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   Posts in Internet Jazz Forums Written by José Domingos Raffaelli (English)
(In Reverse Chronological Order)

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Re: Claudio Slon's 12 part series: SAMBA

Posted By: José Domingos Raffaelli

Date: Tuesday, February 6, 2001 at 7:01 a.m.

In Response To: Re: Claudio Slon's 12 part series: SAMBA (chuck armbruster)

>We're aware of this wonderful trip to S.America, as well as Dizzy's trip to the Middle East, and Africa (if I'm not mistaken). The sponsorship of the State Dept's >"ambassador of music" tours was novel in it's day. I thrilled reading Diz's descriptions in his autobiography. However, finding lists of other tour destinations, >participants, and the resulting oral histories has been difficult.

> I'd love to get some direction. Any starters? Thanks!

 

Chuck,

The 1956 Gillespie big band tour sponsored by the State Department to South America presented concerts in Quito (Ecuador, where trumpeter Joe Gordon was sent back home due to a sudden disease), Buenos Aires (Argentina), Montevideo (Uruguay), Santiago (Chile), Rio de Janeiro and São Paulo (Brasil).  The band played eight concerts in Rio, including TV, and it was a real delight. It was the first time Brazilian audiences had a chance to hear modern jazz in Brasil.  The line-up of the band was:

Gillespie, Emmett V. Perry, Quincy Jones and Carl "Bama" Warwick (tps)

Frank Rehak, Melba Liston and Rod Levitt (trombones)

Jimmy Powell and Phil Woods (alto sax), Benny Golson and Billy Mitchell (tenor sax) and Marty Flax (baritone sax)

Walter Davis Jr.(piano), Nelson Boyd (bass) and Charli Persip (drums)

Also Austin Cromer (singer)

I'll never forget those glorious nights in Rio. Dizzy was a real dynamo, a force of nature, an inspiring musician. This giant led the band with spirit, enthusiasm and drive. What about the soloists ? Wow, Rehak, Melba (wshe featured in Debussy's "My Reverie"), Woods, Golson, Mitchell, Flax (he used to joke during his feature in "Doodlin'"), Walter Davis, Boyd (on "One Bass Hit") and Persip.

How distant seems 1956 but at the same time it remains so close in my memory.....

You Americans are fortunate because you can hear jazz musicians live every time you want. We Brazilians had just a few chances to hear them live at that time, but they were rewarding times for us, enjoying night after night, tune after tune, solo after solo--everything those wonderful musicians played. These were priceless experiences. Forgive for reminiscing [on] the past.

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Posted By: José Domingos Raffaelli

Date: Friday, February 2, 2001 at 7:06 a.m.

In Response To: Re: Claudio Slon's 12 part series: SAMBA (Karyl Zillmer)

> Stan Getz didnt bring the music--he just played it.

> Jim Hall brought it back from a trip with Roy Eldridge and Ella Fitgerald--and there may have been others who played in Brazil at that time.

Jim Hall, Roy Eldridge, Paul Smith, Winnefred Middlebrooks and Gus Johnson was the line-up of Ella Fitzgerald's quintet in their 1960 Brazilian tour.

One year before, 1959, Charlie Byrd discovered bossa nova while touring Brazil and recorded several albums for Riverside with Brazilian songs..

In 1961 came a package titled "American Jazz Festival" sponsored by the American State Department, led by Wllis Connover. The musicians were Roy Eldridge, Kenny Dorham, Curtis Fuller, Coleman Hawkins, Al Cohn, Zoot Sims, Herbie Mann, Tommy Flanagan, Ronnie Ball, Ben Tucker, Ahmed-Abdul Malik, Jo Jones, Dave Bailey, Ray Mantilla and singer Chris Connor. Almost all these musicians discovered bossa nova and on their return some of them recorded b.n. records (Zoot for Epic and Colpix, Hawkins for Impulse, Dorham for Blue Note and many more). Herbie Mann returned to Rio de Janeiro the next year to record with local musicians, including Antonio Carlos Jobim, Baden Powell, Luiz Carlos Vinhas and others, released in the "Do The Bossa Nova" album for Atlantic.

There are two pirate CDs of this group playing jazz recorded in Rio.

