g l o b a l m u s i c a l v i l l a g e
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| LA LUPE |
13-11-2020 > WORLD:MUSiC:MiX # 33 selected ETHNiC FUSiON tracks 1961-1972 # WmW: La Lupe, Lucio Alves, Quincy Jones, João Gilberto, Cal Tjader, Stan Getz Quartet, Astrud Gilberto, Bert Jansch, Chico Buarque, Eddie Palmieri / Cal Tjader, Joe Bataan, Gal Costa,Pentangle, Carlos Paredes,Fela Kuti
M U S I C / WmW
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1959-1965
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.
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.")...
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"...
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.
One of Brazil's most renowned songwriters, an iconoclastic figure in post-bossa nova Brazilian music. Of the early stars of MPB (música popular brasileira), Chico Buarque was one of the first to become a certifiable pop star. With his warm, nasally croon, elegant phrasing, and considerable skill at lyric writing... However, Buarque was uncomfortable playing the role of pop star, preferring to be seen as a serious artist. Throughout his career, he's managed to have the best of both worlds, but not without some significant bumps along the way. Still, he remains a towering figure in Brazilian pop music, one of the country's greatest singer/songwriters and interpreters of the samba.
A Banda
A Rita
Juca
from Chico Buarque de Hollanda 1966
The experience of writing, in 1965, the music for the play staging of João Cabral de Melo Neto's Morte E Vida Severina (which had an extremely successful international career) was a changing experience for the then novice composer Chico Buarque. Discovering the complementary power of the marriage between lyrics and music, he, who is both a good lyricist and composer, started a new phase that can be appreciated in this CD reissue of his very first album, recorded after his success in the II FMPB, in 1966, with "A Banda."... Musically, the predominance is of excellent samba renditions with strong bossa inflections and a firm grip by a brass section in an acoustic setting. The songs included represent some of Chico's all-time hits, such as "A Banda," "A Rita,"... and several others.
An often-dazzling pianist whose technique incorporates bits and pieces of everyone from McCoy Tyner to Herbie Hancock and recycles them through a dynamic Latin groove, Eddie Palmieri (aka "El Maestro") has been a Latin jazz and salsa master since the mid-'50s. / Cal Tjader was undoubtedly the most famous non-Latino leader of Latin jazz bands, an extraordinary distinction. From the 1950s until his death, he was practically the point man between the worlds of Latin jazz and mainstream bop; his light, rhythmic, joyous vibraphone manner could comfortably embrace both styles.
Bamboleate (Eddie Palmieri)
Samba Do Sueno (Cal Tjader9
Pancho's Seis por Ocho (Eddie Palmieri)
from Bamboléate 1967
The second album pairing Palmieri and Tjader, Bamboleate moves beyond El Sonido Nuevo into the respective territories of each artist. "Bamboleate" is the dark Latin cooker ones expects from Palmieri --that persona was all but absent from the more subdued El Sonido Nuevo... "Pancho's Seis por Ocho" is typical of the deep, midtempo Afro rhythm of Bamboleate and El Sonido Nuevo. Trombonist Mark Weinstein contributes the closing "Ven y Recibelo (Come an' Get It)," a mod/soul cooker on par with the best of Verve all-stars Tjader, Ogerman, Winding, and Schifrin...
No recording artist has more impeccable street credentials than Joe Bataan, the originator of the New York Latin soul style that paralleled Latin boogaloo and anticipated disco. His musical experience began with street corner doo wop in the 1950s, and came to include one of the first rap records to hit the charts, 1979's "Rap-O, Clap-O."
Gypsy Woman (Joe Bataan / Curtis Mayfield)
Fuego (Joe Bataan)
Sugar Guaguancó (Joe Bataan)
from Gypsy Woman 1968
Born Peter Nitollano, of African-American/Filipino parents, Joe Bataan grew up in Spanish Harlem, where he ran with Puerto Rican gangs and absorbed R&B, Afro-Cuban, and Afro-Rican musical influences. His music career followed a pair of stints in Coxsackie State Prison. Self-taught on the piano, he organized his first band in 1965 and scored his first recording success in 1967 with "Gypsy Woman" on Fania Records. The tune was a hit with the New York Latin market despite its English lyrics sung by Bataan, and exemplified the nascent Latin soul sound. In early anticipation of the disco formula, "Gypsy Woman" created dance energy by alternating what was fundamentally a pop-soul tune with a break featuring double-timed handclaps...
