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Saturday, 27 May 2017

Jarbas Mariz "Transas Do Futuro" EP 1977 Brazil Psych Folk Rock, ERLA label reissued in 2011 by Vale Verde Records

Jarbas Mariz  "Transas Do Futuro"  EP 1977 Brazil Psych Folk Rock, ERLA label reissued in 2011 by Vale Verde Records 
The singer and composer Jarbas Mariz began his career in Paraíba and has been developing his art since 1968, first playing in the "Rolling Stones" and "Selenitas" dance ensembles and then defending songs from other composers at festivals until he takes on his own work. Jarbas recorded his first solo album, "Transas do Futuro", in 1977, by Erla / Rauland. In 1990 he recorded, with Lula Côrtes, the Instrumental Album "Bom Shankar Bolenath" (Let us agree Gods and Goddesses to our own Divinity). He began his studio work on the recordings of other composers and, as early as 1974, he participated in the LP "Paêbiru" by Zé Ramalho and Lula Côrtes. In 1980, in addition to the instrumental recording, he made all 12-string viola base arrangements of Catia de France's second LP - And I went to show the producers José Ferreira (Director of the label) and Guilherme Coutinho. He argued about the quality of the work and the importance of having an artist with a different style of music in the record company where the biggest investment was in appreciating the Paraenses rhythms, and suggested that they bet on the project, musicians from Belém and recorded the Dico. And so it was done! The songs from this Double Compact were taken from my first set of compositions. The lyrics portray what I read, saw, or lived in those moments, with references that I had at the time. They may be naive, but they are very true, because they bring simplicity and the will to reflect on a better world and the importance of nature in our lives. The cover of the disc is the own portrait of the years 70. It was made by Baby, a Paraiba musician who played with me for many years. And with thought in better days, the disc was baptized of ... "TRANSAS OF THE FUTURE"....................

The singer and composer Jarbas Mariz began his career in Paraíba and has been developing his art since 1968, first playing in the "Rolling Stones" and "Selenitas" dance ensembles and then defending songs from other composers at festivals until he takes on his own work.

Jarbas recorded his first solo album, "Transas do Futuro", in 1977, by Erla / Rauland. In 1990 he recorded with Lula Côrtes, the Instrumental Album "Bom Shankar Bolenath" (produced by the Continental Recorder, "Gods and Goddesses of our own Divinity"); Today reissued on CD. In 1995, Jarbas released his CD "Vamos lá pra Casa" by the Camerati Recorder; In 2000 he recorded the CD "Forró do Gogó ao Mocotó", in honor of Jackson do Pandeiro, for the "Phonographic Attraction" and in 2006 he released the CD "Do Cariri pro Japón" by the Recorder Soundtrack / Attraction.

He began his studio work on the recordings of other composers and, as early as 1974, he participated in the LP "Paêbiru" by Zé Ramalho and Lula Côrtes. In 1980, in addition to the instrumental recording, he made all 12-string viola base arrangements of Ctia's second LP - "Shards" - CBS. He also participated in the collective album "Música da Paraíba Hoje - Vol. 1" (1982) with the song "A certain personal".

Jarbas has important work as a composer and his songs have already been recorded by artists like Eliane, Marinês, Gilberto Gil, Marco Mendes, Gereba (Germany Group), Lula Côrtes, Fúba, M4J, Sabah Moraes, Paulo Vinícius, Eliane Camargo, Chico César , among others. Throughout his career, Jarbas has already shared the stage with such big names as Zé Ramalho, João do Vale, Lula Côrtes, Marines, Elba Ramalho, Alceu Valença, Pedro Osmar, Lenine, Vânia Bastos, Vange Milliet, Shanghai, Lourival Tavares , Demônio das Garoa, Mestre Ambrósio, Tom Jobim and Dominguinhos Youth Orchestra, Lenine, Chico César and Osvaldinho do Acordeon, among others.

Jarbas worked with Cátia de França on important projects such as "Pixinguinha" / 80, first with Jackson do Pandeiro and Anastácia and then with Grupo Quinteto Violado and Paulo Diniz. From there it began its affinity with Jackson of the Pandeiro.

In 1995, he joined the trombone player Bocato and formed the "Forrock and Roll" Orchestra playing rhythms such as xote, maracatu, coconut, etc., in several nightclubs in São Paulo.
In 1999 he had the participation of Elba Ramalho in his show at the "Aldeia Brasilis" Project (SESC / Santo Amaro / SP).
With Grupo M4J he was in "Free Jazz" / 2000, interpreting his own songs, and participated with Tom Zé of "Rock in Rio" / 2001 and of the "Affinities" Project (SESC Santana / SP) in 2008.

Jarbas, in parallel with his solo work since 1990, is a member of the band of composer Tom Zé, performing shows in the United States, Canada and several European countries such as England, France, Switzerland, Italy, Holland, Austria and Germany, where he has had Singing and playing in the shows.
Among the highlights are the shows at MOMA and Central Park in New York, the Montreal Jazz Festival and the show at the Barbican Center in London with the participation of the Tortoise Band from Chicago.

In 2005, in addition to his own shows, Jarbas participated, with Tom Zé, on a tour of Europe, where they played at the 39th "Montreux Jazz Festival" in Switzerland; In the "Eurockness Festival" in France; And the "Fandango Festival" in Rome, among others.
This tour resulted in the film "Fabricando Tom Zé", by Décio Matos Jr., released on national circuit in 2007 and awarded at the Film Festivals of Rio de Janeiro and São Paulo, now found on DVD. In 2009, Jarbas participated in another film, the also awarded, "Tom Zé, Astronaut Liberated" by Spanish Igor Iglesias.

