JOv2
Well-Known Member
Crystal Illusions – Critique and Discussion
Light-heartedly known as The Return of Dave Grusin Presents Sergio Mendes, Lani Hall & Brasil '66, this LP represents the second in a trilogy of heavily orchestrated Brasil ’66 LPs. Released in early 1969, it’s still unknown whether this orchestral pop direction was the invention of Grusin, at the discretion of Sergio, or some diabolical scheme cooked up high in the Bel Air hills during a Santa Ana wind-drenched 1968 Autumn. In any event, Crystal Illusions, is most notorious for unabashedly revealing two Brasil ‘66s: the well-known and quite creative Brazilian-dominated pop group; and its odd cousin, a nearly generic MOR singing group covering recent American hits lavishly arranged with up-dated Percy Faith strings, hip-ish chick singing – and garnished with a serving of distinctive Brazilian percussion.
Hmph.
Kinda Jeckly-Hydey, eh?
Of course, unless you can pull a Sgt. Pepper out of the hat such a side show will come off lacking continuity; and Crystal Illusions does do a good job throwing the listener through a few pop hoops. Unlike the smooth cohesion of Fool On The Hill, the new program solidly bull’s eyes Tin Pan Alley ala Brazil, contemporary Brazilian pop, the usual gloomy ballad, MOR, and something that may even qualify for some listeners as experimental or psychedelic. As with all Brasil ’66 LPs, when the performance is “in the pocket” solid – it IS damn solid…it’s just that after weeding out the performances of lesser merit, the listener is left with little more than a 45’s worth of truly rewarding music.
One scenario is that Sergio handed the LP’s reigns over to Grusin. Orchestral treatment notwithstanding, even on the non-Grusinified tracks Sergio’s piano is not the driving force – rather it comes across as one of many contributing instruments. In the new band, the congas seem to have absorbed the energetic and motivating force – quite a far cry from the piano and double bass dual-leads of the original group. Additionally, Sergio sings far less than on any LP since the debute.
Dock Of The Bay. The weakest opener to date, this one just doesn’t work. Why? Pure sexism: As written, the song’s content is wholly not convincing from the feminine viewpoint. Even Big Mama Johnson isn’t a believable delivery device for this vagabond anecdote. Additionally, Lani’s “hip” singing style is not authentic – seeming unnatural and too studied relative to the nearly hopeless, yet shiftless, feel of the original. Too, unlike the previous 45s this one was already a monster hit – and it was a posthumous hit for a revered cultural icon at that; therefore, socially, such a move may have been seen as the insensitive, out-of-touch work of The Establishment (and not the wisest cover choice for connecting with the late ‘60s under-thirty in-crowd).
Viola. This offers an excellent study of Grusin’s orchestration methods. Check out how he nearly saturates all available space with counterrhythms, countermelodies, fragment extensions and transitions. You’ll also note Dave’s “Brasil ’66 sound”: flutes + harmon-muted trumpets and xylophones; he also favours unison flugelhorns and viola support beds. He routinely leans on the high end – violins, trumpets, and flutes at the expense of tenor saxes, trombones, and cellos – although it’s clear Dave likes the trombone. Think of him as an anti-Gil Evans. While this may be an exciting exercise in one’s command of a studio orchestra, the results too often overwhelm the normally lighter feel characteristic of much of Brazilian pop; and in this case, such a robust arrangement truly smothered the band’s contributions.
Song Of No Regret. How ironic that the first wholly-inclusive Brasil ’66 offering has not a smidgeon of Brazilian feel…at least to this Anglophile. This doleful issue is quite appealing in its delivery and delicate arrangement notable for its use of sensitive oboe and harp (the latter’s use as a melodic instrument, not a clichéd glissandi effects generator). Written in 6/8, the song’s construction, AB AB AB [A=11; B=5], features a 2-bar extension onto each A with recycled elements serving for both Intro/Outro.
Salt Sea. Finally, Sergio follows-up a ballad with a medium-paced offering – as opposed to the usual carnival-spirited affairs. This pleasant song may to some suggest Lani’s vulnerabilities as a singer: the horizontal melody reveals a sameness in her vocal texture – wherein a few notes seem to lack firm support…though much of this appears a result of her avoiding the use of vibrato. Sergio’s absence makes this Lani’s first full-fledged solo offering.
Empty Faces. Though present, Sergio’s piano is not integral to the arrangement; as with the previous piece, this is essentially a guitar-driven feature (presumably Oscar Castro-Neves). I still hear the same vocal support issues, but to far less degree. Otherwise this brilliant piece is far and away the crown jewel of this LP. A+
Pretty World. This one is pretty much a dog. The distinctive feel of Brasil ’66 is wholly absent in this “saccharinistic” excursion: in short, nameless singing groups could have put their name to what is a very generic 45. The fact that this is one of those “problem songs” doesn’t help matters. Herb Alpert’s reflective, quasi-moody approach was lethargic and unaffected, while this happy-pill alternative is annoying in a Sing-Along-With-Mitch manner. Perhaps I’m just too cynical in my old-fart age to appreciate the song. In any event, those children at the fade make me wanna heave. A disappointing offering from the Bergmans. (For those wanting to know what Bones Howe’s Carnival sounded like – this is a good “average” approximation. Carnival could be both better…and worse.)
