Bossa Nova - Ramsey Lewis

 

A Noite Do Meu Bem

Bossa Nova

Ramsey Lewis Trio

Featuring Carmen Costa and Josef Paulo

Produced by Ralph Bass

Cover: Wardell Gaynor

Engineer: Reice Hamel

Recorded September 22 and 25, 1962 at Yamaha Studio, San Francisco, California

Argo LP 705

Ramsey Lewis - Piano

Eldee Young - Bass

Red Holt - Drums

Josef Paulo - Guitar & Pandeiro

Carmen Costa - Cabaca

From the back cover: Once in a long, long while there comes along a musician who seems to have the knack of keeping an ear and his music in tune with the broad taste of the public. He struggles along unheeded by the teeming throng, he may become recognized as a great neglected artist. If he is quickly and painlessly accepted and is financially successful, more than likely he will be classified as – quote "commercial" unquote. For some logic-defying reason, money and acceptance in jazz can become the kiss of death.

The Ramsey Lewis Trio has been, since its inception, a "winner." The group suffered through no "dues playing" period per se. The three healthy, normal, well adjusted family men got together in Chicago, rehearsed, worked local clubs, recorded and became a popular attraction without ever leaving home. More than five years later, the original musicians are still with the trio as healthy, normal, well adjusted family men (same families). Commercially, the trio is the one shining exception to Chicago's traditional indifference to homegrown talent. Lewis & Company is an overpowering favorite in the Windy City. This album is a good indication of why.

For the past eighteen months, jazz has been floundering in the dregs of the waning "soul" movement. Writers, listeners, and music fringe craftsman have been groping feebly for new, fresh ways of saying "It's the same old groove, badly mutilated and overdone." Meanwhile the serious jazz musician has been experimenting with a new idea. The perfected product is now bombarding the airwaves under the grandiose title of Bossa Nova.

In the past, American jazzmen have drawn on the latin dance culture for rhythmic variation; flavor and excitement in music. In the main, however, the latin harmonic limitations were not conducive to jazz improvisation. Melodies were undistinguished and almost horizontal in structure. There are few challenging chord progressions or variations. The emphasis was stripy on rhythmic development.

In the late fifties, a new musical concept was becoming prominent in certain areas of Latin America. Primarily based in Brazil, a style was emerging which still employed the latin rhythms; but displayed more extensive harmonic breadth. Gradually, the melody began to stand out with an identity of its own. With this change, the latin music of Brazil began to lend itself more readily to jazz adaptation. There were fundamental compromises to be made before jazz and the Brazilian music were to fuse into a new "school".

The latin music was still basically a percussion oriented one; while in jazz, the piano is the only prominent percussion instrument and it is employed in a melodic or harmonic capacity as well as a rhythmic one. Often jazz musicians, accustomed to playing primarily in flat keys found themselves faced with the dilemma of either transposing this new music and possibly losing some of its subtle connotation or playing it in the unfamiliar, sharp keys. There were infinite variations in instrumentation to be adjusted to.

It was Ramsey's task to make these adjustments within a matter of days. Having become acquainted with the music as a listener and admirer, he set about learning the technical fundamentals of the form. He was fortunate in having Josef Paulo and Carmen Costa to woodshed with the trio. These artists are two of the most sought after performers in the Bossa Nova rage. So throughly did the two become entrenched in their music, that both Lewis and Eldee actually contributed an original tune to this date.

By this time, "Bossa Nova" is the bight thing in jazz and everyone should have become familiar with the term. Form those who have not heard yet, "nova" means new and there is no literal English translation for "bossa." Very, very loosely, it represents the equivalent of our land "bag" or "thing." Ironically, there is a similar Russian pronunciation which means "barefoot"; that should result in an International definition of "new barefoot" music. Somehow, the term seem appropriate for the Ramsey Lewis Trio whose music has always been synonymous with that which is earthly and "of the people." 

Again this unit has responded to the music of the hour. Today, the listening public is halfway between the emotional outpouring of the "soul" school and the existing rhythmic beckoning of Bossa Nova. This album is a happy balance embodying both. – Barbara J. Gardner 

From Billboard - November 24, 1962: This album is already reported to be getting some action in some areas of the country. The set features pianist Lewis with his group doing Latin impressions along the bossa nova line of a number of tunes. For the date, Lewis' trio has been joined by two Latin musicians: percussionist Carmen Costa and guitarist Josef Paulo. The album swings with strong work on "Samba de Orpheus," "O Pato," Maha De Carnaval" and "Cara de Palhaco." On the latter track, and one other, are authentic sounding vocals from Paulo. This album has an authentic bossa nova sound and should prove a solid seller in jazz with action moving across to pop and maybe even Latin American markets. 

Samba de Orpheus

Maha de Carnaval (The Morning Of the Carnaval)

As Criancinhas (The Children)

A Noite Do Meu Bem (The Night Of My Love)

O Pato (The Duck)

Generique (Happiness)

Roda Moinho (Whirlpool)

Cara de Palace (The Face Of The Clown)

Canacao Para Geralda (A Song For Geraldine)