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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" <[e-mail]>
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" <[e-mail]>
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" <[e-mail]>
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: [e-mail]
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" <[e-mail]>
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: [e-mail]
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 <[e-mail]>
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" <[e-mail]>
Subject: (exotica) Three Suns / Prado

exotica-digest wrote:

>Date: Fri, 10 Mar 2000 19:17:11 EST
>From: [e-mail]
>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
      [e-mail]

      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: [e-mail]
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 <[e-mail]>
Subject: Re: (exotica) Tracklist needed for Montenegro LPs

on 12/3/00 11:46 AM, [e-mail] at [e-mail] 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 <[e-mail]>
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 <[e-mail]>
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: [e-mail] (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" <[e-mail]>
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 <[e-mail]>
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: [e-mail]
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 <[e-mail]>
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 [e-mail] 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: [e-mail]
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

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Date: Sun, 12 Mar 2000 17:52:23 -0800
From: "B. Yost" <[e-mail]>
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 <[e-mail]>
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
*****************************