Archive for the ‘Partitions’ Category

Sack Of Woe (Cannonball Adderley)

In Others, Sack of Woe on September 22, 2014 at 6:31 pm

Sack of WoeFirst release in The Cannonball Adderley Quintet at the Lighthouse

From Wikipedia, the free encyclopedia

The Cannonball Adderley Quintet at the Lighthouse is a live album by jazz saxophonist Cannonball Adderley released on the Riverside label featuring a performance by Adderley with Nat Adderley, Victor Feldman, Sam Jones and Louis Hayes.




  • Release: 1960
  • Recorded: 16 October 1960
  • Label: Riverside

The Allmusic review by Scott Yanow awarded the album 4 stars and states “a fine all-around set from the Cannonball Adderley Quintet… finds his band in top form… It’s a strong introduction to the music of this classic hard bop group”. The Penguin Guide to Jazz awarded the album 4 stars stating “At the Lighthouse, which marked Vic Feldman’s arrival in the group, is a near-classic, opening on the immortal version of “Sack O’ Woe” and steaming through a vintage Adderley set in front of a cheering and fingersnapping crowd”.

Track listing

  1. “Sack O’ Woe” (Julian “Cannonball” Adderley) – 10:31
  2. “Azule Serape” (Victor Feldman) – 9:25
  3. “Our Delight” (Tadd Dameron) – 6:52 Bonus track on CD
  4. “Big “P”” (Jimmy Heath) – 5:52
  5. “Blue Daniel” (Frank Rosolino) – 7:29
  6. “Exodus” (Feldman) – 7:36
  7. “What Is This Thing Called Love?(Cole Porter) – 4:45
  • Recorded at the Lighthouse Club, Hermosa Beach, CA on October 16, 1960


  • Cannonball Adderley- alto saxophone
  • Nat Adderley- cornet
  • Victor Feldman- piano
  • Sam Jones- bass
  • Louis Hayes- drums


In Fun, Summertime on July 17, 2014 at 8:41 am



Summertime, and the livin' is easy
Fish are bitin' and the cotton is high
Your daddy's rich and your mammy's good looking
So hush, little baby, don't want you cry

Some of these days you're gonna rise up smiling
Spread your wings and take to the sky
Till that time there ain't nothing gonna harm you
So hush, little baby, don't you cry
Hush, little baby, don't you cry



pdf here: Summertime

backing track (120 bpm)


Average White Band: ‘Pick up the Pieces’: Atlantic K 10489

In Pick up the pieces on March 24, 2014 at 11:12 pm
(extract from Patrick Dailly web site and works)

‘Pick up the Pieces’ made the reputation of the Average White Band. This is not to imply that they were in any sense a awb3one-hit-wonder band, but rather to recognise that this song approaches a kind of perfection in a style of music that was very distant from the band’s roots in Glasgow. Essentially the song is a brilliant assimilation of the style of American jazz fusion bands like the Crusaders, merged with the economy of modern jazz and the attitude of the JB horns. The mixture was potent enough to reach no 1 in the American charts in 1975 and no 6 in the UK. It became a bench mark of disco style, and redefined European funk within the context of 70s dance music. But since technical excellence by itself rarely recommends a recording to the popular taste, other reasons might account for the phenomenal success of ‘Pick up the Pieces’.

A passion for dissecting music so that it can yield underlying secrets is very alien to the majority of listeners who would rather sit back and enjoy the music. There is, though, a very strong case for arguing that such analysis informs us not only about the music in question, but also about our mechanisms of perception, our cultural ideology and world outlook. It can tell us about how we decode the mystery of the universe that we confront. By way of the tunes of the discotheque, we can make discoveries of ontological significance.

In many ways, ‘Pick up the Pieces’ is narrative: it is an instrumental, and consequently lacks the specific meaning of lyrics, but it has many other factors associated with it that make it a kind of story. At a structural level, it is a very simple kind of story which goes something like this: after an introduction which is full of tension and suspense (as if we’ve dropped into something in the middle of things rather than at a carefully prepared beginning), we hear some music that is tonally static, really dance-like, full of optimism and carefree. The music repeats extensively, and seems, for a time at least, to be going on forever. The chord that opened the piece is heard again before each repetition of the music, but at the third repetition, something totally different occurs. We are propelled into a wild saxophone solo which contrasts most markedly withthe preceding material. Then again, there’s that chord, and the status quo is re-established. But this time, there are crucial differences. The story ends abruptly; the music finishes without any flourish, or a coda section, or anything different happening at all … it just stops.

