02-09-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1959-1965

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Alfredo Marceneiro

02-09-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1959-1965 # WmW: Alfredo Marceneiro, Pedro Laza y Sus Pelayeros, Pete Seeger, Frank Hamilton, Shirley Collins, Miriam Makeba, The Louvin Brothers, Lucio Alves, Quincy Jones, João Gilberto, Cal Tjader, La Lupe, Stan Getz Quartet, Astrud Gilberto, Bert Jansch

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1959-1965

Alfredo Rodrigues Duarte (February 25, 1891 - June 26, 1982) better known as Alfredo Marceneiro due to his profession (Portuguese; marceneiro - English; woodworker) was a Portuguese fado singer, owner of a singular voice, became a milestone in this kind of music in Portugal.
Alfredo Marceneiro
Senhora Do Monte
O Amor É Água Que Corre
A Casa Da Mariquinhas
from O Fabuloso Marceneiro 1961

Pedro Laza Gutiérrez was born in 1904 in the northern Caribbean coastal port city of Cartagena de Las Indias, Colombia, and died there in 1980. After learning several instruments at a young age, Laza went on to study typography and graphic design, but at age 17 he knew that music was his calling, so he learned the bandurria (a type of small guitar), later learning to play the contrabass. At age 21 he founded his first musical group, 
Pedro Laza y Sus Pelayeros 
Se Te Cayeron los Dientes feat. Nono Narváez
El Corralejo (Instrumental)
Ritmo del 60 / Ritmo Del Sesenta feat. Lucho Argaín
from Fandango 1960

Perhaps no single person in the 20th century did more to preserve, broadcast, and redistribute folk music than Pete Seeger, whose passion for politics, the environment, and humanity earned him both ardent fans and vocal enemies ever since he first began performing in the late '30s.
Multi-instrumentalist, vocalist, and folk song collector Frank Hamilton has played a seminal role in the evolution of American folk music. A co-founder of the Old Town School of Music in Chicago in 1957, Hamilton taught the future leader of the Byrds, Roger McGuinn, to play guitar and banjo. 
Pete Seeger, Frank Hamilton
Ragtime Annie
Rye Straw
Blues
Pygmy Tune (Africa)
from Nonesuch and Other Folk Tunes 1959
The full title of this Pete Seeger/Frank Hamilton duo album is Nonesuch and Other Folk Tunes for Harmonica, Flute, Recorder, Mandolin, Guitar, Banjo, 12-String Guitar, and Voices, an important point since the album credits never indicate who's playing what. It appears that Seeger and Hamilton each picked up one or the other of the indicated instruments for the tunes selected for this picking session and went to town. That the word "Voices" appears last is significant in that this is largely an instrumental album... This is not a major album for the catalogs of either performer, but it is a light, enjoyable effort.

Pete Seeger and Frank Hamilton at a recording session.

A leading English folk singer who has at times challenged the boundaries of British folk. A pivotal figure in Britain's early-'60s folk revival and subsequent folk-rock heyday, Shirley Collins' influence on these movements, and folk music at large, cannot be understated. With her pure, unaffected vocal tone and Sussex accent, she first launched her recording career in the late '50s...
Shirley Collins
I Drew My Ship (Traditional)
My Bonny Miner Lad (Traditional)
The False True Love (Traditional)
Scarborough Fair (Traditional)
from False True Lovers 1959
As a key figure in the British folk revival, this recording originally produced for Folkways in 1959 presents Shirley Collins at a tender age of 23 recording under the eye of legendary Folkways producer and then partner Alan Lomax assisted by pragmatic engineer Peter Kennedy. Recorded in London in a two-day marathon, the most distinctive voice in British folk song interpretation recorded this album of a cappella renditions of British and Irish tunes. Inflecting the collection with Appalachian gems she and Lomax had discovered in one of their legendary research jaunts the same year, False True Lovers is as vital a collection of this astonishing singer that exhibits the full spectrum of her interest and research into folk music tradition...

 South African songstress dubbed "Mama Africa," an absolute icon of African jazz. Following a three-decade-long exile, Miriam Makeba's return to South Africa was celebrated as though a queen was restoring her monarchy. The response was fitting as Makeba remains the most important female vocalist to emerge out of South Africa. Hailed as the Empress of African Song and Mama Africa, Makeba helped bring African music to a global audience in the '60s. Nearly five decades after her debut with the Manhattan Brothers, she continues to play an important role in the growth of African music.
Miriam Makeba
The Retreat
Olilili
House of the Rising Sun  
from Miriam Makeba 1960
Miriam Makeba had just made a splash in New York nightclubs and earned a fistful of press only a few months earlier when RCA Victor Records snapped her up and recorded her first album in May 1960. Clearly, the label was hoping to repeat the success of her mentor, Harry Belafonte, whose Belafonte Folk Singers accompanied her on some tracks and who wrote a blurb for the album's back cover. Like Belafonte, she was a black singer with an exotic, folk-based repertoire who could translate her music into a sophisticated club act...

