Why did Janis Hansen leave Brazil '66?

[quintscafidi]

I am very interested in any details regarding Janis Hansen's departure from Brazil'66. She was an amazing talent. Although she sang lead on their biggest hit in the 1960's , Burt Bacharach's "The Look of Love," it is Lani Hall and Karyn Phillips that seem to receive all of the publicity and accolades for the success of the group subsequent to the recording of "Fool on the Hill." After "Fool on the Hill," it's as if she was erased from the band's history. Was she fired from the band? Was their some kind of discord between Sergio Mendes and Janis Hansen? To me, she made the group's sound and look. I love Lani Hall and feel Karyn Phillips was a good replacement for Janis, but can someone tell me why she left the band when she sang lead on their biggest hit in the 1960's, but gets barely a mention in the Brazil '66 discography?

 

[Mike Blakesley]

There are differing accounts, but the likely story is that the original group felt they weren't receiving good enough treatment (bad hotels, etc.). So, according to Janis in the liner notes of the CD release of THE CARNIVAL, Sergio "fired everybody." Lani Hall apparently asked for her job back with Sergio on the advice of Herb Alpert.

 

[JOv2]

There are differing accounts, but the likely story is that the original group felt they weren't receiving good enough treatment (bad hotels, etc.). So, according to Janis in the liner notes of the CD release of THE CARNIVAL, Sergio "fired everybody." Lani Hall apparently asked for her job back with Sergio on the advice of Herb Alpert.

Given the Carnival liner is recent [2004], contains many direct quotes from Janis, and was edited with her full participation, we should believe this version to be an accurate account of her opinion. Clearly, she has deep-seated feelings about the band being fired...and for good reason as, at that time [early '68], the group was achieving both artistic and popular acclaim. Why Mendes would seemingly jeopardize this station remains a fascinating question and a unique point of conjecture among many a '60s pop discussion. Oh yeah, and he also divided his fan base -- I for one, don't find the subsequent LPs nearly as engaging as the first three.

 

[Mike Blakesley]

To me the only "questionable" part of Janis' story is how Lani got back into the group. Sergio had to know by then that Lani was becoming the star of the show, Janis' vocal on "Look" notwithstanding. His arrangements, it could be argued, could be played by any crack band of sessionmen. But Lani's voice is irreplaceable. I wouldn't think he would give her the boot quite as quickly as the rest.

On the other hand, the music took a huge swerve in direction with the FOOL album, so maybe he took this band breakup as a means of starting fresh, so to speak.

I agree with you that the first three LPs are something special, but there are "magic moments" in all of them. I think the later records could have benefited from a lighter orchestral touch in some cases.

 

[Rudy]

I agree with you that the first three LPs are something special, but there are "magic moments" in all of them. I think the later records could have benefited from a lighter orchestral touch in some cases.

Much lighter touch. He could have saved the orchestrals solely for those Atlantic albums instead. I like the new band direction on Fool, but not the overbearing orchestrations that often walk all over the music.

 

[quintscafidi]

Very interesting, indeed. Thank you all for your replies. An impulsive man, Mr. Mendes must have been. For me, the first band is the equivalent of Sean Connery in the role of 007. Sure, I liked Roger Moore, but his Bond films never had the same nuances that epitomize the 1960's, like the duo of Janis Hansen and Lani Hall. I also firmly believe Sergio Mendes could have easily continued with even greater chart success well into the 1970's if he had just managed to hold onto the original formula for success that he so creatively assembled.

 

[quintscafidi]

I am curious also, if everyone is still alive, is there any chance for the original group to reassemble for a reunion CD/tour? I am referring to the original six band members that recorded the hits Mas Que Nada, Day Tripper, Going Out of My Head and of course, The Look of Love. It would be so nice to see them all together again and with any luck to hear them sing their wonderful string of hits.

 

[Mike Blakesley]

Welllll, if the story about why they were dismissed is true, I doubt they are anxious for a reunion. And let's face it, it would pretty much be a non-event in today's landscape. Sergio can assemble a group of his choice and play the hits and casual fans won't know (or care) that it's not the original band.

