JOv2
Well-Known Member
Look Around Critique and Discussion
Am not sure when Sergio Mendes met Dave Grusin, but the latter’s effect on the bandleader would be monumental. (Indeed that surname moniker graces Sergio’s then-recent solo LP, Sergio’s Favourite Things, presumably recorded and released between Equinox and Look Around, during that auspicious year in pop…1967.)
Look Around, recorded in late ’67, was the third effort for the group. In many ways, the LP spearheads the group’s direction for the next few releases: stronger rhythmic focus on the combo arrangements, covers of more timely American pop tunes, and the introduction of very “American” orchestrations. Bob’s and Jose’s support vocals are less present as the focus is squarely on Lani and Sergio – the leader fully stepping up to the mike on three selections. Lani is featured on two excellent solo vehicles that showcase her rapidly maturing vocal talents. For the first time, a “group” member (Sergio) is credited with a co-writer’s credit. Half of the LP is orchestrated -- two arrangements from the pen of Dick Hazard; three from Grusin.
Although no one knew it at the time, Sergio settled on a formula of sorts with Look Around that would be repeated over the course of the next few LPs:
With A Little Help from my Friends. Opening with a kick drum THUMP on beat 4 – which would characteristically mark the beginning of many Brasil’66 songs henceforth – this new programme is off to a heck of a start wiht the Brazilianification of the instantly-famous Beatles “turntable hit”. Sergio’s reading is a gem employing a complete re-write of the A-section changes (using a descending series of 1/2-step intervals) and a notable high female (“jazz harmony”) voice during the final “I just want someone to love” fragment. The use of non-leslie driven organ (a personal preference) drives the song – particularly during the modal instrumental breaks. It’s just a shame that totally cool organ didn’t burst out into a cool-ass solo…I guess we’d have to wait another 6 months until we’d get something similar. Unique interpretations like this leave us begging for a second helping. Excellent. A+
Roda. One of the most rewarding things about non-US pop music is the absence of that damn back beat. I mean, it has been a staple in black US pop since the dawn of race record recordings in the early 1920s…and all the white dudes picked up on it and have been whacking us on every 2 and 4 ever since. Roda, with its clapping on 1 and 3 reminds US ethnocentrics that there’s a hell of a lot more to keeping a beat than the same ol’ James Brown strut. Like the finest Brazilian songs, Gilberto Gil’s piece employs a B-section that is strong enough to be an A-section outright. The combo is in solid form – with Bob Matthews and Sergio trading leading chores. Dig Sergio’s sweet jazz voicings, as well as another series of 1/2-step downward cascading voicings (listen for the organ). The festive atmosphere and unique false ending make this piece instantly memorable and likable. Expertly programmed into the #2 slot. A+
Like A Lover. Lani probably took many listeners by surprise with this offering. This is the first airing of strings on a Brasil ’66 LP and on first listen, the piece does come off as a bit of a novelty; however, this slice of Southern California sea-side sunshine pop is filled with all kinds of unique musical twist and turns that one expects from Bergman-Bergman. Dick Hazard’s unobtrusive arrangement, propelled by Joao’s 8/8, provided an excellent platform for Lani Hall. Who would have known that she would have found an instant fit into such a musical style? In fact, she did such a splendid job, that she would reprise the style on side 2. Listen to how Jose and Bob sing the unison line – you can hear Jose’s Portuguese accent against Bob’s American English. Really cool. Listen too for the interweaving of the Jose and Bob with/around Lani, as well as the different phrasing of “I might be the velvet moon to you”. All these little elements sum to another stellar performance. In fact, with this, the Bergman-Bergman team gives us the first of their three gems. (The form is essentially AABA ABA [A= 12+2 | B = 13] – with noted extensions.) A+
The Frog. I’m getting the feeling that Sergio likes these “musical mantras” – the same thing that Brian Wilson used to do with his Beach Boys (notably throughout his infamous Smile sessions). I’d like to hear a translation just to see what all the hubbub is all about. Grusin’s orchestration, though dated in its feel, is a perfect fit for this unique song. With each time around the block he alters the sonic landscape. Nice job.
Tristeza. Along with Mexican “banda” style, Brazilian “tropicalia” music seems to have the power to afflict even the most dour of bah-humbugs with unabashedly, terminally glee. The well-known 1966 tune, A Banda – which tells the tale of how a passing band transcends the day’s ills (even causing a flower to open up its pedals in happiness…) – may have been the pacesetting “modern” song that introduced the feel to US ears. The wonderful performance is only marred by the use of an intoxicated trombone line repeated ad infinitum. Then again, it’s a party! If it feels good, do it twenty-seven times. Smoke ‘em if you got ‘em, Jackson!
