egroj world: Herbie Mann • Latin Fever
PW: egroj

jueves, 19 de julio de 2018

Herbie Mann • Latin Fever

01. Harlem Nocturne
02. Fever
03. Not Now - Later On
04. The Golden Striker
05. Insensatez                
06. You Came A Long Way From St. Louis
07. Batida Differente
08. Nana
09. Groovy Samba
10. Influenza De Jazz

34 minutes 17 seconds

Group:      Sergio Mendes Sextet
     Herbie Mann (fl)
                Paulo Moura (a-sax)
                Pedro Paulo (trp)
                Ernie Royal, Clark Terry (trp, flg-hn)
                Sergio Mendes, Antonio Carlos Jobim (p)
                Paul Griffin (p, org)
                Durval Ferreira, Bill Suyker, Baden Powell (git)
                Nabil Totah, Gabriel, Otavio Bailly Jr. (b)
                George Devens (perc)
                Dom Um, Rudy Collins, Bobby Thomas, Juquinha (dr)

      * with Baden Powell
      ** piano by Antonio Carlos Jobim

Herbie Mann interviewed in 1964
You see, Brazilian music has shown me that music in general can still remain exciting and dramatic without having an overabundance of drums. In other words, the rhythm can be implied, rather than made obvious. We now have a more subtle approach, playing more straight jazz and bossa novas than anything else.
Sometime ago I spoke rather sharply about the many inferior and unsympathetic bossa nova recordings. I have changed my opinions slightly. I now feel that even though most of the non–Brazilian bossa nova records didn’t manage to capture the subtleties and warmth of the authentic Brazilian article, they shouldn’t be put down completely.
Jazz is a medium for individual approach to a song depending on the feeling or the interpretation of the musicians concerned—and that’s what I feel the majority of American produced bossa nova albums amount to.
In all honesty I think that our own group gets closer to the original than anyone else for a number of reasons. I believe that my own temperament is closer to that of the Brazilians than any American musicians who have entered this particular field. Moreover, the group has had more opportunities of hearing and playing new Brazilian compositions, and my guitarist, Attila Zoller, learned how to play bossa nova and other rhythms from listening to the recordings of guitarist Baden Powell. I consider Baden Powell to be the finest exponent in the world of authentic contemporary Brazilian music. In fact, I used Baden Powell as both musician and composer on the sessions I cut in Rio de Janeiro for Atlantic. I feel that the sessions I cut in Rio are the best examples of the bossa nova and the progressive samba on disc. It’s the only album that really captures the true feeling of this wonderful music.
As far as I am concerned, the bossa nova is a modern samba. Most of the rhythm players in Brazil don’t play set patterns, but improvise as they feel. And do they swing! Unfortunately, many American percussionists stick to repetitious patterns, making for stodgy and uninspired results. During the first week I was in Rio I listened to well over 75 compositions. From these I picked the ones I wished to record, then fixed arrangers, musicians and groups.
The numbers of Baden Powell and Antonio Carlos Jobim which I cut are true bossa novas, while the pieces of Sergio Mendez and Luis Carlos Vinhas are progressive sambas, for which the jazz group improvises on a progressive samba beat. For example, I recorded the late Clifford Brown’s “Blues Walk” with the Sergio Mendez Bossa Nova Rio Group. This fine sextet comprises Mendez on piano, Paulo Moura (alto sax), Pedro Paulo (trumpet), Duval Ferreira (guitar), Otavio Bailly, Jnr. (bass) and Dom Um on drums. On the sides I cut with Baden Powell we used a bass player called Gabriel and alternated with two drummers, Papao and Juquinha.
Besides recording with Powell and Mendez I also cut sides with pianist Luis Carlos Vinhas and his trio and with a large string orchestra conducted by Antonio Carlos Jobim, who also sang and played piano on his now famous composition, “Samba De Una Nota So” (One Note Samba). The other large group with which I recorded was the 17– piece Zezinho E Sua Escola De Samba (Zezinho and His School of Samba). This group is made up of carnival samba players who perform in the streets at a carnival or mardi gras, playing traditional music on such instruments as cuica, reco– reco, pandeiro, frigideira and surdo, among many others.
During trips taking me to South America and the African continent I have collected over a hundred different flutes. For public appearances and recordings I use a concert flute in C, alto flute in G and E flat flute, plus a number of hand– made native flutes. In the future I intend to incorporate more and more folk music from various countries into our programme. The bossa nova will stay a part of my catalogue, along with the music I have gathered from other parts of the world combined with jazz. I feel that gypsy music and the folk music of Eastern Europe and the Middle East contains some wonderful rhythms and melodies to improvise on.

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