 

[audiofile]

I am curious also, if everyone is still alive, is there any chance for the original group to reassemble for a reunion CD/tour? I am referring to the original six band members that recorded the hits Mas Que Nada, Day Tripper, Going Out of My Head and of course, The Look of Love. It would be so nice to see them all together again and with any luck to hear them sing their wonderful string of hits.

I think Joao Palma is dead.

 

[JOv2]

To me the only "questionable" part of Janis' story is how Lani got back into the group. Sergio had to know by then that Lani was becoming the star of the show, Janis' vocal on "Look" notwithstanding. His arrangements, it could be argued, could be played by any crack band of sessionmen. But Lani's voice is irreplaceable. I wouldn't think he would give her the boot quite as quickly as the rest.

I largely agree, Mike...as long as Sergio regarded Lani's contribution as irreplaceable.

Nevertheless, I believe The Look of Love was their greatest hit to date, so this would actually assert Janis' role in the group as a current fan favourite -- not to mention Sergio's new found assurance that her voice is equally attractive to listeners.

Janis' account offers no time-bound details. However, we're assured that following the immediate dismissal of the group, Sergio had to immediately notify A&M legal as his contract may have been impacted by his actions.

Given he was under contract at Atlantic as a solo artist when he signed at A&M in 1966, conjecture tells me it was not "Sergio Mendes" that was under contract to A&M, but "...& Brasil '66". if Sergio was the formal "leader", then he may have had the legal ability fire/hire group members "at will" as long as he delivered on the contractual terms. (If this was the case, "Brasil '66" was merely a name and not directly representative of specific people. Such was the norm over at Motown, where nameless groups like "The 4 Tops" generally did not have permanent members -- given (usually uncredited) artists were employed as "4 Tops" on an "as needed" basis; on the other hand, four specific people were identified as "The Beatles" in 1962 and again in 1967 -- take one away (McCartney's decision to not sign a significant legal document, spring 1970) and the group no longer exists.) If, on the other hand, A&M extended individual contracts to all group members , it's doubtful Sergio could execute such a move. In any event, clearly a lot happened really fast -- and no doubt Herb received quick notification that A&M's latest Top-10 singles act was now history.

Regarding the timeline, it's seriously doubtful Lani was without a job for longer than a few hours...I'm confident Herb helped in the negotiations of handling the dissolution. I'm also confident the wounds to which Janis eluded were too deep to realistically reconcile at the time. Mike is correct in that Lani's voice was determined as "essential" to the sound of Brasil '66 -- no doubt a conclusion at which Herb, A&M Marketing, and Sergio arrived; and that devoid of her sound, the fan base may suffer catastrophic impact -- particularly as the group was now officially a Top-10 act. As for Janis -- visually, Sergio replaced a tall glass of water...with a taller glass of water; it's doubtful most casual fans even knew 1/2 the eye candy was replaced.

 

[quintscafidi]

What is so amazing to me about the change in 1/2 of the eye candy is that it is almost sad that someone with such talent could be considered so replaceable. It's as if, at that time, that the bandmates of many groups were, as you mentioned all replaceable and nameless faces within certain pop groups in the 1960's. Neither Mary Wilson nor Florence Ballard sang on the Supreme's hit, "Some Day We'll Be Together." It was just Diana Ross and two session performers. I understand Michelle Phillips was also briefly fired from the Mammas and the Pappas and replaced by the pretty blonde wife of their producer, Lou Adler.

 

[JOv2]

Quint -- Your historical observations are all consistent with what I've read, as well. One fact that we all must consider is that the new world of "modern" pop -- which The Beatles kicked in, in 1963 -- was considered a disposable market. Until that time virtually no pop performers were able to assert their preferences regarding their material. Essentially, back then, talent that passed an audition was assigned an A&R guy who managed the material-arranger-producer relationship. Until the Beatles, no groups were expected to submit material for serious consideration. (Most companies employed staff writers to come up with the "hits"; indeed, Brasil '66 had no tunesmiths so they relied, to some extent, on the old model.)