Dois Dias. This is so dominated by the orchestra that you’d think it was soundtrack music cut by studio musicians. The harpsichord makes its usual one-song/LP appearance.
You Stepped Out of a Dream. This chestnut recalls Night And Day from Equinox. I just am unable to see the light on these Tin Pan Alley tunes – all dressed up and ready for a night on the town in Rio. It’s OK, I guess, but just too damn MOR for me.
Crystal Illusions. Presented as a show stopper... Following the near 8-minute trek, most juries are not left with indecision: you either like it or you don’t. Of course, I don’t. (The author’s reading is far more reasonable, but it’s the Paul Desmond version, with Edu’s participation, that is the cat’s meow.) Actually, the first three minutes or so (you know, the actual song) is pretty good…it’s just all that orchestral psychobabble that goes on and on…if you’re gonna do something like that you gotsta to have the content, baby. Seems like countless bands, 1968-1974, went in for the 6+minute song thing – be it the self-indulgent, oh-look-at-how-much-more-important-my-music-is-than-yours prog rockers / guitar-centric bands, or arranging a 2-minute pop tune like McArthur Park into an ostentatious, haughty artiste statement. As for the case at hand, my boredom is consistent with the electric bass guitarists inability to play anything more than two different riffs. In all earnestness, I like that Sergio experiments and takes chances with the music – and he certainly did more daring and unique stuff in this vain than Herb did with the TjB; and as a result, he’ll always get a nod of approval for doing so, regardless of success.
Although Crystal Illusions arguably offers more musical variety than any previous LP, its likability is compromised relative to the 4 previous LPs. All but one song is orchestrated, and the density and style of the orchestrations may impact many listeners’ fondness of the vinyl proceedings. Programming out both opening numbers leaves a much more listenable LP – and further stripping the filling to the bare essentials yields 2 or 3 arresting performances. At its nadir, one is left believing that management felt it necessary to legitimize Brasil ’66 LPs by seducing listeners with MOR-laden antics. The “wish list” dissension from a clean version of the complete Fool On The Hill to just a few songs on Crystal Illusions speaks volumes for overall interest in the new musical direction. It would take Sergio another similar excursion until he figured out this was not the optimal musical path.
Light-heartedly known as The Return of Dave Grusin Presents Sergio Mendes, Lani Hall & Brasil '66, this LP represents the second in a trilogy of heavily orchestrated Brasil ’66 LPs. Released in early 1969, it’s still unknown whether this orchestral pop direction was the invention of Grusin, at the discretion of Sergio, or some diabolical scheme cooked up high in the Bel Air hills during a Santa Ana wind-drenched 1968 Autumn. In any event, Crystal Illusions, is most notorious for unabashedly revealing two Brasil ‘66s: the well-known and quite creative Brazilian-dominated pop group; and its odd cousin, a nearly generic MOR singing group covering recent American hits lavishly arranged with up-dated Percy Faith strings, hip-ish chick singing – and garnished with a serving of distinctive Brazilian percussion.
Hmph.
Kinda Jeckly-Hydey, eh?
Of course, unless you can pull a Sgt. Pepper out of the hat such a side show will come off lacking continuity; and Crystal Illusions does do a good job throwing the listener through a few pop hoops. Unlike the smooth cohesion of Fool On The Hill, the new program solidly bull’s eyes Tin Pan Alley ala Brazil, contemporary Brazilian pop, the usual gloomy ballad, MOR, and something that may even qualify for some listeners as experimental or psychedelic. As with all Brasil ’66 LPs, when the performance is “in the pocket” solid – it IS damn solid…it’s just that after weeding out the performances of lesser merit, the listener is left with little more than a 45’s worth of truly rewarding music.
One scenario is that Sergio handed the LP’s reigns over to Grusin. Orchestral treatment notwithstanding, even on the non-Grusinified tracks Sergio’s piano is not the driving force – rather it comes across as one of many contributing instruments. In the new band, the congas seem to have absorbed the energetic and motivating force – quite a far cry from the piano and double bass dual-leads of the original group. Additionally, Sergio sings far less than on any LP since the debute.
Dock Of The Bay. The weakest opener to date, this one just doesn’t work. Why? Pure sexism: As written, the song’s content is wholly not convincing from the feminine viewpoint. Even Big Mama Johnson isn’t a believable delivery device for this vagabond anecdote. Additionally, Lani’s “hip” singing style is not authentic – seeming unnatural and too studied relative to the nearly hopeless, yet shiftless, feel of the original. Too, unlike the previous 45s this one was already a monster hit – and it was a posthumous hit for a revered cultural icon at that; therefore, socially, such a move may have been seen as the insensitive, out-of-touch work of The Establishment (and not the wisest cover choice for connecting with the late ‘60s under-thirty in-crowd).
