The Original Brasil 66 Reunion???
- Thread starter JMAR5
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BZZZZT! John Pisano was NOT in the original Brasil '66 but was added to the lineup for the 2nd album, EQUINOX. (Also neither brasil66.com nor BJ Major's site lists Bibi Vogel as a member of B'66 either.)
Be that as it may, since when does someone passing away negate the chance of a reunion? Half of The Who is dead and they had a reunion last year.
Be that as it may, since when does someone passing away negate the chance of a reunion? Half of The Who is dead and they had a reunion last year.
There you go. I KNEW Bibi Vogel figured in to the picture somewhere but I had a memory lapse there. Thanks for jogging it back into place.
Sebastiao Neto bass player with Sergio and Tom Jobim has also sadly passed away. Dittos with Dom Um Romao the great percussionist who also played with Sergio Mendes.
I too would love to see a reunion album made or a tour. Lani Hall MUST be in it to have the strongest impact.
I too would love to see a reunion album made or a tour. Lani Hall MUST be in it to have the strongest impact.
Here's a clip from Pisano's website:
It doesn't say anything about him working with Sergio "pre-Herb." Here's a quote from John himself in an interview on the site:
True, he mentions Sergio before Herb, but the chronology is not in any kind of order. He mentions Benny Goodman after Sergio, which would be impossible because Goodman's big band disbanded in the 1950s.
It doesn't say anything about him working with Sergio "pre-Herb." Here's a quote from John himself in an interview on the site:
True, he mentions Sergio before Herb, but the chronology is not in any kind of order. He mentions Benny Goodman after Sergio, which would be impossible because Goodman's big band disbanded in the 1950s.
Cortnee
Member
John did an interview with CLASSIC JAZZ GUITAR and in this interview John does state that he did work with Sergio.Here's the article below.
John was born in Staten Island New York in 1931. He originally studied piano and switched to guitar at age fourteen. It wasn't until he was in the air Force band in 1951-1955 that John decided to make music his career. After being discharged from the service he auditioned with the Chico Hamilton Band and moved to California where he has been ever since. John has been one of the stalwart jazz, studio and commercial guitarists over the last 50 years and is still going strong. He was a regular with Frank Sinatra, Peggy Lee, Barbara Streisand and was Joe Pass's favorite rhythm guitarist. His strong rhythm sound is also been associated with the Herb Albert and Sergio Mendes groups.
One of his main gigs over the last few years has been with his lovely wife and exceptional vocalist Jeanne Pisano. The duo is aptly titled: "The Flying Pisianos".
I was able to catch up with John on February 18, 2002 to have a chat at his home in Studio City, CA. In fact, I interrupted his gardening and felt honored that he stopped to talk to me as that is one of his favorite pastimes.
Charles Chapman: Your resume could truly fill a book, but the artists that interest me and pique my curiosity are Herb Alpert, Sergio Mendes and Joe Pass. Let's start with Herb Alpert.
John Pisano: I met Herb through a trombone player named Bob Enevoldsen. Bob was a friend of mine and made the introductions because he was working with Herb and thought I would be well suited for the group. Initially, I was very
apprehensive because I really did not want to become a part of what Herb was trying to create. I was playing mostly jazz and didn't know if I wanted to be involved in the commercial sound he was trying to achieve. So I told Herb I would do the first tour, which was only two weeks, and we both could see how it went. I was amazed at what a treat the band was and stayed with him until the early 1970's.
CC: I believed you wrote quite a few tunes for that band. How did that come about?
JP: Herb came up to me one day and said: "Write out that little tune you were fooling around with the other day and we'll record it tomorrow." We did record it and it was on the next album which sold over a million copies. When I went to the mailbox and found a big royalty check I quickly decided I was going to continue to write.
CC: What was the name of that tune and what else have you written?
JP: I didn't have a name for it so I told Herb to name it and he called it "Felicia * ", after his maid. I've written quite a few tunes, but by far "So What's New ** " is my most successful commercial achievement. Artists like Chet Akins, Peggy Lee, The Tijuana Brass, radio, TV and movie spots often have used it. Over 60 different artists have recorded it in one way or another and I¹m still receiving nice checks from it.
