🎷 AotW: CTI Milton Nascimento - COURAGE (SP-3019)

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How Would You Rate This Album?

  • ***** (Best)

    Votes: 5 38.5%
  • ****

    Votes: 3 23.1%
  • ***

    Votes: 2 15.4%
  • **

    Votes: 0 0.0%
  • * (Worst)

    Votes: 1 7.7%
  • Never Heard This Album

    Votes: 2 15.4%

  • Total voters
    13

Captain Bacardi

Well-Known Member
Milton Nascimento
COURAGE

A&M/CTi SP-3019

sp3019.jpg

Released 1969

Format: Vinyl/Reel-to-Reel/8-Track/CD

Produced by Creed Taylor

Songs:
  • 1. Bridges (Travessia) (M. Nascimento/F. Brant/G. Lees) - 3:45
    2. Vera Cruz - 3:09
    3. Tres Pontas - 2:40
    4. Outubro (October) - 4:07
    5. Courage (M. Nascimento/P. Williams) - 3:20
    6. Rio Vermelho - 3:18
    7. Gira Girou (Round 'N' Round) - 3:20
    8. Morro Velho - 4:25
    9. Catavento - 2:23
    10. Cançao Do Sol (Saltworkers Song) - 3:05

    All compositions written by Milton Nascimento except where indicated.


Musicians:
Milton Nascimento - Vocals
Herbie Hancock - Piano
Eumir Deodato - Organ
Jose Marino - Bass
Joao Palma - Drums
Airto Moreira - Percussion
Anamaria Valle - Vocal (4)
Flute - Danny Bank, Harvey Estrin, Hubert Laws, Romeo Penque, Jerome Richardson, Bill Slapin, Joe Soldo
French Horn - Ray Alonge, Joe DeAngelis, Paul Ingraham
Flugelhorn - Burt Collins, Marvin Stamm
Clarinet - George Marge
Trombone - Wayne Andre, Paul Faulise, John Messner, Tony Studd, Bill Watrous, Chauncey Welsch
Violin - David Nadien (contractor), Anahid Ajemian, Frederick Buldrini, Alexander Cores, Harry Cykman, Lewis Eley, Harry Glickman, Emanuel Green, Raoul Pollikoff, Matthew Raimondi, Joyce Robbins, Tosha Samaroff, Avram Weiss, Jack Zayde, Joseh Zwqilich
Viola - Alfred Brown, Harold Coletta, Theodore Israel, David Mankovitz, Emanuel Vardi
Cello - Charles McCracken, George Ricci, Lucien Schmit, Alan Shulman

Recorded at Van Gelder Studios
Rudy Van Gelder, Engineer
Recorded December 19, 1968; February 26, 27, 1969

Cover photograph by Pete Turner
Album Design by Sam Antupit
Liner notes by Ralph J. Gleason



Capt. Bacardi
 
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Side One: Bridges 3;45/ Vera Cruz 3:09/ Tres Pontas 2:40/ Outubro 4:07/ Courage 3:20.
Side Two: Rio Vermeiho 3:18/ Gira Girou 3:20/ Morro Velho 4:25/ Catavento 2:23/ Cancao Do Sol 3:05.
JB
 
All songs were written by MN (Almo Music ASCAP) except "Bridges" (Nascimento, F. Brant, G. Lees, Almo Music Corp/ Fermata International Melodies) and "Courage" (Nascimento/P. Williams; Irving Music BMI).

Piano Herbie Hancock/ Organ Eumir Deodato/ Jose Marino, bass/ Joa Palma, drums/ Airto Moreira, percussion/ Violin: David Nadien (contractor), Anahid Ajemian, Frederick Buldrini, Alexander Cores, Harry Cykman, Lewis Eley, Harry Glickman, Emanuel Green, Raoul Pollikoff, Matthew Raimondi, Joyce Robbins, Tosha Samaroff, Avram Weiss, Jack Zayde, Joseh Zwqilich.
Viola: Alfred Brown, Harold Coletta, Theodore Israel, David Mankovitz, Emanuel Vardi.
Cello: Charles McCracken, George Ricci, Lucien Schmit, Alan Shulman.
Flute: Danny Bank, Harvey Estrin, Hubert Laws, Romeo Penque, Jerome Richardson, Bill Slapin, Joe Soldo.
French Horn: Ray Alonge, Joe DeAngelis, Paul Ingraham.
Flugelhorn: Burt Collins, Marvin Stamm
Clarinet: George Marge
Trombone: Wayne Andre, aul Faulise, John Messner, Tony Studd, Bill Watrous, Chauncey Welsch.
Vocal: Milton Nascimento, Anamarie Valle (on "Outubro")

Recorded at Van Gelder studios, Ruby Van Gelder (engineer) Dec. 19, 1968, February 26 and 27, 1969.
Cover photograph by Pete Turner; Album design by Sam Antupit.

JB
 
One of my top 5 Desert Island Discs -- for the last 25 years. The 'ne plus ultra' of A&M/CTI recordings of Brazilian music. Arranged and conducted by Eumir Deodato, this is stunningly brilliant -- reflecting a strong awareness and sense of Gil Evans. Nascimento's compositions on this LP, especially 'Vera Cruz', became instant standards among jazz cognoscenti.
(See: Jim Hall's 'Where Would I Be' album).
 