Viola. This offers an excellent study of Grusin’s orchestration methods. Check out how he nearly saturates all available space with counterrhythms, countermelodies, fragment extensions and transitions. You’ll also note Dave’s “Brasil ’66 sound”: flutes + harmon-muted trumpets and xylophones; he also favours unison flugelhorns and viola support beds. He routinely leans on the high end – violins, trumpets, and flutes at the expense of tenor saxes, trombones, and cellos – although it’s clear Dave likes the trombone. Think of him as an anti-Gil Evans. While this may be an exciting exercise in one’s command of a studio orchestra, the results too often overwhelm the normally lighter feel characteristic of much of Brazilian pop; and in this case, such a robust arrangement truly smothered the band’s contributions.
Song Of No Regret. How ironic that the first wholly-inclusive Brasil ’66 offering has not a smidgeon of Brazilian feel…at least to this Anglophile. This doleful issue is quite appealing in its delivery and delicate arrangement notable for its use of sensitive oboe and harp (the latter’s use as a melodic instrument, not a clichéd glissandi effects generator). Written in 6/8, the song’s construction, AB AB AB [A=11; B=5], features a 2-bar extension onto each A with recycled elements serving for both Intro/Outro.
Salt Sea. Finally, Sergio follows-up a ballad with a medium-paced offering – as opposed to the usual carnival-spirited affairs. This pleasant song may to some suggest Lani’s vulnerabilities as a singer: the horizontal melody reveals a sameness in her vocal texture – wherein a few notes seem to lack firm support…though much of this appears a result of her avoiding the use of vibrato. Sergio’s absence makes this Lani’s first full-fledged solo offering.
Empty Faces. Though present, Sergio’s piano is not integral to the arrangement; as with the previous piece, this is essentially a guitar-driven feature (presumably Oscar Castro-Neves). I still hear the same vocal support issues, but to far less degree. Otherwise this brilliant piece is far and away the crown jewel of this LP. A+
Pretty World. This one is pretty much a dog. The distinctive feel of Brasil ’66 is wholly absent in this “saccharinistic” excursion: in short, nameless singing groups could have put their name to what is a very generic 45. The fact that this is one of those “problem songs” doesn’t help matters. Herb Alpert’s reflective, quasi-moody approach was lethargic and unaffected, while this happy-pill alternative is annoying in a Sing-Along-With-Mitch manner. Perhaps I’m just too cynical in my old-fart age to appreciate the song. In any event, those children at the fade make me wanna heave. A disappointing offering from the Bergmans. (For those wanting to know what Bones Howe’s Carnival sounded like – this is a good “average” approximation. Carnival could be both better…and worse.)
Dois Dias. This is so dominated by the orchestra that you’d think it was soundtrack music cut by studio musicians. The harpsichord makes its usual one-song/LP appearance.
You Stepped Out of a Dream. This chestnut recalls Night And Day from Equinox. I just am unable to see the light on these Tin Pan Alley tunes – all dressed up and ready for a night on the town in Rio. It’s OK, I guess, but just too damn MOR for me.
Crystal Illusions. Presented as a show stopper... Following the near 8-minute trek, most juries are not left with indecision: you either like it or you don’t. Of course, I don’t. (The author’s reading is far more reasonable, but it’s the Paul Desmond version, with Edu’s participation, that is the cat’s meow.) Actually, the first three minutes or so (you know, the actual song) is pretty good…it’s just all that orchestral psychobabble that goes on and on…if you’re gonna do something like that you gotsta to have the content, baby. Seems like countless bands, 1968-1974, went in for the 6+minute song thing – be it the self-indulgent, oh-look-at-how-much-more-important-my-music-is-than-yours prog rockers / guitar-centric bands, or arranging a 2-minute pop tune like McArthur Park into an ostentatious, haughty artiste statement. As for the case at hand, my boredom is consistent with the electric bass guitarists inability to play anything more than two different riffs. In all earnestness, I like that Sergio experiments and takes chances with the music – and he certainly did more daring and unique stuff in this vain than Herb did with the TjB; and as a result, he’ll always get a nod of approval for doing so, regardless of success.
Although Crystal Illusions arguably offers more musical variety than any previous LP, its likability is compromised relative to the 4 previous LPs. All but one song is orchestrated, and the density and style of the orchestrations may impact many listeners’ fondness of the vinyl proceedings. Programming out both opening numbers leaves a much more listenable LP – and further stripping the filling to the bare essentials yields 2 or 3 arresting performances. At its nadir, one is left believing that management felt it necessary to legitimize Brasil ’66 LPs by seducing listeners with MOR-laden antics. The “wish list” dissension from a clean version of the complete Fool On The Hill to just a few songs on Crystal Illusions speaks volumes for overall interest in the new musical direction. It would take Sergio another similar excursion until he figured out this was not the optimal musical path.