Developing extensive work as an instrumentalist, Jarbas participated, among others, in the recording of Tom Zé's albums, where he sings, plays percussion and mandolin.
"The Hips of Tradition" and "Defective Manufacturing" CDs were produced by "Luaka Bop" (Warner Bross), label of composer David Byrne, former member of the group "Talking Heads" and CDs and DVDs " Amar "," Studying the Pagode "and" Danç-Eh-Sa ", by Trama Records. In 2008 he participated in the recording of the CD "Estudando a Bossa" and in 2009, "Lollipop of Science", both produced by Biscoito Fino.
Still with Tom Zé, Jarbas recorded the CDs of two shows of the Grupo Corpo de Dança / MG: "Parabelo" (Tom Zé and Zé Miguel Wisnik) and "Santagustin" (Tom Zé and Gilberto Assis). He also participated in the recordings of the songs:

Jarbas shows his talent as a composer of tracks for plays, signing the musical direction of the shows "Num lugar de La Mancha", by Mário Garcia-Guillen (which originated a CD of the same title, recorded by Jarbas and his band and guests ) And "The more or less holy war" by Mário Brasini, both directed by Valéria di Pietro.
Still in relation to tracks, the song "Winter I and II", by Jarbas Mariz and Lula Côrtes, integrates in 2008 the track of the film "The Rock and the Star", by Kátia Mesel.

In 2008, Zé Ramalho released the CD "Zé Ramalho da Paraíba", which rescues the shows recorded live, from 1973 to 1976, still in Paraíba, and brings the participation of Jarbas in several songs. In the cinema, besides the films of Tom Zé, Jarbas participated in 2009 in the award-winning film "Zé Ramalho, the Heir of Avôhai", by Elinaldo Rodrigues / PB.

In the same year, his song "São Paulo Esquina do Mundo", in partnership with Assis Ângelo, was recorded on the CD that accompanies the book "Sã", in honor of the city of São Paulo. Jarbas and Assis also composed the song "Brasil, País do Futebol", recorded on the CD that integrates the book "The Presence of Football in Popular Brazilian Music", released at the Museu do Futebol / SP in 2010.

Jarbas Mariz is currently working on the release of his latest album, a collection of his 5 CDs......................


Jarbas - Voz Craviola e Violão 
Bob - Guitarra
Odorico - Guitarra
G. Coutinho - Piano Elétrico
Bosco - Orgão
Maizena - Baixo
Borracha - Bateria
João Moleque - Bateria
Zé macedo - Percussão
Lika - Flauta Transversal

1. Transas do Futuro (J. M. Martins)
2. Quero Jogar Cartas Com A Humanidade (J. M. Martins)
3. Paragominas (J. M. Martins)
4. Merece Ser (J. M. Martins)

Zé Ramalho “ Zé Ramalho” 1978 Brazil Psych Folk Rock ,MPB

Zé Ramalho “ Zé Ramalho” 1978  Brazil Psych Folk Rock ,MPB…highly recommended..!

First album by Zé Ramalho from Paraíba, released in 1978. The album features keyboardist Patrick Moraz from the English band Yes, on the track "Avôhai".
Also of Ivinho in the viola in Avohai and Sergio Dias in the psychedelic guitar of the dance of the butterflies.........................

Brejo do Cruz, Paraibano, musician, composer and instrumentalist, better known as Zé Ramalho, almost four decades ago, released his first album.
An album that entered the history of national music consolidated a very solid and very successful career. Bringing all the mysticism of his thinking head, combined with the purest northeastern roots and his unmistakable voice, Zé Ramalho released one of the best MPB albums.

A well-crafted album, with clever lyrics, well-composed and innovative arrangements for the time. Tracks such as Avohai, Vila do Sossego, Chão de Giz, Dance of the Butterflies are present in all collections and shows throughout his career.
Avohai means Grandfather and Father. He makes an analogy to his grandfather who replaced the role of Zé's father, both being Grandfather and Father. But the word Avohai came to Ze after an experiment with hallucinogenic mushrooms on the farm. some friends. He looked up at the sky and saw the "shadow of a gigantic spaceship," and a voice said "Grandpa" in his ear.

Another curiosity of this track is the participation of the tecladista Patrick Moraz, of the English band Yes in the track "Avôhai"...................

This is my first record. The debut album. It came full of mysticism and ideas. I brought a different language than usual. Through the message of "Avôhai", music that opens the disc, with the participation of Patrick Moraz, keyboardist of the English group YES! In addition to "Avôhai", brings "Vila do Sossego" and "Chão de Giz", songs that became classics of M.P.B. With several re-recordings of other artists. It is the album of arrival, transposing the threshold of musical reach. It's a record that never went out of print. I'm proud of him and his time. It was the beginning of everything. It all starts with "Avôhai".

Born in Brejo do Cruz (PB) on 10/03/49, José Ramalho Neto spent his childhood with his grandfather in Campina Grande and discovered rock'n'roll and iê-lê-iê living adolescence in João Pessoa, listening Both the Young Guard and the Beatles and their contemporaries. In the turn of the 70's, Zé Ramalho was a member of the group The Gentlemen, who recorded an album by Rozenblit, the same record company from Pernambuco where the legendary double album "Paêbirú" was recorded, in partnership with Lula Côrtes at the end of 1974, with Alceu Valença, Ze da Flauta and others.

Zé Ramalho da Paraíba, as he arrived in Rio in many comings and goings, accompanied Alceu Valença and drew attention. He decided to establish himself definitively in the city after the carnival of 1976, prepared never to return to the Northeast. At that time, he had already composed Avôhai, Vila do Sossego, Chão de Giz and Dança das Borboletas, and after meeting with producer Carlos Alberto Sion on the pier of Ipanema, he entered the Phonogram studio to record a demo. It was not accepted, but he spent the year visiting RCA, EMI-Odeon and Som Livre, who were not interested either. The TV director Augusto César Vanucci became a fan and showed Avôhai to the then wife Vanusa, who decided to record the song in São Paulo, with Zé to the guitar.

Already close to that year of 1976, Raimundo Fagner gave his endorsement to the CBS board of directors - calling attention to the work of his friend, which made the artistic director Jairo Pires like to hear Avôhai. Immediately hired in early 1977, Zé Ramalho breathed a sigh of relief and spent the year doing gigs in Rio. A version of Avôhai was even recorded in a radio studio, so that he would immediately enter the program. This first solo album by Zé Ramalho was recorded on 8 channels at the CBS studio in November 1977.