MILTON NASCIMENTO
COURAGE
SP3019


I picked up the Japanese CD of this a couple of years ago. This is some very nice Brazilian pop. Nascimento has always been considered a gifted songwriter, and this album shows why. "Bridges" is a very poignant song, with some lush orchestrations behind him. Usually, I don't care much for that, but it works well here. I love the shifting rhythms on "Tres Pontas" and "Cancao Do Sol". A bit of jazz shows up on "Catavento", with some nice flute work. This album isn't quite as good as his 70's album Milton, but it's solid nonetheless.


Capt. Bacardi
...getting ready for DA BEARS online...
 
Captain Bacardi said:
Nascimento has always been considered a gifted songwriter, and this album shows why.

He has made some good recordings, no doubt, but I think his influence as a composer even outshines that aspect of his career. His songs don't immediately grab you--they sort of grow on you like an infection. :) A few of his songs, I'll shrug off...then find I'm whistling them a few days later, and want to hear them more. I guess a great song sort of creeps up from behind and gets into your system, vs. hitting you immediately over the head.
 
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Again I'm in the minority -- I don't care for this album too much. (IMO, the "ne plus ultra" of Brazilian music on A&M/CTi is Jobim's perfect musical statement, Wave, followed distantly by Desmond's From The Hot Afternoon.)

Anyway, the first strike against the album is that I bought it mostly because I had read that Anamaria Valle does a guest vocal on "Outubro." I was very anxious to hear that, since her solo contributions to Wanderley's When It Was Done had made such a strong positive impression on me. Upon finally buying and listening to the Nascimento CD, I was very disappointed to hear that she doesn't get to sing anything except an octave unison with Milton, and only on one verse! What a waste of a beautiful voice.

Beyond that disappointment, I find Nascimento's voice rather dull and grating. I'm down with the idea of people like Herb Alpert and Burt Bacharach taking occasional heartfelt vocals, but an entire album of Milton singing just doesn't work. Call me crazy, but there's a certain "Kermit the Frog"-like tone to his voice, particularly in the upper range, that I just can't get used to. I have no problems with Nascimento as a composer or songwriter -- but thus far, I'd rather hear his songs played or sung by other people. Paul Desmond ("Hot Afternoon," etc.), Brasil '66 ("Vera Cruz"), Astrud Gilberto ("Bridges"), or even Sarah Vaughan on her Brazilian albums, are all a lot more enjoyable to me than Milton's own versions on this album.

My favorite track (by a mile) is "Catavento," with Hubert Laws and Herbie Hancock playing typically brilliant solos. And Milton's vocal participation is mercifully limited.


- William
 
This is one album I found hard to get into, save for the Opening Track, "Bridges", which I appreciate hearing in English. I have a version done by drummer-turned vocalist, Grady Tate on Gary McFarland & Norman Schwartz's SKYE label, that's just as inspirational and inspiring.

Nascimento wails, chants and his vocal spiralings spiral along with the accompaniement, but I have found it doesn't even compare with his appearance on Walter Wanderley's WHEN IT WAS DONE. His chanting on "Walk Right In", is REALLY Something Else!

But Milton manages to ably chart his Afro-Brailian territory on later A&M albums, MILTON and JOURNEY TO DAWN, quite better, creating more of a World Beat, rather than the modal Jazz A&M/CTi specializes in and probably expected from him, much like The Tamba 4. "Cravo y Canella (Cinnamon & Cloves)" is at least one positive of that.

Dave

...and a real good example of Nascimento's playing and singing, though also as a cameo can be found on Flora Purim's 500 MILES HIGH recorded at the MONTREUX JAZZ FESTIVAL on Fantasy records...
 
snapcrotch said:
Don't know why you'd want to us to link with slipcue. The guy is full of smug, sarcastic, sophomoric snippets when it comes to Nascimento's releases.
A more helpful source would've been the AMG site at www.allmusic.com -- where there's a forest of four and five-star reviews of Milton's 1968-76 albums. RE: 'Courage', AMG says,"...a masterpiece, a gorgeously executed tour of...one first-class tune after another, many of which would ignite a rush of cover versions. To some admirers, 'Courage' remains his best record, period." (Richard S. Ginell, reviewer).

I agree...! Give this guy the "Slip" and head over to more positive reviews at AMG!

I can't grade Nascimento's works very highly, either, but that's just because World Music is just not what I'm particularily into. Milton covers that, just a bit more, as a Cultural Genre than something on the Jazz axis, like Tamba 4 and/or the Pop axis, like Sergio Mendes. As opposed to something defined as "Jazz", "Rock", "Folk", "Country", etc. Just My Humble Opinion...

Dave

..."at least to these ears"...
 
Forgive me if this has already been posted, but I didn't see it if it was...I was in Barnes & Noble last night, using their listening station and discovered that Verve is releasing Milton Nascimento's "Courage" on CD July 12! Anybody know if any other A&M/CTi treasures are part of that release?

