JOv2
Well-Known Member
Live at the Expo ‘70 – Critique and Discussion
Not part of the original US commercial release sequence, at this time Live at the Expo ’70 is the only live document of Sergio Mendes & Brasil ’66 (a “Brasil ‘77” live set, apparently from 1972, serves as another live article from the 1966-72 A&M era). The show was captured in Osaka, Japan 05APR70; it’s unknown if the release was made available in Japan at that time; however, the layout and design of the 2002 Japanese CD suggests the proceedings were originally prepared for LP release.
The CD addresses a few pending issues with the band – first and foremost Karen Philipp’s role. The release was mixed such that each female vocalist was placed hard left [Lani] and hard right [Karen]…and finally, after three LPs, we get to differentiate between both voices: There are some similarities between the two – they seem to optimally cover the same vocal range, and their phrasing is very similar; however, Karen’s voice appears to be a bit earthier, and sexually husky given its slightly lower pitch and heightened breathiness. Consistent with the LPs, Lani is the principal vocalist as her voice is continuously more up front in the mix. Most of the time the women sing in unison – with occasional harmonies normally handled by Lani shifting up a 3rd. At times it appears as though another male voice may be in unison with Sergio – indeed the cover sports an authentic stage-side concert shot of the group with Sebastiao clearly exhibiting a singer’s posture. Sergio is seated at what looks like an 8’ concert grand. His extended improv solos are all major affairs – though all are over vamps (and not chord changes). Rubens has a trio of congas and is also heard on “auxiliary percussion”; Dom Um is seated in front of a characteristic US ‘50s/’60s jazz kit [snare, 2 toms, and kick drums; high-hat, crash, and 2 ride cymbals].
Taken in its 1970s context, the CD serves as an attractive “Best of” compilation – if for only focusing on the recent US-pop-heavy 45 releases; and given all the substantial orchestration that characterized the group’s 1968-69 singles, this adds another level of curiosity to the overall performance. To that end, for those critical of the band’s “orchestrated period”, this CD serves as a welcomed alternative for achieving clean versions of all their A-sides from the period.
As with most live transcriptions, there’s a bit of audience applause tinkering here and there…but nothing more than the usual compression of applause time and editing of insignificant chatter, dead-space and assorted non-musical ambience (though the editors chose to leave in the nearly silly interjective shouts of HOAAH!, UHHH!, HAA! that signal each song’s conclusion…I guess that’s part of the show). And, of course, there’s the usual bit where a Western performer attempts something in Japanese (though it’s doubtful anyone can top the 1966 psychotic, gibberish/Japanese rant of John Lennon, or the 1960 smirky Sayonara from Lee Morgan).
It’s with great pleasure that both performance and recording are of excellent quality – nothing else to do but make 55minutes of quality time and enjoy an excellent concert.
What the World Needs Now / Pretty World. Used as a brisk intro, the jived-up Bacharach tune quickly and wisely gives way to Pretty World. Speaking of pretty worlds, what a world of difference reducing this song to its combo core makes: I must confess personal remorse and offer a first-order apology for calling this song a dog last month. As performed here, it’s very good – and certainly a good fit for the group.
Going Out of My Head. It’s nice that Sergio preserved the feel of original arrangement – as the refined arrangement recalls the original group. Karen lets loose with the line, I must think of a way, into his heart (sadly, her only “solo” in this set) – and we finally get to hear her robust, grainier vocal chops. The vocalists have room for interpretative aspects – and Lani, in particular, often plays up the embellishments. Romao is a keen drummer – note how he subtly elaborates his patterns relative to Joao’s studio version. Sounds like Sergio’s been listening to Horace Silver and Herbie Hancock given his use of funkiness (the ‘60s/jazz definition), modes and space (the latter’s modern point source being Bill Evans). Note, too, how Rubens alternates between conga and tambourine to keep the arrangement dynamic. This song is representative of the concert: the overall treatment throughout is loose, yet tight. A+
To Say Goodbye. Still don’t think much of Sergio as a solo singer (…in fact of A&M’s “Big Three” [TjB, Brasil ’66, BMB] – Julius Wechter is hands down my preferred vocalist). Be that as it may, this Sergio+Lani duet comes off better than the studio version – it’s not as weighty. Sebastiao switches to upright bass for this number.
The Dock of the Bay. While holding firm that this is not a good song selection, Lani’s exuberance – as demonstrated throughout this CD – aids the proceedings. Interesting, too, is how Sergio didn’t work out an ending – opting to emulate the fade out of the 45. The song’s end is signaled when someone (probably Rubens) lets loose with a Perez Prado-influenced AUUUH! .
Daytripper. This one is done up ala fun/funky and is distinguished by one of Sergio’s long-ish one-chord vamp piano solos; his solo is OK – mostly a series of disconnected fragments with no resolution (he merely signals the band back to the head). Also of note is his direction, over the PA, to Dom Um and Rubens (and several thousand concertgoers) to switch to a double time feel – and then back. Lani scats the two-word title fade-out style. Notwithstanding its Brazilinification, it appears as though Sebastiao is not all that comfortable with the “rock” riff central to Lennon’s song (the only time to date he seems technically restricted).