An artist of extrordinary range who became a Brazilian icon and the most illustrious female singer of the tropicália movement. Gal Costa is an awarded singer with an extensive solo discography and international experience. A fundamental presence in the Tropicalia movement, she has been in Brazil's leading team of singers for decades. Since very young, she has been involved with music as a singer and violão player; when her mother's business broke she became a record shop attendant, where he spent long hours listening to music, especially João Gilberto.
Não Identificado (Caetano Veloso)
Lost in the Paradise (Caetano Veloso)
Vou Recomeçar (Erasmo Carlos / Roberto Carlos)
Divino Maravilhoso (Gilberto Gil / Caetano Veloso)
from Gal Costa 1969
...Mere months after the release of this relatively safe debut, however, Costa and Veloso found themselves alongside Os Mutantes, Tom Zé, and Gilberto Gil, recording contributions to Tropicália: Ou Panis et Circencis, the unofficial manifesto of the Tropicalismo movement. The compilation dove headfirst into avant-garde experimentalism, embracing the psychedelic tendencies happening in American underground circles, and the politically charged energy of radical dissent to Brazil's ongoing military dictatorship. This wild new hybrid of Brazilian pop and far-reaching outside influences resulted in something instantly miles away from everything that came before it, and Costa's self-titled Tropicalismo debut is no exception...
Virtuoso British folk-rockers who set themselves apart with a unique jazz flavor and the distinctive twin guitars of Bert Jansch and John Renbourn. Were Pentangle a folk group, a folk-rock group, or something that resists classification? They could hardly be called a rock & roll act; they didn't use electric instruments often, and were built around two virtuoso guitarists, Bert Jansch and John Renbourn, who were already well-established on the folk circuit before the group formed.
A Maid That's Deep in Love (Traditional)
Cruel Sister (Traditional)
Jack Orion (Traditional)
from Cruel Sister 1970
Originally released in 1970, this was the fourth release from the British folk-rock group Pentangle and may qualify as their swan song. With only five songs, Jacqui McShee, Bert Jansch, John Renbourn, Terry Cox, and Danny Thompson create a dense, layered sound that is woven within the fabric of each song like a tapestry... The crowning jewel of this masterpiece is the epic "Jack Orion," though one has difficulty imagining what possessed Pentangle to record a folk song that took up an entire side of an album. Jansch shares vocals with McShee on this multiple part song, and generous time is left for Renbourn to turn in a bluesy, then jazzy, electric solo. Cruel Sister shows Pentangle at their artistic height, combining all of their skill and inspiration to create a vital and enduring album.
The Portuguese guitar is a 12-string instrument with double courses (string pairs) and a small body, similar in tone to the mandolin or Greek bouzouki. Its penetrating sound is championed by Carlos Paredes, a sensitive, even shy performer who balances tradition and spontaneous invention. His original approach was likened to the freshness of Ornette Coleman by bassist Charlie Haden, who is himself a minor cultural hero in Portugal.
Mo!imento Perpétuo
Mudar de Vida: Tema
Mudar de Vida: Música de Fundo
from Movimento perpétuo 1971
Parades made this incredible music in 1971, after being imprisoned for opposing the Portuguese dictatorship... Paredes was a master of the guitarra, a 12-string lute/guitar hybrid that he played with a virtuosity that never descended into showing off. Known in Portugal as “the Man of a Thousand Fingers”, Parades made this incredible blend of early music, fado, classical, jazz and folk in 1971, after being imprisoned for opposing the Portuguese dictatorship. He would walk around his cell pretending to play guitar, making guards think he had gone insane: in fact, he was practising his scales. ..
Nigerian singer who was a key figure in the development of Afro-beat, blending agit-prop lyrics and dance rhythms as a medium for social protest. It's almost impossible to overstate the impact and importance of Fela Anikulapo (Ransome) Kuti (or just Fela as he's more commonly known) to the global musical village: producer, arranger, musician, political radical, outlaw.
Roforofo Fight
Question Jam Answer
from Roforofo Fight 1972
It's true that Fela Kuti's early-'70s records tend to blur together with their similar groupings of four lengthy Afro-funk-jazz cuts. In their defense, it must be said that while few artists can pull off similar approaches time after time and continue to make it sound fresh, Kuti is one of them. Each of the four songs on the 1972 album Roforofo Fight clocks in at 12 to 17 minutes, and there's a slight slide toward more '70s-sounding rhythms in the happy-feet beats of the title track... The James Brown influence is strongly heard in the lean, nervous guitar strums of "Question Jam Answer," and the horns cook in a way that they might have had Brown been more inclined to let his bands go into improvisational jams.
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