CC: How did the Sergio Mendes gig come about?
JP: I actually worked with Sergio Mendes before Herb. I was working at the Circle Star Theater with Peggy Lee and the Benny Goodman band. We were staying in a little place in Sausalito and Sergio was staying near us. We met and immediate got along and hung out quite a bit for a few weeks.
Sergio called me to do the studio work for a few albums. I did two albums initially and then a little later on I did three or four more when he went over to A & M Records. I eventually did some touring, but most of my work with Sergio was in the studio.
CC: You had a long association with Joe Pass. Tell us about that?
JP: In the early sixties I heard Joe was in town and called him to sub for me on a gig. We became very good friends and I was on more than a dozen albums with him and countless live dates. I performed with him on a wonderful album "For Django" in 1964, "Summer Nights", "Appasionato", "Live at Yoshi's" and "Duets" is all I can think of right now.
CC: I have a delightful Christmas album you did with Joe called "Six String Santa". How did that come about?
JP: That was one of the few times I ever got Joe to rehearse. In 1991 we were finishing a tour in Japan and had a commitment to do an album for Laser Records. We had to do the album real quick so the day before we got together in my hotel room and mapped out the what we wanted to do for tunes and arrangements and recorded the complete album the following afternoon. I think it is just a great album that sings like crazy.
CC: How long have you been working with Jeanne?
JP: I met Jeanne in 1991 when we had the opportunity to do a duo gig at a local restaurant and that gig lasted for three years. Talk about on the job training when you suddenly have to be the whole band it is very humbling. You know, that is not the type of gig you can practice for, you have to just go and do it. Within that three years I really grew a lot musically and feel I really put a lot of finishing touches on my instrument. We did our first CD in the latter part of 1993. Jeanne is just wonderful to work with, she is a superb musician, a great singer and it's still as much a joy to work with her now as then.
John Pisano in concert at the Classic American Guitar Show on
Long Island, NY May 2002. With (left to right) Randy Johnson,
Charles Chapman, John Pisano, Bob Benedetto, Jack Wilkins
and Jimmy Bruno. Photo courtesy of Charles Chapman.
CC: Your guitar nights have become legendary. How did that all come about?
JP: The concept of guitar night started many years ago by Howard Roberts at a place called Dontes here in LA. The first guitar night was Howard Roberts, George Van Eps and was on a Monday. Every Monday after that for years the club would feature only guitarists. I played there many times and quite a few memorious occasions with Joe (Pass).
I always wanted to do something like this on my own and in September, 1997 I had an opportunity to put a Guitar Night in a little club in Ventura call Papashones. In fact, you played there for the George Van Eps tribute concert in 1999. Then I went to Rockos and now I am in a very nice place called Spaciozs.
CC: I couldn't help but notice that there was a picture in a magazine recently of one of your guitar nights and Steve Vai was there. Is it normal for you to have non-jazz guitarists participate?
JP: Steve just came in to listen, but I very often get non-jazz players in attendance. I generally don't encourage sitting in as I have the nights agenda planned, but someone of Steve's caliber is always welcome.
CC: I noticed you are on the new Diana Krall CD, do you still do a lot of studio work?
JP: Well first, there isn't a lot of studio work around here any more, but I often get calls for rhythm work because there still doesn't seem to be a lot of guitarists who do the type of rhythm guitar playing I do. Tommy La Puma often calls me because he claims I'm the glue that holds his projects together.
CC: Do you still have the Epiphone Deluxe your father gave you?
JP: Oh yes, I would never get rid of that. It is a non cut-away and is the same style guitar that George Van Eps had made into his original seven string. My Dad bought that guitar for me when we were living in Staten Island. It was repossession from a music store and my Dad got a good deal on it. It’s a 1940s vintage and Joe even played that on a few albums.
CC: What are your main guitars that you now use?
