Music Reviews: The Rolling Stones’ Blue and Lonesome + Putumayo Presentsa

By Ernest Barteldes

The Rolling Stones

Blue and Lonesome

Polydor

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As any fan of the Rolling Stones knows by heart by now, the band started out as mostly a blues band – like the Yardbirds, Alexis Korner and other contemporaries, they fed on the American music and went from there. That is quite evident from their self-titled debut album, which relied heavily on covers; including “Route 66” and Willie Dixon’s “I Just Want to Make Love to You” (this was before they recorded Lennon-McCartney’s “I Wanna Be Your Man”).

Though they would often include blues themes in their subsequent records, they never really did a blues album until now. According to the liner notes on Blue and Lonesome, the idea came while they hit a snag while recording an original tune in December 2015 and decided to “clean the palate” with a rendition of Walter Jacobs’ “Blue and Lonesome,” and the idea was planted.  The band played live in the studio with wild abandon, almost sounding like a bunch of 20-year-olds as they went along.  In the studio next door was Eric Clapton, who was invited to contribute on a few tracks, and by the end of only three days the album was done.

The band – augmented by session musicians Darryl Jones (bass), Chuck Leavell (keyboards) and Matt Clifford (Wurlitzer) delivered one heck of disc – they sound energized and clearly happy to be doing this.  Jagger’s harp is second nature to him as well as his trademark voice.  Clapton contributed to “Everybody Knows About My Good Thing” and “I Can’t Quit You Baby,” but he was subtle, mostly adding to Keith Richards’ lead guitar and doing his best to stay out of the way – you can hear this clearly on the latter, when you hear Richards on the left and Clapton on the right, both with their distinctive sound.

This is the essence of the Stones masterfully doing what they studied deeply for years and throughout their careers, not some opportunistic rock band trying to sell records by taking on the blues and failing miserably – examples abound out there without me having to name names.

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Putumayo Presents: African Rumba

Various Artists

Putumayo

 

When Angelique Kidjo took to the stage at Celebrate Brooklyn in the summer of 2016 for her Celia Cruz tribute, she stated that when she was in her native Benin, there were two artists that had superstar status:  The Queen of Salsa and James Brown – but she also said that Latin artists were highly respected, especially in the western part of the African continent.

As the liner notes of Putumayo Presents: African Rumba state, “in the 1930s a Cuban song called ‘El Manicero’ (The Peanut Vendor) became a worldwide hit reaching even in the heart of Africa The Ensuing popularity of Latin music and dance styles like the rumba, mambo and cha cha cha, which evolved into salsa, had a powerful effect on African music throughout the 1970s.”

“Latin music was so popular in Africa,” the notes add, “that when a 1974 concert featuring an array of international stars was organized in what was then Zaire, it wasn’t James Brown or B.B. King who filled the stadium but Cuba’s Celia Cruz and salsa star Johnny Pacheco who elicited the greatest response.”

This is quite evident in this Putumayo compilation that brings together music recorded   over the span of four decades, which shows how Latin influence shaped the music in that continent. Kicking off with “Aminata,” a duet by Cuban pianist Harold Lopez-Nussa and Senegalese bassist/singer Alline Wade recorded in 2015. The roots of the song are clearly African, but the beat and general feel is purely Cuban.  The same can be felt with Michel Pinheiro’s African Salsa Orchestra. A native of Benin, he found success later in life (he was a farmer for a long spell) in Abidjan, in The Ivory Coast. His “Paysan” has a slower tempo than most of the tunes on the disc, but it is very soulful thanks to his heartfelt vocal delivery.

Ricardo Lemvo and Makina Loka were also supposed to appear at Celebrate Brooklyn in the summer of 2016, but the concert was cancelled for unknown reasons. A native of Congo based in Los Angeles, his music has a stronger Central African influence (especially on the guitars and percussion) with more low-key acoustic arrangements that focus more on the vocals and beat – perfect to dance while still enjoying the music, as can be heard on “Tata Masamba.”