The Look of Love. This established Janis as a lead vocalist with as much popular impact as Lani. Personally, I like how the piece starts out; however, as the song unfolds, we get a strong dose of the Grusin treatment…there’s so much going on in his arrangement that the arrangement itself competes with the song for dominance. This will be a recurring criticism of much of Grusin’s work with Brasil ’66. The heavy baton works well on The Frog – owing to the fact that that song is quite spartan. The Look of Love, on the other hand, is archetypal Bacharach in that it is already saturated with music – adding more complex voicings, countermelodies, cross-polyrhythms, etc., is excessive. As much as I like Janis’ sultry voice, I’ll take Dusty Springfield’s soundtrack version for its overt coolness. I mean, given the content, the “look of love” should be between two people – Grusin has arranged it as though the “look of love” is exchanged between two halves of a football stadium crowd.
Pradizer Adeus. Sergio’s vocal is a disappointment. His voice is dull and unaffecting, only yielding a bit of timbre in the upper register. To his defense, it’s a pretty grim song, so I suppose he shouldn’t be expected to give us some Anthony Newly. Nevertheless, some EQ-ing wouldn’t have hurt to reduce the muddiness. (One of the few Edu Lobo songs that I just can't get into...)
Batucada. Programming the previous doleful offering in between orchestral overdrive and “The Beat” was probably not the most listener-friendly decision. In any event, Batucada, with its seemingless-endless introduction, is an exciting listen. The arrangement is very much akin to the debute LP – where it would neatly sequence.
So Many Stars. Beautiful. Deceptively simple, this song is a real workout for Lani – just listen to her breathing and phrasing... This gorgeous offering is about as good as music gets; and for me, Lani would never top this performance as a Brasil ’66 singer. Grusin, too, offers far and away his finest arrangement. Listen to how he frames his beautiful songstress: tugging here and there with eloquence and reverence for both singer and melody. The expert arrangement is a study in tension and release: Grusin builds, Lani releases; or vice versa – and at one point they both build and release together…(pretty darn sexual if you ask me). The key change is flawlessly timed. The match of song, arrangement, and singer is ideal. The Bergman-Bergman piece is notable for its repetition of one principal melodic/rhythmic fragment throughout – a vehicle with which they would soon exploit to the Nth degree in their instant classic, The Windmills of Your Mind. Based on this rhythmic fragment, the continuous form is uniquely diagrammed something like this: AA’AA’A’’A’’’ AA’AA’A’’A’’’ [A= 6 | A’ = 8 | A’’= 8 | A’’’ = 8]. A++
Look Around. It’s cool how this piece begins with a little Look of Love tease. Like So Many Stars, this piece is another fine Bergman-Bergman work. Sergio’s presence as a writer is obvious: as this IS the definitive song, arrangement and performance of Brazilian/US mid/late ‘60s pop – colliding on a sunny Ventura beach. The chords and melody are US, the rhythm and feel Brazilian, the overall arrangement and performance – an amalgam of each. Even hearing Jose sing that one note off-key every damn time doesn’t diminish this one. Personally, I like how each A-section features a 1-bar extension – leaving the listener on a Bb9 – but not resolving as one would expect (the melody either returns to the initial Gmaj or drops a 1/2-step to an Amaj for the B-section). The Brian Wilson-style coda gives still me shivers 20+ years on as the arrangement rides out on a non-resolving Bbsus9. The song is diagrammed: AAB AAB A [A = 9 | B = 10] – the extensions keeping it away from typical 8-bar forms. Cool way to end an LP. A+
With Look Around, Brazil pop meets US pop on a Southern California beach…or at least on a sunny Topanga Canyon estate. Following two critical successes, Look Around was the LP that finally yielded pop market triumph – courtesy of the top-10 hit, The Look Of Love. In many ways it is the finest Brasil ’66 LP – a listenable balance of Sergio’s implementation of orchestral arrangements, and his inimitable combo. If there is one complaint it can only be that Bob Matthew’s bass and Joao Palma’s drum kit continue to suffer a reduction in their above-board presence, while Lani is pushed into the spotlight – making it more of a Lani-dominated LP than a “group” LP. For those who favour the female vocal sounds, this is good news; while, for those who were driven by the combo’s unique drums/bass/piano interplay, this is a setback.
Of course, this setback was merely a few rotten potatoes in the sack compared to the famine that was about to occur. To that end, sometime in early 1968, the group’s name was probably more accurately described as “SERGIO MENDES with Lani Hall and Dave Grusin”.
