Brazilian Guitar Fuzz Bananas

30 08 2010

As you may know ARC is building a Brasilian/Brazilian Collection.  Now if YOU are building a Brasilian/Brazilian Collection, I think the next record you should get is Brazilian Guitar Fuzz Bananas, Tropicalia Psychedelic Masterpieces 1967 – 1976. (Tropicalia In Furs, USA, WPFC TIF 102, 2010).  This was put together by Joel Stones, our pal over at Tropicallia In Furs, New York’s best (only) Brasilian/Brazilian record store.

Bananas is a deluxe two record set, with a 3-D cover, appropriate viewing glasses, and a 48 page booklet insert providing details on all the source material in English and Portuguese.  The discs sound wonderful and the illustrated booklet gives a bit of history and the inside scoop on the dogged tracking down of the sounds.  You may think you’ve heard it all before, the soft sambas of the past, or those now-sound tinkly elctrobeats.  Brace yourself.  This is psychedelic, fuzz guitar, acid 60’s rock-solid+sloppy, loud, proud, funky druggie music.  Like a good table set in Salvador, there’s plenty to eat, but you don’t know the names of any of the fruits.  And occasionally there’s a bit of sand in that last bite.

Cuts are taken exclusively from elusively available, mostly promotional Brazilian seven-inch singles. It was a time when Brasil was in dangerous flux, but a mere dictatorship couldn’t stop folks from creating great pop scrambles, like Celio Balona’s take on the Batman theme, “Tema de Batman”, or Mac Rybell glow in the dark version of the Stones’, “Lantern”.  Not that all of these songs are covers, but a visiting scholar, Tom Cvikota, noticed that “Som Imaginario De Jimmi Hendrix”, may begin with a Experience-like crescendo, but is an unaccredited cover of the James Gang’s, “Funk 49”.

ARC regularly trades with and shops at Tropicalia.  Sure it’s predictably colorful, and fun, and Joel is cute and lovable and knowledgeable – but go anyway.

Tropicalia In Furs, 304 E. 5th St., New York, NY 10003, near Second Ave in the East Village.  Open, more than likely, late afternoon into night.  Call to make sure: 212-982-3251  No webthing.  So just order it from Joel.  Say B. sent you.  $20 for the discs, and $6 for shipping and handling.  There’s also a documentary on the enhanced CD, What Are Fuzz Bananas, which highlights the hunt (hey Joel, where’s the ARC copy?)

Today I took two friends to buy copies.  Last night Fred, Beco + B (the Dino, Desi and Billy of crate digging) spent a few hours at the store and returned with these fine, finer, finest vinyl’s – first the Brazilian+ world, then other assorted:

• Joao Bosco.   Galos De Briga  (RCA Victor, Brasil, 103.0171, 12”, vinyl disc-Lp, 1976)

• Victor Assis Brasil.   Toca Antonio Carlos Jobim  (Continental, Brasil, LP 0-46 411 068, 12”, vinyl disc-Lp, 1981)

• O Pequeno Burgues.   Azes Do Samba  (Cartaz, Brasil, LPC 5062, 12″, vinyl disc-Lp, n.d.)

• Erasmo Carlos.   O Tremendao  (RGE, Brasil, XRLP-5.306, 12″, vinyl disc-Lp, n)

• Cartola.   Pranto De Poeta, Serie Documento  (RCA Victor, Brasil, 130 0058, 12”, vinyl disc-Lp, 1989)

• Manâ Do Cavaco.   Martinho Da Vila Apresenta  (RCA Victor, Brasil, 103 0068, 12”, vinyl disc-Lp, 1973)

• Dori Caymmi.   Dori Caymmi  (EMI-Odeon, 31C 064 422899, 12″, vinyl disc-Lp, 88)

• Nana Caymmi.   Renascer  (CID, Brasil, 8016, 12″, vinyl disc-Lp, Mid-70’s)

• Maria Creuza.   Pecado  (RCA Victor, RCA, 103.0306, 12”, vinyl disc-Lp, 1979)

• Carlos Dafâ.   Malandro Dengoso  (Warner Bros, Brasil, BR 26.036, 12”, vinyl disc-Lp, 1979)

• Djalma Dias.   Nno Faéa Drama,,, Caia No Samba  (Som Livre, 403 6050, 12”, vinyl disc-Lp, 1974)

• A.C.Jobim.   Matita PerÉ  (Philips, Brasil, 6349071, 12″, vinyl disc-Lp, 1973)

• Ed Lincoln.   A Volta  (Musidisc, Brasil, HI FI 2088, 12”, vinyl disc-Lp, –)

• Lord Kitchener.   Hot Pants  (Trinidad, Trinidad, TRCS 0002, 12”, vinyl disc-Lp, n.d.)