Also notable is the earliest tracks in the collection – Orchestre OK Jazz’s “Micorasson,” which is basically misspelled  “Mi Corazón”  (“My Love”) dates from 1956 – the year Elvis made his first recordings for RCA.  The interesting thing is that they sing in phonetic Spanish even though none of them spoke the language but you can hear how hard they try – even if they slip in some of their native words.

This is a great introduction to a genre few Americans – except maybe for a die-hard World Music Fan – have ever been exposed to, and a fantastic starting point for those who want to get to know these musicians better.

Ernest’s Annual Christmas Music Roundup: Putumayo’s “Latin Christmas” and Bibi Ferreira’s “Natal em Familia”

By Ernest Barteldes

This is of course the time of year when you cannot walk into a store anywhere in the nation without hearing the familiar chimes of sleigh bells and the cheerful melodies of tunes like “The Christmas Song,” “O Holy Night,” “Winter Wonderland” (which I think does not qualify as a Christmas song in the first place)” to questionable hits like “Please Daddy Don’t Get Drunk” or “Last Christmas.”

It is also the time when everyone from Celine Dion to Ann-Margret attempt to give their own take on the music of the season – and it’s not only about artists desperate for the spotlight but many who don’t actually need it: for instance, all four Beatles released Christmas music during their solo careers (the worst being Paul McCartney’s “Wonderful Christmastime” and the best John’s “Merry Xmas – War Is Over”), and Queen did a Christmas single at the height of their fame (the dreadful “Thank God It’s Christmas”).

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As someone who writes about music, I am usually inundated with new Holiday-themed albums starting from as early as July (one year I got one before Memorial Day) but things were slower this time around – I guess the gods of music realized that my time has been a bit limited for this stuff, and from the ones I did get, here are two that I do highly recommend.

The first one is Putumayo Presents Latin Christmas, a highly enjoyable album because it doesn’t really sound like a Christmas album in the first place: it opens with a bossa version of “Joy to The World” performed by Arizona-based cover band Nossa Bossa Nova, a group that has adapted everything from the Rolling Stones to Bob Marley into bossas – some with pretty good results. My favorites, however, were the tunes that went completely outside the box. Poncho Sanchez offers a swinging n Afro-Cuban take on “Have Yourself A Merry Little Christmas” that gets you immediately moving, while UK-based Dave Stephens offers a bolero-inflected instrumental take on “God Rest Ye Merry Gentlemen”

Also notable are “El Año Viejo,” a cumbia celebrating the birth of the new year and also Susie Antoli’s s “La Peregrinacion,” a gentle Argentinean ballad that narrates the biblical story in which Mary and Joseph tried to find a place to sleep at the end of their journey to Bethlehem.

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Bibi Ferreira is one of Brazil’s greatest living legends – at 94 years of age as of this writing, she is actively performing throughout the Americas and Europe while still finding time to go into the studio to record new music.

Natal em Familia” (originally released in Brazil in 2012) brings together many traditional mostly performed as duets. The album kicks off with “Sinos de Belém” (Jingle Bells) done in an American Gospel/jazz style featuring samba singer Alcione and plenty of improvised instrumental solos from her touring band. Antonio Carlos Jobim’s “Estrada do Sol” is a bit unexpected for this album but it ultimately makes sense since the lyrics speak of hope for better days to come. “Um Novo Tempo” is a Marcos Valle/Paulo Sergio Valle/Nelson Motta composition that was for many years used as Globo TV’s Holiday theme, but here it receives a more serious treatment as a more devotional feel featuring the voices of Ferreira, Joyce Candido, Ana Cristina and Mayra Freitas.

There are a few throwaways – it’s hard to understand why anyone thought having Ferreira and former kiddie show host Xuxa Meneghel duet on “Vem Que Vai Chegando o Natal” (Santa Claus is Coming to Town) would be a good idea, and it’s pretty cringe-worthy even if it has a nice swinging jazz backbeat. Also the late Emilio Santiago;s vocal chops are under-used in the beautiful ballad “Feliz Natal” – he had such a great range but here is reduced to singing in unison with Ferreira.

