[AxA] Sergio Mendes :: Bossa Nova York / Swinger From Rio

[Rudy]

Sergio Mendes Trio
Bossa Nova York (Elenco)
(aka) The Swinger from Rio (Atlantic)
(Released under different titles)

Released in 1964

Sergio Mendes (Piano)
Antonio Carlos Jobim (Guitar) - 1,2,4,6-11
Art Farmer (Trumpet and Flugelhorn) - 2,3,5-7,11
Phil Woods (Alto Saxophone) - 1,4,8
Tiao Neto (Double Bass)
Chico DeSouza (Drums)
Hubert Laws (Flute) - 3,5,9,11

1 Maria Moita (DeMoraes, Lyra) 3:28
2 Só Tinha de Ser Com Você (DeOliveira, Jobim) 3:11
3 Batida Diferente (Einhorn, Ferreira) 3:46
4 Só Danço Samba (DeMoraes, Jobim) 3:10
5 Pau Brasil Moraes 3:12
6 Garota de Ipanema DeMoraes, Jobim 2:51
7 Inútil Paisagem DeOliveira, Jobim 3:25
8 Vivo Sonhando Jobim 4:14
9 Primavera DeMoraes, Lyra 2:45
10 Consolacão DeMoraes, Powell 3:20
11 O Morro Não Tem Vez DeMoraes, Jobim 5:19

Amazon US (Bossa Nova York): http://www.amazon.com/exec/obidos/ASIN/B00011CYAW/amcorne-20

Amazon US (Swinger from Rio): http://www.amazon.com/exec/obidos/ASIN/B0001K2K9S/amcorne-20

Original Atlantic LP liner notes from "Swinger From Rio":

"During the recordings I was ecstatic, and kept pinching myself that here I am, playing with Jobim and Art and Phil. It was like a beautiful dream coming true..." - Sergio Mendes

We have become more familiar with the music of Latin America and especially that of Brazil in the past year. The new music from Brazil (better known as bossa nova) has been absorbed into the mainstream of our own music. This is completely natural. While we have been listening to their music, Latin American musicians have been listening to ours. Jazz music in particular has been fascinating to them for quite some time, and it would be accurate to describe bossa nova as a marriage of modern Brazilian music and American jazz.

The music contained in this album is the happy result of a meeting of Brazilian bossa nova stars and American jazz musicians. Sergio Mendes, the young man who graces the cover of this LP is one of the brightest talents to emerge from Brazilian music circles. He possesses a crisp piano style that clearly dominates all of the performances in this album. The clarity of Sergio's musical thought is always apparent whether he is soloing, playing ensemble or accompanying someone else's solo. In addition he inspires some of the finest work on records by the well known jazz performers, Art Farmer, Phil Woods and Hubert Laws. Sergio is accustomed to playing with a country's leading musicians. He became a professional pianist at the age of sixteen.

One year later he organized his own group to perform at parties and in night clubs in and around his hometown of Niteroi which is across the bay from the more celebrated Brazilian town of Ipanema. The composer and musician, Antonio Carlos Jobim, heard Sergio play and was very impressed. He gave him a great deal of encouragement, and before long Sergio joined the circle of musicians in Rio who were creating a new musical style that came to be known as bossa nova. It is impossible to conceive of greater musical understanding than that which is shown by Sergio, fluegelhornist Art Farmer, saxophonist Phil Woods and flutist Hubert Laws in this album. Listening to the way their solos dovetail one could easily assume these musicians have worked together for many years.

Sergio has the remarkable facility of matching the tonal quality of his instrument to that of the musician with whom he is playing. Notice for instance that when he and Art Farmer exchange phrases at the end of Useless Panorama, the sound of their instruments maintain an even flow. On So Danco Samba and Maria Moita there is a little more bite to Sergio's piano work to match the drive of Phil Woods' robust saxophone style. Though these musicians may have been born thousands of miles apart, they are truly kindred spirits. Sergio's good friend and the man he calls his mentor, Antonio Carlos Jobim, is on hand for many of the numbers. Better known as the composer of the classic bossa nova tunes (Desafinado, One Note Samba, etc.), Jobim is also an accomplished guitarist. Hear how he introduced his composition, Useless Panorama, by softly phrasing the melody.

The musicians who make up the rhythm section are members of Sergio's own trio: Tiao Netto on bass and drummer Chico DeSouza. They keep the front line swinging in all tempos. Geographically Sergio Mendes may be The Swinger From Rio— on the basis of his playing in this album he could also be The Swinger from the USA.

-- Bob Altshuler

This is another enjoyable date for Sergio Mendes, with the added bonus of having many well-known jazz musicians accompany his basic trio. To have Tom Jobim on his album must really have been an honor, as Jobim was held in high regard even back then.

I'm pretty certain this was his third recorded release (under the Bossa Nova York title), and that the Atlantic album was licensed from Elenco for release in the U.S.. IMHO, compared to his other Atlantic recordings, I like this one the most, as it is still in that jazz/bossa nova style that I prefer.

As always, additions and corrections are more than welcome here. The album Voce Ainda Nao Ouviu Nada! also shows a release date of 1964, so it's possible it may have been Sergio's third.

 

[satan165]

This version of 'The Girl from Ipanema' is restrained compared to the higher production value take on the 'Sergio Mendes and Bossa Rio' release (next in AxA?) but its nearly stripped arrangement provides its own great advantages.

'Vivo Sonhando' in its 'original' form is really a treat, the sax truly is sensual in 'speaking' the interpretation of the lyrics by Lani done so many years later. 'The Dreamer' has (not embarrased to say) has taken me to tears, but the soloing sax and swell into the chorus on this version drives it into a decidedly different feel for myself.

In review of the version of this recording I have acquired I realize that my version of 'So Danco Samba' is a bit too similar to the Brasil 66 version -- in fact it is identical! I will need to source another version of this album.

There are other (and not to be confused) 'versions' of this album. both for the most part greatest hits offerings of Brasil 66. I have seen this with two different covers as well, one a caricature of Sergio and another 'still-life' in similar pastels.