As a new member, I thank all you guys for your astute observations of Brasil 66. I have learned a lot. I was one of the lucky ones to have been old enough to vividly remember Brasil 66 exploding onto the musical scene during the summer of 1966 as a 17 year old. I believe that the voice of Lani Hall was as important as Mendes in the overall sound of Brasil 66. Apart from that, what essential ingredient made the original Brasil 66 of the first three albums the solid gold standard which later ensembles would fall short? Of course there was the tight Latin-jazz combo sound, but most importantly there was soaring, close-knit vocal harmony of 2 ladies and 3 men that would be missing in later albums. After the "Look Around" album, the vocals had 2 ladies and on occasion Mendes providing vocal support. But the vocal sound was less full--something was missing. Gone was the call and response from Lani and Janis to Sergio, Bob and Jose and then the beautiful blending of 5 voices together. I also liked the way you hear Jose Soares exhorting the group forward--as he did on the track Canto de Carnival on the Carnival lp--with words like "come on come on", "ah ha", "whoop" and "yeah". Don't get me wrong, Mendes and company produced some excellent music after Look Around such as side 2 of Fool on the Hill, Gracinha's Portuguese vocals on the Pais Tropical album, and arguably the Mendes masterpiece--the Circle Game from Primal Roots. However, decades from now the first three albums will always be considered the signature sound of Brasil 66.
The key ingredient to the sound of the original Brasil 66
- Thread starter lj
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Jay Maynes/Juan Oskar
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One thing that made the early albums different was that every tune was a bossa nova. It may have been slow, fast or medium, but they were all BNs.
Another thing is the drummer never played the snare drum with the snares on.
And there wasn't really that much harmony between the female vocalists. It was mostly unison. later.........J
Another thing is the drummer never played the snare drum with the snares on.
And there wasn't really that much harmony between the female vocalists. It was mostly unison. later.........J
Welcome to the forum lj.
I think the biggest change from LOOK AROUND to FOOL ON THE HILL was the much heavier use of orchestration. That did as much, or more to change the sound of the band as the shift in personnel.
I'd never really thought about the changes in the vocal style though. Interesting observation!
I think the biggest change from LOOK AROUND to FOOL ON THE HILL was the much heavier use of orchestration. That did as much, or more to change the sound of the band as the shift in personnel.
I'd never really thought about the changes in the vocal style though. Interesting observation!
Welcome to the A&M COrner, LJ!!! And I see you're a fellow San Diegan! Go Chargers!
Aside form the welcome I don't really have much to add beyond what Jay/Juan and Mike say... And I agree 100% with your estimation of the first three B66 LPs. Though (like you), I find there are notable cuts of brilliance in the later LPs...
Again, welcome. I look forward to your participation 'round these parts!
--Mr Bill
Aside form the welcome I don't really have much to add beyond what Jay/Juan and Mike say... And I agree 100% with your estimation of the first three B66 LPs. Though (like you), I find there are notable cuts of brilliance in the later LPs...
Again, welcome. I look forward to your participation 'round these parts!
--Mr Bill
I was a fan from the time of the release of the first A&M LP. But I guess I fell in love with Karen Philipp, particularly after seeing her in person with Sergio
and Lani and the rest of B66. Not only did she have a really good voice, listen to "For What It's Worth" on Stillness, but she was gorgeous and a delight to watch in person. I for one enjoyed the Dave Grusin orchestrations and never felt they interfered with what Sergio was trying to say musically.
and Lani and the rest of B66. Not only did she have a really good voice, listen to "For What It's Worth" on Stillness, but she was gorgeous and a delight to watch in person. I for one enjoyed the Dave Grusin orchestrations and never felt they interfered with what Sergio was trying to say musically.
I think my favorite orchestration is the one on "Laia Ladaia," from FOOL ON THE HILL. That really adds to the song but it doesn't stomp all over the band.