Am not sure when Sergio Mendes met Dave Grusin, but the latter’s effect on the bandleader would be monumental. (Indeed that surname moniker graces Sergio’s then-recent solo LP, Sergio’s Favourite Things, presumably recorded and released between Equinox and Look Around, during that auspicious year in pop…1967.)
Look Around, recorded in late ’67, was the third effort for the group. In many ways, the LP spearheads the group’s direction for the next few releases: stronger rhythmic focus on the combo arrangements, covers of more timely American pop tunes, and the introduction of very “American” orchestrations. Bob’s and Jose’s support vocals are less present as the focus is squarely on Lani and Sergio – the leader fully stepping up to the mike on three selections. Lani is featured on two excellent solo vehicles that showcase her rapidly maturing vocal talents. For the first time, a “group” member (Sergio) is credited with a co-writer’s credit. Half of the LP is orchestrated -- two arrangements from the pen of Dick Hazard; three from Grusin.
Although no one knew it at the time, Sergio settled on a formula of sorts with Look Around that would be repeated over the course of the next few LPs:
- Emphasize contemporary US songs that were recent pop hits
Debut new US songs – courtesy of the Bergman-Bergman team
Embrace the use of full orchestrations
Incorporate the spirit of Tropicala
Feature new songs from Edu Lobo
With A Little Help from my Friends. Opening with a kick drum THUMP on beat 4 – which would characteristically mark the beginning of many Brasil’66 songs henceforth – this new programme is off to a heck of a start wiht the Brazilianification of the instantly-famous Beatles “turntable hit”. Sergio’s reading is a gem employing a complete re-write of the A-section changes (using a descending series of 1/2-step intervals) and a notable high female (“jazz harmony”) voice during the final “I just want someone to love” fragment. The use of non-leslie driven organ (a personal preference) drives the song – particularly during the modal instrumental breaks. It’s just a shame that totally cool organ didn’t burst out into a cool-ass solo…I guess we’d have to wait another 6 months until we’d get something similar. Unique interpretations like this leave us begging for a second helping. Excellent. A+
Roda. One of the most rewarding things about non-US pop music is the absence of that damn back beat. I mean, it has been a staple in black US pop since the dawn of race record recordings in the early 1920s…and all the white dudes picked up on it and have been whacking us on every 2 and 4 ever since. Roda, with its clapping on 1 and 3 reminds US ethnocentrics that there’s a hell of a lot more to keeping a beat than the same ol’ James Brown strut. Like the finest Brazilian songs, Gilberto Gil’s piece employs a B-section that is strong enough to be an A-section outright. The combo is in solid form – with Bob Matthews and Sergio trading leading chores. Dig Sergio’s sweet jazz voicings, as well as another series of 1/2-step downward cascading voicings (listen for the organ). The festive atmosphere and unique false ending make this piece instantly memorable and likable. Expertly programmed into the #2 slot. A+
Like A Lover. Lani probably took many listeners by surprise with this offering. This is the first airing of strings on a Brasil ’66 LP and on first listen, the piece does come off as a bit of a novelty; however, this slice of Southern California sea-side sunshine pop is filled with all kinds of unique musical twist and turns that one expects from Bergman-Bergman. Dick Hazard’s unobtrusive arrangement, propelled by Joao’s 8/8, provided an excellent platform for Lani Hall. Who would have known that she would have found an instant fit into such a musical style? In fact, she did such a splendid job, that she would reprise the style on side 2. Listen to how Jose and Bob sing the unison line – you can hear Jose’s Portuguese accent against Bob’s American English. Really cool. Listen too for the interweaving of the Jose and Bob with/around Lani, as well as the different phrasing of “I might be the velvet moon to you”. All these little elements sum to another stellar performance. In fact, with this, the Bergman-Bergman team gives us the first of their three gems. (The form is essentially AABA ABA [A= 12+2 | B = 13] – with noted extensions.) A+
The Frog. I’m getting the feeling that Sergio likes these “musical mantras” – the same thing that Brian Wilson used to do with his Beach Boys (notably throughout his infamous Smile sessions). I’d like to hear a translation just to see what all the hubbub is all about. Grusin’s orchestration, though dated in its feel, is a perfect fit for this unique song. With each time around the block he alters the sonic landscape. Nice job.
Tristeza. Along with Mexican “banda” style, Brazilian “tropicalia” music seems to have the power to afflict even the most dour of bah-humbugs with unabashedly, terminally glee. The well-known 1966 tune, A Banda – which tells the tale of how a passing band transcends the day’s ills (even causing a flower to open up its pedals in happiness…) – may have been the pacesetting “modern” song that introduced the feel to US ears. The wonderful performance is only marred by the use of an intoxicated trombone line repeated ad infinitum. Then again, it’s a party! If it feels good, do it twenty-seven times. Smoke ‘em if you got ‘em, Jackson!