Fool On The Hill. As much as I respect the Grusin version – and it’s an A+ all the way – this version is truly the one for the time capsule. Sergio’s use of a real piano really drives McCartney’s song replete with a vast array of timely melodic embellishments not obvious in the orchestrated release. Lani sweetly sings up a 3rd from Karen for one passage. It’s cute how the women sing the trumpet part from Grusin’s arrangement as a pretty foil against Sergio’s brief half-step/“atonal” take on the melody. Sergio worked out a fine coda and the song comes to a more satisfying conclusion than the 45. Perfect. A++
Scarborough Fair. Re-assessing the Simon song as more of a quasi-chant/launching pad for a modal instrumental vehicle heightens this version immeasurably. …I mean, it takes 7min to make this sort of thing work, you know? This time out Sergio delivers a killer solo – suggesting admiration/influence at the hands of US-jazz pianists Herbie Hancock, Jack Wilson, Horace Silver, and McCoy Tyner. Space is made for Rubens’ omnipresent congas as well (dig the cymbal cone interplay from Dom – so cool!!). Now for a diversity lesson: A Jewish dude wrote a song in the classic Anglo folk tradition, which is sung in English by US/Brazilian musicians for a Japanese audience. (Ain’t it nice when multiculturalism happens naturally and not because some bean-counting gun-slinger forces the issue?) A+
Norwegian Wood. Perhaps the most rewarding element regarding this CD release is hearing Sergio’s piano entirely handle every arrangement – firmly demonstrating what many of us have suspected all along: that all that orchestra business was unnecessary in heightening the musical value to any of these songs. That said, this Lennon song was never orchestrated (at least not for release), although the studio version featured prominent electric guitar. Here, it’s all Sergio…featuring another fine piano solo.
Mas, Que Nada!. Nothing says Brasil ’66 like You, Know What! Although the song serves more as exit music than anything else, it’s still nice to hear the 2nd incarnation of the group plow their way through Jorge’s timeless classic.
Viola. Though listed as the concluding LP selection, following the curtain-closing Mas, Que Nada! and given the LP running time (52min – nearly unheard of for a mainstream pop LP release) suggests this may be a “bonus” track. It’s by far the most Brazilian piece on this collection.
In many ways Live at the Expo ‘70 is the consummate Brasil ’66 LP – finally giving us the combo in all its fully deserved, singular brilliance; and the more listens this record gets, the more it moves into position to challenge Look Around as the representative desert island disk. Yes, it truly is THAT good. Regarding the 2nd incarnation of the group, this is far and away their finest effort.
Not part of the original US commercial release sequence, at this time Live at the Expo ’70 is the only live document of Sergio Mendes & Brasil ’66 (a “Brasil ‘77” live set, apparently from 1972, serves as another live article from the 1966-72 A&M era). The show was captured in Osaka, Japan 05APR70; it’s unknown if the release was made available in Japan at that time; however, the layout and design of the 2002 Japanese CD suggests the proceedings were originally prepared for LP release.
The CD addresses a few pending issues with the band – first and foremost Karen Philipp’s role. The release was mixed such that each female vocalist was placed hard left [Lani] and hard right [Karen]…and finally, after three LPs, we get to differentiate between both voices: There are some similarities between the two – they seem to optimally cover the same vocal range, and their phrasing is very similar; however, Karen’s voice appears to be a bit earthier, and sexually husky given its slightly lower pitch and heightened breathiness. Consistent with the LPs, Lani is the principal vocalist as her voice is continuously more up front in the mix. Most of the time the women sing in unison – with occasional harmonies normally handled by Lani shifting up a 3rd. At times it appears as though another male voice may be in unison with Sergio – indeed the cover sports an authentic stage-side concert shot of the group with Sebastiao clearly exhibiting a singer’s posture. Sergio is seated at what looks like an 8’ concert grand. His extended improv solos are all major affairs – though all are over vamps (and not chord changes). Rubens has a trio of congas and is also heard on “auxiliary percussion”; Dom Um is seated in front of a characteristic US ‘50s/’60s jazz kit [snare, 2 toms, and kick drums; high-hat, crash, and 2 ride cymbals].
Taken in its 1970s context, the CD serves as an attractive “Best of” compilation – if for only focusing on the recent US-pop-heavy 45 releases; and given all the substantial orchestration that characterized the group’s 1968-69 singles, this adds another level of curiosity to the overall performance. To that end, for those critical of the band’s “orchestrated period”, this CD serves as a welcomed alternative for achieving clean versions of all their A-sides from the period.
As with most live transcriptions, there’s a bit of audience applause tinkering here and there…but nothing more than the usual compression of applause time and editing of insignificant chatter, dead-space and assorted non-musical ambience (though the editors chose to leave in the nearly silly interjective shouts of HOAAH!, UHHH!, HAA! that signal each song’s conclusion…I guess that’s part of the show). And, of course, there’s the usual bit where a Western performer attempts something in Japanese (though it’s doubtful anyone can top the 1966 psychotic, gibberish/Japanese rant of John Lennon, or the 1960 smirky Sayonara from Lee Morgan).