• Machito.   Machito Goes Memphis  (RCA Victor, USA, LPM 3944, 12″, vinyl disc-Lp, n.d.)

• Ruy Maurity.   Ganga Brasil  (Som Livre, Brasil, 403.6127, 12”, vinyl disc-Lp, 1977)

• Marilia Medalha.   Caminhada  (RGE / Fermata, Brasil, 303.0017, 12”, vinyl disc-Lp, 1973)

• Sencion Minaya.   Y Los Quisqueyanos  (Madely, 116, 12″, vinyl disc-Lp, n.d.)

• Marilia Medalha / Vinicius De Moraes.   A Caneno E A Voz De Marilia Medalha Na Poesia De V  (RGE, Brasil, 303, 12”, vinyl disc-Lp, 1972)

• Paulinho Nogueira.   Moda De Graviola  (Continental, Brasil, 1-01-404-110, 12”, vinyl disc-Lp, 1975)

• Cir Pereira & Jaime Santos.   Avante Brasil  (ACS, Brasil, LP 002, 12″, vinyl disc-Lp, n.d)

• Jair Rodrigues.   Abra Um Sorriso Novamente  (Philips, Brasil, 6349 120, 12”, vinyl disc-Lp, 1974)

• Claudette Soares.   Gil, Chico E Veloso Por Claudette  (Philips, Brasil, R-765 021 L, 12”, vinyl disc-Lp, 1968)

• Elza Soares.   Elza Negra  (CBS, Brasil, 1 38184, 12”, vinyl disc-Lp, 1980)

• Raimundo Sodre.   Massa  (Polydor, Brasil, 2451 144, 12″, vinyl disc-Lp, 1980)

• Sparrow (Mighty).   Sparrow Come Back  (RCA Victor, Trinidad, LPB – 3006, 12”, vinyl disc-Lp, n.d. [1962])

• Zimbo Trio.   Zimbo Trio Vol, 2  (RGE, Brasil, XRLP-5 277, 12”, vinyl disc-Lp, –)

• Nana [Vaconcelos].   Amazonas  (Philips, Brasil, 6349 079, 12”, vinyl disc-Lp, 1973)

• Marcos Valle.   O Compositor E O Cantor  (Odeon Brasil, MOFB-3413, 12”, vinyl disc-Lp, 1965)

• Vanusa.   Vanusa  (Continental, Brasil, SLP-10 156, 12”, vinyl disc-Lp, 1974)

• Veloso, Caetano & Chico Buarque.   Caetano E Chico Juntos E Ao Vivo  (Philips, Brasil, 6349 059, 12″, vinyl disc-Lp, 1972)

• Caetano Veloso / Gilberto Gil.   Tropicçlia 2   (Philips, Brasil, 79339, 12″, vinyl disc-Lp, 1993)

…and here’s the other odds + ends we got…

• David Robert Jones  [ David Bowie ].   ChangesThree  (GRACE, AZL1-1984, 12″, vinyl disc-LP, n.d.)

• Arnett Cobb.   Sizzlin’  (Status / Prestige, ST 7227, 12″, vinyl disc-LP, 1961)

• Julian Dash.   A Portrait of Julian Dash  (Master Jazz Recordings, MJR 8106, 12″, vinyl disc-LP, n.d.)

• Davis, Eddie “Lockjaw”.   Cookbook Volume 1   (Prestige, 7141, 12″, vinyl disc-LP, n.d.)

• Davis, Eddie “Lockjaw”.   Trackin’  (Prestige, PR 7271, 12″, vinyl disc-LP, n.d.)

• Freddie and the Dreamers.   You Were Mad for Me  (Columbia, UK, 33SX 1663, 12″, vinyl disc-LP, 1964)

• Ron Goodwin.   Music in Orbit  (Captiol, T 10188, 12″, vinyl disc-LP, n.d.)