In the same 1961 period Dizzy Gillespie and his quintet (Lalo Schifrin, Leo Wright, Bob Cunnigham and CHuck Lampkin) also discovered bossa nova touring Brasil. Gillespie, Schifrin and Wright recorded many bossa nova tunes when they went back home.

 

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LUIZ BONFÁ - RIP

Posted By: José Domingos Raffaelli

Date: Friday, January 12, 2001 at 7:08 a.m.

World famous Brazilian composer and guitarist Luiz Bonfá passed away this morning in a Rio hospital.

Luiz Floriano Bonfá died at 78. His fame started when he composed the soundtrack of he Black Orpheus movie. His compositions Manhã de Carnaval and A Felicidade were recorded by many artists around the world.

Bonfá was born in October 17, 1922, in Rio de Janeiro. He started his career in the forties singing in the vocal group Quitandinha Serenaders. He wrote more than 500 songs. Among many others, Placido Domingo, Sarah Vaughan, Julio Iglesias, George Benson, Stan Getz and Quincy Jones recorded his songs.

 

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Re: Bud Shank Silver Storm review

Posted By: José Domingos Raffaelli

Date: Tuesday, November 21, 2000 at 5:18 a.m.

Thanks for your response. Tenório Junior was a friend of mine. He was a very warm guy, full of enthusiasm about music and life and his tragedy was a great shock to all his friends. One of them, guitarist Fredera (real name Carlos Frederico Magalhães) wrote a book about Tenório trying to clarify a little bit this mystery after hearing many people in Argentina and Brazil. According [to] some Argentinian sources, local bassist Jorge Gonzalez was the last friend to see Tenório alive; Gonzalez arrived at the hotel to say hello to Vinicius de Moares and his musicians. Gonzalez met Tenório in the lobby when the pianist was leaving the hotel to buy cigarettes. Tenório said to Gonzalez: "I'll be back in five minutes", went to the street and disappeared.

Tenório used to go to my home to hear records and I remember vividly when he heard Bill Evans for the first time. He was so impressed that he asked me to play the entire album three times more! This was around 1963!

I don't remember the title of the album Clare Fischer recorded Sambinha but I can check in any discography. Anyway, ask Clare who toured Brazil some months ago with guitarist Helio Delmiro, one of our best musicians.

Thanks again.

José

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Re: Bud Shank Silver Storm review

Posted By: José Domingos Raffaelli

Date: Monday, November 20, 2000 at 8:27 a.m.

Wonderful news about this new Bud Shank release with a great sextet. I enjoyed your review and I'm gonna buy it as soon as I can, although it is so difficult to find jazz records in my country (Brazil).

As you mentioned, the first recording of Shank' Sambinha was by the Brazilian "Trio Tenório", let me clarify this point. The trio of pianist Tenório Junior recorded it, not the Trio Tenório, but American pianist Clare Fischer recorded the song for the first time.

By the way, Tenório Junior disappeared in 1976, in Argentina, while in tour with lyricist Vinicius de Moraes (who wrote the lyrics of The Girl From Ipanema) and nobody never saw him again. Until today it is a mystery what happened to him, although some sources says Tenório Junior was killed in a concentration camp in the South of Argentina.

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Posted By: José Domingos Raffaelli (November 9, 2000)

In Response To: Roy Eldridge Bio (Regina)

> Looking for all and any information on Roy Eldridge.When and where born,marriages,previous people he played (bands) with before strking out on his own,and when > and where did he die,if deceased.

If this can be valuable, I'll add something that you do not find in the Encyclopedia of Jazz:

Roy played three times in Brazil:

1. 1960 - with Ella Fitzgerald, in a group along [with] Jim Hall (guitar), Paul Smith (piano), Winnifred Middlebrooks (bass) and Gus Johnson (drums).

2. 1961 - with a package headed by Willis Connover (The Voicve of America). Roy played in a quintet with Coleman Hawkins (tenor sax), Tommy Flanagan (piano), Ahmed-Abdul Malik (bass) and Jo Jones (drums).