Simplifying this ‘storyline’ further: ‘Pick up the Pieces’ announces a particular set of circumstances, demonstrates a awb4wildly different set, and then re-iterates the first set, slightly, but crucially, altered. In the sense of plot, we might suppose that the change in the status quo is the result of the alternatives encoded in the middle section – indeed there would hardly be a story if this were not so – but this is inference. Many common folk tales have the same structure. In ‘Jack and the Beanstalk’, the initial set of circumstances is typified by poverty and need. The wild adventure in the middle of the story, selling the cow and planting the beans, going up the beanstalk and being chased back down it, is the means – however unlikely – by which the circumstances are modified. In the final episode of the story, Jack and his mother enjoy the riches that he has plundered from the giant’s castle. The initial circumstances in ‘Cinderella’, show Cinderella, the central character, unhappy and abused. After a magical central escapade she returns to her initial state as housemaid. Of course, we expect the slipper to fit … we are sufficiently well versed in the mechanics of plot to see the change in Cinders’ circumstances well before it actually happens. Perhaps the listener is partly expected to ‘jump to conclusions’ well before the end of the story: in folk story terms, it is the satisfaction of reinforcing the prejudices of the listener that gives the story life and cultural meaning. In ‘Pick up the Pieces’ we are absolutely sure that the conditions present at the opening of the piece will emerge again at the end … the question is, how will the change in circumstances actually manifest itself? The archetypal fairy tale, in which the hero leaves the castle (or hut, or wherever) and has a remote adventure, eventually to return with some kind of prize or privilege, is mirrored in the ‘plot’ of ‘Pick up the Pieces’.


What other characteristic does ‘Pick up the Pieces’ share with a narrative? Well, it might be considered an oral story, that is, one that is transmitted and received without the medium of writing, because it is built up of memorable hooks. It comprises a few basic cells that are put together in a simple, repetitive order like a children’s story, and like a children’s story, it is predictable. There are variations in the foreground of ‘Pick up the Pieces’, but these variations are easily memorised. The variation in the tune always happens at the third repetition, rather like the conventions built into epic verse to make it memorable from the perspectives of both the teller and the listener.

Other variations exist as intriguing details. The guitar riff which constantly accompanies the main tune, and fills in the gaps between the statements of the tune, is remarkable for its restraint: it never varies in volume, it never aspires to the foreground of the piece, and, more importantly, it’s always there. It is a kind of constant element against which the bravura and bluster of the saxophone tune can be felt and measured. Every now and then there are variations in the riff. One of the tenets of funk is this essential quality of understatement and coolness – the riff is of structural importance in that it underpins the more dramatic statement of the main tune – but at the same time it encodes a sense of mission and purpose within the context of the piece which has its own sense of dramatic statement.

(click the diagram for a better image)

Another interesting variation lies in what could be called the transition motif (see lead sheet bars 34, 52 and 87). The motif establishes itself through many repetitions in the course of the piece, but close listening reveals small alterations to the melodic contour. These alterations tend to happen on the penultimate bar of each transition motif, even though these sections vary in length (see bars 35, 54 and 94).

Listing the motifs of ‘Pick up the Pieces’ and remarking on their capacity for variation does not, in itself, constitute a discovery about the meaning of the music. It is, though, a valuable exercise, because evidence collected from such close observations will be brought into play when making hypotheses about the organising principles behind the work. The central focus of the music is the saxophone tune, which is double tracked, suggesting a curious kind of double identity. At frequent intervals, the two saxophone tracks divide, creating a harmony line.

At the end of the piece, after bar 97, the riff that has accompanied the tune so far, is significantly extended. It comes into its own. More than that, it becomes the place where we can see real, changed characteristics in the music after the central solo escapade. At bar 97, moments before the end of this piece, there are sudden unexpected developments which denote a change in the status quo in terms of the narrative. So what happens? What evidence is there for change? First, the riff that has so far functioned purely as an adjunct to the main tune is extended to a full eight bars. Second, there is added percussion which is played relatively freely, rather like a samba band, with the intrinsic suggestion that there are more people on the stage, more characters in the action. It’s like a party developing. Third, there’s the chant “Pick up the Pieces”, sung by the band. The effect of finally eliciting words from a hitherto instrumental piece can be compared to, albeit on a much smaller scale, the finale of Beethoven’s Ninth symphony, where the human voice eventually articulates the expression that had, up until that point, been exclusively instrumental. Something similar happens here in ‘Pick up the Pieces’. Why does the vocal line feature prominently right at the end of the process? Why does the vocal line occupy the space previously reserved for the saxophone tune? To find some answers to these questions, we should go back to an earlier moment in the piece, when the chant is briefly heard … rather as a foretaste of things to come. In terms of a folk story, it’s the moment when the wicked queen looks into the mirror and is forewarned about the most beauteous one of all. It’s the moment when the princess hears the name of the prince she will eventually marry from a gypsy with a crystal ball. The foretaste of the chant is brief, and in terms of the narrative, unsatisfactory.

In what ways is it unsatisfactory? It’s shorter and therefore less established: it’s suspended over a dominant chord instead of the home key, and therefore suspended and incomplete, and crucially, it is displaced by one beat creating an illusory 5/4 bar just before the saxophone solo.

