The records are few and far between, and most of the early ones have achieved cult status in their own right. Some snippets of bata drumming can be found on early Latin records, particularly old 10" LPs with the odd "Afro" or rumba track. And a few major-label albums treat the subject nicely. Katherine Dunham was friends with Fernando Ortiz, chief folklorist and anthropologist studying Cuba. Through him she met and hired into her company the great conga player Francisco Aguabella Urrutia and Julito Besabe Collazo.
Hours of drumming induce women of the sect into trances, particularly the "daughter of a saint," who is outfitted for the dances she must perform while under possession. Sergio Mendes launched a new, pop-vocal sound in the middle and late s. Commercially, this was the last wave for both bossa nova and Brasilian music for decades, although some of the best was yet to come.
Less tied to sales volume, jazz has maintained its steady embrace of bossa nova. One masterpiece and milestone of soul jazz, Horace Silver's "Song for My Father," is in fact a bossa nova. Whether stylish or substantive, lightweight or important, bossa nova continues permanently, as does its parent, the samba.
The great Brasilians who led the bossa nova movement in the United States --Jobim, Mendes, Airto, Gilberto, Wanderley, Donato, and many others-- had started as masters of the samba and in many cases piano and organ. As bossa nova crested and music in general became funkier and weirder in the early s, the great arranger-composers experimented in soul jazz, electronic keyboards, overdubbing of percussion, and other extensions of their music.
His compositions, both in the erudite and popular fields, concurred to bridge the gap between the two idioms, a self-imposed task that was always kept in sight throughout his whole life. Both his father and mother were musicians and he started his musical apprenticeship with his mother at age six; later he also took the violin, with his cousin Olga Fossati. At nine, he was decorated by the Italian consul after conducting a child orchestra with his own arrangements. In the same year, he was examined by the Escola de Belas Artes de Porto Alegre and was admitted at once to the fifth grade.
At 16, he was employed at the Cine Colombo, accompanying silent movies. His desire was to be a concerto pianist, but his parents didn't have the means to provide for his training and he had to work in dances and take in pupils. In , he finished his studies with honors and decided to go to Rio. In front of a selected audience composed of journalists, musicians, critics, and authorities, he disencumbered himself from the task with greatness that registered with the critics from the period.
Soon he met Ernesto Nazareth, who played at the Cinema Odeon, and he then became a frequenter of Galeria Cruzeiro, a piano seller that employed Nazareth as a sheet music demonstrator.
After a while, Nazareth asked Gnattali to play for him, receiving enthusiastic applause. He returned to Porto Alegre and continued to teach while performing extensively with the Quarteto Henrique Oswald, where he exercised and experimented his string quartet skills as the basis for his firm grasp on the symphonic orchestral writing.
In , Fontainha scheduled him again to play in Rio. In that period, he already had a great number of compositions, both erudite and popular. In the next year, already married, he embraced popular music for a living and was employed by the orchestras of Romeu Silva and Simon Bountman, playing at Carnival balls, operettas, dance parties, and radio shows.
In those times, there were virtually no Brazilian arrangements. He began to write arrangements for Brazilian music almost at the same time as Pixinguinha, soon becoming famous for that. In , he become a session arranger and pianist for Victor, debuting there in the recording business with his choros "Espritado" and "Urbano" under the pseudonym Vero adopted in all his popular pieces. The association produced top-selling results, while the critics deplored the "American chord," as they referred to the ninth chord.
At this point, it is important to quote Gnattali himself to solve a lot of confusion surrounding Brazilian music, including the so-called bossa nova. The enormously successful, almost unofficial anthem "Aquarela do Brasil," was modified by Gnattali, which put five saxes playing the counter theme in seconds, originating the all-time classic introduction.
Initially a modest enterprise, from the very first moment it counted on Gnattali. In line with the government's ideals, the radio changed its profile to represent an important asset in the cultural propaganda, which was based on the best production of the country. In those times, there weren't Brazilian music orchestras, only small groups regionais and salon dance orchestras.