Unlike today, where artists can actually make a life-long career at cutting LPs, such was not the case in the realm of post-1963 pop music. Life in the pop bag biz at that time consisted of cutting 4 45s and 2 LPs yearly until the label deemed your "product" unnecessary. That a genuine pop group like The Beatles actually lasted 6 years made them true survivors relative to probably >80% of their contemporaries -- most of whom cut only a few 45s or perhaps 1 LP before getting canned or breaking up.

Around 1968/69 it was determined that the new music was no flash in the pan and the industry quickly embraced a change -- notably, artists were given more latitude regarding "music" management (resulting in an obvious reduction of output -- to about 1 LP/year).

Like the TjB, Brasil '66 was a transitional group -- on the fringes of the new music while still heavily rooted in an industry best suited for Frank and Dean and other traditional pop artists.

Sadly, in the end it's all about selling records; so, very good music like The Parade sits unrelased at A&M for 30 or 40 years, while inferior Chris Montez attempts at music are publicized over and over and over in inner sleeve advertisements.

A very good classical pianist friend of mine once said, "don't go into pop music, it will only break your heart".

 

[Harry]

One thing about both Janis Hansen and Karen Philipp - they both had similar-enough voices to Lani Hall that people still confuse them to this day.

Here we sit on a message board 40+ years on, and there are still debates as to whether a particular vocal is Lani, Janis, or Karen.

I recall 10 years ago, early discussions at the old A&M Corner where it was sworn up and down that "The Look Of Love" was a Lani Hall lead vocal, and then we later learned that the opening breathy vocals are from Janis.

(An early thread at THIS version of the Forum can be found here:

http://forum.amcorner.com/viewtopic.php?p=2993 )

So as far as dismissing band members, it really was fairly easy, and nearly indistinguishable. We all stared at the new cover for FOOL ON THE HILL (in more ways than one!) and attempted to figure out why the group looked so different. But plop the needle down on the grooves, and the sound was still just as "groovy" as what had come before.

So, Sergio now had a blonde in his group, and some in his band looked a little like Klingons of the day - as long as the music was the same or better - most people just didn't care.

Harry

 

[Jay Maynes/Juan Oskar]

For the most part I don't know any of the names of Sergio's groups except for the girls, and being 13 or 14 years old when all this was going on it seems that Sergio's first two "bands" were alternating. Some of the rotation might have had to do with who was availiable for certain tours or who's visa was up to date.

Back in the era my dad was at a club and met a young guy who said he had played with Brazil 66, and he was drunk off his a**. Maybe that's why he lost his gig?

Once when Vicki Carr was hosting the Tonight Show & I remember her saying to Sergio, "Those are all different players" and he responded, "That's Brazil 77".

later...........................J

 

[Mike Blakesley]

Here we sit on a message board 40+ years on, and there are still debates as to whether a particular vocal is Lani, Janis, or Karen.

Yep. I had listened to "The Look of Love" hundreds of times before joining A&M Corner and I don't think I realized it wasn't Lani on lead vocals until I read it here. And I still think Lani sings on the choruses.

Heck I don't even think I realized there were three different women singing on STILLNESS until I read it here. And that is probably the album I've heard more than any of the others!

I think what really made Sergio's female vocals have their distinctive sound is the double-tracking, more than who was doing the singing. Unless a voice is VERY distinctive like an Aretha Franklin or a Karen Carpenter, if you take just about any voice and double-track it, the subtle differences from one voice to the next are not as noticable.

 

[quintscafidi]

I have read about the double-tracking technique employed by the vocalists for '66. It is such a subtlety and adds such a dimension to their sound. Both Lani Hall and Janis Hansen used it, I believe. It created that whispery quality to their vocals that was so reminiscent of Astrud Gilberto in her rendition of "Girl from Ipanema."

As successsfully as the soft-sounds of the Carpenters charted throughout the 1970's, I believe '66 could have maintained their level of chart success if they had maintained their original winning formula. It is a shame that pressures can tear such an talented group apart.

 

[Mike Blakesley]

I believe '66 could have maintained their level of chart success if they had maintained their original winning formula.

Maybe for a while, but you can't keep selling the same thing over and over; Sergio is a fairly restless artist and likes to keep reinventing his sound, even to this day. It's very likely the "sound" of the group would have evolved the way it did, no matter who was doing the playing.