I also love the orchestra on "Crystal Illusions." On the album as a whole, the orchesatration is a bit over the top, but on that particular tune it envelops the song and gives it an otherworldly quality, which really makes the tune. (for me at least!)
I also love the orchestra on "Crystal Illusions." On the album as a whole, the orchesatration is a bit over the top, but on that particular tune it envelops the song and gives it an otherworldly quality, which really makes the tune. (for me at least!)
I totally agree with you Mike about Grusin's outstanding arrangement of "Laia Ladaia". His exciting orchestration to this Brazilian classic is like adding champagne to cavier. If you listen to his brilliant theme for Robert Wagner's 1968-70 tv series "It Takes a Thief", you will notice that his use of the horns is a dead-ringer to "Laia Ladaia".
I for one have always enjoyed full orchestrations with real strings, horns and woodwinds--not the fake use of a synthesizer to replicate a real orchestra. I remember how Mendes on his 1976 "Homecooking' album used an Arp string ensemble in lieu of real strings and that sound made me sick.
Back to Dave Grusin--what an masterful composer (winner of an Oscar for the musical score from the movie "Milagro Beanfield War") and arranger he is. Sergio Mendes 1968 instrumental only album "Favorite Things" arranged by Grusin ranks right there with his best from Brasil 66 thanks in large part to Dave's arrangements.
I for one have always enjoyed full orchestrations with real strings, horns and woodwinds--not the fake use of a synthesizer to replicate a real orchestra. I remember how Mendes on his 1976 "Homecooking' album used an Arp string ensemble in lieu of real strings and that sound made me sick.
Back to Dave Grusin--what an masterful composer (winner of an Oscar for the musical score from the movie "Milagro Beanfield War") and arranger he is. Sergio Mendes 1968 instrumental only album "Favorite Things" arranged by Grusin ranks right there with his best from Brasil 66 thanks in large part to Dave's arrangements.
audiofile
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The first three records were very "meaty." They were straight up bossa nova records, and the musicians didn't hold back. Even on Look Around, (which is a heavily produced album).
After the first lineup, the records starting becoming more commercial. They still had a Brazilian influence, but the records were geared towards adult easy listening audiences. The band, first with Fool On The Hill, started to play with the orchestra, instead of the strings highlighting the band.
So basically what I'm saying is that the first three albums cooked, and the last four are more suited for a rainy day.
After the first lineup, the records starting becoming more commercial. They still had a Brazilian influence, but the records were geared towards adult easy listening audiences. The band, first with Fool On The Hill, started to play with the orchestra, instead of the strings highlighting the band.
So basically what I'm saying is that the first three albums cooked, and the last four are more suited for a rainy day.
I hear what you are saying, but either A&M or Sergio wanted the full orchestrations as the "Look Around" LP was about half the band alone and half the full orchestra. So they slowly started introducing us for what was to come on the 'FOTH' and future LP's. I feel "Scarborough Fair", while commercial, has a great balance of band, orchestra arrangement and voices. So smooth...
Hi...I agree to what was said up above but would like to add a few things...the first two albums HAPSMB66 and Equinox are basically bossa nova with an American jazz pinch..... Look Around is a bit different...Sergio was after worldwide recognition and I think there are some songs that should´ve been left out as they are not on a par with the rest of the others...like TRISTEZA, for me it sounds as if Mendes was at home playing it on the piano and simply decided to keep it...It could´ve been better arranged. So Many stars and Like A Lover are masterpieces... With A Little Help from My friends doesn´t appeal much to me...while Roda is fantastically arranged and beutifully vocalised by the entire ensemble. The Look Of Love is great and Janis Hansen sounds superb...It is a pity Sergio didn´t use her vocal abilities more often...The Frog has a very interesting arrangement and is the kind of song that is timeless...Batucada reminds me of the first two albums...MARVELLOUS...Look Around is just ok. I´ll be back one day to write about the ensuing albums. Thanks for reading, though.
João Carlos.
João Carlos.
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