All the musicians played for free, animated by the opportunity reached by the singer and composer from Paraguay, including the English keyboardist Patrick Moraz, who was recording a solo album in Rio de Janeiro.

The bases were recorded with few musicians, Zé even, only used percussion and not drums in this semi-acoustic work of incredible sound quality. Also in the electrified part, former Mutantes Sérgio Dias sensitized so much by his participation that he won three of the eight channels for his apotheotic guitar solo in The Dance of the Butterflies. No one realized at the time that the tape was coming to an end, which is why this track closes the first side of the record that way.

As the artist continued to live in a room rented in Glória, CBS decided to host him at the Hotel Plaza de Copacabana to do the job of disclosure with more comfort. The record had great repercussion and the artist took the opportunity to distribute his booklet of string Apocalypse at the entrance of his shows. Zé Ramalho felt that the "thing was beginning to happen" in the middle of 1978, when he received the first money from the public execution of his Fróes.............

1 - Avôhai
2 - Vila do Sossego
3 - Chão de Giz
4 - A Noite Preta
5 - A Dança das Borboletas
6 - Bicho de 7 Cabeças
7 - Adeus Segunda-Feira Cinzenta
8 - Meninas de Albarã
9 - Voa, Voa

Zé Ramalho on the tour of his first album.Geraldo Azevedo, Elba Ramalho, Valdemar Falcão, Lizzie Bravo, Cátia de França e Bezerra da Silva

Robertinho de Recife "Robertinho no Passo” (Com Hermeto Pascoal) 1978 Brazil Prog Jazz Rock MPB

Robertinho de Recife  "Robertinho no Passo” (Com Hermeto Pascoal) 1978 Brazil Jazz Rock Prog, MPB 
He began his career early as a prodigy and virtuoso guitarist. By the age of 12 he had played with his feet. In his professional life he has done a bit of everything: he played in pop bands in the United States; Studied sacred music at the seminary; Accompanied some of the idols of the Young Guard, such as Jerry Adriani and Rosemary; Played blues, jazz and country on transatlantic cruising the Brazilian coast; Was a studio musician, playing radically different styles in albums by Hermeto Pascoal, Cauby Peixoto, Jane Duboc and The Fevers; Played children's music and heavy metal; Released the album "Rapsódia Rock", with concerts that included an orchestra and in which Mozart dress was presented. Currently he also works as a producer ("Flor da Paraíba" by Elba Ramalho).......................

Nice album in a cheerful mood, that sometimes can have a tendency to easy listening but saved by the more complex arrangements or fun it never falls in meaningless entertainment. Though under the name of the then 13 years old guitarist Robertinho, it mostly sounds like a hidden joyfull Hermeto Pascoal album, who is involved with half of the compositions and plays piano, synths and sax. After the joyous ride it ends with the only exception in that mood, in a nine minutes long sensual sonic bath by Hermeto's piano explorations accompanied by .............

Robertinho de Recife, (Recife, 1965), is a guitarist, music producer, composer, instrumentalist and natural arranger from Recife.
Considered by many as one of the great guitarists of Brazil, his trajectory in the universe of the popular music consecrates it like professional of multiple talents and initiatives.
In the late 1960s, he accompanied some idols to Young Guard, such as Rosemary and Jerry Adriani. Touched on pop bands in the United States and also on transatlantic cruises along the Brazilian coast, being asked for such modalities as blues, jazz and country.
In the period when he was a studio musician, he played radically different styles when accompanying artists such as Jane Duboc, Cauby Peixoto, Os Fevers and Hermeto Pascoal. Another modality that also touched was the heavy metal and the infantile music. On the occasion of the release of his disc "Rhapsody Rock", was presented Mozart dress.
He had the pinnacle of his career in the 70s and 80s and then dedicated himself to accompanying artists such as Xuxa, Geraldo Azevedo, Zé Ramalho and Fagner.
Nowadays, he also works as a music producer in his studio, the Special Discos, in Rio de Janeiro (currently the most recent work is "Flor da Paraíba" by Elba Ramalho)....................

Considered a Guitar Hero and one of the best guitarists in Brazil, his trajectory in the universe of popular music enshrines him as a professional of multiple talents and initiatives.
He began to play still a boy, being soon appointed as prodigy guitarist. At age 12, already considered a virtuoso, he played with his feet. Still as a seminary student, he studied sacred music.
In the late 1960s, he accompanied some Young Guard idols such as Rosemary and Jerry Adriani. He played in pop bands in the United States and also in the transatlantic Rosa da Fonsêca in cruises along the Brazilian coast, being requested in modalities such as blues, jazz and country.
During his time as a studio musician, he played radically different styles when accompanying artists such as Jane Duboc, Agnaldo Timóteo, Cauby Peixoto, The Fevers and Hermeto Pascoal. Other arrangements he has also played include heavy metal and children's music. On the occasion of the release of his disc "Rapsódia Rock", in 1990, was presented dressed of Mozart playing classics.
On April 26, 1985, Robertinho, along with his band, MetalMania, opened a show for the American band Quiet Riot in São Paulo. The same happened in Rio de Janeiro and Porto Alegre and also with the English of Deep Purple.
In 1988, Robertinho de Recife recorded an album with the band Yahoo, of which he was the guitarist. Successes like "Love Bite" (version of the song Love Bites, of the British band Def Leppard).
Robertinho de Recife had the culmination of his career in the 70's and 80's and later devoted himself to producing artistically, Having produced more than 300 albums by many independent record labels and artists, such as Nelson Gonçalves, Angelica, Elba Ramalho, Xuxa, Geraldo Azevedo, Zé Ramalho and Raimundo Fagner, among others.
As a guitarist, Robertinho de Recife has participated in concerts or recorded with several international artists such as: George Martin Producer of the Beatles, Watchpocket, Stanley Clarke, Andy Summers (The Police), Deep Purple (when he was in Brazil), Stewart Copeland (The Police), Quiet Riot, Steve Cropper, Miami Sound Machine, John Lee Hooker, Cassandra Wilson, Simon Kirke (Free), Bonnie Ratt, Arto Lindsay, Taj Mahal, Gilles Martin, Dr. John And the Night Tripper and Candy Shoes String.
Among the national artists with whom he recorded, the following stand out: Xuxa, Geraldo Azevedo, Zé Ramalho, Raimundo Fagner, Hermeto Pascoal, Sivuca, Elba Ramalho, Amelinha, Lenine, Luis Melodia, Dominguinhos, Zeca Baleiro, Luis Caldas, Frank Solari, Moraes Moreira, Orlando Morais, Lulu Santos, Martinho da Vila, Marisa Monte, Gal Costa, Tânia Alves, Pepeu Gomes, Wagner Tiso, José Augusto, Agnaldo Timóteo, Elymar Santos, Rosanna, among others.
In addition to the episode of the Chicago band's invitation to play with them, he played in several international bands such as Watch Pocket, with his band METALMANIA, divided the stage with several international attractions like: Quiet Riot, Deep Purple, and in 2015 returned to Stages with the new Metamania and opened the show Judas Priest, Accept, and also made a special participation in the presentation of the band MANOWAR, NO MONSTER'S OF ROCK 2015, in São Paulo. ....................

