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Can you give some more examples of Luizao's innovations? I have a feeling I'm not really understanding it.
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05-06-2019 09:39 PM
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this is treasure, who ever is checking this out, this is an old rare luizao release, he never had a chance to get really recorded and promoted for the genius he was and great composer.
this is early 80s and lots of songs have that production value, but:
go to 11:43 and listen to that song and that is luizao and what his innovation was all about. there is things on here he is trying to be comercial, but, i played and recorded with luizao , and he leaned on his innovation more than trying to be comercial
but, that cut is what that sound is all about
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rpjazz
please check out 19:44 29:06 also
rp jazz, you are exactly the type american musician i want to reach out to, who has gone the extra mile to get into brazilian music, you know a lot of names, youve seen spok frevo, know about moacir santos, played with great brazilian drummers, and have teachers showing you the way.
im reaching out to show you there is this other side of samba that isnt being shown in the educational system or the normal means how we learn about brazilian music if we live outside brazil
and i can tell, i dont think you have to go to brazil to get some of these things , but , someone will have to point the way so you at least know it exists also with the information you are getting. gosh ,when i was in the states i wish someone had shown me bezzerra da silva , elza soares , luizao maia , barrozinho and banda black rio , but we all knew who hermeto pasqual , egberto gissmonte , airto and flora were .
in all honesty, as americans, we are getting the equivalant of the cool school of jazz education with out getting the other sides . we are getting bill evans instead of wynton kelly...i love bill evans , but freddie the freeloader is my favorite cut on kind of blue
the afro brazilian side is being pushed aside for the more european aproach , that is it in a nutshell.
in another nut shell, i see the sao paulo players into their solo part and sometimes they hit the anticipation , then they come back to the on the one cadence with dado dado in the bass drum and hi hat on 2 and 4, the rio aproach is lay on the anticipation all the way through like it is the groove ( this is not always and definitly not the younger musicians). they may change in a B section but more than not they keep the anticipation going. you can hear in those cuts i recomended on the luizao record, the bass drum is acting like a surdo on 2 and 4 or the variations , not dado dado...the bass is crucial, if he is doing the luizao surdo, dado dado on the bass drum kind of clashes, but its still in time so it passes
i just want you to know this differance so then you can make your own choice
you even said, those guys at the clinics said each city has its own aproach to samba, there it is, and , rio has its own aproach , and rio happens to be the heaviest city for samba evolution, and bahia is the origins and roots and should be checked out big time also.
ask yourself this, what musical movement innovation has sao paulo ever put out in brazil that defines the soul of the country?
name one idiom that sao paulo is responsable for defining culture in brazil?
rio has a bunch, chorinho , samba moderno, samba no prate , bossa nova ,escola de samba
salvador has samba de caboclo, samba da roda, candomble, capoiera, trio electrico, bahian guitar ( gosh that ought to be addressed on this guitar forum)
recife has frevo, marakato, coco, caboclinho, cavalho marinho
but name one in sao paulo...sao paulo has incredable technicians , lots of music business is there , tours go out from there, great musicians, but the heart and soul of samba started in bahia and rio became the place it evolved , thank god rio was the first city i lived in in brazil, it set me straight
all the drummers in sao paulo like edu, celso almeido, vera figueira , there are a bunch, they are great drummers, ought to be checked out, can show you a style from rio that came before and have perfected it
but i dont want to sound like anyone of them...yes i have the beat they do just to bring it out for the people that arnt hip to the rio sound and that is a lot of people, people in brazil, every brazilian musician doesnt know everything there is to know about brazilian music. some know the harmonic evolution and sophistication but dont know the ginga and roots, some are only good at the ginga and not very sophisticated harmonicly...its all who you know or play with or talk to
so i respect your knowledge and journy learning brazilian music, i just want to share you what hit me like a ton of bricks when i got to rio
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I studied mostly with a Carioca for several years before I met any Paulistas. As it turned out, most of my study was with one or the other and I never really distinguished between them the way you are describing. The way the tamborim patterns were played depended on the song, as far as I have been aware. I'll have to listen more to your videos to make sure I understand the points you are making.
