Music Reviews: Marisa Monte’s Colecao and David Feldman’s Horizonte: Two From Brazil

By Ernest Barteldes

Colecao

Marisa Monte

Universal Music

David Feldman

Horizonte

Self-released

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Marisa Monte is not what you would call a conventional performer – in spite of having a very successful career spanning almost three decades (yes, her debut was released in 1989), she was reportedly not too happy with the idea of releasing a collection of her greatest hits. However, since her contract with Universal Music (which merged with EMI in 2011) called for a compilation, the solution was to put together a selection of lesser-known tunes that either appeared as duets in other performers’ albums or in movie soundtracks – plus a handful that had never seen the light of day until then.

Being the perfectionist that Monte is, this is no hastily thrown-together compilation but a carefully curated tune selection. A couple of those tracks might be well-known to World Music fans, such her duet with David Byrne on the Jobim classic “Waters of March” that appeared on the first Red, Hot and Rio album in 1996 – it is a welcome update on the bossa nova compositions, filled with electronic sounds and the Afro-Brazilian percussion of Carlinhos Brown. Another is the gentle balad “Ilusion,” a bilingual (English/Portuguese duet with Mexican singer Julieta Venegas from the latter’s MTV Unplugged disc.

Among the highlights is “Nu Com a Minha Musica,” a Caetano Veloso composition originally featured on the criminally ignored Red, Hot & Rio 2, a celebration of the Tropicalia Generation led by Veloso, Gilberto Gil, Tom Ze and others. Also great is “Chuva No Mar,” a duet with Portuguese fado singer Carminho.

Because Monte is such a versatile singer, many fans don’t realize how good she is at belting out a traditional samba – in fact, she has done considerable effortsto record voices from samba, and “Volta Meu Amor” and “Dizem Que o Amor” are excellent examples of that – she loses herself in the music with zero pretension and emerges with very enjoyable moments.

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I first encountered the sounds of pianist David Feldman as part of the Brazilian side of Scott Feiner’s “Pandeiro Jazz” project (he recorded his second album of that concept with a band based in Rio). A few years later, he participated in drummer Duduka Da Fonseca’s contemporary-driven trio. In recent years I heard he’d been performing Stateside, but I didn’t have the chance to catch him live.

In spite of his English-sounding name, Feldman was born in Rio and lived in New York for a number of years following his graaduation from the New School of Jazz and Cotemporary Music until he returned to Brazil, where he has a solid career both as a bandleader and a sideman with the likes of Leny Andrade, Maria Rita and Leo Gandeldman, to name a few.

On “Horizonte,” Feldman showcases his bossa nova chops in tunes like “Tetê,” a gentle samba that evokes memories of mid-career Jobim with a touch of Dorival Caymmi, featuring guitarist Toninho Horta on guitar and vocals. “Esqueceram de Mim no Aeroporto,” however, goes into more contemporary direction. Marcio Bahia’s drums have rich polyrythms that complement Feldman’s groove in a perfect manner – bassist Andre Vasconcelos completes the backdrop with gusto with his bassline (plus an accomplished solo halfway through).

Ceu e Mar” follows a similar direction – a modern piece with clear influence from samba jazz, specially via the rhythm section, who keeps the feel in Rio even if Feldman takes the music somewhere else. “Sliding Ways,” on the other hand, sounds like a jazz homage to gafiera samba, the kind played in ballrooms in Brazil. Trombonist Raul de Souza guests, giving the tune a hummable feel rarely found in jazz albums these days.

Book Review: Rita Lee’s Candid and Brutally Honest Autobiography

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By Ernest Barteldes

Rita Lee: Uma Autobiografia

Globo Livros

$ 8.99  Kindle Edition(in Portuguese)/ $ 38 paperback

The music of Brazilian rock superstar Rita Lee Jones has been part of my life as far as I can remember, starting from when her signature song “Ovelha Negra” hit Brazilian airwaves in the mid-1970s until pretty much present day, even if I haven’t yet listened to her 2012 release Reza (“Prayer”).  I have attended her shows over the years (including her last NYC appearance in 2003), and her music has been part of the soundtrack of my life along with every other musician or band that I have admired over the years.

When I heard that she had released an autobiography I was a bit curious but didn’t really make a point of reading immediately. However, my mother so kindly bought it for me as a Christmas present and I could not resist to crack the tome and find out what it was all about.