• The Harmonizing Four.   Tommie, Lonnie & Me  (Atlantic, SD R026, 12″, vinyl disc-LP, 1970)

• Hollywood Saxophone Quartet.   Jazz in Hollywood  (Liberty, LJH 6005, 12″, vinyl disc-LP, n.d.)

• Carl Holmes & the Commanders.   Twist Party at the Roundtable  (Atlantic, 8060, 12″, vinyl disc-LP, 1962)

• Harlan Howard.   To the Silent Majority, With Love  (Nugget, NRLP-105, 12″, vinyl disc-LP, n.d.)

• Richard Hayman.   The Era of Cleopatra  (Time, USA, S 2080, 12″, vinyl disc-Lp, n.d.)

• The Jet Black’s.   Twist  (Chantecler, Brazil, CMG-2.184, 12″, vinyl disc-LP, n.d.)

• King Curtis.   Azure  (Everest, LPBR 5121, 12″, vinyl disc-LP, 1960)

• B. B. King.   Blues, The  (Crown, CLP 5063, 12″, vinyl disc-LP, n.d.)

• Brownie McGhee & Sonny Terry.   Guitar Highwway  (Verve Folkways, FV-90919, 12″, vinyl disc-Lp     , n.d.)

• Houston Person.   The Big Horn  (Muse, MR 5136, 12″, vinyl disc-LP, 1979)

• James & Bobby Purify.   James & Bobby Purify  (Bell, BELL 6003, 12″, vinyl disc-LP, n.d.)

• Reno & Smiley.   On the Road with Reno & Smiley: Songs Truck Drivers Love  (King, 911, 12″, vinyl disc-LP, n.d.)

• Reparata and the Delrons.   1970 Rock & Roll Revolution  (AVCO Embassy, AVE 33008, 12″, vinyl disc-LP, n.d.)

• Shorty Rogers and His Giants.   Shorty in Stereo  (Atlantic, SD 1232, 12″, vinyl disc-LP, n.d.)

• Sonny Stitt.   All God’s Children Got Rhythm  (Prestige, 7248, 12″, vinyl disc-LP, n.d.)

• Sonny Stitt.   Come Hither  (Solid State, SS 18057, 12″, vinyl disc-LP, n.d.)

• Al Wagner and his Philharmonic Strings.   £12 English Sterling – The Music of Randolph Adcock  (Soundscape, , SRC 33700 P, 12″, vinyl disc-LP, n.d.)

• The Who.   Pop History Vol. 3  (Polydor, France, 2673 007, 12″, vinyl disc-2Lp, n.d.)

• Sondra Williams.   Hark the Voice  (Atlantic, SD R003, 12″, vinyl disc-LP, 1967)





Friends, Encounters + Wished I Met

22 01 2010

Easing into the new year, slowly.

An old friend, Richard Fleming, aka DJ Richard Nixon, has worked his obsessions (music, hiking, the Caribbean, birding, photography) into a wonderful new book and photographic gallery show.   I first met Rich in Cartegena, Colombia in the early 90s at a music festival, and he has kept in touch, at one point cataloging many of his rarer reggae records for the ARC.  The book is a great read (Walking to Guantánamo, Commons, cloth, 351pp, 2008, ISBN: 978-0-9814579-1-8), and if you are anywhere near New Orleans you can see some of the pics he took on his trip.

Accompanying test :  “I met Dagoberto Manzo in Matanzas, sitting on a stool in front of his house, sanding the neck of an acoustic guitar. You can see the sawdust on the floor. As soon as I expressed an interest in music, he put that job down and rushed into the house to get one of his prize creations, a double-necked tres and acoustic-guitar combo that he claimed is the only one of its kind in Cuba.”

he show is at the Antenna Gallery 3161 Burgundy St. in the Bywater.   Runs until Feb 7.