Later, I did study and had opportunities to study and play with some Northeastern musicians, including Spok, whose music I love, both the frevo and the forro. As far as roots music goes, I've heard a lot of Pagode, but I don't play it.
One other thing. I've had the opportunity to study with musicians of very different ages -- and I have wondered if that makes a difference too.
Some players have a very busy comping style and some don't. Both ways groove deeply but they don't feel or sound alike. There's one version that always feels to me like rushing and another that does not.
It's a big country with a lot of music and great musicians!
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guitarbuddy, you bet, incredable inspiring film. ive watched many times and asked why is it so good? and i realised he has the drumming going in the back ground for a huge part of the first part of the film, when the girl arrives , on the boat , walking around , orpheus and his girl and she starts samba dancing in a crowd, in that tight dress that for me at 10 or 11 made me drop . they even show frevo, candomble, a rehersal of the escola . wonderful fulm
rpjazz, yes, your knowledge of northeast people is great , we talk about spok freve , lets show them, here with the trumpet guy i showed could play bop , fabinho costa. my freind augusta da silva is killing the drums and reneato bandeira ive worked and recorded with is on guitar. he is on one cut on my new record relentless , but i recorded it a while back. this only expands your knowledge of this great country, you are right it is huge , you can only pick what you like the most and dive in. your teachers may not be covering this. but at least im trying to let you know and im bringing in youtubes for proof . so use your ears and make a judgement on that
now i want to show you a couple of the drummers who i say in rio invented the style that a lot of the sao paulo drummers i see are emulating and basing their aproach:
that is edison machado , lots of people refer to him as the innovator of this more open style leading with the cymbal
milton banana was a great practicionor of this style
they pushed that style in the 60s and luizao came on in the 70s and changed the rhythm section aproach
listen to them and immedietly listen to 19:44 and 29:06
a vast differance...do that if you can and i dont think you will be able to tell me there is no differance...compare it to bezzerra da silva
good luck on your learnings
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19:44 and 29:06 of the luizao record i brought in
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Originally Posted by bonsritmos
The Spok video is, like all his stuff, amazing. They sound so comfortable at such a high tempo and the rhythm section grooves like mad -- which is very hard to do at that kind of tempo. The guitar comp (this is,after all a guitar site) is often on quarters (depending how you count it) with a bit of anticipation, but he occasionally embellishes the basic pulse, always brilliantly. Very hard to do really well. That guitarist is a great player. If you don't embellish it gets repetitive, if you do embellish you risk interfering with the groove if you're just a nanosecond off.
What I heard at 19:44 was what seemed to be a transition from a two bar samba pattern (starting with a 16th rest in the first bar in the basic tamborim) to a one bar pattern at that point, but I doubt that I understood the accents.
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i meant compare those records with the luizao record i brought in , the luizao record times at 19:44 and the other at 29:06
i realised that was confusing and i tried another post to make it clear but i think you missed it
yes, renato bandeira is a really good underrated guitarist. i met him playing jazz in recife (this is a while back, i havne seen him in a while) and he plays chorinho also. all styles really, fusion funk . great players in recife , my big respects to that town
please make those comparisons of the old rio drummers records to the luizao record , to hopefully get what im saying
at the very least , it gives you another arm in your arsenal of brazilian music expresions and a differant samba aproach
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guitarbuddy
there are monster guitar players on the soundtrack of black orpheus
i was lucky, my dad was in the used book , records and comics business and he got me the soundtrack record , so it had these old escola da samba feels, candomble and the beautiful guitar tracks
at 11 or so, black orpheus sound track was my big introduction to brazilian music
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Originally Posted by bonsritmos
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rpjazz , see, you know the name "partido alto" , that is part of it
i dont really know a name ,it was like a trend, a shift in how to play samba going on in rio where they started to become more bottom aware and more escola da samba aware. they seemed to be gathering inspirations from percusion instruments in the escolas, the surdos, the quicas , the tamburims the repiques....sometimes licks , like the partido alto is a lick you hear in some instruments in the escola
some elements you might hear as funk enter, but, funk was becoming international so in rio lots of heavy cats like banda black rio , luizao, jorje ben jor , tim maia , started getting funky also. but consider those numbers i reccomended not funk as much as great examples of luizaos innovation in samba
so, did you hear the differance from the edison machado aproach and the luizao aproach?