The other musicians in the package were Kenny Dorham (trumpet), Curtis Fuller (trombone), Herbie Mann (flute), Al Cohn and Zoot Sims (tenor sax), Ronnie Ball (piano), Ben Tucker (bass), Dave Bailey (drums), Ray Mantilla (percussion) and singer Chris Connor.

3. 1978 - with the Jazz At the Philarmonic along [with] Harry Edison (trumpete), Zoot Sims (tenor sax), Jimmie Rowles (piano), Milt Jackson (vibes), Ray Brown (bass) and Mickey Roker (drums).

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Re: How Much New Music Do You Buy?

Posted By: José Domingos Raffaelli

Date: Friday, February 25, 2000 at 10:31 a.m.

This is a very interesting thread. As a Brazilian, living so far from where the action is, and working as a jazz critic of O Globo newspaper in Rio de Janeiro, I try to stay tuned with all new releases and new musicians on the scene. Believe me, it is a difficult task, despite I try to be informed through jazz magazines and some Internet sites, especially this one. Being the eldest member (72) of this site and a jazz fan since my teens (in the early forties), I grew up listening [to] the big bands of the Swing Era and the bebop from its beginning. Probably it will not surprise you that this kind of music still moves me and I still love Ellington, Basie, Lunceford, Goodman, Parker, Gillespie, Monk, Navarro, Dexter, Bud, Miles, Dorham, Wardell, Milt Jackson, Chuck Wayne, Duke Jordan, Coltrane, Rollins, Wes, Bill Evans, McCoy Tyner, Horace Silver, Mulligan, Herbie Nichols, Cedar Walton, Tommy Flanagan, Jim Hall and the list goes on and on. I also dig some excellent players of the new breed like Nicholas Payton, Joshua Redman, Greg Gisbert, Brad Mehldau, Dave Douglas, Tony Malaby, David Ballou and enjoyed very much the CDs led by drummer Danny D'Ïmperio with some interesting musicians, very good choice of tunes and great arrangements.

Now I'm listening (again) [to] the Prestige boxes of Miles Davis, John Coltrane, Sonny Rollins, the Riverside's ones of Monk, Wes and Evans, the Mingus' Debut 12-CD box and the Parker's Complete Savoy Recordings (2 CDs). Every night I hear 2 CDs of each. Unfortunately I don't have the monumental Ellington Centennial 24-CD box. At 72, I'm aware I don't have enough time to hear again all that great music, so I'm rushing against time. I wish we could live 150 years to absorb all this music. Sorry for this long post.

Thanks,

José

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From another J.D.R. reply to another subject:

"I do not mention records, but just add something from my recollections.

First time Getz played in Rio de Janeiro was in 1965, with Gary Burton, Steve Swallow, Joe Hunt and the late Brazilian guitarist and singer Luiz Henrique.

Getz returned to Rio in September 1976 with JoAnne Brackeen, Clint Houston, Billy Hart and his son Steve Getz (percussion). They did an impressive concert.

Getz came for the third time in September 1978, in the São Paulo-Montreux Jazz Festival. His group had Andy Laverne, Wayne Dockery, Victor Lewis and Lawrence Keyes (spell ?).

Tha last time in Brasil, once again in Rio, in August 1980, he played a week in a local hotel with Mitchell Forman, Todd Coolman and Greg Bandy.

Obviously, every time he played The Girl From Ipanema.

Gary Burton returned in 1979, in a duo with Chick Corea.

Also in September 1992 with Eddie Daniels, Mulgrew Miller, Marc Johnson and (sorry, I forgot the drummer's name)."

 

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From another J.D.R. reply to another subject:

I really don't know who was the first jazz-rock fusionist, although it is generally credited to Miles (but In a Silent Way didn't came before Bitches Brew ?). The Blood, Sweat and Tears' musicians (especially drummer Bobby Colomby) claimed they were the first to play the fusion in 1967. Freddie Hubbard once said he did it before, around 1966, in an Atlantic album (which I don't have and can't remember its title).

Donald Byrd recorded "The Electric Byrd" (Blue Note) around 1970 with similar ideas and elements of the so-called jazz-rock fusion. According to jazz historian Professor Marshall Stearns, Byrd did a better balanced music with equal proportions of jazz and pop-rock than Miles or any other pioneer of the field.