JP: I have a 1998 sunburst Guild Artist Award that sounds great electrically with very little feedback. A few years back I stopped into Norms Music and came across a 1980's blond Artist Award and just had to have it. That is one of the nicest acoustic archtops I have ever played and use it whenever I can. I also use an ES 175 with an ebony fingerboard. The great luthier John DeAngelico worked on this instrument and I use it when I want that strong electric jazz sound. I am also looking forward to getting one of the new Benedetto Series Artist Awards in the near future.
John Pisano with Bill Acton, Vice President of Marketing for Guild.
John was checking out the new Johnny Smith Award model.
Photo courtesy of Charles Chapman.
CC: What do you prefer for amplification?
JP: I always prefer Fender amps and my only problem with them is the weight. If I don't have t to carry it, I always request a Fender Twin when I am on tour because I do love the sound I get with them.
CC: What do you use for strings and picks?
JP: I have been using an experiential set of strings from Fender here lately that I really like bronze and steel and they are really great. I also like the nickel because they really project and my picks are the Fender model 451. My string gauges are .012 to .052.
CC: Any gigs or recordings you would like to mention.
JP: I'm on the new Natalie Cole project which should be out this summer and I am occasionally performing with the "The Great Guitars". That was myself, Mundell Lowe and Herb Ellis but on the last gig Philip Catherine took Herb’s place because he has not been feeling too well.
CC: Thank you John and I look forward to seeing and hearing you in the near future.
John was born in Staten Island New York in 1931. He originally studied piano and switched to guitar at age fourteen. It wasn't until he was in the air Force band in 1951-1955 that John decided to make music his career. After being discharged from the service he auditioned with the Chico Hamilton Band and moved to California where he has been ever since. John has been one of the stalwart jazz, studio and commercial guitarists over the last 50 years and is still going strong. He was a regular with Frank Sinatra, Peggy Lee, Barbara Streisand and was Joe Pass's favorite rhythm guitarist. His strong rhythm sound is also been associated with the Herb Albert and Sergio Mendes groups.
One of his main gigs over the last few years has been with his lovely wife and exceptional vocalist Jeanne Pisano. The duo is aptly titled: "The Flying Pisianos".
I was able to catch up with John on February 18, 2002 to have a chat at his home in Studio City, CA. In fact, I interrupted his gardening and felt honored that he stopped to talk to me as that is one of his favorite pastimes.
Charles Chapman: Your resume could truly fill a book, but the artists that interest me and pique my curiosity are Herb Alpert, Sergio Mendes and Joe Pass. Let's start with Herb Alpert.
John Pisano: I met Herb through a trombone player named Bob Enevoldsen. Bob was a friend of mine and made the introductions because he was working with Herb and thought I would be well suited for the group. Initially, I was very
apprehensive because I really did not want to become a part of what Herb was trying to create. I was playing mostly jazz and didn't know if I wanted to be involved in the commercial sound he was trying to achieve. So I told Herb I would do the first tour, which was only two weeks, and we both could see how it went. I was amazed at what a treat the band was and stayed with him until the early 1970's.
CC: I believed you wrote quite a few tunes for that band. How did that come about?
JP: Herb came up to me one day and said: "Write out that little tune you were fooling around with the other day and we'll record it tomorrow." We did record it and it was on the next album which sold over a million copies. When I went to the mailbox and found a big royalty check I quickly decided I was going to continue to write.
CC: What was the name of that tune and what else have you written?
JP: I didn't have a name for it so I told Herb to name it and he called it "Felicia * ", after his maid. I've written quite a few tunes, but by far "So What's New ** " is my most successful commercial achievement. Artists like Chet Akins, Peggy Lee, The Tijuana Brass, radio, TV and movie spots often have used it. Over 60 different artists have recorded it in one way or another and I¹m still receiving nice checks from it.
CC: How did the Sergio Mendes gig come about?
JP: I actually worked with Sergio Mendes before Herb. I was working at the Circle Star Theater with Peggy Lee and the Benny Goodman band. We were staying in a little place in Sausalito and Sergio was staying near us. We met and immediate got along and hung out quite a bit for a few weeks.
Sergio called me to do the studio work for a few albums. I did two albums initially and then a little later on I did three or four more when he went over to A & M Records. I eventually did some touring, but most of my work with Sergio was in the studio.