 One of the top close-harmony acts in country music history, with Ira's incredibly high, pure tenor against Charlie's emotional melody tenor. Arguably the finest close-harmony duo in the history of country music, the Louvin Brothers were standard bearers of the traditions of Appalachian music at a time when Nashville was moving country music into a more modern direction.
The Louvin Brothers
Take My Ring From Your Finger (Charlie Louvin / Ira Louvin)
Streamline Heartbreaker (Charlie Louvin / Ira Louvin )
Red Hen Boogie (Charlie Louvin / Ira Louvin)
from Love and Wealth: The Lost Recordings / Between 1951 and 1961 (2018)
The Louvin Brothers were arguably the greatest close harmony duo in the history of country music. Ira and Charlie Louvin both possessed clear tenor voices that could dance around one another with ease and skill, and the passion and conviction of their best recordings is little short of revelatory. Charlie and Ira were also songwriters, and before their careers as performers took off, they were contract tunesmiths for Acuff-Rose, among the biggest and most prestigious publishing houses in the country field. Their job wasn't just to write songs, but to follow trends while also attempting to anticipate them. Like most songwriters, the Louvin Brothers made rough demo recordings of their compositions so they could be heard by prospective artists, though they were never intended for release to the general public. Between 1951 and 1961, the Louvins recorded dozens of publishing demos, and 29 of these rare recordings have been restored on the collection Love and Wealth: The Lost Recordings...

Lucio Alves - O Samba da Minha Terra
Quincy Jones - Soul Bossa Nova
João Gilberto - O Pato
Cal Tjader - Meditação
from Bossa Nova - The New Wave of Brazilian Music 1958-1962
Bossa nova is a style of Brazilian music, which was developed and popularized in the 1950s and 1960s and is today one of the best-known Brazilian music styles abroad. The phrase bossa nova means literally "new trend" or "new wave". A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s, initially among young musicians and college students. In Brazil, the word "bossa" is old-fashioned slang for something done with particular charm, natural flair or innate ability. As early as 1932, Noel Rosa used the word in a samba: "O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas." ("Samba, readiness and other bossas are our things, are things from us.")...

 Cuban rock & roll-style singer renowned for her frenzied performances and anarchic stage antics. Singer La Lupe (born Guadalupe Victoria Yoli Raymond) became involved in music while finishing teacher training, performing live in different public places. In 1962, the artist, also known as La Yiyiyi, settled in New York, getting along with percussionist Mongo Santamaría
La Lupe
Con El Diablo En El Cuerpo (Julio Gutierrez)
Feever / Fiebre (E. Cooley)
No Me Quieras Así (Facundo Rivero)
from Con El Diablo En El Cuerpo 1963
La Lupe became a legend, and not only because she dropped out of sight in the U.S., amid bizarre rumors of her whereabouts. She was a great loss. She wasn't as honed a singer as Celia Cruz, but she was a much quirkier one, melding Cubanisms, rock & roll and marginal flakiness into something personal and sometimes gloriously off-the-wall.

 One of the all-time great tenor saxophonists, Stan Getz was known as "The Sound." He possessed one of the most beautiful tones in all of jazz, and was among the greatest of melodic improvisers.
 The honey-toned chanteuse on the surprise Brazilian crossover hit "The Girl From Ipanema," Astrud Gilberto parlayed her previously unscheduled appearance (and professional singing debut) on the song into a lengthy career that resulted in nearly a dozen albums for Verve and a successful performing career that lasted into the '90s
Stan Getz Quartet, Astrud Gilberto
Corcovado (Quiet Nights of Quiet Stars) (Antônio Carlos Jobim / Gene Lees)
Eu E Voce (Me and You) (Antônio Carlos Jobim / Vinícius de Moraes)
One Note Samba (Jon Hendricks / Antônio Carlos Jobim / Newton Mendonça)
from Getz au Go Go 1964
Although the name Stan Getz (tenor sax) was initially synonymous with the West Coast cool scene during the mid-to-late 1950s, he likewise became a key component in the Bossa Nova craze of the early 1960s. Along with Astrud Gilberto (vocals), Getz scored a genre-defining hit with the "Girl From Ipanema," extracted from the equally lauded Getz/Gilberto (1963). While that platter primarily consists of duets between Getz and João Gilberto (guitar/vocals), it was truly serendipity that teamed Getz with João's wife Astrud, who claims to have never sung a note outside of her own home prior to the session that launched her career. Getz Au Go Go Featuring Astrud Gilberto (1964) was the second-to-last album that he would issue during his self-proclaimed "Bossa Nova Era"...

 A master of British folk/blues guitar who influenced countless artists with his tenure with folk-rock heroes Pentangle and his self-penned solo work.  One of the most important figures in contemporary British folk, Bert Jansch brought an unsurpassed combination of virtuosity and eclecticism to the acoustic guitar, both as a solo act and as a key member of Pentangle.
Bert Jansch
The Waggoner's Lad (Traditional)
Jack Orion (Traditional)
Blackwaterside (Traditional)
from Jack Orion 1965
After presenting almost all-original sets on his first two albums (albeit originals that sometimes borrowed heavily from traditional folk themes), Jansch opted to devote all of his third LP to traditional folk numbers. His future Pentangle partner John Renbourn joins him on four of the eight songs. Highlights include the ten-minute title track (whose length was a real oddity on contemporary folk albums of the time).. Not as original as the artist's first two LPs, the guitar and vocal work on these adaptations were still as influential to the '60s folk world as anything else in Jansch's catalog.