What an interesting LP! Robertinho do Recife and Hermeto Pascoal, Robertinho no Passo (1978). Two different artists together making a wonderful LP making an tribute to Frevo, which is a musical style originally from Recife (a Northeast Brazilian state) with an unique dancing played on fast tempo with tuba, trombone, trumpets and sax.

Robertinho do Recife is an authentic Brazilian guitar hero that has – as AMG says bellow – an adventurous career, playing several different genres with his one of a king guitar playing syle.

A great team was assembled to this set, which had Hermeto Pascoal as arranger and composer of most tracks on this LP. Personnel and track list follows with AMG Robertinho do Recife bio, as well.........................

The first guitarist from Recife PE to achieve national success, Robertinho do Recife had quite an adventurous career (having played with Watch Pocket) before settling down as a renowned and successful producer in his own studio in Rio de Janeiro, where he produced performers such as Elba Ramalho, Geraldo Azevedo, and Zé Ramalho. As a session musician he worked with different movements represented by performers such as Jerry Adriani, Cauby Peixoto, Jane Duboc, Os Fevers, Rosemary, Hermeto Pascoal, and Fagner, among many others. He recorded eight solo albums from 1977 to 1990. After having been run over at age ten, do Recife had his femur fractured and had to stay at home, where he saw the Beatles and the Rolling Stones on TV. Impressed by the music and especially by the guitars, he insisted that his father buy one. The first group he joined was Os Príncipes, and the first band he formed (at age 12) was Os Ermitões, while he also performed in the Éforos. At 15, he was hired as guitarist for a cruise ship traveling to Rio. From there he went to São Paulo, looking for his uncle who played at the Stardust, the nightclub of Lanny Gordin’s father. After that season he returned to Recife, where he played in several bands that were into Tropicália, Os Mutantes, and the Beatles, like Bambinos and Os Moderatos, which had its own show at the local TV station, Jornal do Commércio. When he was playing in the LSE, Arto Lindsay and Carl Kolb were in the audience. After that, do Recife played in the Contribution. In the early ’70s, when do Recife was 16, he was invited by Carl Kolb to join the country music band, Candy Show String, from Mississipi. Soon after that he joined Memphis’ Watch Pocket, who had had the international hit “Mammy Blue.” He stayed with the band for nearly two years, until his visa expired. In 1973 do Recife returned to Recife, and in the next year, became Fagner’s musician, recording Raimundo Fagner (1976), soon followed by his own first solo album, Jardim de Infância (1977). Depressed by the death of his second son and determined to abandon music, do Recife refused an invitation to join Chicago after its Brazilian percussionist Laudir de Oliveira suggested his name. At Fagner’s insistence, he participated in his Quem Viver Chorará (1978), on the track “Revelação.” The song became a hit and he started to get invitations. Soon he had his own national hit with “O Elefante.” After severalcommercial works like the pop band Yahoo, do Recife built his own studio in Rio de Janeiro RJ, where he produced all kinds of works, including his fellow citizens Elba Ramalho (“Flor da Paraíba”) and friends Geraldo Azevedo and Zé Ramalho, keeping a low profile. ~ Alvaro Neder, All Music Guide.........

Hermeto Pascoal
Piano Fender 88, Poly Moog, Oberheim, Sax Soprano
Herman Torres
Bass, Badstone, Mutron II
Israel Semente
Bateria, Caixa, Tímpanos
Itiberê Zwarg
Bass (tracks 1 and 8)
Sergio Boré
Robertinho de Recife
Guitarras, Ecoplex, Mutron III, Octavider, Talk Box, Big Muff, Mutron II

01 Robertinho no passo (Hermeto Pascoal)
02 Nem um talvez (Hermeto Pascoal)
03 Vassourinha (Mathias da Rocha – Joana Batista Rocha)
04 Fogão (Sergio Lisboa)
05 Caboclinho (Hermeto Pascoal)
06 Frevo dos palhaços (Robertinho de Recife)
07 Arrecife (Robertinho de Recife)
08 Come e dorme (Nelson Ferreira)
09 Mundo novo (Hermeto Pascoal)
10 Abel (Hermeto Pascoal)


As leader or member
1961: Conjunto Som 4 (with Conjunto Som 4)
1966: Em Som Maior (with Sambrasa Trio)
1967: Quarteto Novo (with Quarteto Novo)
1969: Brazilian Octopus (with Brazilian Octopus)
1970: Hermeto Pascoal (solo debut, reissued on CD as Brazilian Adventure)(featuring Googie Coppola)
1973: A música livre de Hermeto Pascoal
1977: Slaves Mass
1979: Zabumbê-bum-á
1979: Ao vivo Montreux Jazz Festival
1979: Nova história da Música Popular Brasileira (compilation)
1980: Cérebro magnético
1982: Hermeto Pascoal & Grupo (reissued by Westwind Germany on CD as The Legendary Improviser. The reissue appears to be a copy from vinyl.)
1984: Lagoa da Canoa, Município de Arapiraca
1986: Brasil Universo
1987: Só não toca quem não quer
1988: Hermeto solo: por diferentes caminhos
1992: Festa dos deuses
1993: Instrumental no CCBB (with Renato Borghetti)
1998: Música!: o melhor da música de Hermeto Pascoal (compilation)
1999: Eu e eles
2002: Mundo verde esperança
2006: Chimarrão com rapadura (with Aline Morena)
2010: Bodas de Latão (with Aline Morena)
2013: Hermeto Pascoal: The Monash Sessions