It was a show that presented music from the entire world, but with appropriate Brazilian dressings through arrangements by Gnattali that were executed by the orchestra. At that time, Gnattali used to write nine full-scored orchestrations per week. Under the influence of his friend, drummer Luciano Perrone, Gnattali also changed the way of orchestrating Brazilian rhythms. Includes the stunning Edu Lobo penned "Vento Bravo". Here it is, rare private release in all it's original glory.
Rare sixties release, acoustic but very groovy and featuring classics such as "Bicho Do Mato", a very good loping version of Orlandivo's "Onde Anda Meu Amor" etc! Music from the film, featuring some Hammond pressure on "Tema De Perseguicao" fast-paced funky car chase theme! By now we're getting used to all sorts of fantastic musical combinations coming out of Belgium, but this Brazilian funky folky melting pot is still a bit of a headspinner.
Includes the excellent floating jazz samba rhythms of "Go For The Others". Nice price for this well-established Afro-Brazilian classic. Don't know what was going through his mind when he recorded this.. There's extended rants about rational energy what? But thankfully, he did lay down some mesmerizing tunes to go with his deranged philosophies!
The majestic "Rational Culture" grooves brilliantly for over 12 funky as hell minutes. Released on his own independent Seroma label. Excellent funk bomb from Brazil. Of particular interest for the contribution from Erasmo Carlos - "Capoeirada" - great Afro-brazilian tune! Utterly amazing LP, I'll never forget the first time I dipped the needle on these sublime grooves. With that infamous raw doublebass on the opening, "Para Chick" needs little introduction - fierce piano-led bossa jazz.
Rough Afro-brazilian funk. Includes the joyous "Kalenda" and the uptempo, clubby "Mulher". Afro-brazilian samba moves from this popular group. Quality stuff, including "Um Abraco No Sorongo". Super-rare funky grooves from Uruguay. Candombe is a unique, very danceable, percussion-heavy rhythm and Dogliotti was one of it's main exponents. Here, the band stretches out on an earthy, extended latin-tinged version of Herbie Hancock's "Chameleon". The differences are subtle - less electronic harshness, more natural rhythms and sound, but the result is a very fresh-sounding version!
Immensely danceable instrumental rhythms with a twist - this is not your average selection of batucadas and the choice of instrumentation in each case adds something new to the genre. In demand Mex only rarity -getting plays! Michael Garrick is one of the finest pianists to emerge from Britain.
His records are relevant today as they were thirty odd years ago and are highly in demand and commanding huge prices to match. The formation of a credible British jazz force in the Sixties though not recognised by the critics or public then was largely due to him.
Thus started a residency of many, many weeks at the world famous club. Garrick was friendly with Jamaican emigree Joe Harriott, who was an early pioneer of Indo-jazz fusions, a good few years ahead of his musical contemporaries.
When in the early Nineties Talvin Singh and his tablatronics tablas fed through a mic rocked clubland those in the known acknowledged that Harriot had moved similar waters decades earlier. Strata East was a label started in the early Seventies in America by muscians for musicians.
Its goal was to spread spiritual, uplifting music without any commercial pressures. A sparse, emotitive piece, which still holds the grip of the listener several minutes after listening. Dee Dee has been recording for many years, and after a period of absence in the Eighties and relocation to Paris, is still vowing international audiences. Seventy five years old, six foot seven and a leading authority on Afro-centric learning Brooklyn born Randy Weston has been recording for many years releasing over forty albums.Luciano Perrone with Os Ritmistas Brasileiros: "Batucada Fantastica" CD, Musidisc, Brazil Luciano Perrone e seus Ritmistas Brasileiros: "Batucada Fantastica vol. 3" CD/LP, What Music , UK, comment: Johan: My rating: 4 points on 5. fun Batucada instructional album. Read a review of this record in the "Critiquarium".