Examples 1.6 Pick up the Pieces – Lead sheet

pup9 pup5 pup6 pup7 pup8

So the foretaste of the chanting (at bar 56) is less established, suspended, and displaced, contrasting markedly with the final ‘Pick up the Pieces’ chant (at bar 97) which is longer, i.e. more established, and accompanied by a tonic chord of F minor, thereby denoting a kind of tonal homecoming . The clever displacement of the beat at bar 56 which creates the illusion of an uneven bar gives way to a regular 4/4 chant in the final bars of the music. These changes to the structure and texture of the music are highly unexpected, and in terms of formulaic pop songs, very unusual. But they all add up to one thing: they denote a kind of closure, a rounding off of the narrative threads implied by the preceding material. And, further, if we wish to pursue the analogy of a storyline to the song, then we can infer that these elements which emerge in the final bars of the music are actually there as a result of the coded adventure of the saxophone solo.

And what of the solo itself? How does this fit into the metaphor of the story? Until the moment of freedom, represented by the improvised solo line, the music has been controlled and, in the parlance of rock and jazz musicians, ‘tight’. Then, quite suddenly, the saxophone launches into a wild and jazzy solo. The hero comes out of the castle. What does he find? Something about the nature of his adventures is suggested by the harmonic climate of the solo. When the key center of a piece changes, especially in the context of a unusually static and fixed tonal framework as in ‘Pick up the Pieces’, a change of affect is experienced in the listener. The music encodes the suggestion ‘we’re in a new key: different things happen here’. The particular solo in question, however, is accompanied by extra saxophone lines which suggest further key changes. In the example below, the fills and the bass form a dominant 9th chords, which, fleetingly, suggests resolution. The resolution never comes, and the quizzical little saxophone fill is presented over and over again, tantalisingly repeating its suggestion of adventure to more remote tonal regions. In effect, it poses the question ‘What if?’.

(click the diagram for a better image)

The nature of the adventure, therefore, can be understood to be challenging. When the hero came out of the stability and predictability of the castle environment, he encountered a world which said ‘What if?’.

If, then, ‘Pick up the Pieces’ resembles an oral narrative as far as the larger scale structural elements are concerned, the actual material of which the song is constructed, the smaller building blocks, might yield clues as to what – if anything – the story is about. Close scrutiny of these reveals a consistent theme of rhythmic displacement and subsequent balance. Take, for instance, the first motif which has nine repetitions in the course of the piece.

(click the diagram for a better image)

Notice that the tune (level a), is made up of two phrases (level b), and that this level comprises five motivic elements (level c). The first three elements in level c have a triple period, that is, the permutations of the motif repeat at three quaver intervals. The last three motifs in level c have a duple period. The normal period in a piece of music in duple time is 2,4 or 8 beats; consequently the first phrase evidences some rhythmic imbalance which is ‘corrected’ by the establishment of a duple period in the second phrase. The snare drum accentuates the pushes before the normally accented beats of the second bar. It takes a lot of tortuous prose to explain how these two bars are heard: we hear all this in an instant – well, around 3.7 seconds actually – but we as listeners are very sophisticated at hearing and analysing such formulaic music. Because the language and vocabulary of jazz-funk is well established in our popular culture we have all become fully conversant with its frequently articulated structures and devices. What we can take from this opening fragment is that the music ‘is about’ the opposition of triple period and duple period motifs. The same ‘issue’, that of the imposition of three on to two, is evident in the riff. In this particular case, the basic unit of rhythm is the semiquaver, so the process is happening at twice the speed, but the principle is still the same.

(click the diagram for a better image)

‘Pick up the Pieces’ has a background, several layers of middleground, and a foreground tune. The motifs that make up the piece can be examined individually, broken up and dissected in isolation, but it must be borne in mind that whatever meaning is intrinsic to the music will only emerge when these discreet elements are combined. As Philip Tagg writes:

Not only is music ongoing, being continuous and consistently elided until the end of the piece, but also consists of simultaneous messages which may in theory be considered and analyzed separately but which in practice are probably all received by the listener as combined integral entities.Tagg, (1979)

To do what Philip Tagg implies is necessary for something approaching a full understanding of the piece, we have to coverintegrate the various strata of the music, with the bass and drums, and to examine their overall and integrated effect. Of course, this is very difficult, and probably involves a high degree of subjectivity as the possibilities for idiosyncratic and personal interpretation multiply exponentially with the amount of musical information we are attempting to integrate. The problem of subjectivity – being able to substantiate one person’s opinion so that it might have wider and more objective application – is endemic in the analysis of emotion and feeling in music. It’s made worse in ‘Pick up the Pieces’ because there are no words, and the Average White Band haven’t supplied programmatic clues to tell us what it’s about. And if they had, would this be of any relevance to an understanding of how the song is heard by all the millions of people who whistled it, sang along to it, attempted to play it, bought it and danced to it? But as the twentieth century draws to a close, we can reflect that funky music has been around for thirty years, and in that time the culture which gave rise to funk, and subsequently developed and marketed it has become increasingly confident about articulating its meanings.

