Why did Janis Hansen leave Brazil '66?

Status
Not open for further replies.
Well, I like orchestration in general, and when used in the right time, place, and extent, the results can be excellent. But, I think that sometimes the orchestrations that were used on certain songs were "overwhelming."

I think this is particularly true when it comes to those used on the later TJB albums such as WARM. (Yes, I know this isn't the TJB forum - I'm just using that as an example).

I think the music of Sergio Mendes and Brasil 66 has staying power because is is good music, done well, by skillful performers.

While I recognize that the group was fronted by vocalists and was a vocal group, I think the rhythm accompaniment was a big part of the sound and style. Being an instrumentalist myself, my listening tends to gravitate toward the instrumental aspects of the music. Not taking anything away from the vocalists, but I think the instrumental aspect of this particular group was a major contributor to what they were and their musical presentation.

I think any number of good singers could have presented these songs. IMO, it is the overall concept, sound, and style that made them and their music successful - not any one particular person.
 
I think any number of good singers could have presented these songs.

Want an example of how disconnected some people are? Look at the reviews of ENCANTO on iTunes. There's one person there who says ENCANTO is "Segio" at "her best."
 
Forgot probably my favorite Grusin work on FOTH: Reza! Such a fantastic use of brass. When people complain about the orchestration (which I have no problem with--everyone is of course entitled to their own opinion), I do want to say that it sometimes sounds like they think the orchestrators did all of this supposed "damage" without any input from Sergio. Especially on the classic B66 orchestrated albums, the arrangements works so organically with the orchestral passages that I for one am positive that Sergio knew exactly what he wanted and communicated that to Dave.
 
Harry said:
...So, Sergio now had a blonde in his group, and some in his band looked a little like Klingons of the day...
Hey that's funny -- certainly does well to qualitatively describe the base visual differences between the original and what came next.

quintscafidi said:
...I understand Michelle Phillips was also briefly fired from the Mammas and the Pappas and replaced by the pretty blonde wife of their producer, Lou Adler.
Ha! Now that's a good one! Are there any (male) record producers -- past or present -- that DIDN'T have pretty blonde wives??
 
I've not met Janis, but the venom that flies from her written description of Sergio's firing of the group--plus her catty comment about Lani being Alpert's girlfriend--make me wonder just how pleasant she might have been to work with at that time. Perhaps, sailing on the success of "Look of Love," she organized what Sergio perceived as a bit of a revolt? Maybe the group even made some ill-considered threats?

The tale is that she and the others tired of staying in Motel 6s while Sergio bedded in comparatively lavish digs. She and the others received no royalties, either. They approached Sergio with their grievances, and that was the end.

Most probably, the real story was in the body language, the phrasing. And whatever baggage the players carried.

Dumas said, "Il y a une femme dans toute les affaires; aussitôt qu'on me fait un rapport, je dis: 'Cherchez la femme'." In this case, judging from her own commentary, I have this notion of a high-maintenance redhead pushing Sergio a little too hard, resulting in maybe bit of a diva moment on Sergio's part.

The truth is probably somewhere in-between. But somehow I picture Lani off to the side, staring at her shoes, not entirely sure about it all.

It was a tragedy, that much is certain. I hope Janis can find satisfaction in her excellent work and the high regards her fans here hold for her.
 
I have always wondered why Sergio decided to have Janis sing "The Look of Love" when Lani was clearly the "vocal star" of the band with the other two big ballads on the album.

Maybe he was trying to have a group with two vocal "stars" instead of one; maybe trying to avoid the group becoming "Lani Hall and Brasil '66 Featuring Sergio Mendes."

Or maybe he recorded Lani singing the song and decided Janis' take was better.
 
I think you misread Janis, at least in terms of her comment about Lani--she was simply stating the facts (though, truth be told, I think she may have misremembered a bit, as Herb and Lani have always stated their relationship began in 1969, and in 1968 Herb was still busy singing "This Guy's In Love With You" to Sharon, LOL). Lani and Janis are still friends and see each other as time permits. The whole band was unhappy with their treatment, not just Janis, and I think Sergio may have learned something in the whole brouhaha--he may have been the putative "star," but that didn't mean everyone else was valueless.
 
I think she may have misremembered a bit, as Herb and Lani have always stated their relationship began in 1969, and in 1968 Herb was still busy singing "This Guy's In Love With You" to Sharon
Herb has stated that they were friends for a couple of years before any romance entered the picture, so I guess it depends on your (and their) definition of "relationship."
 
JMK said:
Well, I guess I read "watered down" as inferior. .

The fact that the rhythm section was watered down on the later albums has nothing to do with the players being inferior; just that they were called upon to do different things.

On the first three records, Joao's drums were right up front. (And by the way, the fact that he was playing straight eights has nothing to do with a "rock" influence in my opinion) Joao Palma's playing was extremely tight. (just like Nick Ceroli) And you could hear the rhythm section fine and they weren't off into the background.

On the first three records, it's like we have the vocals, Sergio, then the rhythm section. On the later records, it's like vocals, Sergio, orchestra. The rhythm section stepped into the background and was practically wiped out by the orchestra. This is especially true on Crystal Illusions. This isn't much of a problem on Fool on the Hill. And I kind of agree with James here. On Fool In The Hill, the rhythm section is a little more traditional. The drummer is using more traditional rhythms including the Montuno on Casa Forte.
 
The rhythm section stepped into the background and was practically wiped out by the orchestra. This is especially true on Crystal Illusions.
This may be why I like STILLNESS so much. It still has some orchestrations, but they're scaled back and the rhythm section takes center stage again.
 
Yow, the way Sergio was making the rest of his Band and entourage seem so "secondary" you can't really blame the ill refute among the disgruntled party...

I think if I were treated that way, I'd leave, too!!! :laugh:



Dave
 
Status
Not open for further replies.
Back
Top Bottom