The Quarantined Jazz Voyager

Masking and social distancing are still my mantra in maintaining my health and this pandemic has given me a great opportunity to sit and listen to albums I have’nt in a long time. So as I revisit my music collection this week I place on the turntable the 1977 studio album by Sarah Vaughan titled I Love Brazil! If you love Vaughan’s voice and the music of Brazil, you will want this in your collection.

The session was recorded on October 31 ~ November 7, 1977 and was her first album released on Pablo Records. This was Vaughan’s first but not last foray into Brazilian music, bossa nova and mpb. It was followed by Copacabana in 1979, and Brazilian Romance in 1987.

Track Listing | 54:43
  1. If You Went Away | Preciso Aprender a Ser Só (Ray Gilbert, Marcos Valle, Paulo Sérgio Valle) ~ 4:25
  2. Triste (Antônio Carlos Jobim) ~ 2:58
  3. Roses and Roses | Das Rosas (Dorival Caymmi, Gilbert) ~ 3:23
  4. Empty Faces | Vera Cruz (Lani Hall, Milton Nascimento) ~ 6:26
  5. I Live to Love You | Morrer de Amor (Oscar Castro-Neves, Luverci Fiorini, Gilbert) ~ 3:54
  6. The Face I Love | Seu Encanto (Gilbert, Carlos Pingarilho, M. Valle) ~ 3:29
  7. Courage | Coragem (Nascimento, Cootie Williams) ~ 3:42
  8. The Day It Rained | Chuva (Pedro Camargo, Durval Ferreira, Gilbert) ~ 4:40
  9. A Little Tear | Razão de Viver (Deodato, Gilbert, P.S. Valle) ~ 4:07
  10. Like a Lover | Cantador (Alan and Marilyn Bergman, Dori Caymmi, Nelson Motta) ~ 4:45
  11. Bridges | Travessia (Nascimento, Fernando Brant, Gene Lees) ~ 4:12
  12. Someone to Light Up My Life | Se Todos Fossem Iguais a Vocë (Jobim, Vinicius de Moraes, Lees) ~ 3:26
Personnel
  • Sarah Vaughan ~ vocals
  • Dorival Caymmi – vocals (3)
  • Milton Nascimento – acoustic guitar, vocals (4,7,11)
  • Dori Caymmi – acoustic guitar, vocals (10)
  • Nelson Angelo – electric guitar (4,7,11)
  • Hélio Delmiro – electric guitar (1-3,6,8-9,12)
  • Danilo Caymmi – flute (4,7,11)
  • Paulo Jobim – flute (4,7,11)
  • Mauricio Einhorn – harmonica (8)
  • Antônio Carlos Jobim – piano (2,12)
  • José Roberto Bertrami – electric piano (1-3,6,8-9), organ (4,7,11)
  • Edson Frederico – orchestration (1-3,5-6,8-9,12), piano (5)
  • Sergio Barroso – acoustic bass (1-2,6,9,12)
  • Claudio Bertrami – acoustic bass (3,8)
  • Novelli – electric bass (4,7,11)
  • Wilson das Neves – drums (1-3,6,8-9,12)
  • Robertinho Silva – (4,7,11)
  • Ariovaldo – percussion (1-4,6-7,9,11-12)
  • Chico Batera – percussion (1-4,6-7,9,11-12)
  • Luna – percussion (12)
  • Marçal – percussion (12)
Production
  • Durval Ferreira – creative director
  • Sheldon Marks – design, layout design
  • Norman Granz – design, layout design, liner notes
  • Mário Jorge Bruno – engineer
  • Tamaki Beck – mastering
  • Aloísio de Oliveira – producer

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Daily Dose Of Jazz..

Walter Barnes was born on July 8, 1905 in Vicksburg, Mississippi but grew up in Chicago, Illinois. He studied under Franz Schoepp and attended the Chicago Musical College and the American Conservatory of Music.

Leading his own bands from the early 1920s, he also played with Detroit Shannon and his Royal Creolians. After Shannon’s retinue became dissatisfied with his leadership, Barnes took control of this group as well. He played mostly in Chicago, though the band did hold a residency at the Savoy Ballroom in New York City as well. His band recorded in 1928-29 for Brunswick Records.

He toured the American South in the 1930s to considerable success, touring there yearly and  by 1938 the ensemble grew to sixteen members. Around this time, Barnes also worked as a columnist for the Chicago Defender newspaper, and used his position to advertise his own tours and promote other entertainers on the same touring trail to Black audiences. Barnes is thus credited as an early originator of what was known as the “Chitlin’ Circuit”; a network of entertainment venues where it was safe and acceptable for Black entertainers to perform.

Barnes was one of the victims of the Rhythm Club Fire in Natchez, Mississippi, on April 23, 1940. When the club caught fire, he had the group continue playing the song “Marie” in order to keep the crowd from stampeding out of the building. All of the band members except for drummer Walter Brown and bassist Arthur Edward were among the 201 victims of the fire.

Clarinetist, saxophonist and bandleader Walter Barnes, whose death was repeatedly immortalized in song, passed away on April 23, 1940.

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Charles Redland was born Carl Gustaf Mauritz Nilsson, on July 7, 1911 in Södertälje, Sweden. The son of a musician, he learned several instruments when he was young. By the 1930s he was a member of bands in which he played alto saxophone, clarinet, trumpet, and trombone.

During that decade he doubled as a leader. On clarinet he recorded with Benny Carter in Sweden in 1936. He composed and arranged jazz and popular music, as well as more than eighty films, in addition for radio and television programs.

Saxophonist, composer and bandleader Charles Redland passed away on August 18, 1994 in Stockholm, Sweden.

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Three Wishes

When Ed Thigpen was approached by Nica and asked what his three wishes would be if given he told her: 1. “That there would be love amongst all people in the world~complete, you understand.” 2. “That I always keep my family happy. You know, my wife. It would be nice to say “in sickness and in health.” 3. “I’d like to be a master, or a complete musician. Know music completely, inside out.”

*Excerpt from Three Wishes: An Intimate Look at Jazz Greats ~ Compiled and Photographed by Pannonica de Koenigswarter

SUITE TABU 200

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Born on July 6, 1920  in Abany, New York, Dick Kenney was one of a circle of big-band trombonists influenced by Bill Harris. Anxious to get to the jazz center once his chops were together, cello had been his initial introduction to music, but it was as a trombonist that he got into the Toots Mondello band in the early ’40s.

It was a bandleader named Paul Villepigue who took the budding trombonist from Albany to New York City. From 1946 there ensued two years of education with Johnny Bothwell, then Kenney headed for the West Coast and a return to college studies prior to seriously hitting the big band circuit. His first outing was with Charlie Barnet, then moved to Les Brown in 1957, migrating to Brown’s New England stomping or rather fox-trotting.

The trombonist’s big band work is well documented having recorded as a featured artist on more than one hundred sides, many in the  late ’60s. The list includes Stan Kenton’s visionary City of Glass as well as addresses from forgotten artists, a good example being the Bothwell collection entitled Street of Dreams. Tromonist Dick Kenney, who played in the jazz and pop genres as well as on soundtracks, retired from music.

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