As contributor
1956: Ritmos Alucinantes, by Clovis Pereira
1959: Batucando no Morro, by Pernambuco do Pandeiro e seu regional
1970: Natural Feelings, by Airto Moreira
1970: Electric Byrd, by Donald Byrd
1970: It Could Only Happen with You, by Duke Pearson
1970: Live-Evil, by Miles Davis
1971: Cantiga de Longe, by Edu Lobo
1971: Seeds on the Ground, by Airto Moreira
1975: Di Melo, by Di Melo
1976: Open Your Eyes, You Can Fly, by Flora Purim
1976 Goldenwings, by Opa
1977: Orós, by Raimundo Fagner
1978: Robertinho no passo, by Robertinho de Recife
1979: Sivuca, by Sivuca
1979: Live in Montreux, by Elis Regina
1980: Stone Alliance, by Márcio Montarroyos
1983: Cordas vivas, by Heraldo do Monte
1984: Ponto do músicos, by Nenê
1986: Balãozinho, by Eduardo Gudin
1986: Cordas mágicas, by Heraldo do Monte
1986: Pindorama, by Pau Brasil
1987: Flávio Pantoja, by Flavio Pantoja
1987: Dharana, by Dharana
1996: Brasil Musical - Série Música Viva - Pau Brasil E Hermeto Pascoal|Brasil Musical - Série Música Viva (with Pau Brasil)
1998: Maritmo, by Adriana Calcanhotto (on track "Canção por Acaso")
2000: Oferenda, by Aleuda
2000: Nação Nordestina, by Zé Ramalho (on track "Violando com Hermeto")
2003: Serenata: The Music of Hermeto Pascoal, by Mike Marshall and Jovino Santos Neto
2006: Roda Carioca, by Jovino Santos Neto
2013: Hermeto Pascoal: The Monash Sessions

Marconi Notaro "No Sub Reino dos Metazoários Rozenblit"1973 (feat Lula Côrtes & Co Brazil) Private Psych Acid Folk Experimental,Underground Freak

Marconi Notaro "No Sub Reino dos Metazoários Rozenblit"1973  featuring Lula Côrtes & Co- mega rare Brazil Private Psych Acid Folk Experimental,Underground Freak
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With all of those who started shouting “private press only” after Shadow named an album after those American self-starters who took their recorded destiny into their own hands, consider this: as hard as it might have been to record, press and distribute your very own wax capsule in America in the early ’70s (and as rare, and good, many of them are), doing the same under Brasil’s military dictatorship was markedly more difficult. And releasing a psychedelic, fuzz and effects drenched opus with revolutionary musings disguised within double entendres? Next to impossible.
You’d want this one in your collection if it contained just one good track within its beautifully packaged gatefold cover. That this album screams perfection from start to finish just adds to its legendary status. The brainchild of poet Márconi Notaro, alongside his friends and compatriots Lula Cortes and Ze Ramalho (the men behind perhaps the most legendary of Brasil’s private-pressed albums, 1975’s awesome Paebiru), this album contains what can only be described as Brasilian ragas played with the Portuguese guitar and Lula’s own invention, the Tricordio; improvised passages so fluid you’d swear they were scored; psychedelic-funk jams about staying true to one’s origins; and, throughout, Notaro’s complex yet approachable poetry, sung by the poet himself.
The highlight of the album, if there is just one: Notaro’s improvised “Nao Tenho Imaginacao Pra Mudar De Mulher (I Don’t Have The Imagination to Change Wives),” a gorgeously melancholic piece that, when one sees it transcribed (gotta thank my lovely girlfriend for that), is nearly impossible to imagine as having flowed directly from the mind of one of the most underrated Brasilian poet/composers.......

To speak of Marconi Notaro is to relive the story of one of the greatest exponents of Brazilian Psychoanalysis.
The poet, musician, writer was undoubtedly a misunderstood genius at the time, but left his mark to posterity and despite having died in the 90s, have been getting more and more admirers of his work.
Fully involved with the good guys, that is, Ave Sangria, Zé Ramalho, Silvio Hansen, Robertinho from Recife and, especially, Lula Côrtes, Marconi always wanted to create something new for music, with totally anticomercial concepts. In fact, I believe that it was this essence that made him try harder and composed the pearls that would enter the classic work Marconi Notaro - In the Metazoan Sub Kingdom, released almost independently in 1973. Little is known about this album , Even because it is considered very rare for collectors. As a hidden gem of our music, In the Metazoan Sub Kingdom has its "cult" side and is idolized by those who know it or even by those who have had the privilege of hearing it at least once.
Even with Lula Côrtes' illustrious participation (starting with the cover, which is his art) and Zé Ramalho, this record and the music of Marconi Notaro have the same aesthetic as the classic Paêbiru. Just to get an idea of ​​the level we're talking about. There are sounds of natural elements (like flowing water and the wind beating), flutes, viola, bass, distorted guitars (played by Robertinho from Recife) all mixed up and evidenced at the right time. Without exaggeration, it is almost an opera Rock of Northeastern music. Great really !!
There is no way to hear the songs "Desmantelado" (the samba that opens the album), "Ah Vida Ávida" (beautiful instrumental song), "Fidelidade" (frevo Rock, in the best New Bahian style), "Maracatu" Anthropological ("Anthropological I and II") and "Made in PB" (visceral Rock) and not feel a sense of peace, comfort and extreme pleasure. In fact, unique sensation.
Of course, in the Metazoan Sub Kingdom it is not a disk to be heard and "digested" quickly. At first, there may even be a certain strangeness due to its high complexity. But as well as Paêbiru and Rosa de Sangue do Lula Côrtes, Wet of Suor do Alceu Valença or Mote and Glosa do Belchior, for example, it is a beautiful album, that can come to have the status of "the bible of Northeastern Psychedelism ".
Already Marconi Notaro ... simply a master !! With its sophisticated and setentistic poetry, it generated yet another of the pearls of Brazilian music, which is very rich by the way.
Listen to Marconi Notaro - In the Metazoan Sub Kingdom, satisfaction more than guaranteed.....