Funky music is all about dancing, and ‘Pick up the Pieces’ was a disco hit. The question arises: is it appropriate to subject ephemeral disco music to such scrutiny? If we adopt the attitude that the people who frequent discotheques are unable to engage in dialogue about music, we adopt an elitist position which effectively puts the analyst in a superior position to the clubber. It suggests that the analyst knows more about the music than the people who identify with it. Perhaps this is true. However, a more acceptable hypothesis is that the analyst articulates what the clubber instinctively knows. We might at this point get involved in a discussion about the hierarchy of instinctual knowledge and articulated knowledge, but this is beyond the scope of this study. The fact that several thousand words and a lifetime of study are necessary to explain the secrets of the music only point out the sophistication of the musical code. What is evidently true, however, is that millions of people really do receive meaningful and emotionally satisfying messages from this music, which is why they buy it.


‘I think it’s going to work out fine’ – Ry Cooder. (on Bop Till You Drop, 256691 WE 835 – 1979) This is a slow instrumental which similarly has narrative qualities. The middle eight of ‘I thinks it’s going to work out fine’ is a clear example of classical harmonic movement encoding logical argument. Unlike ‘Pick up the Pieces’, the Ry Cooder song clearly suggests the words ‘I think it’s going to work out fine’ in the guitar tune, suggesting exactly what the musical phrase purports to mean. Other songs on the album contain ‘Southern folk wisdom’, which seems to be a theme which runs through the songs, and the instrumental ‘Everything will work out fine’ appears to continue this in spirit.

‘Private Investigations’ – Mark Knopfler and Dire Straits (Vertigo DSTR 1 – 1982). Again, the title helps conjure up a twilght world of the gumshoe detective, and the music can easily be construed filmically.

‘Echoes’ – Pink Floyd (on Meddle, SHVL 795 – 1971) The entire second side of the LP Meddle is taken up with the track ‘Echoes’, and as such represents one of the few popular manifestations of extreme long term development. The song demonstrates formal development over a very long time span – around 23 minutes, starting from a single sound – through a sonata-like exposition of material, and its subsequent development, into a vast central area of cosmic intangibility to a final restatement of rock-solid certainty. It shows evidence of enormous compositional restraint, and can be a deeply affective experience as it takes the listener on a long, sustained journey of transcendental quality.

from the excellent works done by Patrick Dailly

Patrick Dailly studied at the Royal Northern College of Music, Manchester, England, and was awarded the Edward Hecht Prize, the International Publishing Company Prize and the Leo Grindon Prize for Composition. Between 1972 and 1976 he played in a string of forgotten funky soul bands in the Manchester area, sustained by the Northern Soul explosion of the 70s. He played keyboards on Major Lance’s UK tour of 1974. A soul survivor, he was nevertheless hopelessly unprepared to teach music in comprehensive schools in Manchester and Birmingham. He joined the staff of Bretton Hall College of the University of Leeds in 1984. A deep seated socialism and the sense of pleasure at being an irritant to the establishment led to the introduction of the Popular Music Studies course there in 1990. Patrick has composed music for a succession of variable musicals which have enjoyed a wide range of acclaim. (The Robey Show, 1988; Miller and Me, 1989; Sex, Dreams and Two Reelers, 1992 and Sweet Miracles, 1999 have all featured at the Edinburgh Festival.)

printed document (and others) here, on his web site

Pick up the pieces

In Album, Pick up the pieces on March 1, 2014 at 3:50 pm

 “Pick Up the Pieces” is a 1974 song by the Average White Band from their second album, AWB. On the single, piecessongwriting credit was given to founding member and saxophonist Roger Ball and guitarist Hamish Stuart individually and the entire band collectively. It is essentially an instrumental, apart from the song’s title being shouted at several points in the song. The song features an intro 4 measures of Csus7#9, sus 4 (C F Bb Eb) afterwards in the theme 8 measures of Fm7 (F Ab C Eb), 2 measures of Bb7 (Bb D F Ab), 4 measures of Fm7.

“Pick Up the Pieces” was released in the United Kingdom in July 1974 but failed to chart. When the album was released in the United States in October 1974, radio stations there started to play the song, and on 22 February 1975, it went to the top of the US singles chart and peaked at number coverfive on the soul charts. After its US success, the song charted in the UK and climbed to number six. “Pick Up the Pieces” also made it to number eleven on the US disco chart.

The song is in the key of F minor.