The Look of Love. This established Janis as a lead vocalist with as much popular impact as Lani. Personally, I like how the piece starts out; however, as the song unfolds, we get a strong dose of the Grusin treatment…there’s so much going on in his arrangement that the arrangement itself competes with the song for dominance. This will be a recurring criticism of much of Grusin’s work with Brasil ’66. The heavy baton works well on The Frog – owing to the fact that that song is quite spartan. The Look of Love, on the other hand, is archetypal Bacharach in that it is already saturated with music – adding more complex voicings, countermelodies, cross-polyrhythms, etc., is excessive. As much as I like Janis’ sultry voice, I’ll take Dusty Springfield’s soundtrack version for its overt coolness. I mean, given the content, the “look of love” should be between two people – Grusin has arranged it as though the “look of love” is exchanged between two halves of a football stadium crowd.
Pradizer Adeus. Sergio’s vocal is a disappointment. His voice is dull and unaffecting, only yielding a bit of timbre in the upper register. To his defense, it’s a pretty grim song, so I suppose he shouldn’t be expected to give us some Anthony Newly. Nevertheless, some EQ-ing wouldn’t have hurt to reduce the muddiness. (One of the few Edu Lobo songs that I just can't get into...)
Batucada. Programming the previous doleful offering in between orchestral overdrive and “The Beat” was probably not the most listener-friendly decision. In any event, Batucada, with its seemingless-endless introduction, is an exciting listen. The arrangement is very much akin to the debute LP – where it would neatly sequence.
So Many Stars. Beautiful. Deceptively simple, this song is a real workout for Lani – just listen to her breathing and phrasing... This gorgeous offering is about as good as music gets; and for me, Lani would never top this performance as a Brasil ’66 singer. Grusin, too, offers far and away his finest arrangement. Listen to how he frames his beautiful songstress: tugging here and there with eloquence and reverence for both singer and melody. The expert arrangement is a study in tension and release: Grusin builds, Lani releases; or vice versa – and at one point they both build and release together…(pretty darn sexual if you ask me). The key change is flawlessly timed. The match of song, arrangement, and singer is ideal. The Bergman-Bergman piece is notable for its repetition of one principal melodic/rhythmic fragment throughout – a vehicle with which they would soon exploit to the Nth degree in their instant classic, The Windmills of Your Mind. Based on this rhythmic fragment, the continuous form is uniquely diagrammed something like this: AA’AA’A’’A’’’ AA’AA’A’’A’’’ [A= 6 | A’ = 8 | A’’= 8 | A’’’ = 8]. A++
Look Around. It’s cool how this piece begins with a little Look of Love tease. Like So Many Stars, this piece is another fine Bergman-Bergman work. Sergio’s presence as a writer is obvious: as this IS the definitive song, arrangement and performance of Brazilian/US mid/late ‘60s pop – colliding on a sunny Ventura beach. The chords and melody are US, the rhythm and feel Brazilian, the overall arrangement and performance – an amalgam of each. Even hearing Jose sing that one note off-key every damn time doesn’t diminish this one. Personally, I like how each A-section features a 1-bar extension – leaving the listener on a Bb9 – but not resolving as one would expect (the melody either returns to the initial Gmaj or drops a 1/2-step to an Amaj for the B-section). The Brian Wilson-style coda gives still me shivers 20+ years on as the arrangement rides out on a non-resolving Bbsus9. The song is diagrammed: AAB AAB A [A = 9 | B = 10] – the extensions keeping it away from typical 8-bar forms. Cool way to end an LP. A+
With Look Around, Brazil pop meets US pop on a Southern California beach…or at least on a sunny Topanga Canyon estate. Following two critical successes, Look Around was the LP that finally yielded pop market triumph – courtesy of the top-10 hit, The Look Of Love. In many ways it is the finest Brasil ’66 LP – a listenable balance of Sergio’s implementation of orchestral arrangements, and his inimitable combo. If there is one complaint it can only be that Bob Matthew’s bass and Joao Palma’s drum kit continue to suffer a reduction in their above-board presence, while Lani is pushed into the spotlight – making it more of a Lani-dominated LP than a “group” LP. For those who favour the female vocal sounds, this is good news; while, for those who were driven by the combo’s unique drums/bass/piano interplay, this is a setback.
Of course, this setback was merely a few rotten potatoes in the sack compared to the famine that was about to occur. To that end, sometime in early 1968, the group’s name was probably more accurately described as “SERGIO MENDES with Lani Hall and Dave Grusin”.