do you see how the sao paulo drummers you saw and the other musicians from there are kind of coming from the edison machado aproach? but nothing like the bezzerra da silva aproach. but i see elements of the bezzerra da silva aproach in luizao
i see that in the shift of trends in samba, the bass imitates the surdos more, the top is anticipating the one, like the tolecotecos of most of the escolas at that time . luizao came up with a part in the bass that got called partido alto but he also played regular samba with the bass doing surdo figures. he could do all the old school stuff , he recorded with everyone and got a bald spot on his head form the earphones too much.
so check out popular samba singers in the 70s, they have shifted and start doing the newer trend. like clara nunes:
.listen to a bunch of popular sambas from that era and see where the beat is coming from. is it like edu ribeiro?
if you look at the 50s 60s you can hear a lot of singers doing that older style like edison machado....before that it was another style
so im trying to point out this shift and trend in samba that started with luizao and some others that came into the 70s and started to be the way people would play samba. when i got there it was the norm. you could see the older styles but the new one was really in effect. it was the cutting edge.
ive never seen chico pineiro play a samba like danial santiogo , the first youtube i brought in...i rarely see edu ribeiro or celso almeida , two excellent top drummers in sao paulo, play the rio style surdo in the bass drum . im sure they can, they chose not to
the people you bring in to do clinics or your teachers are going to be teaching you what they are experts at . what they are good at. that doesnt mean they know evereything about samba. or , they are emphasising some things important but not really going into others
i notice people outside of rio teach partido alto almost like its an abheration in samba. but in rio its just another natural interpretation of the percusion of escola da samba in the rhythm section, along with other interpretations that throw the bass and bass drum into surdo patterns and anticipated tolocoteco patterns
its just another weapon to put in your arsenal of how to play samba...you are on a great track...im just trying to show you what i learned that i am good at...use your ears and you will make the best choice for you
again, i apologise for bringing in a thread about guitar samba when it was about rhythm aproach to guitar in samba...i have severly neglected to go into harmonic and melodic aproaches , guitar techniques , evolutions and theory behind it. my apologies to all guitarists reading this
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after all is said and done about brazilian music and guitar in brazil, its time to kick back and see what brazil is all about visualy ...
this just came up on my bons ritmos channal , a dvd that was sold with a cd and this is the more complete versions of the youtube i brought in with some songs edited. there are complete clips on here and new ones
rpjazz , you have a lot of knowledge about brazilian music so lets see the visceral side of brazil hahahaha i hope you will like this if no one else checks it out hahahaha
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This is my all time fav latin song, here performed by the great vocalist Karrin Allyson. Just playing the melody on this masterpiece is a challenge in itself and a lesson in rhythmic variation.
I think guitarist Rod Fleeman is doing a solid job laying down the rhythm on his JP sig Epi.
Look, no drums! Rhythm within.
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nice
that lick intro in the A is something you hear a lot of on records in the early 60's.
elza soares, one of the greatest singers of all time in brazil ( the bbc elected her singer of the milinium from brazil) used it on some songs from back then
ive heard it came from a kind of cuban mambo influence . rumba mambo had a big affect on jazz too from the 30's (rumba) to the fifities ( mambo).
nice interpretation
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Nice version.
Here's Joao's.