From Wikipedia, the free encyclopedia


pickupthepieces intro

Intro Csus7#9 sus4 Csus7#9 sus4 Csus7#9 sus4 Csus7#9 sus4
A Fm7 Fm7 Fm7 Fm7
  Fm7 Fm7 Fm7 Fm7
Bb7 Bb7 Fm7 Fm7
Fm7 Fm7
B Bb7 Bb7 Bb7 Bb7      / C7#9
  C7#9 C7#9 C7#9 C7#9

Csus7#9, sus 4 (C F Bb Eb)

Fm7 (F Ab C Eb)

Bb7 (Bb D F Ab)

Bb7 sus4 (Bb D F Ab Eb)

C7#9 (C G Bb Eb)

Moondog – Do your thing

In Bird's Lament, Lyrics on February 15, 2014 at 2:43 pm
et puisque nous reprenons Bird’s lament, en faisant de nouvelles recherches, je suis tombé sur les paroles de: Do your thing :
Do your thing!
Be fancy-free to call the tune you sing.
Don’t give up!
That’s not the way to win a loving cup.
Do your best,
and opportunity will do the rest.
Don’t give in!
Capitulation is the greatest sin.
Do what’s right,
what’s right for you, to do with all your might.
Don’t regret!
What might have been, you might as well forget.
Stand your ground,
and while you’re standing there, be duty-bound.
Learn to wait,
and while you’re waiting, learn to concentrate.
Make amends!
All enemies I call potential friends,
Calm your fears,
and hope to cope at least a hundred years.
Make your mark!
If need be, even make it in the dark.
Mum’s the word!
My sage advice, pretend you haven’t heard.

Pick up the pieces (Average White Band)

In Pick up the pieces on February 14, 2014 at 7:05 pm

une fois n’est pas coutume, je poste quelques liens youtube, on peut pas résister, + de pièces à venir.  😉

18 minutes  de live avec Candy Dulfer.

live at ’30. Leverkusener Jazztage’ 2009/11/12, broadcast by WDR Rockpalast 2010/02/21, written by Roger Ball. With: Candy Dulfer (saxophone / vocals), Jan Van Duikeren (trumpet), Arjen Mooijer (keyboards), Chance Howard (keyboards / vocals), Ulco Bed (guitar), Manuel Hugas (bass), Kirk A. Johnson (drums), Leona Philippo (vocals)
The whole concert now on Vimeo: []

et l’original de 1974, enregistré par AWB.

US3 & Cantaloupe Island

In Cantaloupe Island on December 28, 2013 at 7:43 pm

For the 20th anniversary of Us3’s acclaimed, platinum-certified 1993 album, Hand On The Torch and its gold-certified lead single, “Cantaloop (Flip Fantasia).” To celebrate the occasion, the album has been digitally remastered and expanded with four new remixes of “Cantaloop” for a new 2-CD 20th Anniversary Edition on September 17, 2013 by Blue Note/UMe

Music video by US3 Featuring Rahsaan And Gerard Presencer performing Cantaloop (Video) (Feat. Rahsaan And Gerard Presencer).

Us3 is a jazz-rap group founded in London in 1992. Their name was inspired by a Horace Parlan recording produced by Alfred Lion, the founder of Blue Note Records. On their debut album, Hand on the Torch, Us3 exclusively used samples from the Blue Note Records catalogue, all originally produced by Lion.

Us3 is the brainchild of London-based producer Geoff Wilkinson. Formed in 1992 alongside production partner Mel Simpson, Us3 had two previous incarnations. The first, a limited edition white label 12″ release in 1990 called “Where Will We Be In The 21st Century”. The release garnered the attention of independent label Ninja Tune, resulting in NW1’s 1991 12″ “The Band Played The Boogie” featuring UK Rapper Born 2 B. It sampled a dancefloor tune of the burgeoning jazz dance scene, Grant Green’s “Sookie Sookie”, originally released on Blue Note Records.

London’s Kiss FM added “The Band Played The Boogie” to its playlist and Wilkinson received a call summoning him to EMI Records’s offices in London. Wilkinson avoided a lawsuit and was granted rights to the archives of Blue Note Records. One of the resulting demos, recorded in March 1992, was “Cantaloop (Flip Fantasia),”featuring UK Trumpeter Gerard Presencer. It sampled Herbie Hancock’s Cantaloupe Island. Two years later, it entered the US top ten and was included on Hand on the Torch, the first Blue Note album to achieve Platinum status (1,000,000 sales) in the USA.

Marcos Valle – O cantor e o compositor (1965)