The LP "No Sub Reino dos Metazoários Rozenblit"   by Marconi Notaro, is one of the exponents of the psychedelic northeastern scene. Launched in 1973, it fits in the line of works such as the Lula Côrtes & Lailson albums - 'Paebirú' and 'Satwa', classics of national psychedelia. 

Recife, the capital of Brazil's Pernambuco state, has never enjoyed the status or publicity of Salvador or Rio, but it's one of the country's great music centres. A port city famous for its African-influenced maracatu styles and the wild fusions of the Mangue Bit movement in the 1990s, it was also the centre of an experimental music scene in the 1960s and 70s that provided a local answer to Gilberto Gil and Caetano Veloso' s Tropicália movement – and angered the military authorities, who destroyed albums they disapproved of. As this intriguing compilation shows, the Pernambuco bands of the era were influenced by western psychedelia, Indian music and local styles, and were all bravely different. The set starts with the furious guitar riffs of The Gentlemen, then settles down to concentrate on three artists: Geraldo Azevedo matches cool, crooned vocals against often discordant backing; Lula Côrtes (who once recorded in the woods to escape the military) switches from acoustic and electric guitar styles to choral work; and Marconi Notaro's engaging tracks include maracatu percussion and sitar-backed folk-rock. An uneven set, but worth checking Denselow...Guardian....~

Ultra-psychedelic in some moments, the album opens with the samba "Desmantelado" (composed by Notari in 1968, "in the days of the Popular Theater of the Northeast), with the regional formed by Notari, Robertinho of Recife, Zé Ramalho and Lula, among others. The second track, 'Ah Vida Ávida', with 'Notaro throwing water in the Itamaracá cacimba', plus Lula in the popular 'zither' and Zé Ramalho in the viola indicate what is next, a mix of psychedelia with hallucinations of the simplest Popular music, such as the 'Fidelidade' frevo (... "I remain faithful to my origins, son of God, nephew of Satan" ...).
The most radical album album moment is the fifth track, 'Made in PB', partnership of Notaro with Zé Ramalho, a classic rockacre, highlighting Robertinho's distorted guitar from Recife and echo effects. The songs 'Anthropological 1' and 'Anthropological 2', like most other songs, are studio improvisations, bringing together the musicians already mentioned, with great sound and poetic result.
With the production of the personnel of the multimedia group of Lula Côrtes and his wife Kátia Mesel, the disc was recorded in the studio of the TV University of Recife and the record label Rozenblit, also in the capital of Pernambuco. The cover is a design by Lula Côrtes, as aesthetically stained as the sound that the rough cardboard packaged, with a photo of Marconi Notaro in the center, with his face torn between the front cover and the back cover.
The album, unfortunately, as most of Rozenblit's catalog remains unpublished, awaiting a careful reprint official. The original LP is virtually impossible to find, but a great CDR copy is already circulating in the universe of collectors....

First ever reissue of this totally brilliant post-satwa 1973 brazilian private press featuring the core trio lula cortes, marconi notaro & ramalho. recorded just months after lula & lailson had released satwa, lula was back in the same recife studio with poet and friend marconi notaro to lay down another equally magical album. ramalho, who would go on to record the paberu 2lp with lula two years later, makes his recording debut here as well… somehow amidst the harsh government restrictions of 70s brazil, lula côrtes and his group of artist friends had managed to bypass the authorities and create a hugely creative micro-world of their own, recording, producing, and releasing this album with complete independence. no small feat in and of itself, no doubt, but the music is what makes this slab a true lost masterpiece… the whole album gushes forth with a sun baked spirit of the highest level, mixing tropicalia tinged folk-beat groovers, satwa style bliss trance ragas, pabiru favored lysergic jungle psych, and even a raging fuzz/wah soaked garage psych rocker. extremely mind melting from start to finish, with huge washes of rippling tape delay, electric & acoustic guitars, 12 string, tranced folk percussion, passionate yet mellow vocals, liquid electric bass, acid effects everywhere, and of course lula's mercurial & heart melting tricrdio (an instrument he made himself, something like a sitar/dulcimer hybrid). beautiful, melancholy and joyous all at the same moment, this is an album that after 33 years still sounds completely fresh & unique… sadly marconi passed away in 2000 having lived a life of obscurity even in his own town, yet leaving behind 7 published books of poetry and this stunning, lone album. this reissue has been authorized by maconi's daughter and lula côrtes to insure they receive the credit and funds they deserve, even if it comes 3 decades late… 

lp version (sold out) : fully reproduced original art, featuring beautiful drawings by lula & layout by katia. heavyweight, old-style, laminated gatefold covers. pressed on 180gm virgin vinyl. original label art. plus a huge full-color 4-page insert featuring fully translated original notes, rare photos and book covers, marconi's last poem written the day before his death, and extensive new notes & biography by lula côrtes. vinyl version limited to 1000 copies. 

cd version : digital version of the out of print vinyl. fully reproduced original art, featuring beautiful drawings by lula & layout by katia, plus a huge full-color 4-page insert featuring fully translated original notes, rare photos and book covers, marconi's last poem written the day before his death, and extensive new notes & biography by lula côrtes. same deluxe lp style laminated gatefold packaging as the vinyl version, only smaller. woven japanese inner sleeves. edition of 1000 copies.....~ 


A1 Desmantelado 1:40 
A2 Ah Vida Avida 3:50 
A3 Fidelidade 3:15 
A4 Maracatú 0:50 
A5 Made In PB 2:33 
A6 Antropologica N°1 2:40 
B1 Antropologica N°2 4:45 
B2 Sinfonia Em Ré 5:40 
B3 Nâo Tenho Imaginaçao Pra Mudar De Mulher 2:35 
B4 Ode A Satwa 4:55 

Apple Pie Guatemala Psych Funk Rock

Apple Pie Guatemala Psych Funk Rock

A rare phenomenon - hard rockers from Guatemala. The band played from 1967 to the early 1970s (possibly later) and released a couple of singles, but its legacy is more extensive. In 2014, the musicians reunited…………. 