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From another J.D.R. reply to another subject:

I agree completely with your opinion about George Coleman, one of my favourites. Unfortunately he is overlooked for too long. Don't miss his "Amsterdam After Dark" recorded for Timeless label in 1979, with a great rhythm section. I'm sure you will enjoy it. He plays original compositions with more substance and much above the usual "originals" we hear in most sessions. One of them, based in the chords of "It's You Or No One", in 5/4, is a stunning performance.

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From another J.D.R. reply to another subject:

[. . .] By the way, let me tell something that happened in Chico's Bar [in Rio de Janeiro] when Bill Evans went there in 1976:

When Bill entered the place Brazilian pianist Luiz Eça ("The Dolphin's composer) immediately stopped playing. introduced him to the audience and asked Bill to play something. When Bill finished the song (I remember it was "Who Can I Turn To ?" ) the manager approached Eça and start[ed] screaming very angrily:

"What do you think you're doing ?  We pay you to play for our patrons but instead you call your friend to sit at the piano to rehearse. You're fired".

 

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From another J.D.R. reply to another subject:

Brazilian guitar virtuoso and composer Baden Powell passed away this morning. One of the greatest ever Brazilian guitarists whose playing flourished in the golden days of bossa nova, Powell recorded many excellent records in Brazil and abroad, especially in France and Germany, where he lived for many years. His astonishing tecnique and superb musicianship opened new ways for Brazilian music and influenced almost every new Brazilian guitarist. Baden Powell left us at 63 and his legacy will be treasured forever.

[. . .] Baden Powell will be buried today, September 27, at 11:00 AM in the São João Batista Cemitery of Rio. His wife and his sons Louis Marcel and Phillipe, both musicians, stayed all night at the side of his body while thousands friends, musicians and fans went to give their condolences to the family. Many of them cried all the time.

Baden Powell left more than 50 albums and one more recorded a few months ago still unreleased.

Since yesterday my heart is broken because Baden was a dearest friend since the mid-sixties. Aside [from] his magnificent musianship, I'll treasure his friendship forever.

I'll never forget that years ago he asked his record company to call me to write the liner notes of one of his records. This surprised and pleased me very much. When I called him to express my gratitude, he just said: "Who else [do] you think I would want to write the liner notes ?" Rest in peace Baden Powell, my friend.

 

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The following messages are from the All About Jazz Forum:

 

Date:   06-Nov-1998 12:55:03

From:   José Domingos Raffaelli

Subject: What's the best way to introduce someone to Jazz?

According [to] my experience with three friends I tried to expose [to] jazz, I've been successful with two of them.

I suggested them to begin with piano-bass-drum trios, as George Shearing, Erroll Garner and the first and second Ahmad Jamal. Well, two of them were converted to jazz. Of course, I avoided to suggest trios of T. Monk, Herbie Nichols and Bud Powell, [who are] really advanced for a beginner. Today both are fanatic jazz fans and they have beautiful record collections with hundreds [of] CDs. The other friend I couldn't call to our jazz army [and] considered jazz too complicated, preferring [to] stay listening [to] pop music.

 

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Re: If you could recommend five Brazilian Jazz CDs to a newbie, what would they be?

Date: 03-Dec-1998 13:54:40

From: José Domingos Raffaelli

I would like to add the following albums:

MOACIR SANTOS - Coisas - Forma

Although it is delected, there are rumors it will be reissued on next year. It is an indispensable record. In my opinion, Moacir Santos, who lives in the United States since 1964, is the most original Brazilian composer. He fused Brazilian melodies and African rhythms with success and his arrangements shows his endless imagination. Recorded in 1965.

ERLON CHAVES - Sabadabada - Continental

The late maestro, pianist, composer and arranger Erlon Chaves led a medium big band with some of the best Brazilian musicians with superb results. The arrangements have a big amount of swing and the soloists (among them Raul de Souza, Hector Costita, Kuntz Wagner, Papudinho and Chaves himself) put their hearts off on this record. The title track, an original Chaves composition, in the Tadd Dameron vein, is one [of the most] lyrical and beautiful melodies ever written in Brazil. Recorded in 1964.