Like with any rock biography, readers tend to want the author to go straight to the stories behind the music, but since this is also her own story, we spend a few pages learning about Lee’s childhood and her relationship with her parents,  two sisters and extended family in a large house in Sao Paulo.  I was actually surprised to learn that she had quite a stable family life – she went to Communion with her family, and had a pretty normal life save for the horrible story in which Lee was raped with a screwdriver at seven years of age – and that the culprit was never caught.

When we get to the 60s, things get juicy, as she describes her years with Os Mutantes and their relationship with the Tropicalista movement started by Caetano Veloso and Gilberto Gil. We also learn the ugly side of the band and the way she was unceremoniously ousted from the band once the two Brandao brothers decided to take the band into a Yes-inspired progressive direction, and then we follow her entire career with details on the recording of every album she made all the way to her retirement, when she decided to stop touring and dedicate herself to family and a quieter lifestyle.

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The book is highly personal, and she does not gloss over the darker moments of her life, including her infamous 1976 arrest for drug possession while she was pregnant with her first son Beto Lee, her addictions and especially the self-destructive behavior that almost destroyed her relationship with husband and longtime songwriting partner Roberto de Carvalho. She is brutally honest when it comes to her disdain to the Mutantes reunion and also her detractors – especially late rock critic Ezequiel Neves, who openly hated her and printed his vitriol in the press with impunity, even spreading rumors about her health.

It is a very good read – it is not yet available in English, but it surely deserves to be translated even if it only reaches a small audience of her die-hard fans who did not have a chance to learn Portuguese, as suggested by the English lyrics of Caetano Veloso’s “Baby” – which she recorded with Os Mutantes, by the way.

Prosecutor Szacki’s Last Stand?

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Book Review: Rage by Zygmunt Miłozewski

(Amazon Crossing)

translated by Antonia Lloyd-Jones

review by Ernest Barteldes

On the final part of his Prosecutor Szacki trilogy that began with Entanglement (Bitter Lemon) , Zygmunt Miłozewski takes us to Olsztyn, where he transferred following the events from Grain of Truth (Bitter Lemon).

Szacki’s life has changed considerably – his teenage daughter is now living with him while his ex-wife is traveling around Asia with her new husband, and he is also in a lasting relationship with a local woman – which prompted him to leave Warsaw for good for this former German city, where he lives in an apartment just across the boulevard from the prosecution service.

But Szacki has not lost his usual bitterness. When he is called at a construction site below a hospital when a skeleton of what is believed to be a “German” (old remains are always – according to the novel – considered to be of Germans who previously lived there), he mutters to himself about hoping to have a “real” case that he can really investigate, not the usual drunken college student brawls that he routinely deals with. Further studies of the remains shows that the bones are actually much newer than previously thought, and that the deceased – a travel agent – had a gruesome death, dissolved while still alive using hydrocloric acid – the kind sold in any supermarket for unclogging household drains.

Rage has plenty of colorful characters – among them a doctor that assists with the investigation – a Dr. Frankenstein, who is also a professor who has alcohol-fueled parties with his students in a his campus lab. He is clearly an eccentric, but he seems to get along well with the prosecutor thanks to his dry personality and detail-focused demeanor. As the story progresses, we find that anger is central to all the main characters, going from the prosecutor himself to the surprising perpetrator.

Miłozewski does no favors to the town of Olsztyn (where he – as of this writing – resides), and describes it as a dark, uninteresting place to be with lousy weather and ugly streets: “Some sort of Warmian crap was coming out of the sky, neither rain, nor snow, nor hail. The stuff froze as soon as it hit the windshield, and even on the fastest setting the wipers couldn’t scrape off this mysterious substance. The windshield washer fluid did nothing but smear it around.”

The story line is extremely engaging all the way to its anti-climatic twist ending. Antonia Lloyd-Jones’s translation (she works closely with the author) flows nicely, without leaving the reader with any feeling of being lost in translation at any moment.

In the backdrop of the narrative are the news stories of the day: the political crisis in Ukraine and the the civil war in Syria and minor news headlines from around Poland. There are many other pop culture references, which might make the novel seem dated in a few years – I mean, will anyone remember reruns of the American sitcom Friends in, say, two or three decades?

According to some news reports, this is where we say goodbye to Prosecutor Teodor Szacki, and the ending makes us pretty certain of that – but given that the series has been so successful since its inception (the first two books were adapted into movies), will this really be goodbye? As a fan of the series myself, I sincerely hope not.