Rogerio Duprat (Os Mutantes) “A Banda Tropicalista do Duprat” 1968 Brazil Folk Rock,Tropicalia

Rogerio Duprat (Os Mutantes) “A Banda Tropicalista do Duprat” 1968 Brazil Folk Rock,Tropicalia

First CD issue of 1968 album by the producer and arranger behind Brazil's legendary Os Mutantes, who together with Gilberto Gil and Gal Costa were one of the bands to revolutionize Brazilian music and create Tropicalia - a genre in it's own right. Drawing from the Beatles ('Flying', 'Lady Madonna') and other popular hits of yore ('Honey', 'Judy in Disguise') as well as his own compositions, Duprat seamlessly blends pop, easy listening and smooth bossa with spectacular orchestral arrangements and far-out freakouts of the decidedly acid variety, creating one of the most individual sounds of the late Sixties. Mutantes themselves appear on four tracks. El. 2005.....................

Rogerio Duprat is most known as an arranger of Brazilian tropicalia music, but did also release music under his own name. This 1968 album will undoubtedly be of interest to collectors of '60s tropicalia and/or Brazilian psychedelia, if only because three of the 12 tracks are actually vocal numbers performed by Os Mutantes (though two of those are merely covers of the Cowsills' "The Rain, the Park, and Other Things" and the Beatles' "Lady Madonna"). Overall, it's a bit of an odd endeavor, falling somewhere between easy listening music and the kind of madcap experimentation more typical of his most celebrated clients. It's of a higher class than most easy listening albums, from Brazil or otherwise, however. For even if the predominantly instrumental material is sometimes cheesy (and sometimes covers not-so-classic American and British hits of the era such as "Summer Rain," "Honey," and "Cinderella Rockafella"), the arrangements are often infused with off-the-wall zany imagination and wit. Nowhere is this more apparent than the interpretation of "Judy in Disguise," which has to be the most vibrant and playful cover of that classic 1968 hit ever waxed, complete with infectious jazzy Latin rhythms, birdcalls, and honking horns. The fusion of foreign pop/rock, sexy soundtrack music, and relatively indigenous Brazilian popular forms is apparent to some degree on many of the other cuts, though some of the orchestration is fatuous. Songs by Caetano Veloso and Gilberto Gil are also given the Duprat treatment here, the soppy strings in Veloso's "Baby" nicely counterpointed by a (deliberately?) out of tune strummed guitar. It's doubtful many listeners will totally like or totally hate this, such is its uneven mix of elements. But most lovers of pop that doesn't take itself too seriously will get some fun out of Richie Unterberger ........

The first solo album of the tropicalista maestro Rogério Duprat condenses in 12 tracks the pamphlet spirit of the tropicalist movement and a good dose of galhofa. The material brings readings (say, carnival) of famous compositions ranging from Tom and Vinícius to Lennon and McCartney, mixing international songs that have made success in this decade with Brazilian songs of the most varied styles. The anthropophagic notion preached by members of tropicalismo is certainly well taken advantage of in this album that not only abrasileira songs of other nations as they do sound like original compositions of the own Duprat, songs that were written by other Tupiniquins idols.

Rogério Duprat, or the intellectual boy who holds the potty on the cover of Tropicália or Panis et Circenses, has already arranged songs by Gilberto Gil, Caetano Veloso, Os Mutantes, Gal Costa, Nara Leão and Alceu Valença, among others. The orchestration in classics of the genre as Chico Buarque's "Construction" and "God's Pay", and Gilberto Gil's "Domingo no Parque", presented at the MPB Festival of TV Record in 1967, bear the signature of the maestro. Duprat also embarked on the soundtrack universe of Walter Hugo Khouri's films "The Island" (1962) and "Vazia Vazia" (1964), and it is precisely this melting pot of influences found on the album "Duprat's Tropicalist Band. "

Coming from erudite formation, the teacher's foray for the tropicalist sonority is a kind of liberation. Tired of composing works that would be aimed at a small consumer elite, Duprat invests here in a fusion of styles that permeate, with good humor, throughout his musical trajectory. "The Tropicalist Duprat Band" is an album that does not hesitate to radically change genre from track 3 to 4, for example, from the carnival march to the Beatles' almost progressive rock in the song "Flying", from the psychedelic album of 67 , "Magical Mystery Tour".

The mastery assumed by Duprat, including in the very title of the album, is apparent along the tracks. Duprat commands the troupe of Mutants, who make special appearances on tracks such as the Lamartine Babo ("Song for English View / Chiquita Bacana") and the humorous song "Cinderella Rockefella", released by the Israeli duo Esther And Abi Ofarim. Arnaldo Baptista, Sérgio Dias and Rita Lee also contribute to "Lady Madonna", plus one of the Beatles, but the album's album point goes to the bucolic remake of "The rain, the park and other things", one-hit-wonder (Or a hit single band) The Cowsills.

There is certainly in this album a movement towards the joke. The re-reading of the more than classic "Chega de Saudade" is not disinterested. The arrangement sounds almost ironic and one of bossa nova's hymns gets a half-baião, half rock, surrounded by funny sound effects. Still, "Quem Será", bolero by Jair Amorim and Evaldo Gouveia, goes from a reflexive and gloomy start to a true carnival with the right audience sound. The very same song "Song for English to See", originally a criticism of the foreignisms brought by the spoken cinema, serves as a glove on this record rather than debauchery.