---Michael Hagerty
 
This will be the fourth release of this on CD, if you count the Japanese release. An excellent album, but I wish Verve would release the rest of the CTI/A&M catalog rather than rereleasing the same titles over and over again.

Jeff
 
Criticism noted. But what about the release date? My original question: Any other vintage A&M or A&M/CTi stuff set for July 12?

---Michael Hagerty
 
Milton's JOURNEY TO DAWN hasn't been reissued to my knowledge; Verve reissued MILTON a few years ago.
JB
 
Capt:
That's what I was hoping for...a multi-A&M release (like they did with Sergio's "Look Around", Edu Lobo's "Sergio Mendes Presents" and Paul Desmond's "From The Hot Afternoon" and Tamba 4's "We And The Sea") five years ago.
Walter Wanderley's "When It Was Done" would be too much to ask, wouldn't it?

---Michael Hagerty
 
Michael 'Not So Grizzly' Hagerty said:
That's what I was hoping for...(like they did with Sergio, Edu Lobo, Desmond and Tamba 4...five years ago.

Holy Crap! Has it been 5 years???? What a shame the "Verve By Request" imprint didn't continue much beyond those beloved A&M reissues...

--Mr Bill
 
Mr. Bill:
Yep...April, 2000.
While I appreciate having "Look Around", "Equinox" and now "Fool On The Hill", in five years, I would have hoped for "Herb Alpert Presents", "Crystal Illusions", "Ye-Me-Le", "Stillness", "Pais Tropical" and "Primal Roots (it only took six years for all the Sergio LPs to be released originally) as well as everything with the slightest hint of a Brasilian beat from the A&M/CTi catalog.
But, hey...we're getting all the Herb Alpert....maybe it just takes time...and we should be prepared for the fact that they won't all be available at the same time ("Look Around" and "Equinox" are already past their "limited availability" dates).

---Michael Hagerty
 
BTW: Just saw the "not so grizzly" remark...I actually met Dan "Grizzly Adams" Haggerty last Friday. Turns out that his family used to spell their name with only one "g", so we're probably related. 30 years worth of jokes may not have been in vain!

---Michael Hagerty
 
I think Verve By Request got canned when Universal finally got in and reorganized all the jazz departments. GRP became the $mooth Jazz label, Verve went in other directions, and dumped the "marginal" reissues that IMHO were the most fun. I probably have at least 10 or so Verve By Request titles--most of them are a lot of fun! Dizzy Gillespie's "Jambo Caribe" is one of them.
 
Not to stray off-topic, but I think you answered a question I've had for months, Rudy. Seemed to me that something was up when all the VBR titles at my store were suddenly pulled. I figured they'd been dumped. It's a shame, some of the titles were good.
 
Michael Hagerty said:
Walter Wanderley's "When It Was Done" would be too much to ask, wouldn't it?

WIWD is available through Verve Records' website for download to iTunes, as part of their "Out of Print" series. A crummy way to release well-respected albums again, but what can you do?
 
I've kind'a dismissed this unfairly after just one listen and even more, should'a really looked more into the Nascimento catalog to hear and appreciate the later releases... Though it was really, basically in my finding that this was wholly more for someone latching onto this "new" artist altogether, rather than for anyone truly into A&M/Cee-Tee... Still I now kind'a wished...

"Bridges (Travessia)" was also remade by other artists, both Brasilian and American... American drummer/vocalist Grady Tate singing it in English at least made up for my loss... Having picked up on Paul Desmond's From The Hot Afternoon, I at least got "Outubro (October)" and "Gira Girou (Round 'N' Round)", which were how I got a good taste of the later A&M-CTi, as I initially didn't want to stray from the "First 18 Artists/LP's", hearing anyone new added to the roster, other than maybe Quincy Jones, that is...

Some other song titles sound familiar, such as "Vera Cruz", "Tres Pontas" and "Morro Velho", in thinking that there are versions by Sergio Mendes, Edu Lobo and/or maybe Milton doing again... (I'm thinking "Vera Cruz", but I could be wrong)...

The chants, trills, croons and coo's by Nascimento and the other vocalists do maintain the authenticity in the Brasilian, rather than Jazz canon, so that must be why this one didn't really appeal to me... The Tamba 4, Wanderley and Jobim seem to have stuck more to the Jazz genre, and were much easier to listen to, while like Desmond's 2nd effort, (which I gave another listen to and LOVED--even more than his 1st and 3rd) Milton really did show how much Brasilian rhythms did play a role in the development of both Traditional and Modern/Contemporary Jazz and its importance in every kind of music... Really, still, this is just an Acquired Taste...

...Though, now I'm pretty curious about "Cançao Do Sol" (--The 'Saltworkers Song')... --Guess I really shouldn't have 'taken it with a grain of salt' and I wish I hadn't 'given this the slip'...! :sad:



Dave
 
It's available on CD....found exactly one copy in all the Borders stores in Phoenix and snapped it up a month or two ago....replacing my long-lost vinyl I bought when this came out in 1969. Love it.

---Michael Hagerty
 
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