LAURINDO ALMEIDA-BUD SHANK - Brazilian Vol. 1 - Pacific Jazz

An indispensable record. For the first time on record, Brazilian music and jazz were fused with total success. This record influenced almost all the Brazilian musicians of the generation that germinated bossa nova. Almeida paved the way for Brazilian guitarists suggesting the new beat that marked the new rhythm, Shank played with great understanding of the music and his driving investigation of BAIÃO (the title was converted as the name of a Northern Brazilian style) he has a real fiery solo. Luiz Gonzaga, Baião's composer was literally transfixed when [he] heard Shank's solo, saying he never would expect someone played his song like Shank.

 

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Date:   04-Dec-1998 07:58:41

From:   José Domingos Raffaelli

Subject: What jazz performer, past or present, do you feel has been most overlooked and is most worthy of attention?

There are so many, but I'll stay with a three wonderful musicians I believe are/were very important:

WARDELL GRAY - one the most fluent musicians of all time. His lines were logical but always surprising. He always played great solos. He was a favourite of Charlie Parker, Count Basie and Benny Goodman (who used to say he hated bebop, but said "if Wardell play bebop, I like it"). He died at 34, in 1955, and I assume he would be one of the all time greats (like Dexter Gordon) if he lived longer. By the way, hear the "battles" between Wardell and Dexter in the early 50's and hear how Wardell was a far better articulated musician than Dexter at that time.

LUCKY THOMPSON - another musician neglected who always was so consistent to the point that [he] never recorded an inferior solo. The trouble with Lucky is that he made many enemies because [he] always had arguments and fights with emprezarios, losing so many opportunities to play. I like his beautiful sound, his personal approach to play a ballad and his personal conception to construct a solo. I enjoy many of his records, especially LUCKY IS BACK (for his Rivoli label), LUCKY STRIKES (Prestige, an overlooked album with some of his greatest solos), the trio efforts with Oscar Pettiford and Skeeter Best for ABC-PARAMOUNT (I don't know if it has been issued in CD) and the one he made in Spain with Tete Montoliu (issued on the USA by Nessa), to name just a few. Let's remember he also recorded some sides with Charlie Parker for Dial in 1946 and with Dodo Marmarosa around the same time in Los Angeles. He made many records in Europe, where he lived [for] several periods from 1956 on.

DUKE JORDAN - despite he was the pianist of the first regular Bird quintet, his talent never was fully recognized, even recording many albums for SteppleChase from 1973 on, after 11 years absent from music. Taste, melodic approach, consistence and beautifully constructed phrases are his trademarks. Some of his compositions are small masterpieces of beauty and construction, as MISTY THURSDAY (a real gem) and PAULA, and also his jazz standards JORDU and NO PROBLEM. I like especially the album BARNEY (led by French saxist Barney Willen), a live recording with Kenny Dorham, Paul Rovere and Daniel Humair. On this particular record there is one the greatest ever piano solos I've heard - on LADY BIRD, Jordan plays three minutes and half of fully articulated ideas, fire, joy and incredible continuity.

He recorded many wonderful records, especially with trios, but the double CD "Live in Japan", with Wilbur Little and Roy Haynes, confirms everything I said about Jordan.

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Date:   04-Jun-1999 08:04:29

From:  José Domingos Raffaelli

Ned,

"The Inimitable Teddy Edwards" exists in CD form. It has been released by Xanadu in France in the name of pianist Duke Jordan, along with "Brooklyn Brothers", by Cecil Payne & Duke Jordan. I bought it some two years ago at Virgin Megastore, in New York.

The CD edition has a new title:

"Duke Jordan with Cecil Payne & Teddy Edwards" (Xanadu 151792)

Tracks from "Brooklyn Brothers": I Should Care / Egg Head / Jordu / Jazz Vendor / Cu-Ba / I Want To Talk About You / No Problem. With Duke Jordan (piano), Cecil Payne (Baritone sax and flute), Sam Jones (bass) and Al Foster (drums). Recorded March 16, 1973.

Tracks from "The Inimitable Teddy Edwards": Sunset Eyes / That Old Black Magic / Mean To Me / Imagination / One On One / