The Tamba 4: After Samba Blim

[seashorepiano]

Lately I've revisited some of my LPs from the early CTi years. The past couple of days, I've been listening to "We and the Sea" and got to thinking about the so-called lost single from the unreleased third album (the 45 with "California Soul" and "Berimbau." The reason I bring this up is because I vaguely remember hearing, or maybe even reading, a while back that the group broke off from production before finishing the scheduled sessions for that album. Something about differences in artistic opinion that seemed to push them and Creed Taylor farther away from each other. The reason I ask all of this is because the members later returned to Brazil, like Luiz Eça, and flourished once again. Does this ring a bell with anyone? Or do you think it was just the lack of commercial success that brought them down, and Creed might have simply told them "it's over" and shelved the tapes?

 

[Rudy]

I wonder if their third album came late in the relationship between CTi and A&M--other "late" albums were shelved, like "Stonebone" (what would have been JJ and Kai's third album). I know Tamba Trio was a functioning unit before the A&M era--did they regroup as Tamba Trio after A&M, or just go off in separate directions? Would be interesting to find out a history of this group, and the members.

 

[seashorepiano]

I know Tamba Trio was a functioning unit before the A&M era--did they regroup as Tamba Trio after A&M, or just go off in separate directions?

Rudy: from my brief research into their recordings available through Dusty Groove, the trio seems to have regrouped in Brazil and recorded an album, "Tamba," in 1970, as well as another album simply titled "Tamba Trio" in 1975. From what I can discern, the original members participated in these albums with a host of other native instrumentalists.

Luiz Eça continued to record eclectic solo albums with both electric and acoustic instruments throughout the 1970s, after his return to Brazil. I had read somewhere once that he had a particular fondness for the Fender Rhodes electric piano.

 

[Dave]

From what you will see there, there are some awfully GOOD tracks:

http://www.dougpayne.com/ctid3k.htm#unisstamba4

...Too good to be left sitting in a vault, which I believe seems to still be their fate... No mention of ANY kind of issue, even in Japan (and the site I found the album info is known to be very reliable and informative) and maybe there's still an issue with the death of Luíz Eça, that's keeping that "third" album unreleased... Still have my double-sided white-label promo of the "Californ'a Soul" single, and "Berimba", I just never really thought was "their" song... I had one Tamba Trio CD, Pais Tropical, I thought it was, but it opened with that song, which I thought was the only thing good on it, as well...


Dave

 

[Rudy]

I know Tamba Trio was a functioning unit before the A&M era--did they regroup as Tamba Trio after A&M, or just go off in separate directions?

Rudy: from my brief research into their recordings available through Dusty Groove, the trio seems to have regrouped in Brazil and recorded an album, "Tamba," in 1970, as well as another album simply titled "Tamba Trio" in 1975. From what I can discern, the original members participated in these albums with a host of other native instrumentalists.

I am willing to bet that the two-CD compilation I own has some of those 70s tracks on it. From what I've heard, I prefer the early Tamba recordings. But it doesn't matter--Luiz Eça was incredible on the piano no matter what album he played on.

 

[PartyRico]

Luis Eca and Tamba 4 created some of the finest A&M/CTI sounds. I personally love "Samba Blim" a bit more than "We And The Sea', but they are both gems. It would be great to hear that unreleased album, or tracks in the event that it's not completed. Luis Eca was one of Brasils greatest musicians. He passed away some 6 years ago aprox.

 

[Al A-S]

Hi, Guys--

I've wondered myself what became of the original Tamba members (Sorry to hear only recently of Eca's passing). I have a 2003 French re-issue of the '75 "Tamba Trio" with Eca and Bebeto; one Helcio Milito in for the presumably departed Ohana. Lots of guest guitarists, including Ivan Lins and Toninho Horta. Lots of Rhodes and ARP from Eca. Pretty dated-sounding (compression-heavy 70's), short pieces--longest is Jobim's "Amparo", at 4:45--like "Samba Blim", no strings. Not my favorite Tamba, but nice to have.

Anyone know what, if anything, is up with Bebeto, Ohana, or Dorio Ferreira(great guitarist!)? Great forum by the way, obviously chockablock with really knowledgable, really devoted A&M/CTI fans. Glad to see I wasn't alone riffling through the record racks from '67 up trying to spot a new Antupit/Turner cover!

Al A-S

 

[seashorepiano]

I have a 2003 French re-issue of the '75 "Tamba Trio"...

I've wanted to buy that album for a couple of years, mostly because I'd like to hear Eça's work on the Fender Rhodes (one of my favorite instruments) and the ARP. It would be interesting to compare Tamba Trio's take on "Amparo" with the composer's own take on Stone Flower.

 

[PartyRico]

I too love the sound of the Fender Rhodes instument. There is a beautiful Bill Evans CD where he is featured on that instrument. That recording includes Luis Ecas "The Dolphin", one of his best compositions. I also like some of Lonnie Liston Smith's albums also featuring the Rhodes. Sergio Mendes also put it to good use. Lovely sound.

 

[seashorepiano]

There is a beautiful Bill Evans CD where he is featured on that instrument. That recording includes Luis Ecas "The Dolphin", one of his best compositions...

Yes, the name of the album is "From Left to Right," and was originally released on MGM Records. It fortunately now sees the light of day on CD in the Verve By Request series.

What's interesting about Evans' cover of "The Dolphin" is that you get to hear two distinct versions of it, one with the bare-bones quartet, and the other with overdubbed orchestra and further instrumental sweetening. Just glance at the liner notes, and you can see the extensive (almost head-spinning) overdub sessions in 1970. I like the quartet take myself, because IMHO it really brings out the gentle nuances of the Fender Rhodes.

Though... this is a question really for the audiophiles (esp. Rudy)... on playing the quartet take of this song, do you notice a very faint trace of the orchestra in the background within the last 15 seconds of the track? Maybe this was the tape used during overdubbing, and the orchestra was simply erased later?

 

[Captain Bacardi]

There's just something about Bill Evans and a Fender Rhodes that makes my skin crawl. I prefer Evans on acoustic piano any day of the week and twice on Sundays!


Capt. Bacardi

 

[seashorepiano]

There's just something about Bill Evans and a Fender Rhodes that makes my skin crawl. I prefer Evans on acoustic piano any day of the week and twice on Sundays!

I know where you're coming from... but I think, at the end of the day, he was at least able to say that he'd experimented with the electric piano and did a great job.

 

[Brasil_Nut]

Luis Eca and Tamba 4 created some of the finest A&M/CTI sounds. I personally love "Samba Blim" a bit more than "We And The Sea', but they are both gems.

I 100% agree -- both excellent albums, but SAMBA BLIM seemed to have a little more substance.

Kind of like Jobim's A&M Lps. The first was more upbeat in comparison to the second, which had a much softer sound.

Jon