There is no doubt that "Duprat's tropicalist band" is an album dedicated to hits. Bad words say that the conductor, dissatisfied with some impositions of the record company, decided to kick the bucket and record, yes, all the successes "suggested" by the clothes, but in his way. The result is well in keeping with the figure of Duprat himself: inserted, but never resigned.......................

Duprat has always been a member of the tropicalist movement that caught my attention for some reason that I do not seem to know. I had some respect for him, probably because I did not know about his work with maestro and arranger until then. Or maybe it was just because he was the oldest of the offspring of tropicalism. By the way, I was only to find out that he had his own tropicalista record about three or four months ago, shortly before he thought of doing a review of Caetano's album. Until then, Duprat was only the intellectual boy who held the pot, simulating a cup of tea of ​​five, on the cover of Tropicália or Panis et Circenses. And after a while, I'm already here, writing a pseudo-review on. Such a pretense, my God. Anyway, I tried to establish an almost solid theoretical and historical basis, through a quick search, which occupied me for a few days. It is worth noting how little is written about certain figures of Brazilian music. And I say not only the Duprat, but even sets that I considered somewhat "known" (and even revered) as the "Ave Sangria." My mother, for example, had never heard of them, even though she was just starting her adult life when the band released her album in 1974. She'll know what she was doing that year. I hope this has nothing to do with the fact that my sister was born in 75. Anyway, after sifting information and information I became pseudo-apt to talk about Duprat, being able to give a critical opinion without sounding so hypocritical, being able to eventually speak ill And satisfy myself without great weight in consciousness. And it goes without saying that to study the past is invariably to study history from someone's point of view. It's dangerous and unfortunately people like me have no choice. It was not long before I discovered some very important things (and I do not know if they were so interesting).
To summarize: Duprat has a scholarly education, which from the second half of the 60s approached popular music, creating a hybrid product. The conductor was tired of composing works that ended up destined to a small elite and began to practice thoroughly all his musical knowledge, which resulted in the fusion of diverse styles, often, in a single arrangement. That's what they say out there, at least. Duprat was the arranger of several tropicalist songs, of whole discs, and he also signed the movement's flagship cars: "Domingo no Parque" and "Alegria, Alegria" by Gilberto Gil and Caetano Veloso respectively. In addition, the arranger worked on many of the Mutantes' albums and was instrumental in the trials used by the band. He became known as George Martin of Tropicália (I do not know whether during Tropicália itself, since these definitions-comparisons only appear later). In the decade of the 70 recorded with Walter Franco and Chico Buarque, but with the gradual loss of his hearing, moved away of the musical means. It is an immense sadness, but the image of a conductor and arranger gradually losing his hearing can also be extremely poetic. Melancholic, but poetic. In the 90's, he made an exception to make some arrangements for Rita Lee and Lulu Santos. And I really could have died without that one (no, he still has not died; this was just one more of my sarcastic and bland jokes). According to Tom Ze, who lived closely with the conductor, an arrangement of Duprat was something like listening to "Jackson of the Pandeiro conducting an orchestra of Beethoven". At least suggestive, but somewhat exaggerated. However, it may not matter at all, and the sum of it has been extended too much.
To tell you the truth, I have a funny opinion about "Duprat's Tropicalist Band". First of all, it is good to make it clear that I can not unlink this music production from the Yellow Submarine, of the Beatles released the same year of 1968. It seems nonsense, there is no denying. The almost totally experimentalist work of the Liverpool Quartet (and call them the Liverpool Quartet is the super cliche I know), has on Side B only instrumental songs composed and arranged by George Martin. Great shit the end result. But the question here is another: George Martin has arranged a number of Beatles songs and made them genius, from the most classic of yeh yeh yeh (not so cool, bora combine) to experimental arrangements from Revolver, but in one Own work ended up producing a work well below expectations. For me, so does Duprat. After all the Brazilian conductor is responsible for the arrangement of several genius songs, from various artists involved in tropicalism. And others besides that. But in his own disc there is nothing very genius, there is a lot of cliché to speak the truth, although it has its moments of quality undeniable. I imagine that this record was not received with good eyes at the time in which it was released, by the experimental / instrumental tone of his / her and by being linked to a countercultural process. It was certainly a commercial failure. Even in counterculture (ha-ha-ha). "Duprat's Tropicalist Band" is one of those discs very commented in the pseudo-cult-musical medium, but little heard of truth. And back to my funny opinion, the Mutants participate in four songs and even if they produce some good moments, they can not make them great. Duprat later stated that he does not like this album very much, that the graphic formatting process of the cover was cretinous (although I find this cover very well composed) and that he suffered pressures when composing the repertoire. You know how true this is. He may simply be absent from guilt. Does not matter. For me the record came out next to what he said. It is a work that shouts in the cover "I AM TROPICALISTA" and that in the end neither is so much so. It's not a bad record, it just has a clear repertoire problem that distances the result of the motion a bit. Unintentionally, Duprat ended up sounding half grimacing, finished without undressing and throwing shit on the fan.................

Better late than never! Completing the homage to Duprat, who left this for a better, we made available his solo album recorded in 1968, with his tropical orchestra and the participation of the Mutants in several tracks. As everyone knows, this vinyl was played at the tapas in the sebum and it was quoted for more than $ 3 thousand among the collectors. Fortunately, by re-releasing the Mutantes discs on CD in 2005, they decided to include this album, to the delight of the fans. In addition to the original cover and back cover, the edition also brings a beautiful text by the journalist Marcelo Fróes................

01. Judy In Disguise
02. Honey / Summer Rain
03. Canção Para Inglês Ver / Chiquita Bacana (Com Os Mutantes)
04. Flying
05. The Rain, The Park And Other Things (Com Os Mutantes)
06. Canto Chorado / Bom Tempo / Lapinha
07. Chega De Saudade
08. Baby
09. Cinderella-Rockefella (Com Clélia Simone e Kier)
10. Ele Falava Nisso Todo Dia / Bat Macumba / Frevo Rasgado (Com Os Mutantes)
11. Lady Madona
12. Quem Será?

johnkatsmc5, welcome music..







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Hi`s Master`s Voice

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music forever

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“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958