Other notable tracks are Schubert’s “Oh Noite Santa” (Oh Holy Night) performed by opera singer Max Wilson and of course the beautiful duet that Ferreira and pop singer Ronnie Von do on Schubert’s Ave Maria – gives you goose bumps even after repeated hearings.

Music Review: “Fio da Memoria” by Luisa Maita

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By Ernest Barteldes

Six years is a long time to wait between albums for a new artist, but Sao Paulo-born Luisa Maita seemed to have made the right choice in this case.  Since the release of her much acclaimed debut album Lero Lero (Cumbancha), she did a lot of touring (including many stateside appearances), collaborated with various Brazilian musicians and collected various awards in recognition of that first album.

The formula of Lero-Lero was quite simple: a modern take on bossa and samba-inspired tunes with a creative edge.  When I heard that album, she reminded me a bit of Marisa Monte, who does a lot of experimentalism with her music but keeps a firm grip on more traditional beats.  She could have simply stayed the course and done more of that, but she clearly decided to go into a completely different direction with her second album.

Fio da Memoria” is more of a rock-fusion album:  distorted guitars are front and center, but the rhythm is pure Brazil. For instance, “Olé” has a lot of electronics going on, but the percussion is clearly influenced by the sounds of Northeastern Brazil, while “Porão” has a Maracatu feel. The title track is a refreshing electric samba (close to the work of +2 , the leaderless music collective formed by Moreno Veloso, Kassin and Domenico Lanceloti), while “Folia” is pure Bahia samba, with a full percussive group behind Maita’s voice – and little else.

“Fio da Memoria” takes a few plays to totally sink in – though most of it is fun to listen to, it is also music that makes you think thanks to its clever arrangements and the way the instruments are played – there are quite a few surprises as the music plays. An example of this is “Volta,” a tune that begins with layered vocals and a curious line –  until the drums come in behind a three-part harmony  that take you into a 70s-influenced slow funk.

In a year filled with so much music that made little sense, “Fio da Memoria” is quite refreshing – the music is both smart and enjoyable, and makes this one of the best World Music releases of 2016.

 

Preview: Mariza At Town Hall and NJPAC

Mariza

Saturday, October 15 at Town Hall

Sunday, October 16 at NJPAC (featuring Bebel Gilberto)

For more information visit Mariza.com

By Ernest Barteldes

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Back in 2009 I was fortunate to be in the audience at Carnegie Hall to hear Mariza sing in support of Terra, (2008) an album that was a bit of a crossover for her – in addition to the traditional fados that caused her to be called “the next Amalia Rodrigues,” she included songs like Charlie Chaplin’s “Smile” (backed by Gonzalo Rubalcaba) and The Beatles’ “Yesterday” with a jazz-inflected treatment that was quite different from what you hear on the streets of Alfama.

At the time I was not aware that she was about to embark into a half-decade hiatus to dedicate herself to starting a family . I was glad that to hear she was ready to go back on the road when I was assigned to write a preview of her Krakow debut earlier this year, and was eager to hear her in the US again.

I guess I am getting my wish.

Mariza returns with “Mundo” (Nonesuch, 2016), a disc that  takes her music to yet a further direction, embracing pop, jazz and other genres with a little help of several guest artists who sometimes take the spotlight entirely away from her.

Produced by Javier Limon, the album blends more traditional fados with more modern grooves – the first example being “Paixao,” a ballad that begins with a more classical feel then incorporates electric bass and percussion – something not very commonly heard In an album of this genre – the impression I had was as if Queen’s Brian May had decided to produce the tune then decided not to multi-track his legendary Red Special guitar into it. Another great moment is “Padoce de Ceu Azul,” a ballad with a laid-back feel that gives a chance to hear Mariza outside of the usual dramatic sound of fado.