In Album, Summer Samba on December 28, 2013 at 11:52 am

O Compositor e O Cantorcantor1

1965 on Odeon (SMOFB-3413)
Reissue in 2011 on EMI (026461-2) (SET 026447-2)1 Gente (Paulo Sérgio Valle, Marcos Valle)
2 Preciso aprender a ser só (Paulo Sérgio Valle, Marcos Valle)
3 Seu encanto (Paulo Sérgio Valle, Pingarrilho, Marcos Valle)
4 Passa por mim (Paulo Sérgio Valle, Marcos Valle)
5 Samba de verão (Paulo Sérgio Valle, Marcos Valle)
6 A resposta (Paulo Sérgio Valle, Marcos Valle)
7 Deus brasileiro (Paulo Sérgio Valle, Marcos Valle)
8 Dorme profundo (Pingarrilho, Marcos Valle)
9 Vem (Luiz Fernando Freire, Marcos Valle)
10 Mais amor (Paulo Sérgio Valle, Marcos Valle)
11 Perdão (Paulo Sérgio Valle, Marcos Valle)
12 Não pode ser (Paulo Sérgio Valle, Marcos Valle)
Bonus tracks
13. Vamos pranchar
14. Deus brasileiro (instrumental)
15. Não pode ser (instrumental)Marcos Valle – voice and piano
  • Eumir Deodato – arrangements, orchestrations, piano and organ
  • Sergio Barroso – bass
  • cantor2Wilson das Neves, Dom Um Româo – drums
  • Nelson Ângelo – acoustic guitar
  • Rubens Bassini – percussion
  • Hamilton and Maurílio Santos – trumpet
  • Edson Maciel – trombone
  • Jorginho – alto sax
  • Jt. Meirelles, Walter Rosa – tenor sax
  • Aurino Ferreira – baritone sax
  • Produced by Milton Miranda
  • Musical direction – Lyrio Panicalli

This album is a leap ahead of his first album and situated firmly in jazz-bossa with some traces of innovative pop that would become more prominent in his work later. It also has what is may be the most perfect composition of his entire career: “Preciso aprender a ser só” (I Need To Learn To Be Alone). “Samba de verão is undoubtedly the most reinterpreted song in his catalog, recorded by a bunch of other artists afterwards includes several version of English.. “Deus brasileiro”, “Dorme profundo” lush and shimmery and wonderful. A lot of the same ‘heavy hitters’ from the debut are playing on this album too, with the added bonus of Wilson das Neves and Dom Um Romão on the drums. Also notice a young Nelson Angelo on acoustic guitar. Anybody know who is playing flute on this album (perhaps one of the saxophonists doubling on flute?) — they are not credited in the notes. But kudos to this reissue project for including musician credits in the first place, as these earlier Odeon releases did NOT include ‘backing musicians’ in general, although arrangers usually took pride of place.brazilsamba

Listen to how HARD the ensemble swings on “Seu encanto” and it ought to put to rest any remaining critics (are they any still living?) who thought bossa nova was overly-influenced by or even ‘imitating’ North American jazz: this song is equal to anything recorded elsewhere in its jazz credentials. Goddamn the ruffing is amazing. Just wish I knew who played the flute on it. The tune “Vem” qualifies for this premium category.

The bonus tracks feature the B-side “Vamos prenchar” which was released on the single (compato) for ‘Samba de verão’, and the instrumental takes of “Dues brasileiro” and “Não pode ser”.

Amidst all the greatness on the record, the tune “Dorme profundo” is very special  as the ‘sleeper’ cut that somehow distills the best of what the album has to offer.

The back of the album jacket had original liner notes by Paulo Sérgio which unfortunately are only reproduced in microscopic form in the CD artwork. But I’ve taken the liberty of translating them here:brazilSambaBossaNova

“”Marcos composes in the middle of the night. For this reason his sambas have the flavor of ‘saudade’ for the end of night, waiting for the day to be born. They are songs of love, that demand poetry in the lyrics in place of shouts of revolution, as some people want. It is true that sometimes this exremely lyrical composer has his moments of realism, like in “Gente”, for example. But without capitulating to some type of pre-fabricated formula. It is what we would like to call “lyrical realism.” As a singer, Marcos creates a contagious intimacy. There is nobody better suited to sing his own songs, that come to us still warm from his heart. It is one of the privleges of the singer-composer. On this album we again have the partnership of Marcos and Eumir Deodator, arranger of choice. They are two friends united by a perfect musical identification, by talent, and by the seriousness engraved on everything they do. Here they put into practice what for so long they have studied: the union of heart and technique. In the orchestration of Eumir and the singing of Marcos is the voice of poetry.” -Paulo Sergio Valle, original liner notes

Marco Valle (bio)

In Bio, Summer Samba on December 28, 2013 at 11:24 am

Marcos Kostenbader Valle (born 14 September 1943 in Rio de Janeiro) is a Brazilian singer, instrumentalist, songwriter and record producer. He has produced works in many musical styles, including bossa nova, samba, and fusions of rock, soul, jazz, and dance music with Brazilian styles.


Valle’s talent was evident from his high school years, which coincided with the explosion of the bossa nova movement in Rio. His classmates included future legends such as Edu Lobo and Dori Caymmi, and his composition “Sonho de Maria” was included on the Avanco album by the influential Tamba Trio in 1963. With his brother Paulo Sergio Valle as his lyricist, he had already built an impressive portfolio of songs, prompting Odeon Records (a subsidiary of EMI) to sign him as a singer. His debut album Samba “Demais”, was released in April 1964. His reputation quickly spread, and his fellow musicians (including Wilson Simonal, Elis Regina, and Nara Leão) lined up to record his songs. A second album, O Compositor e o Cantor, followed in 1965, and featured what would become his most recognisable song, “Samba De Verão” – known in English as “So Nice (Summer Samba)” – along with other hits such as “Deus Brasileiro,” “Gente”, and “A Resposta”.