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enh. No complaints about the performers but these lyrics never translate well into American English. And I can't stand that whole Jon Hendricks thing, it's like an allergic reaction. Not that he did or didn't do the translation, I dunno, but that's the style. and the cats was swingin' skittedy boop boo dah...
Yeah, I know, it's just me. Here's Caetano and Joao.
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Originally Posted by whitebeard
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yeah, Joao is...uhh, unsurpassable? words fail. Whatever it is that puts me in that zone, Joao is the perfect realization of it. One of those guys that makes you reconsider your assessment of humanity.
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Notice most of the time, João is anticipating the one like I talk about
the American guy is always leading with the on the one concept
its important to get the difference and master both approaches
he is the author , right?
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I have Jayme Silva as the composer in my repertoire notes.
Anyway, it was Joao who made it popular, along with all the other great bossa songs. Joao Gilberto is the titel of one of my looongest Spotify playlists. O Pato ("The Duck", I'm not into Jazz because of lyrics) is the coolest song, but the best ever performance (arguably) is Karrin Allysons studio track. I get tears in my eyes when I hear her fantastic rhytmic feel.
It's easier to improvise over this song, than playing the actual melody on guitar. It's a great lesson.
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I think there’s such a fundamental link between the Portuguese language and the way Bossa lyrics feel rhythmically.
Example:
‘É o pau, é a pedra, é o fim do caminho’
Lifting off the beat
In English the stresses are all wrong -
‘A stick, a stone, it’s the end of the road’
Stress on the one to my ears
If I ever wanted to play Bossa seriously I’d have to learn Portuguese. Another life maybe.
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Funny thing is that Karrin from Kansas has done many songs in Portuguese, including an entire album "Songs of Brazil" (check it out). But she does O Pato in English...but then again I'm not into Jazz because of lyrics. Maybe I like the rhytmic flow of the english language...never thought about it
Here's another samba keeping me busy at the moment, in portuguese for you.
Every musician from Brazil is called Gilberto
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Originally Posted by christianm77
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ive lived in brazil 30 + years and i butcher the beautiful wonderful language of portuguese on a daily basis, but, at least im losing my english too hahahahahaha
id like to think , christian , jcat , whitebread and dot, that even if i dont speak really great portuguese, i can eliminate my accent in my playing. i take my playing of brazilian culture more seriously than speaking the language hahahahaha
but, it is incredably beautiful , the language, when im coming back to brazil, after a month of touring or whatever outside of brazil, i love hearing the portuguese flowing over the air at the gate for the flight to brazil. by the way brazilian portuguese is defferant than portugual portuguese. the slang the accent the flow. yes, this flow seems to be exelent over bossa...its musical . but, i had american freinds telling me "oh, im working with a singer from hungary or croatia or lithuania and when they sing bossa in their language , its so beautiful, almost like portuguese ..." hahahahah no its not...they are hearing beautiful bossa harmonies and melodies and any foreign language sounds exotic to them since its not their native toungue hahahahaha
where yes, living in the place that innovated the muisic and immersing totaly in the culture , and living there helps a lot, but people do that and dont get it all the time....im a beleiver in if you live and breathe the culture you love and really do the work and get good guidence, you can get it. look how many people sing opera from other cultures or master classical music or jazz from other places of the origins...so dont worry about that aspect, if you want it , live it and breathe it
bebel gilberto is joao gilbertos daughter so its no surprise she has his name hahaha and that is seu jorje on vocal , i didnt check but i recognise his voice , and the guitar is doing the serious anticipation aproach
ill check out the other clip soon , jcat, but, from the other clip i can tell karen is plugged in
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Joao's version of O Pato seems very difficult to get, rhythmically. Same with Allyson's. The guitar comp and the melody work together, but not quite in the way my American ear expects. On the other hand, Bebel's track does the samba comp the way I learned it, from my Brazilian teacher years ago -- and seems more straightforward with respect to how it fits the melody. Meaning, I guess, I could play the Bebel part, but I'd struggle with trying to do Joao's part.
Anything that speaks against stainless steel...
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