Fans of Lisbon’s signature sound should not worry – most of the tunes keep into the format, but I agree that Mariza should go beyond their comfort zone as Cristina Branco, Ivete Sangalo and others have done before her. But she is not just expanding, but bringing fado to the 21st Century – “Sem Ti” is clearly inside the genre but cleverly brings other elements to it – without completely breaking away.

I am not sure how Mariza is going to bring all the music together on a live format, but am certainly curious. She always has the ability to surprise audiences with unexpected surprises – at Carnegie Hall she had all the mikes turned off and did a few songs acapella the way it is done back home.

I can assure everyone in the audience – wherever they were – heard every note.

Single Review: Karar by Duke Guillaume

By Ernest Barteldes

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    “Karar” by Duke Guillaume

For those familiar with saxophonist and bandleader Duke Guillaume’s devotional work both as a solo artist and with The Metropolitan Big Band, this single is quite a departure. “Karar” seems to draw inspiration from the sonic mix more closely identified with South Florida, blending electronics with classic jazz and Latin-esque sensibilities (which probably explains the cover, which pictures the musician embracing the sun and the beach), tending to follow more a dance vibe than trying to sound too improvisational

While the main melody keeps on a straight dance beat, things get quite interesting in the chorus, where a Latin samba-reggae mood kicks in, taking you away from Florida and more into the streets of Bahia, where the Afro-inspired drums play as the crowds follow them through the narrow streets of the Historical District every Tuesday night. I also felt a bit of Puerto Rico’s reggaeton into the mix – a beat that has yet to be explored by jazz musicians.

You can check out the track below:

 

Disc review: Trio da Paz “30”

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By Ernest Barteldes

 

Guitarist Romero Lubambo, drummer Duduka Da Fonseca and bassist Nilson Matta are all accomplished bandleaders in their own right, but when they get together as Trio da Paz there is clearly some extra musical magic going on.  The three musicians have fantastic chemistry together, and that can be heard not only on a live format but also in the studio.

The group began via informal rehearsals the three musicians did together before officially creating Trio da Paz, which now celebrates its 30th anniversary with 30 (Zoho), a record containing mostly original material written individually by Lubambo, Da Fonseca and Matta. The album kicks off with “Sampa 67,” a Matta composition that honors the city of the bassist’s birth (not to be confused by the similarly titled Caetano Veloso tune).  The track is centered on the bass and drums with guitar riffs.  They revisit Lubambo’s “For Donato,” a tune played around a bassline that is reminiscent of Dorival Caymmi’s “Samba da Minha Terra” but then goes into a completely different direction.

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The song was previously recorded by its composer on 2002’s Rio de Janeiro Underground, but here the arrangement is markedly faster than the original recording, focusing on all three band members.  Also revisited is Da Fonseca’s “Flying Over Rio,” a song previously featured on the drummer’s quintet album “Samba Jazz (Anzic, 2013). The Trio da Paz version is more stripped down, focusing on Lubambo’s nuanced guitar playing.

 

The trio also pays tribute to the late master guitarist Baden Powell with a cover of his “Samba Triste,” here played as an antithesis of its title – instead of being a “sad samba,” it appears as an up-tempo melody that showcases the band members’ individual chops.  It is notable that Lubambo recorded a handful of tracks using electric guitar (something I have never heard him doing with Trio da Paz) – “Outono, “a slow bossa that features a melodious solo from Matta, and also the aforementioned “Flying Over Rio.”

As someone who has seen this trio perform live many times in the past decade, I cannot wait to hear how they will treat these tunes on stage. I have been in awe of their music ever since I heard them for the first time at the Jazz Standard in 2005, and I hope they stick around for a very long time.