CC: You had a long association with Joe Pass. Tell us about that?
JP: In the early sixties I heard Joe was in town and called him to sub for me on a gig. We became very good friends and I was on more than a dozen albums with him and countless live dates. I performed with him on a wonderful album "For Django" in 1964, "Summer Nights", "Appasionato", "Live at Yoshi's" and "Duets" is all I can think of right now.
CC: I have a delightful Christmas album you did with Joe called "Six String Santa". How did that come about?
JP: That was one of the few times I ever got Joe to rehearse. In 1991 we were finishing a tour in Japan and had a commitment to do an album for Laser Records. We had to do the album real quick so the day before we got together in my hotel room and mapped out the what we wanted to do for tunes and arrangements and recorded the complete album the following afternoon. I think it is just a great album that sings like crazy.
CC: How long have you been working with Jeanne?
JP: I met Jeanne in 1991 when we had the opportunity to do a duo gig at a local restaurant and that gig lasted for three years. Talk about on the job training when you suddenly have to be the whole band it is very humbling. You know, that is not the type of gig you can practice for, you have to just go and do it. Within that three years I really grew a lot musically and feel I really put a lot of finishing touches on my instrument. We did our first CD in the latter part of 1993. Jeanne is just wonderful to work with, she is a superb musician, a great singer and it's still as much a joy to work with her now as then.
John Pisano in concert at the Classic American Guitar Show on
Long Island, NY May 2002. With (left to right) Randy Johnson,
Charles Chapman, John Pisano, Bob Benedetto, Jack Wilkins
and Jimmy Bruno. Photo courtesy of Charles Chapman.
CC: Your guitar nights have become legendary. How did that all come about?
JP: The concept of guitar night started many years ago by Howard Roberts at a place called Dontes here in LA. The first guitar night was Howard Roberts, George Van Eps and was on a Monday. Every Monday after that for years the club would feature only guitarists. I played there many times and quite a few memorious occasions with Joe (Pass).
I always wanted to do something like this on my own and in September, 1997 I had an opportunity to put a Guitar Night in a little club in Ventura call Papashones. In fact, you played there for the George Van Eps tribute concert in 1999. Then I went to Rockos and now I am in a very nice place called Spaciozs.
CC: I couldn't help but notice that there was a picture in a magazine recently of one of your guitar nights and Steve Vai was there. Is it normal for you to have non-jazz guitarists participate?
JP: Steve just came in to listen, but I very often get non-jazz players in attendance. I generally don't encourage sitting in as I have the nights agenda planned, but someone of Steve's caliber is always welcome.
CC: I noticed you are on the new Diana Krall CD, do you still do a lot of studio work?
JP: Well first, there isn't a lot of studio work around here any more, but I often get calls for rhythm work because there still doesn't seem to be a lot of guitarists who do the type of rhythm guitar playing I do. Tommy La Puma often calls me because he claims I'm the glue that holds his projects together.
CC: Do you still have the Epiphone Deluxe your father gave you?
JP: Oh yes, I would never get rid of that. It is a non cut-away and is the same style guitar that George Van Eps had made into his original seven string. My Dad bought that guitar for me when we were living in Staten Island. It was repossession from a music store and my Dad got a good deal on it. It’s a 1940s vintage and Joe even played that on a few albums.
CC: What are your main guitars that you now use?
JP: I have a 1998 sunburst Guild Artist Award that sounds great electrically with very little feedback. A few years back I stopped into Norms Music and came across a 1980's blond Artist Award and just had to have it. That is one of the nicest acoustic archtops I have ever played and use it whenever I can. I also use an ES 175 with an ebony fingerboard. The great luthier John DeAngelico worked on this instrument and I use it when I want that strong electric jazz sound. I am also looking forward to getting one of the new Benedetto Series Artist Awards in the near future.
John Pisano with Bill Acton, Vice President of Marketing for Guild.
John was checking out the new Johnny Smith Award model.
Photo courtesy of Charles Chapman.
CC: What do you prefer for amplification?
JP: I always prefer Fender amps and my only problem with them is the weight. If I don't have t to carry it, I always request a Fender Twin when I am on tour because I do love the sound I get with them.