Album Review: Chuck Loeb’s “Unspoken”

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by Ernest Barteldes

On  Unspoken (Shanachie, 2017) , legendary  Fourplay and Steps Ahead lead guitarist Chuck Loeb explores various sonic  textures over a collection of ten originals he either –except for one –  wrote or co-wrote. He kicks off the album with the up-tempo “Cotton Club,” a funk-driven tune that he dedicates to the staff of the eponymous Tokyo venue, which he describes on the liners as “my favorite jazz club in the world.”  The track was co-written with Jeff Lorber, who also contributes piano – including a dexterous solo – to it.

Loeb plays various instruments throughout the track – on tunes like “Natural Light” and Way Up High” he performs virtually everything except drums.  Though the arrangements to these tunes are relatively sparse, he uses them as a fodder to improvise more freely – on the former, Andy Snitzer contributes a mellifluous solo, while Loeb adds interesting textures on acoustic guitar.

The title track has a more downtempo feel, and features fellow Fourplay member Nathan East on electric bass and Brian Culbertson on piano. It’s the kind of track that makes you appreciate light jazz – accomplished, beautifully written and accessible.

“Si Se Puede” – which he dedicated to Barack Obama – has more of a bossa feel, with a more subtle arrangement that gives guest trumpeter Till Brönner plenty of space to stretch.  Way Up High (written by his daughter, Lizzy Cuesta) also has a bossa feel, featuring gentle vocals by his wife Carmen Cuesta, who also appears on the samba-driven “Voramar” and the trippy  “Via Verde,” which also includes daughter Christina Loeb on vocals and ukulele (the only appearance of the instrument on the album).

Unspoken is a great offering from Loeb – a concise and yet intriguing album that feels fresh after multiple plays – which this writer recommends to any fan of smooth jazz guitar.

 

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.

George Michael : An Appreciation

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By Ernest Barteldes

I never paid much attention to George Michael during his early Wham! days – of course “Careless Whisper” was impossible to avoid during the mid-80s, but his stuff was not what I was into in the first place – but I had newfound respect for him when I saw him literally steal the show when he fronted Queen during the Freddie Mercury Tribute concert in April 1992 – the way he owned “Somebody to Love” was amazing to see and hear – and his duet with Lisa Stansfield on “These Are The Days of Our Lives” was also heartfelt and sincere.

For the next few years didn’t follow George Michael’s career much except for the songs everyone heard on the radio, but in 1996 I got into a relationship with a woman who was a die-hard fan of his music and thanks to her I got to know the music behind the hits – the ones that were part of an album but that were not necessarily well-known – tunes like “Waiting For The Day” from Listen Without Prejudice or “You Have Been Loved” from Older, which show a different side of Michael’s work – honest tunes written from the heart that he might have known might not have any radio play at all.

I was also amused when he collaborated with bossa nova icon Astrud Gilberto for “Desafinado” – an Antonio Carlos Jobim song released in late 1996 for the charity album Red, Hot & Rio (which also featured contributions from David Byrne, Marisa Monte, Caetano Veloso and others) – it was interesting to hear him softly crooning in Portuguese – a complete shift from his more electronic/dance floor stuff.

I also enjoyed listening to Songs From The Last Century, his Phil Ramone album of jazz covers from – my favorites being his playful take on “My Baby Just Cares for Me” and the depression-era tune “Brother, Won’t You Spare a Dime.”

After I relocated to the US I kind of lost touch with his music. I barely noticed “Patience,” but did listen to “Concert,” his live album recorded with the backing of the London Symphony Orchestra. Though his popularity waned in the US following his arrest for “lewd behavior” in the US, he remained popular in Europe – I recall being in Poland in 2010 and catching a TV special of a performance in support of “Patience” – which included “Shoot The Dog,” an anti-George Bush song I which he performed with a blow-up doll of the former U.S. president – quite controversial at the time.

<p><a href=”https://vimeo.com/125719770″>GEORGE MICHAEL – Shoot the Dog</a> from <a href=”https://vimeo.com/user14102033″>MUSIC BOX CHANNEL</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

I was saddened to hear of his passing via my CNN iPhone app notifications. At first I thought it was some kind of false alarm – but as the hours passed I realized it had been true. George Michael’s death adds to what has arguably been one of the worst years for the music business – after so many other legends left us.

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.