Nineteen sixty-six brought Valle’s first trip to the United States, where he and his then-wife Anamaria briefly teamed up with Sérgio Mendes in an early version of what would later become Brasil ’66. The threat of being drafted and sent to Vietnam caused Valle to return quickly to Brazil, although the following year saw him back to the United States and enjoying some success, including the release of his U.S. debut album, Braziliance!, on Warner Bros. Records, and several appearances on the Andy Williams TV show. Following session work on Verve Records releases by compatriots Walter Wanderley and Astrud Gilberto, the label released Valle’s Samba ’68 featuring English-language versions of songs from his earlier Brazilian releases.

Shortly thereafter, feeling homesick, Valle returned to Brazil and entered a new creative phase. Viola Enluarada (1968) was more mature and introspective, far removed from the frothy feel of Samba ’68. The title track was a duet with Milton Nascimento and became one of Valle’s signature compositions in Brazil. It also betrayed a political consciousness largely absent from Valle’s previous work – he would become more overtly political in the years to come. The album as a whole pointed to a broader range of musical influences (particularly the Northeastern Brazilian styles he had enjoyed listening to since his childhood days) that moved him out of the “strictly ‘bossa nova artists’ club.”

This process continued on 1969’s Mustang Cor de Sangue ou Corcel Cor de Mel, another leap forward that incorporated rock, soul and pop idioms, all stamped with Valle’s own melodic style. His work on the album reflected the sophisticated pop approach of American songwriters such as Jimmy Webb and Burt Bacharach as well as the inescapable influence of The Beatles.

Around this time, Valle began writing music for TV programs and telenovelas (soap operas), which over the next few years would become one of the main outlets for his work, along with advertising jingles. Marcos Valle (1970) (often referred to as The Bed Album due to its cover shot of Valle in bed) contained his most adventurous as well as his most rock-influenced and psychedelic music up to that point. Backed by Milton Nascimento’s band Som Imaginario, Valle explored a more eccentric approach, with a number of futuristic tracks and an extended instrumental suite not unlike the work of U.S. composer and producer David Axelrod. Garra (1971) was a career highpoint that summed up his music and still stands as one of the finest pop albums of the era, Brazilian or otherwise. Its effervescent pop, jazz, soul, bossa, and film soundtrack stylings were matched by lyrics that attempted to reconcile Valle’s hippie leanings with his status as a wealthy young musician who was also a successful businessman because of his successful novela soundtracks and corporate advertising accounts. Telenovelas he provided some or all of the music for during this period included O CafonaUma Rosa com AmorMinha Doce Namorada,Pigmalião 70Os Ossos do Barão, and, most prominently, Selva de Pedra. He also wrote the score for the film O Fabuloso Fittipaldi (1973).

Vento Sul (1972) found Valle long-haired and bearded, and backed by the progressive rock band O Terço. His most experimental effort to date (he even flirted with heavy metal on the song “Mi Hermoza”), it was a sales flop, although it has acquired admirers over the ensuing decades. The following year’s innovative Previsão do Tempo fared better. It was made in conjunction with the band that initially formed to back Valle at live shows and named itself after one of his songs, Azimuth (soon to change the spelling to Azymuth). This album had a notable jazz fusion feel thanks to Valle’s enthusiasm for the Fender Rhodes piano and Azymuth keyboardist Jose Roberto Bertrami’s expertise on the Hammond organ and assorted synthesizers such as the Mini-Moog and the ARP Soloist. This sound would prove a decisive influence on the acid jazz scene in Europe twenty years later.[1] Another innovation in Previsão do Tempo was the use of vocal percussion on the track “Mentira”, ten years before hip-hop artists introduced beatboxing. Valle emulates a drum kit with his voice to perform a pattern and a fill.

From 1972 to 1974, Valle provided the music for Vila Sésamo, Brazil’s version of Sesame Street. In 1974, he also released his final album for Odeon, again self-titled. This album differed yet again from its predecessors in pursuing a piano-pop sound reminiscent in turns of Elton John, Todd Rundgren and Bread, and replete with elaborate vocal arrangements.

Later careersosamba

At this point, Valle had grown tired of the strictures of living and working under Brazil’s military dictatorship, then in its darkest and bleakest phase. He therefore decided to return to the U.S., where he spent the rest of the decade. Settling in Los Angeles, he entered into collaborations with artists as diverse as Sarah Vaughan, Chicago, and R&B singer and songwriter Leon Ware. Valle and Ware found themselves especially compatible, and wrote many songs together, Valle appearing on several of Ware’s Elektra Records releases.