It’s with great pleasure that both performance and recording are of excellent quality – nothing else to do but make 55minutes of quality time and enjoy an excellent concert.
What the World Needs Now / Pretty World. Used as a brisk intro, the jived-up Bacharach tune quickly and wisely gives way to Pretty World. Speaking of pretty worlds, what a world of difference reducing this song to its combo core makes: I must confess personal remorse and offer a first-order apology for calling this song a dog last month. As performed here, it’s very good – and certainly a good fit for the group.
Going Out of My Head. It’s nice that Sergio preserved the feel of original arrangement – as the refined arrangement recalls the original group. Karen lets loose with the line, I must think of a way, into his heart (sadly, her only “solo” in this set) – and we finally get to hear her robust, grainier vocal chops. The vocalists have room for interpretative aspects – and Lani, in particular, often plays up the embellishments. Romao is a keen drummer – note how he subtly elaborates his patterns relative to Joao’s studio version. Sounds like Sergio’s been listening to Horace Silver and Herbie Hancock given his use of funkiness (the ‘60s/jazz definition), modes and space (the latter’s modern point source being Bill Evans). Note, too, how Rubens alternates between conga and tambourine to keep the arrangement dynamic. This song is representative of the concert: the overall treatment throughout is loose, yet tight. A+
To Say Goodbye. Still don’t think much of Sergio as a solo singer (…in fact of A&M’s “Big Three” [TjB, Brasil ’66, BMB] – Julius Wechter is hands down my preferred vocalist). Be that as it may, this Sergio+Lani duet comes off better than the studio version – it’s not as weighty. Sebastiao switches to upright bass for this number.
The Dock of the Bay. While holding firm that this is not a good song selection, Lani’s exuberance – as demonstrated throughout this CD – aids the proceedings. Interesting, too, is how Sergio didn’t work out an ending – opting to emulate the fade out of the 45. The song’s end is signaled when someone (probably Rubens) lets loose with a Perez Prado-influenced AUUUH! .
Daytripper. This one is done up ala fun/funky and is distinguished by one of Sergio’s long-ish one-chord vamp piano solos; his solo is OK – mostly a series of disconnected fragments with no resolution (he merely signals the band back to the head). Also of note is his direction, over the PA, to Dom Um and Rubens (and several thousand concertgoers) to switch to a double time feel – and then back. Lani scats the two-word title fade-out style. Notwithstanding its Brazilinification, it appears as though Sebastiao is not all that comfortable with the “rock” riff central to Lennon’s song (the only time to date he seems technically restricted).
Fool On The Hill. As much as I respect the Grusin version – and it’s an A+ all the way – this version is truly the one for the time capsule. Sergio’s use of a real piano really drives McCartney’s song replete with a vast array of timely melodic embellishments not obvious in the orchestrated release. Lani sweetly sings up a 3rd from Karen for one passage. It’s cute how the women sing the trumpet part from Grusin’s arrangement as a pretty foil against Sergio’s brief half-step/“atonal” take on the melody. Sergio worked out a fine coda and the song comes to a more satisfying conclusion than the 45. Perfect. A++
Scarborough Fair. Re-assessing the Simon song as more of a quasi-chant/launching pad for a modal instrumental vehicle heightens this version immeasurably. …I mean, it takes 7min to make this sort of thing work, you know? This time out Sergio delivers a killer solo – suggesting admiration/influence at the hands of US-jazz pianists Herbie Hancock, Jack Wilson, Horace Silver, and McCoy Tyner. Space is made for Rubens’ omnipresent congas as well (dig the cymbal cone interplay from Dom – so cool!!). Now for a diversity lesson: A Jewish dude wrote a song in the classic Anglo folk tradition, which is sung in English by US/Brazilian musicians for a Japanese audience. (Ain’t it nice when multiculturalism happens naturally and not because some bean-counting gun-slinger forces the issue?) A+
Norwegian Wood. Perhaps the most rewarding element regarding this CD release is hearing Sergio’s piano entirely handle every arrangement – firmly demonstrating what many of us have suspected all along: that all that orchestra business was unnecessary in heightening the musical value to any of these songs. That said, this Lennon song was never orchestrated (at least not for release), although the studio version featured prominent electric guitar. Here, it’s all Sergio…featuring another fine piano solo.
Mas, Que Nada!. Nothing says Brasil ’66 like You, Know What! Although the song serves more as exit music than anything else, it’s still nice to hear the 2nd incarnation of the group plow their way through Jorge’s timeless classic.
Viola. Though listed as the concluding LP selection, following the curtain-closing Mas, Que Nada! and given the LP running time (52min – nearly unheard of for a mainstream pop LP release) suggests this may be a “bonus” track. It’s by far the most Brazilian piece on this collection.
In many ways Live at the Expo ‘70 is the consummate Brasil ’66 LP – finally giving us the combo in all its fully deserved, singular brilliance; and the more listens this record gets, the more it moves into position to challenge Look Around as the representative desert island disk. Yes, it truly is THAT good. Regarding the 2nd incarnation of the group, this is far and away their finest effort.
