"Tufts was no lack of
Sergio Mendes in November 1962. At just 21, he had already recorded an album and loomed as a child prodigy playing jazz and bossa nova in a very particular, marked by versatility. Pianist talented and inventive he would have traveled that month and knees with a rosary in his hands - because of fear that had air - to perform at Carnegie Hall, New York, in tribute to bossa nova. I'd play alongside the great names of the Brazilian: Joao
Gilberto, Tom Jobim, Vinicius de Moraes and others.
When you meet with the musicians and the event organizer,
Sidney Frey, Sergio was not deterred and soon announced: that he and his open or close the show and did not accompany anyone. The show was punctuated by gaffes, but the group of Sergio got open and made beautiful. Both the leading saxofonistasexteto Bossa Rio Cannonball Adderley to invite them to join their hard Cannonball's Bossa Nova. This experience could also result, shortly after, one of most important albums of Brazilian music, you have not heard nothing! With arrangements of
Antonio Carlos Jobim and Moacir Santos, the album title sounded pretentious.
But it was the synthesis of a landmark work and does not properly contextualized, which highlighted the effervescence
Copacabana Music in early 1960. At that time, Brazilian music was a continuation of a process started six years ago with its night clubs and jazz clubs. Nearly four decades later, the album of Sergio Mendes and Bossa Rio goes by first time in CD format, a deluxe edition that includes the Dubas jacket carton and bilingual booklet with a biography of all the musicians of the sextet. This is a seminal work in the instrumental bossa nova.
On the back,
Arino DeMattos Son announced as the "samba ever, but also a new samba." There are ten tracks, four of the works of Tom Jobim in partnership with
Vinicius de Moraes and
Newton Mendonça: She's Carioca, Desafinado, Corcovado and Girl from Ipanema. The choice of repertoire not was random. By opting for big hits, Sergio and his crew just wanted to show the new clothes they wanted to, with emphasis on wind instruments - saxophone, clarinet and trombone. "We represented the spicier side of bossa nova, while the others were doing something sweeter, minimalist, the little band, "recalls the musician, in an interview with this newspaper in Los Angeles by telephone." I always liked the instrumental part of the movement and express it on the record. "orchestrated Joint samba with jazz, you have not heard nothing! looks fun to play music, such spontaneity and connectedness of soil blowing and piano.
Desafinado and Ela é Carioca, for example, offer insurmountable issues that reveal its full potential in melodic version unforgettable . The album, in fact, was a rare and ideal marriage of musicians, arrangers and song. Hence the particular sound of the disc, which survives 40 years later, with surprising contemporaneity. The player took five months between musicians together, make the arrangements and record. The sextet was formed by Sergio,
Tiao Neto, known bassist and
Edison Machado, drummer and creator of the "samba plate and hit the rim of the cups; trombonists
Raul de Souza and
Edson Maciel, the clarinetist
Argentine Hector Bisignani, (Costita for short) and saxophonist Aurino Ferreira.
According to Sergio, the role of Jobim in arrangements was very important. "When he heard the group for the first time, he was very impressed with the sound. I began to frequent his house and started to make the arrangements together. "Moacir If it had been his teacher and accepted the invitation to participate. Sérgio notes that the record was not thought to look like a jam session - in which several musicians improvise on their instruments. "Ranging, everybody had his little solo, but other than jazz, marked by solos." According to the instrumentalist, he also sought to limit releases to small land not to be boring, without improvisation or juggling .
Each one gives your little message, but it is important to the whole, "he justified. In all tracks, however, the predominant use of two trombones. It would then be a disc samba-jazz? Sérgio says he never defined it so. He admits that jazz was very much present - with emphasis on the virtue of Edson Machado - but the key was on the samba. Jazz went only to the extent of improvisation. Writing in 1964, recalled Tom Jobim recording of you have not heard nothing! and your first contact with the music of Sergio Mendes. Jobim said that she admired him as an extraordinary musician to be at the same time, intuitive and scholar of music. "rare thing because, generally the intuitive are only intuitive and scholars following scholars.
"The conductor described the production of the LP as a product of a thousand sleepless nights, coffee and cigarettes." I am no prophet, but I think this record, the product of hard work and love, breaks new ground in the panorama of our music. "In making a landmark work with only 23 years, Sergio Mendes was established as a precocious talent to a genre of music in evidence, with international acceptance as never before in relation to Brazil. For him, in particular, had a sense of who had overcome a difficult childhood, marked by health limitations. Son of a physician, born in Niterói, Sergio was forced to live with a plaster cast because of scoliosis.
