MULLIGAN Gerry 1993 - Brazil
Gerry Mulligan discovers Brazil? That might seem an appropriate title for this, his first recording devoted to the richly flavored, intoxicating music that came stateside three decades ago and decided to stay. In the spirit of that most famous Brazilian-U.S. collaboration-between Jobim and Stan Getz - this one finds at its heart a surprising singer and a saxophonist of uncommon invention. Yet on Paraiso (Portuguese for Paradise), the partnership extends even to the compositions themselves: true American hybrids of North and South, for which the legendary jazzman himself wrote the melodies and the Brazilian vocalist Jane Duboc concocted the lyrics.
And while it may appear from his discography that Mulligan has just now "discovered Brazil," the history of this recording belies such Gerry-come-lately suppositions. Like a well-made feijoada, the slightly spicy Brazilian black-bean and pork stew, this album has simmered extensively. Its roots date back nearly a decade, to the first time Mulligan heard Jane Duboc sing, when both were touring Europe - Gerry with his own group, Jane with the Brazilian guitarist/ vocalist Toquinho. "I told her then that we'd make a record together" Mulligan recalls, and in the years that followed, Duboc began fitting Portuguese words to appropriate Mulligan compositions.
"But I've always been fascinated by Brazilian music" adds Mulligan; "I've written various things over the years. I always wanted to record with a Brazilian rhythm section. I also wanted to do some of those tunes I'd never played before" such as the songs by Jobim and Toquinho heard on this date. "So Paraiso is really an overall tribute to my feelings about Brazil and Brazilian music".
It is also an album that benefits from its mostly Brazilian lineup of musicians. Pay special heed to guitarist Emanuel Moreira, a cousin of Jane Duboc, who worked on the arrangements and put together the band, and Duduka DaFonseca, a Brazilian emigre who constructs rhythms as natural and effortless as the songs he composes. (Fonseca wrote a modern classic of Brazilian balladry called "Forgive Me," which has been recorded by Astrud Gilberto.)
Despite the lack of previous recorded evidence, Mulligan's affinity for the bossa nova (and its predecessors, the samba and the chorinho) perhaps should not surprise us. The bossa nova's insistent shuffle has much in common with similar rhythms that Mulligan has often used in his own songs, especially such relatively recent tunes as "K-4 Pacific" "Sun on Stairs" and "North Atlantic Run". What's more, Mulligan compositions stretching back as far as 1949's "Venus De Milo" and including later pieces like "Song for Strayhorn" exhibit the carefully measured melodic movement and the slightly melancholic lilt that have long been hallmarks of Brazilian music. The unmistakable Mulligan sound - the dry attack and will-o'-the-wisp tone with which he remade the baritone saxophone in jazz - is the perfect correlative to the happy yearning found in so many bossa nova lyrics.
Gerry discovers Brazil? Actually, on this album Gerry Mulligan simply uncovers paradise; but for all intents and purposes, they turn out to be one and the same.
And while it may appear from his discography that Mulligan has just now "discovered Brazil," the history of this recording belies such Gerry-come-lately suppositions. Like a well-made feijoada, the slightly spicy Brazilian black-bean and pork stew, this album has simmered extensively. Its roots date back nearly a decade, to the first time Mulligan heard Jane Duboc sing, when both were touring Europe - Gerry with his own group, Jane with the Brazilian guitarist/ vocalist Toquinho. "I told her then that we'd make a record together" Mulligan recalls, and in the years that followed, Duboc began fitting Portuguese words to appropriate Mulligan compositions.
"But I've always been fascinated by Brazilian music" adds Mulligan; "I've written various things over the years. I always wanted to record with a Brazilian rhythm section. I also wanted to do some of those tunes I'd never played before" such as the songs by Jobim and Toquinho heard on this date. "So Paraiso is really an overall tribute to my feelings about Brazil and Brazilian music".
It is also an album that benefits from its mostly Brazilian lineup of musicians. Pay special heed to guitarist Emanuel Moreira, a cousin of Jane Duboc, who worked on the arrangements and put together the band, and Duduka DaFonseca, a Brazilian emigre who constructs rhythms as natural and effortless as the songs he composes. (Fonseca wrote a modern classic of Brazilian balladry called "Forgive Me," which has been recorded by Astrud Gilberto.)
Despite the lack of previous recorded evidence, Mulligan's affinity for the bossa nova (and its predecessors, the samba and the chorinho) perhaps should not surprise us. The bossa nova's insistent shuffle has much in common with similar rhythms that Mulligan has often used in his own songs, especially such relatively recent tunes as "K-4 Pacific" "Sun on Stairs" and "North Atlantic Run". What's more, Mulligan compositions stretching back as far as 1949's "Venus De Milo" and including later pieces like "Song for Strayhorn" exhibit the carefully measured melodic movement and the slightly melancholic lilt that have long been hallmarks of Brazilian music. The unmistakable Mulligan sound - the dry attack and will-o'-the-wisp tone with which he remade the baritone saxophone in jazz - is the perfect correlative to the happy yearning found in so many bossa nova lyrics.
Gerry discovers Brazil? Actually, on this album Gerry Mulligan simply uncovers paradise; but for all intents and purposes, they turn out to be one and the same.
Gerry MULLIGAN & Jane DUBOC 1993 Jazz BrazilJane Duboc was born in the city of Belem do Para in northern Brazil. As a child she was conservatory trained in piano and guitar. She received private instruction from her grandparents, both of whom were conductors.
Ms. Duboc has hosted television shows and won music awards, as well as trophies for her achievements as an athlete, particularly in tennis, swimming, and volleyball. In the Seventies she came to the United States and formed the group, Fane, playing club dates and jazz and blues gigs. On a scholarship to the University of Georgia, she continued her studies of piano, guitar, flute and voice as well as drama and dance.
Upon returning to Brazil, Jane continued in various fields of work. She was contracted by the TV Globe Network for voice-overs and jingles and began her recording career appearing as a background singer. She sang with progressive rock groups, symphony orchestras and jazz ensembles; she also composed and recorded for national and international movie soundtracks. Ms. Duboc has recorded nine albums, some of which feature guest appearances by such greats as Djvan, Gilberto Gil and Caetano Veloso.
In 1986 she became a household name in Brazil with the release of her fourth album "Jane Duboc" when the song "Hama de Paixno" went to number one on the charts. She broke into the international market in 1990 when her album topped the charts n Portugal at number one. The sweetness of her voice is unanimously praised. She blends artistic sensitivity beautifully with her technical ability. Album Liner Notes
Ms. Duboc has hosted television shows and won music awards, as well as trophies for her achievements as an athlete, particularly in tennis, swimming, and volleyball. In the Seventies she came to the United States and formed the group, Fane, playing club dates and jazz and blues gigs. On a scholarship to the University of Georgia, she continued her studies of piano, guitar, flute and voice as well as drama and dance.
Upon returning to Brazil, Jane continued in various fields of work. She was contracted by the TV Globe Network for voice-overs and jingles and began her recording career appearing as a background singer. She sang with progressive rock groups, symphony orchestras and jazz ensembles; she also composed and recorded for national and international movie soundtracks. Ms. Duboc has recorded nine albums, some of which feature guest appearances by such greats as Djvan, Gilberto Gil and Caetano Veloso.
In 1986 she became a household name in Brazil with the release of her fourth album "Jane Duboc" when the song "Hama de Paixno" went to number one on the charts. She broke into the international market in 1990 when her album topped the charts n Portugal at number one. The sweetness of her voice is unanimously praised. She blends artistic sensitivity beautifully with her technical ability. Album Liner Notes
To be continued...
No comments:
Post a Comment