An even older, more tenuous link to people and places in Louisiana was at a recent concert by Joel Savoy and David Greeley.   About the same time I met Rich I was writing a piece about the Festival de Louisiane in Lafayette for Billboard.  One side trip included a sit on the porch of musicians Mark and Ann Savoy,  Off to the side was lil’ Joel.  All grown up now, he was in New York doing workshops and concerts, the one Patrice and I saw them perform this January at  Scott Kettner‘s studio in Brooklyn.  This was a house concert, about twenty people in an intimate setting, pretty rare these days.  P. fiddles a bit, knows so much more than me about the music, and has taken a workshop with both Joel and David in the past.  Here’s some of her comments:

  • It’s rare to hear two Cajun fiddles without accordion…in the old style.  Each has a distinct personal style: David seemed the more traditional player, recounting how he had the privilege of learning tunes from old timers like Dennis McGee. Joel has a special knack for playing around with the chords, using the choppy Cajun bowing style to keep the beat in motion. In Savoy’s hands the fiddle almost sounds like it has bellows, which may come from growing up with the sound of his dad’s (Mark Savoy) accordion.
  • Another feature of the Greeley–Savoy duo is the perfection of their intonation…….especially in minor-key tunes like a waltz that was dedicated to a dead calf.  They mention how proud they were that they could end a tune on different notes…apparently not a common accomplishment among Cajun fiddlers.
  • Although today’s Cajun dances are usually a two-step and a waltz, they played a couple of Cajun polkas…quirky off-beat tunes that might have confused dancers at a bohemian beer-hall.  Originally, there were a lot more dances (Greely called it a “rond de danse” or round of dances), that the musicians would have to play for a dance night.

You can see Scott on Brasilian percussion with David Greeley here.

Lastly, Kate McGarrigle has died.  Never met her.  Last live listen about 10 ft away, a few summers ago when she and sister Anna, assorted kin and Emmylou Harris played a free concert in Tribeca.  Still remember their reluctantly offered-always asked to play, Heart Like A Wheel, the piercing voice and stabbing lyric.

“They say that death is a tragedy
It comes once and it’s over
But my only wish is for that deep dark abyss
‘Cause what’s the use of living with no true lover”





Brazil or Brasil

14 07 2009

ARC is busy building a comprehensive Brazilian collection here at the Library.  To our shame there is currently no major institution in the States actively building a comprehensive collection of this great music.

Our chief advisor in all this has been Béco Dranoff.  I have known Béco as a DJ and producer (Bebel Gilberto, Red Hot + Rio)  for many years, but now he is a film maker, and launches his latest career in a spectacular fashion this Friday at the MoMa in NYC.

So do try and get one of the few tickets left for “Beyond Ipanema: Ondas brasileiras na música global (Beyond Ipanema: Brazilian Waves in Global Music”)  This Friday, July 17, 2009, 8:00 p.m.  It’s good enough to launch the series of summer films at the museum.

Written and directed by Guto Barra, Béco Dranoff, here’s the pitch from the MoMa site – “For decades Brazilian music has captivated audiences worldwide. What makes Brazilian music such a powerful force? Why does bossa nova still lure DJs and producers fifty years after it was created? Why does the Tropicália movement resonate so deeply with the alternative-rock crowd? Beyond Ipanema explores the Brazilian music experience outside of Brazil, accompanied by a specially curated soundtrack featuring Brazilian classics reinterpreted by a new generation of artists. World premiere. 89 min.”

http://www.moma.org/visit/calendar/film_screenings/7005

http://www.brazilnyc.com/2009/07/beyond-ipanema-brazilian-waves-in-global-music/

Back to ARC : The Brazilian Collection is growing rapidly – watch this space for new developments!





Waters of March

31 03 2009

As March drips away, if you’re like me, you’ve been playing various versions of Jobim’s Águas de Março  (Waters of March) all month.  We’ve got about 40 cover versions @ the ARC.  A moving recent version is by BossaCucaNova, (Bossa Cuca Nova Ao Vivo.  Ziriguiboom, Brasil, ZIR 32, 2009) on the new CD + DVD of a live concert with many guest artists.  So here’s to one of the greatest “list’ songs ever written and to the beginning of spring.

aguas_marco_manusc2

Original score in Jobim’s handwriting, published in the Disco the Bolso (Pocket Record), a bonus record included in the weekly magazine O Pasquim, printed in Rio de Janeiro, on May, 1972.   Source: http://www.jobim.com.br/e.index.html

Sounds best in Portuguese, but here’s the English translation of the lyrics,

Waters of March

It’s stick, it’s stone
It’s the end of the road
It’s a rest of stump
It’s a little alone

It’s a shard of glass
It is life, it’s the sun
It is night, it is death
It’s the snare, it’s the fishhook