 

[JMK]

I can tell you, having had many e-conversations with Janis and her husband, that her account in The Carnival liner notes is completely accurate. She also found it hard to be touring for at least six months out of the year. I've known several people that have played with Sergio through the years, and as cordial as he seems to us fans, he can evidently be a taskmaster as a bandleader (maybe not as bad as Buddy Rich in that infamous recording some of you may have heard ). Janis wanted to settle down and have a family, which moving on to her Ford work allowed her to do.

I actually tried to track down Joao for Janis several years ago. He had been very ill and was living in Brasil, but that said, I'm not sure that he's deceased. Maybe someone else can find out for sure. The closest I came was a friend who had gigged with him a few years previously (and this was a couple of years ago itself).

 

[Captaindave]

I am curious also, if everyone is still alive, is there any chance for the original group to reassemble for a reunion CD/tour? I am referring to the original six band members that recorded the hits Mas Que Nada, Day Tripper, Going Out of My Head and of course, The Look of Love. It would be so nice to see them all together again and with any luck to hear them sing their wonderful string of hits.

Dom Um Romao is dead. However, I'm not exactly sure when he came along in the studio and on the road, although I am sure he was present in both places in the late sixties.

I am not as big a fan of Brasil 66 as I am of the TJB, but I do enjoy and appreciate their music and have some of the recordings - mostly because of the Herb Alpert connection and because I do enjoy the sound and many of the songs. I am somewhat aware of some of the players at various times, such as Dom Um Romao. However, I myself would not particularly care who the singers were at any given time.

For someone who is less of a fan than me, that interest would be even less as far as the specific performers were concerned.

 

[audiofile]

I think the rhythm section got watered down after Look Around. For that reason I prefer the first group.

 

[JOv2]

I think the rhythm section got watered down after Look Around. For that reason I prefer the first group.

--The unique feel of the original group's rhythm section was mostly a result of the incorporation of American jazz bassist, Bob Matthews, whose command of his instrument exceeded both Sergio's and Joao's. It's clear that his bass leads many of the selections, and that Sergio probably had to hold him back at times as well. Listen for all his transitions, extensions and embellishments -- clearly he's a very strong jazz player. The odd juxtaposition of his swinging double bass lines against Joao's straight-up, Rock-influenced 4/4 (with Sergio is somewhere in between it all), is absolutely fascinating!! (Check out the instrumental break in Day Tripper for an excellent illustration.) The "second" group was more trad-Brazilian, so this unique dynamic was lost on subsequent LPs; additionally, the listeners had heavy-handed orchestrations to further dilute the sound.

 

[JMK]

I have to disagree. First of all, Sergio always had and still has to this day one of the most impressive rhythm sections ever, no matter who's playing with him. Even on such purely pop tripe like some of the Bell material, the rhythm section is still cooking along and is always completely tight, straddling a fine line between purely Brasilian and more standard American patterns. I love both versions of B66, but to say that Rubens and Dom were somehow inferior to Joao I think just does a disservice to all of them. Different does not denote a quantitative element, only qualitative. We've rehashed the orchestration question repeatedly, but I'll just say I think Grusin was and is a master, and his musical marriage with Sergio was one made in aural heaven. IMHO, of course.

 

[JOv2]

...to say that Rubens and Dom were somehow inferior to Joao I think just does a disservice to all of them...I think Grusin was and is a master, and his musical marriage with Sergio was one made in aural heaven. IMHO, of course.

Re-reading these posts, I fail to see anyone referred to as "inferior". As for Mr. Grusin -- the word, restraint, is obviously not in his vocab.

 

[Dave]

Well, what an interesting story about how a number of Artists in the '50's and Pre-Beatle '60's didn't have the "staying power" that at least Sergio Mendes did have...

As for Janis leaving, well, with all the other personnel changes going on in the group, the music does live on...



Dave

 

[JMK]

Well, I guess I read "watered down" as inferior. Your mileage may vary. I find Grusin's orchestrations the acme of taste and genius, as I've stated here previously. I also find Richard Hazard's absolutely gorgeous, especially his string writing. But Grusin's work on such tunes as "Upa, Neguinho" and "When Summer Turns to Snow" are unmatched. Again, IMHO.