The disease does not hindered in their learning piano.'m a fan of
Stan Kenton and pianist
Horace Silver, studied with
Moacir Santos and changed from classical to jazz. About
Sergio Mendes, Ruy Castro recalls in his book Chega de Saudade that there was good, the family has scraped the head when he took note of red. His father raised him with money and controlled as the allowance was short, he set up a trio with his friend
Tiao Neto, in the same city, who played bass. The third member, a drummer, it was rotating. In the beginning The three animated dances with jazz, a rate that does not usually arouse interest in dancing. Valsa even just knew Lover,
Rodgers and Hart. But his talents as a pianist stood out.
In 1960, he began participating in jam sessions of jazz and bossa nova in Sunday matinees at the
Little Club, considered opening point for youth and amateur. In Lane, the point of concentration of bars that played bossa nova, Sergio assembled a sextet consisting of talent that stood out then:
Paulo Moura (alto sax)
Pedro Paulo (trumpet),
Durval Ferreira (guitar),
Otavio Bailly (bass) and
Dom Um (drums). Many other groups would be formed by him after, including three quartets in rapid process of professionalization that after the highlight internationally as hybrid jazz and Latin music. ambitious and well-articulated, Sergio had international vision and focused on his potential when he joined the biggest names in the Bossa Nova in a tumultuous performance at
Carnegie Hall in 1962, the show would serve as a diaspora for the movement.
His bet on the foreign market gained strength following year after the release of You is not heard nothin! During 1963, the Bossa Rio touring Japan and France, now a trio, with the participation of
Nara Leão The trip was sponsored by Rhodia. But the big chance to redirect the career of Sergio Mendes came the following year, when the Foreign Ministry invited him to organize a group for the purposes of making a cultural tour of Mexico and the United States. The player invited Jorge Ben (guitar, vocals), Wanda Jackson (vocals),
Rosinha de Valença (guitar),
Tiao Neto (bass) and
Chico Batera (drums). With the end of the tour, he convinced some musicians to stay in America.
In May of that year, would record Bossa Nova York, with the participation of Jobim and jazz greats like
Art Farmer,
Phil Woods and
Hubert Laws. So curious, you have not heard nothing! won the limbo of the history of Brazilian music. Even some of the most profound books on the Bossa Nova Tom Jobim and not more than the quotation of his title. His proposal also has not been followed and became a unique moment in the discography of Sergio Mendes, since carrying a lot of differences from his first album in 1960, Modern Dance, released by Philips.
In this, the piano was dominant, though not Maciel on trombone. The repertoire mixed Brazilian music and American: Oba-La-La (
Joao Gilberto) Love For Sale (
Cole Porter), Tristeza de Nós Dois (Mauritius -
Durval Ferreira - Bebeto), What Is This Thing Called Love? (Cole Porter), looked at me (
Ed Lincoln - Silvio César) and Satin Doll (
Duke Ellington), among others. The disk with the
Bossa Rio, so he left an expectation that was fulfilled. Its author became one of the most celebrated Brazilian musicians abroad in the following decades. In the U.S., Sergio formed the joint Brazil who recorded 66 albums and toured with great success.
The album
Herb Alpert Presents Sergio Mendes & Brazil 66 topped one million copies, with success Mas Que Nada, Jorge Ben - the song reached the first places of the charts U.S.. After playing in the White House in 1967, Sergio recorded several albums, with individual or sets of renowned Brazilian musicians who set up on several occasions. Always with the feeling of mixing or combining bossa nova, jazz and Brazilian rhythms popular. In 1993 he won the Grammy for World Music .. It is still better known abroad than in Brazil. Ironically, his legendary record keeps his title with a cause: You have not heard nothing! Who does not know him, he has no idea what is missing. "Source: Richard Junior - Gazeta Mercantil on 16/08/2002.
Faixas:
01 - Ela é Carioca
02 - O Amor Em Paz
03 - Coisa #2
04 - Desafinado
05 - Primitivo
06 - Nanã
07 - Corcovado
08 - Noa Noa
09 - Garota de Ipanema
10 - Neurótico
Musicians:
Sérgio Mendes -Piano
Edison Machado -Bateria
Raul de Souza - Trombone
Edson Maciel - Trombone
Hector Costita -Clarinete
Sebastião Neto - Baixo acústico
Aurino Ferreira - Sax Tenor
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