Gil e Jorge aka Ogum Xangô was recorded at CIA Brasiliera De Discos Phonogram in Rio De Janeiro. The twelve hour marathon session was produced by Paulinho Tapajós and Perinho Albuquerque with technicians Ary, João Moreira, Luigi, and Luis Claudio. The album features Jorge Ben and Gilberto Gil on vocals and violão (acoustic guitar), with Djalma Corrêa adding percussion and Wagner Dias providing bass. According to Afro Brazilian mythology, Ogum is the Yoruba deity or orixá of iron and war and the patron deity for warriors; while Xangô is the Yoruba orixá or deity of thunder, lightening, and fire. http://www.jorgebenjor.com.br/ http://www.gilbertogil.com.br/ "Taj Mahal" inspired Rod Stewart's number one smash hit "Da Ya Thing I'm Sexy?". A court agreed and awarded damages to Jorge Ben. https://www.youtube.com/watch?v=LL-MWkMb07A
side one 1-Meu Glorioso São Cristóvão (Jorge Ben)-00:00 2-Nêga (Gilberto Gil)-08:12 side two 3-Jurubeba (Gilberto Gil)-18:42 4-Quem Mandou (Pé na Estrada) (Jorge Ben)-30:22 side three 5-Taj Mahal (Jorge Ben)-37:13 6-Morre O Burro Fica O Homem (Jorge Ben)-49:19 side four 7-Essa É Pra Tocar No Rádio (Gilberto Gil)-55:21 8-Filhos De Gandhi (Gilberto Gil)-1:01:26 9-Sarro (Jorge Ben/Gilberto Gil)-1:13:29
Caetano Veloso simultaneously created two pseudo-movements with these two jewels of unique expression and quiet contemplation. He had been the catalyst for a new hybrid of traditional music with modern influences over the course of almost a decade on albums like Domingowith Gal Costa in 1967, Caetano Veloso (Tropicália), the 1968 collaboration Tropicália: ou Panis et Circenses, Caetano Velosoin 1969 and Caetano Velosoin 1971, and Transaand Araçá Azulin 1972. After spending some time touring and producing albums for other, he returned to the studio to record one album of (mostly) originals and a second of (mostly) covers. The proceedings were produced by Caetano Veloso and Perinho Albuquerque and included Moacyr Albuquerque and Sergio Barroso on bass; Perinho Albuquerque on arrangements, guitar, violin, and percussion; Tuzé Abreu, Altamiro Carrilho, Jorge Ferreira da Silva, and Celso on flute; Djalma Corrêa and Bira Da Silva on percussion; Perna Froes on arrangements and piano; As Gatas on background vocals; Tutty Moreno on bateria; Quarteto em Cy on vocals; with Jairo Gualberto and Aldo Luiz; and director Caetano Velosoon guitar, percussion, viola, and vocals. Both albums were released on the same day in June of 1975. The racy album cover for 'Jóia' was banned by the Brazilian goverment.
Caetano Veloso found his bliss in the organic acoustic grooves of this soothing and sensual mystical meditation. 'Cinema Transcendental' shows Velose and A Outra Banda da Terra cooling the afro-jazz rhythms of 'Bicho' and the sultry samba of 'Muito (dentro da estrela azulada)' into a more subtle sound while still experimenting with different genres and forms. The sessions were produced and engineered by Paulo Chocolate and Luis Claudio Coutinho with Caetano Veloso on production, acoustic guitar, whistle, palmas, percussion, and vocals; Tony Costa and Perinho Santana on guitar; Tomás Improta on keyboards, arrangements, claves, bamboo flute, palmas, percussion, and vocals; Arnaldo Brandão on bass, palmas, percussion, and vocals; Vinícius Cantuária on drums and steel guitar; Bolão on percussion, palmas, and vocals; and Dominguinhos on accordion; with Lúcia Turnbull and Marizinha on choir.
