Lothars, a Boston-based all
- theremin group, named their album "Meet The Lothars" and replicated "The
- Rutles" cover which mimiced the British "Meet The Beatles" cover. Then Elvis
- Costello cribbed LP-cover ring wear on "Get Happy"....There have to be many
- more..JB
-
-
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-
- ------------------------------
-
- Date: Sun, 12 Mar 2000 15:39:28 -0500 (EST)
- From: Bruce Lenkei <lenkei@echonyc.com>
- Subject: (exotica) Re: Cribbed Record Covers
-
- Oh! There's also The Clash. London Calling duplicates the Type from an
- early Elvis album. Maybe his first LP?
-
-
- ++++++++++++++++++++
-
- Lenkei Design
- Graphic Design
-
- www.lenkeidesign.com
-
- ++++++++++++++++++++
-
- On Sun, 12 Mar 2000 DJJimmyBee@aol.com wrote:
-
- >
- > Joe Jackson did one in the 8T's where he replicated an old Sonny Rollins Blue
- > Note cover by posing identically with a sax. The Lothars, a Boston-based all
- > theremin group, named their album "Meet The Lothars" and replicated "The
- > Rutles" cover which mimiced the British "Meet The Beatles" cover. Then Elvis
- > Costello cribbed LP-cover ring wear on "Get Happy"....There have to be many
- > more..JB
-
-
-
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-
- ------------------------------
-
- Date: Sun, 12 Mar 2000 23:01:31 +0100 (MET)
- From: Hemmel@gmx.net
- Subject: (exotica) Michel Legrad
-
- Somewere i read that the two brilliant DANCEABLE MICHEL LEGRAD Tracks
- COME RAY AND COME CHARLES and DI GUE DING DING from the first Inflight
- Entertainment Compilation are from the Album PLAYS FOR DANCERS. So can anybody tell
- me if the rest of that LP is as good as these tracks or are they definitly
- the highlights ???
- Are there other LEGRAD LPs with great and powerfull DANCE tracks ???
-
- Martin
-
- - --
- Sent through GMX FreeMail - http://www.gmx.net
-
-
-
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-
- ------------------------------
-
- Date: Sun, 12 Mar 2000 17:52:23 -0800
- From: "B. Yost" <byost@megsinet.net>
- Subject: (exotica) World Standard "Country Gazette"
-
- I just wanted to thank the people who recommended this CD on this list a
- couple of weeks ago. When it first came out, I thought that the concept
- (Japanese electronic musicians doing an homage to rootsy country/banjo
- music) didn't work "on paper". Yesterday on an out of town trip, I came
- across a used copy and picked it up, and was just amazed at how well it
- did in fact work.
-
- And to echo Mo's comments about how external circumstances can enhance a
- listening experience, thus making it "live" in some way, my first listen
- to the World Standard cd was in my car on desolate country highways in
- rural Ohio during an unexpected early March snowstorm as daylight was
- fading into dark. It was very intense and very moving. It will be
- interesting to see how the disc holds up to subsequent listening in a
- more ordinary environment.
-
- - -- Brad
-
-
-
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-
- ------------------------------
-
- Date: Mon, 13 Mar 2000 00:43:06 +0100
- From: Moritz R <exotica@web.de>
- Subject: Re: (exotica) live music propaganda
-
- Mimi Mayer wrote:
-
- > First, though, gotta point out that I don't think recorded music is
- > necessarily better than live music; they are very different experiences.
-
- I think I said something like this too; However what I meant was, that in
- general I am more interested in records than in concerts. But that was just
- the last point in my post. What I was basically talking about was, that I
- think, that most of the reasons why people prefer live music to recorded music
- have to do with most anything but the music itself.
-
- > Here's an admittedly extreme
- > example. Say you attend a show by saxist Oliver Lake. The show is in a long
- > narrow room with stone walls and low ceiling... ...you realize, he is
- > playing with the acoustics of the room... ...What an astonishing experience!
-
- Well... I haven't attended a concert like this yet. I admit there are concerts
- that deal a lot with live acoustics, special rooms, 8-channel-P.A. etc. Those
- of course can only be experienced live, which means they are not better than
- records, but a recorded form is just not possible. I just can't remember one
- of those that I really liked though. Probably because I think that good music
- doesn't need "tricks" like these. The events we are talking about here, and
- they are the most common ones, are concerts by artists who play live
- aproximately what they play on records, more or less, and even if I really
- like the live version of the music, most of the times it owes to all the
- non-musical factors that I had tried to list in my examples. As you mention
- Zappa... I saw a Zappa concert in Frankfurt, when was that? 80? I was like
- half a mile away from the stage, saw a silouette of someone who could have
- been Zappa close to the horizon and most of the time during the concert I
- watched these sci-fi American soldiers with their tight black combat dresses
- and shiny black helmets who acted as security guards. The music... well, when
- I came home I put on the record (Roxy and Elsewhere period) and enjoyed it
- much more than the entire concert.
-
- > Moritz, what do you think of Fripp and Frippertronics? Have you ever gone
- > to a Fripp show?
-
- No...
-
- > To my ears, Frippertronics live are a provocative, yummy
- > mix of preprogrammed music and live improvisation on it--a fact that hit me
- > at a Fripp show I attended recently.
-
- I saw a concert, that could fit this description, by Fred Frith (the name even
- sounds similar), so I think I can imagine what you're talking about. To me
- those kind of events are often filed under performance rather than music. It's
- possible that a concert turns me on, even if I don't like the music on CD. But
- in that case most likely something (that is: a lot!) happened on stage that
- had nothing to do with the music, and made me being so impressed. The Tiger
- Lillies gig was a good example for this.
-
- > But if "live" recordings are the only way you get to hear
- > the music, then you don't have any substantive point of comparison. It's
- > easy to be satisfied with a concert recording of a band or solo musician
- > who's left this veil of tears or no longer performs.
-
- The starting point of this discussion was the statement, that a record can
- never beat the experience of live music, and I had understood this statement
- as a direct comparison between the music live on one hand and the music on
- record on the other hand, and I just had to contradict to that. And one
- argument was, that in the case of a recorded live concert it would be a
- contradiction in itself, leading to my statement that all kinds of
- outer-musical reasons are responsible for what people call their
- live-experiences. To the extent of situations when even recorded music can get
- a whole different meaning in very special circumstances of your life. Think of
- DJs: I can be as excited about the gig of a good DJ as I can about a live
- band. You simply have to differentiate these layers, if you make a heavy
- statement like this pro-live music statement.
- But OK, as always in threads like this, in the end you realize, that there are
- too many different versions of what you talk about, that it is nearly
- impossible to generalize. And that there are so many different people with
- different points of views that questions like this have to be answered by
- everyone individually. But we do make personal subjective statements in this
- list, don't we? You can say that you like Arthur Lyman better than Martin
- Denny or vice versa and try to find "proofs" for your opinions and you can
- contradict to the arguments of others and maybe sometimes you learn something
- from the discussion and maybe you even change your mind. I changed my mind
- many times and when I just thought I knew what I'm thinking I started to drift
- into the opposite direction.
-
- Mo
-
-
-
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- ------------------------------
-
- End of exotica-digest V2 #649
- *****************************
-
-