Menian Feia
Bossa Nova
New Brazilian Jazz
Lalo Schifrin and His Orchestra
Audio Fidelity AFLP 1981
1962
Lalo Schifrin - Piano
Leo Wright - Sax and Flute (Leo Wright appears through the courtesy of Atlantic Records)
Rudy Collins - Drums
Christopher White - Bass
Jose Paulo - Percussion
Jack Del Rio - Percussion
From the back cover: The term Bossa Nova first appeared in the Brazilian musical glossary in the last months of 1959 when a small group of amateur musician promoted a show in a little private club in Rio. Very little is known about that night's performers, but it is certain that many of them subsequently attained national fame. A few months later, in two very large out-door shows – one in the Amphitheater of the School of Architecture and the other in the Naval Academy – Bossa Nova was introduced to the general public. Thousands applauded the new sound in samba and Bossa Nova was promptly adopted by the younger generation of Brazilians as their own music.
These two Bossa Nova Festivals were promoted by a record that had just been issued. Chega de Saudade, recorded by the singer-guitarist-composer who was to be hailed later on, as expected, as the chief founder of Bossa Nova, Joao Gilberto. The record created quite a stir in Rio, especially because of one tune, "Desafinado," which was accused of being sung off-tune, as the Portuguese title indicated. The authors of Desafinado, Antonio Jobim and Milton Mendoca, were also to be among the fathers of Bossa Nova, along with Vinicius de Moraes, one of the best Brazilian poets of the century, and several other youngsters already marked for fame.
The two Festivals were largely attended by young Brazilians conscious of the conflict between their way of thinking and the spirit of old Brazil which in popular music outlasted the changes that took place in the country during the last ten years or so. Strangely enough, while every aspect of Brazilian life and culture kept abreast of world changes – especially in architecture, poetry, theater, movies, industry, transportation – popular music clung to ideals and habits more akin to the present generation's grandfathers. In truth, it must be said that attempts had been made since, say, 1050 or 51, to modernize Brazilian music, mainly by giving old tunes a new arrangement, or by emphasizing new and better lyrics. (Perhaps the three most important renovators of Brazilian music prior to Bossa Nova were guitarist Luis Bona, lyricist Antonio Maria and composer Billy Blanco. Others contributed, especially singers Agostinho dos Santos and Elisette Cardoso, and composer Marino Pinto.) Musically, the attempted renovation of the early fifties was not radical enough. The tunes were too closely associated with night-club and cabaret themes and were in general very pessimistic and tragic. This was not in tune with the Brazilian outlook of life; hopeful, never despairing.
When Bossa Nova was introduced, the new generation of Brazilians recognized it as the music that ideally fitted their pattern of life; the music that best reflected their mood. And, it was essentially Brazilian; a reaction to foreign rhythms.
Apart from the lyrical qualities of the music, which set it apart from any other Brazilian musical experiment, the words of the Bossa Nova samba are an innovation in themselves. The fact that Vinicius de More as and Antonio Maris, both established names in Brazilian literature, have contributed to the new movement is proof that Bossa Nova is something that is being taken seriously; something of quality and endurance. The participation of Brazil's leading musicians and poets sets Bossa Nova apart from run-of-the-mill novelties and gimmicks.
There is a side aspect to Bossa Nova that must be stressed. The average Bossa Nova composer, lyricist or musician has a cultural background that is rarely encountered in other popular musical currents. Jobim, for instance, is an accomplished classical composer; Carlos Lyra, an excellent guitarist, teaches the instrument according to a new system that he devised. Most of them are university graduates.
Turning to the personnel of this recording, pianist-leader Schifrin, bassist Chris White, drummer Rudy Collins, and flutist-saxophonist Leo Wright, are all members of "Dizzy Gillespie's great jazz quartet which features the Bossa Nova. It should be pointed out that these four men have more experience in the playing of authentic Bossa Nova than any jazz men in America with the exception of Gillespie himself.
The quartet has been rewardingly augmented by the addition of two great Latin percussionists, Jose Paulo of Brazil and Jack Del Rio of Argentina. Paulo performs on the pandeiro, a Brazilian tambourine. In his hands, this ostensibly simple instrument becomes a fountain of varied sound, ranging from the buoyant boom of the conga drum to the flashing fire of Turkish finger-cymbals. Del Rio, a member of Xavier Cugat's big orchestra adds dynamic whispers of rhythm with the cabaca, a gourd instrument covered with a loose network of beads.
All selections in this album were orchestrated by the great Argentinian pianist, Boris (Lalo) Shifrin, who also conducted from the piano bench. Lalo was born in Buenos Aries in 1932. His father was a violinist with the city's Teatro Colon. Lalo has studied harmony and theory with Juan-Carlos Paz, as well as sociology and law at the University of Buenos Aries. He represented Argentina at the 1954 International Festival of Jazz in Paris. And, in 1958, he won the academy award of Argentina for film music for his "El Jefe" score.
In a typically incisive article (Downbeat, April 12, 1962), Gene Lees sums up the dynamic young exponent of Bossa Nova: "He applies Latin American methods of jazz, in a highly personal way. Sometimes he can be heard repeating a left-handed chord in rhythmic unity with the running Latin chords (octaves with fifths, or sometimes fifths with sixths in between) while he is playing at surprising speed with his right. But the ideas are jazz ideas. As often as not, a solo will start with a single line and gradually develop into a powerful and exciting excursion into the Latin toward the end.
"All this music comes from a somewhat unkempt, rather serious, and usually confused-looking young man who somehow reminds one of Bill Dana's television character, Jose Jiminez. Unsmiling when you meet him, Schifrin looks as if he'll never in a million years, know what's happening.
"The slightly discombooberated air is probably related to the fact that English is not his native language and he has to listen carefully to ti. The subtlety of a joke will pass by when he has first met a person. Later, as his ears become attuned to the acquaintance's speech, his big, easy sense of humor manifests itself. He is a thoroughly cultivated young man of polished tastes, who may be found in intense conversation about Goethe or quoting the poetry of Paul Valery in French." – Joao Tabajara
Boato
Chora Tua Tristeza
Poema Do Adeus
Apito No Samb
Chega De Saudade
Bossa Em Nova York
O Amor E A Rosa
O Menino Desce O Morro
Menina Feia
Ouca
Samba De Uma Nota So
Patinho Feio