My Brazilian Music Loot: Buying Music on Vacation

By Ernest Barteldes

Whenever I travel abroad I make sure to visit the local music stores to search for music  that is not easily available online or  simply to locate some long-lost  musical gem. That was true last year when Renata and I visited Poland and I went on a quest for records by singer Anna Maria Jopek and rock band Bajm, and it was especially true during our last visit to Brazil. The U.S. dollar is on an all-time high these days, which made travel to the country way cheaper than it used to be. Though this is clearly a disadvantage to locals  since it has made travel (and some other services) far more expensive, it was a huge plus for foreign travelers, who get to get a bigger bang for their buck at hotels, restaurants and shops.

Before I even left to Bahia, I’d read that legendary singer Gal Costa was releasing a new album featuring produced by Kassin (of +2) with tunes by Caetano Veloso, Tom Ze, Marisa Monte and younger songwriters like Marcelo Camelo. The release date was the very day I’d arrive in Bahia, so I made a point of purchasing it in her native land. I searched a lot of shops near our hotel with no luck, but was finally able to get it at the Salvador airport during our final hours there.  Since this was a new release it was a little pricey, but in the end it cost about as much as if I had purchased it on iTunes. Gal Estratosferica (Universal Music Brasil) is quite refreshing – she allowed Kassin to “ go nuts”  with the arrangement, and the result is a youthful album that seamlessly blends electronic and organic elements around her voice.  You can read my review published a few weeks back on this blog, written while I was still in Brazil. Once in Fortaleza, Renata and I headed to the nearby Shopping Aldeota, a mall that caters to the residents of the surrounding areas (malls are still a central part of Brazil’s social life and are in every major neighborhood) and when to Lojas Americanas, a discount franchise that is ubiquitous in the country. I immediately headed to the music department and raided the bargain section, where I found some great stuff for as little as $3 (10 Brazilian Reais).

One of the first I picked up was Cazuza’s excellent O Tempo Nao Para,  his only live album released in his lifetime (there was a posthumous live disc with Barao Vermelho that is not really good).

 

Cazuza was the poet of his generation, and he wrote many wonderful songs during his brief career, which ended when AIDS claimed him when he was 34 years old.  The album is cathartic – his voice is clearly hoarse, and he had lost an incredible amount of weight. Unlike other artists of his time, he did not hide his condition, but courageously kept on going until he breathed his last. I am a big fan of Caetano Veloso, and among the finds was his “Best of”  compilation  released in the 90s. It is clearly dated since it contains none of his inspired material from albums like “Livro,”  “Ce”  or “Fina Estampa,”  but it is a pretty concise document of his work up to the late 80s with songs such as “Alegria Alegria,”  “Sampa”  and the weird “Shy Moon,”  an English-language duet with British-born one hit wonder Ritchie.

Years ago you wouldn’t  have caught me dead with an Ivete Sangalo album, but  I have grown to admire the Bahia-born singer, especially after catching her live a handful of times over the years. Sure, she does not have the vocal chops of the likes of Marisa Monte or Gal Costa, but she rocks when playing live.  I made a point of attending her  May 31st concert in Fortaleza, where she paid tribute to Tim Maia alongside emerging R&B singer Criollo, and I am glad I did, because it was truly a memorable performance.

She has great charisma and completely dominates the stage – it is little wonder that she has become the biggest selling artist in Brazil and plays to sold-out stadiums wherever she goes – an example of this is her “Ao Vivo no Maracana,”  captured live at the world’s largest soccer stadium with guest appearances by Alejandro Sanz, Skank’s Samuel Rosa and others – again a stellar performance and a great album to party to.

It’s hard to find a bossa nova album I don’t have these days, but I was glad to get my hands on “Tom – Vinicius – Toquinho – Miucha Gravado ao Vivo no Canecao,”  a 1974 concert featuring bossa co-creators Antonio Carlos Jobim and Vinicius de Morais alongside guitarist/singer Toquinho and vocalist Miucha (the sister of Chico Buarque and mother of Bebel Gilberto) in an amazing live performance featuring some of the best Brazilian music ever written done by the artists who introduced them to the world.