It’s peroba of the field
It’s the knot in the wood
Lamp caingá tree
It’s the matita-pereira tree

It’s wind-resistant wood
Falls of the ravine
It’s the profound mystery
It’s the you wish or you don’t

It’s the wind blowing
It’s the end of the slope
It’s the beam, it’s the span
The new roof party

It’s the rain raining
It’s riverbank talk
Of the waters of March
It’s the end of the struggle

It’s the foot, it’s the ground
It’s the walk on the road
Small bird in the hand
A slingshot stone

It’s a bird in the sky
It’s a bird on the ground
It’s a creek, it’s a fountain
It’s a piece of bread

It’s the bottom of the well
It’s the end of the way
In the face the annoyance
It’s a little lonely

It’s a thorn, it’s a nail
It’s a point, it’s a dot
It’s a drop dripping
It’s an tally, it’s a tale

It’s a fish, it’s a gesture
It’s silver shining
It’s the morning’s light
It’s the brick arriving

It’s the firewood, it’s the day
It’s the end of the trail
It’s the bottle of liquor
Splinter in the road

It’s the house’s design
It’s the body in bed
It’s the broken down car
It’s the mud, it’s the mud

It’s a footstep, it’s a bridge
It’s a toad, it’s a frog
It’s a rest of brush
In the morning’s light

They are the waters of March
Closing the summer
It’s the promise of life
In your heart

It’s a snake, it’s a stick
It’s John, it’s Joseph
It’s a thorn in the hand
It’s the cut on the foot

They are the waters of March
Closing the summer
It’s the promise of life
In your heart

It’s stick, it’s stone
It’s the end of the road
It’s a rest of stump
It’s a little alone

It’s a footstep, a bridge
It’s a toad, it’s a frog
It’s a beautiful horizon
It’s a tertian fever

They are the waters of March
Closing the summer
It’s the promise of life
In your heart

And here’s Waters of March as re-written, in English, by Jobim:

A stick, a stone,
It’s the end of the road,
It’s the rest of a stump,
It’s a little alone

It’s a sliver of glass,
It is life, it’s the sun,
It is night, it is death,
It’s a trap, it’s a gun

The oak when it blooms,
A fox in the brush,
A knot in the wood,
The song of a thrush

The wood of the wind,
A cliff, a fall,
A scratch, a lump,
It is nothing at all

It’s the wind blowing free,
It’s the end of the slope,
It’s a beam, it’s a void,
It’s a hunch, it’s a hope

And the river bank talks
of the waters of March,
It’s the end of the strain,
The joy in your heart

The foot, the ground,
The flesh and the bone,
The beat of the road,
A slingshot’s stone

A fish, a flash,
A silvery glow,
A fight, a bet,
The range of a bow

The bed of the well,
The end of the line,
The dismay in the face,
It’s a loss, it’s a find

A spear, a spike,
A point, a nail,
A drip, a drop,
The end of the tale

A truckload of bricks
in the soft morning light,
The shot of a gun
in the dead of the night

A mile, a must,
A thrust, a bump,
It’s a girl, it’s a rhyme,
It’s a cold, it’s the mumps

The plan of the house,
The body in bed,
And the car that got stuck,
It’s the mud, it’s the mud

Afloat, adrift,
A flight, a wing,
A hawk, a quail,
The promise of spring

And the riverbank talks
of the waters of March,
It’s the promise of life
It’s the joy in your heart

A stick, a stone,
It’s the end of the road
It’s the rest of a stump,
It’s a little alone

A snake, a stick,
It is John, it is Joe,
It’s a thorn in your hand
and a cut in your toe

A point, a grain,
A bee, a bite,
A blink, a buzzard,
A sudden stroke of night

A pin, a needle,
A sting, a pain,
A snail, a riddle,
A wasp, a stain

A pass in the mountains,
A horse and a mule,
In the distance the shelves
rode three shadows of blue

And the riverbank talks
of the waters of March,
It’s the promise of life
in your heart, in your heart

A stick, a stone,
The end of the road,
The rest of a stump,
A lonesome road

A sliver of glass,
A life, the sun,
A knife, a death,
The end of the run

And the riverbank talks
of the waters of March,
It’s the end of all strain,
It’s the joy in your heart.

B
Source of lyrics : Elma Lia Nascimento  @   http://www.brazzil.com/p08sep01.htm








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