Valle returned to Brazil in late 1980 and completed two albums, 1981’s Vontade de Rever Você, and 1983’s Marcos Valle. These albums had prominent boogie, soul and funk influences. These had been present in Valle’s work since the beginning of the 1970s and would be permanent influences on his music, also being solidified by his work with Leon Ware and Chicago. His single “Estrelar” (1982), a boogie dance track marketed as “workout music” at the time, proved to be his best-selling record ever with a total of about 90,000 copies sold. In 1984, he released another boogie single, “Bicicleta”, but his recording label (Som Livre) decided to dismiss its entire cast and concentrate on soap opera LPs and Marcos was unable to complete a new album. His final album from the eighties was 1986’s Tempo da Gente, after which he took a break from recording. Nevertheless he kept on playing gigs (something he did not do in his “Estrelar” days) and writing songs for many different artists such as Tim Maia, Roberto Carlos, and Ricky Martin.

In the meantime, many listeners had become acquainted with Valle’s work of the 1960s and 1970s, and his music started to find favour with European and American fans, as well as connoisseurs of dance music. Valle recorded a new album in 1999, Nova Bossa Nova, which reached back to his roots in bossa nova and added contemporary electronic influences to his music. At this point Valle had signed with the London-based Far Out Recordings, which specialised in Brazilian musicians such as Azymuth (his backing band on 1973’sPrevisão do Tempo) and Joyce. In 2001 Valle also produced two other discs, Live in Montreal with guitarist Victor Biglione and a backing band, and Bossa Entre Amigos, a release aimed at the Brazilian market that featured Valle sharing the bill with Braziilian guitarist and songwriter Roberto Menescal and singer-guitarist Wanda Sá.

Escape, and especially its follow-up, Contrasts (released in 2003), showed increased electronic influences, mediated by London-based producer Roc Hunter. Valle showed on these releases that he was able to stay true to the roots of his sound while remaining open to modern influences and integrating them into his style. On 2005, Valle released Jet Samba, an all-instrumental collection featuring reworked compositions from past albums, as well as several new songs.

In 2010, he released Estática, an album which saw him return to a more organic approach, albeit with the use of some analog synthesisers. The record features expansive horn and string arrangements and has been referred to as a “masterpiece” by some. In 2011, he collaborated with the Phenomenal Handclap Band to contribute a version of the song “Tudo o Que Você Podia Ser” to the Red Hot Organization’s fund-raising album Red Hot + Rio 2, proceeds from the sales of which were donated to fight AIDS/HIV. Valle continues to perform in Brazil and throughout Europe.


  • 1963: Samba “Demais” (Odeon)
  • 1965: O Compositor e o Cantor (Odeon)
  • 1966: Braziliance! (Warner/Odeon)
  • 1968: Samba ’68 (Verve)
  • 1968: Viola Enluarada (Odeon)
  • 1969: Mustang côr de Sangue (Odeon)
  • 1970: Marcos Valle (Odeon)
  • 1971: Garra (Odeon)
  • 1972: Vento Sul (Odeon)
  • 1973: Previsão do Tempo (Odeon)
  • 1974: Marcos Valle (Odeon)
  • 1981: Vontade de Rever Você (Som Livre)
  • 1983: Marcos Valle (Som Livre)
  • 1986: Tempo da Gente (Arca Som)
  • 1999: Nova Bossa Nova (Far Out)
  • 2001: Escape (Far Out)
  • 2001: Bossa Entre Amigos (with Roberto Menescal and Wanda Sá) (Albatroz) – also on DVD
  • 2003: Live in Montreal (with Victor Biglione) (Rob) – recorded in 2000
  • 2003: Contrasts (Far Out)
  • 2005: Jet Samba (Dubas)
  • 2008: Conecta: Ao Vivo no Cinematheque (live) (EMI) – also on DVD
  • 2009: Página Central (with Celso Fonseca) (Biscoito Fino)
  • 2010: Estática (Far Out)
  • 2011: Valle Tudo (EMI) – 11-CD box set – recorded 1963-1974
  • 2012: Anos 80 (Discobertas) – 3-CD box set – recorded 1981-1986
  • 2012: Ensaio (Warner) – recorded in 2001 – also on DVD
  • 2013: Ao Vivo (with Stacey Kent) (Sony/BMG)

Stolen moments lyrics

In Lyrics, Stolen Moments on December 27, 2013 at 9:48 am

Stolen Moments (Oliver Nelson)

(Text: Edward Fisher)

If I told you I love you pretty baby
Would it make up for what they say?
If I hold you and squeeze you darlin’
Would you linger a while today?
If I hold you and hug you my dear so don’t argue
Then gossip won’t hurt you I’ll never desert you
And someday we’ll find us where people won’t bind us
To the hands of time

I can use more than moments with you baby
And I know where you steal them from
There are so many things I’ll teach you
But they call me a useless bum
They just chatter and patter and nitter and natter
They take it and twist it, until it gets bitter
But we’re here, I steered here it’s weird here those beards dear
Watch the pantomime

 Andy White, April 2008