CC: What do you use for strings and picks?
JP: I have been using an experiential set of strings from Fender here lately that I really like bronze and steel and they are really great. I also like the nickel because they really project and my picks are the Fender model 451. My string gauges are .012 to .052.
CC: Any gigs or recordings you would like to mention.
JP: I'm on the new Natalie Cole project which should be out this summer and I am occasionally performing with the "The Great Guitars". That was myself, Mundell Lowe and Herb Ellis but on the last gig Philip Catherine took Herb’s place because he has not been feeling too well.
CC: Thank you John and I look forward to seeing and hearing you in the near future.
OK fine, but that doesn't mean he was a member of the original Brasil '66, which was the original point of this thread.
If you really want to split hairs, I don't think Pisano was ever considered a "member" of the band, but was more of a sideman, the way Julius Wechter was with the Tijuana Brass.
If you really want to split hairs, I don't think Pisano was ever considered a "member" of the band, but was more of a sideman, the way Julius Wechter was with the Tijuana Brass.
Yeah, but it wasn't "Brasil '66" then yet, was it? Wasn't it "Brasil '65" then? (Or solo Sergio with a studio band?) Using your logic, I guess Hal Blaine and Carol Kaye were original members of the Tijuana Brass.
I believe if you look at Pisano's website, you'll note that he said he "played with" Sergio, but he does not say that he was a member of Brasil '66. Just like Julius Wechter and Bud Coleman played with the TJB, but they weren't members of the band.
Sorry, I tend to go with the personnel who actually played and sang on the first B'66 album as being the "original" band members (although Janis Hansen did not sing on that album). After all, there were other people who pleyed with the Beatles before John, Paul, George and Ringo got famous, but THOSE four are the only ones really considered Beatles, no?
I believe if you look at Pisano's website, you'll note that he said he "played with" Sergio, but he does not say that he was a member of Brasil '66. Just like Julius Wechter and Bud Coleman played with the TJB, but they weren't members of the band.
Sorry, I tend to go with the personnel who actually played and sang on the first B'66 album as being the "original" band members (although Janis Hansen did not sing on that album). After all, there were other people who pleyed with the Beatles before John, Paul, George and Ringo got famous, but THOSE four are the only ones really considered Beatles, no?
Are we going to invite Janis Hansen to the reunion or not!?
I have her invite ready...
She did not sing on the first album, although she is pictured on the back cover. Sergio, himself, verified this. So, Janis only sang on 2 albums! That ties her with Geri Stevens (remember the live at Greek Theatre album).
Sondra Cotton (spelling?) and Kate Merrrrwitz (brasil '86) and Angie Jaree (Arara) I think are the 3 leading ladies that didn't last but only one album. Probably missed someone...
Cruz Baca appeared 2 albums...
Siedah Garret appeared on 3 albums...
I have her invite ready...
She did not sing on the first album, although she is pictured on the back cover. Sergio, himself, verified this. So, Janis only sang on 2 albums! That ties her with Geri Stevens (remember the live at Greek Theatre album).
Sondra Cotton (spelling?) and Kate Merrrrwitz (brasil '86) and Angie Jaree (Arara) I think are the 3 leading ladies that didn't last but only one album. Probably missed someone...
Cruz Baca appeared 2 albums...
Siedah Garret appeared on 3 albums...
Fine. (Although I said it first.)
It's a legitimate release. That album was never released in the US.
As for "is it good?" Well if you like Live albums it's good. It sounds quite a bit different from the studio Sergio, especially in the vocals dept. The music has a less "produced" sound. But it is good music, no doubt.
As for "is it good?" Well if you like Live albums it's good. It sounds quite a bit different from the studio Sergio, especially in the vocals dept. The music has a less "produced" sound. But it is good music, no doubt.
Mike
Active Member
Here is a previous discussion about the Expo CD.
http://www.amcorner.com/forum/viewtopic.php?t=3954&highlight=brasil++live+expo
http://www.amcorner.com/forum/viewtopic.php?t=3954&highlight=brasil++live+expo
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