'Cinema Transcendental' full album: 00:00 Lua de São Jorge 03:57 Oração ao Tempo 07:24 Beleza Pura 10:54 Menino do Rio 13:22 Vampiro 17:26 Elegia [adaptado de poema de John Donne] 19:45 Trilhos Urbanos 22:31 Louco Por Você 30:10 Cajuína 32:30 Aracaju 34:54 Badauê, 36:27 Os Meninos Dançam 1. "Moon of St. George" 3:57 2. "Prayer at the Time" 3:25 3. "Pure Beauty" 3:30 4. "River Boy" 2:28 5. "Vampire" Jorge Mautner 4:03 6. "Elegy" Pericles Cavalcanti and Augusto de Campos 2:19 7. "Urban Trails" 2:46 8. "Crazy for You" 7:40 9. "Cajuína" 2:20 10. "Aracaju" Thomas Improta, Canterbury Vinicius Caetano Veloso and 2:23 11. "Badauê" Môa the Catende 1:32 12. "The Dancing Boys" 3:14
This classic collaboration set the standard for samba in the world of jazz. Stan Getz had been experimenting with Brazilian music by collaborating with different guitarists. It began with Charlie Byrd (who had just toured Brazil) on 'Jazz Samba' (winning the Grammy for Best Jazz Performance of 1963 for "Desafinado") and continued with Brazilian guitarist Luiz Bonfá on'Jazz Samba Encore!'. In between he recorded 'Big Band Bossa Nova' with arrangements by Gary McFarland and Jim Hall on guitar. For his next project, he brought in João Gilberto and Antonio Carlos Jobim who had both been instrumental in creating the style of bossa nova. The sessions took place at A&R Recording Studios in New York City with producer Creed Taylor and featured Stan Getz on tenor saxophone; João Gilberto on guitar and vocals; Antonio Carlos Jobim on piano; Sebastião Neto on bass; and Milton Banana on drums; with Astrud Gilberto on vocals (in "The Girl from Ipanema" & "Corcovado"). The results were magical. 'Getz/Gilberto' became one of the biggest selling jazz albums of all time and the biggest Brazilian album ever. It won tons of Grammy's including Album of the Year. Decide for yourself if it isn't the grooviest thing you've ever heard. http://www.stangetz.net/ http://joaogilberto.org/ http://www.jobim.com.br/
Nara Leão sought the ugly truth in the socially conscious samba of this warm and winsome consolation. She had begun playing the guitar at the age of twelve and was a part of the birth of bossa nova with many informal jam sessions taking place at her parent's home. She learned from Solon Ayala, Patrício Teixeira, Roberto Menescal, and Carlos Lyra and played with such luminaries as João Gilberto, Luiz Eça, Ronaldo Bôscoli, Vinicius de Moraes, Antônio Carlos Jobim, and Sérgio Mendes. Her involvement with the musical movement led to her affectionate nickname of 'the Muse of Bossa Nova'. After making her stage debut in the musical comedy Pobre Menina Rica, by Vinícius de Moraes and Carlos Lyra, she began her recording career. While on tour, she was exposed to the more radical elements of the Brazilian popular music movement (Caetano Veloso, Gilberto Gil, Gal Costa, and Maria Bethânia) who influenced her turn away from the cool and sophisticated lounge sound toward the more ideological sambas de morro of the slum favelas. Her debut album 'Nara' was recorded with producer Aloysio de Oliveira with arrangements by Lindolfo Gaya and Moacir Santos.
Jorge Ben made his free spirited debut with the new style swing of this seductive samba. He was born Jorge Duilio Lima Menezes in Rio de Janeiro and began playing guitar to emulate the bossa nova style of João Gilberto. He took the stage name Ben from his mother's maiden name. He sang in a church choir and played parties and nightclubs, where he was discovered at the age of twenty-three and signed to the Phillips label. A week later, his first single 'Mas Que Nada' was released and became such a huge sensation that other artists were tripping over each other to cover the song. 'Samba Esquema Novo' ("New Style Samba") was recorded with producer Armando Pittigliani and features Jorge Ben on vocals and violão; Manuel Gusmão on bass; Luís Carlos Vinhas on piano; J.T. Meirelles on flute and saxophone; Pedro Paulo on trumpet; and Dom Um Romão on drums.
Mas que nada Don't mind that Sai da minha frente Get out of my way Eu quero passar I want to come through Pois o samba está animado Because the samba is cheerful O que eu quero é sambar And what I want is to samba Este samba This samba Que é misto de maracatu is a mixture of Maracatu É samba de preto velho It is the old black man's samba Samba de preto tu Black man's samba Mas que nada Don't mind that Um samba como esse tão legal A samba like this is so cool Você não vai querer You won't want it Que eu chegue no final
to come to an end.
In 1966, Sergio Mendez and Brasil 66 took the song to number forty-seven on the US pop chart and number four on the US easy listening chart. http://www.youtube.com/watch?v=BrZBiqK0p9E
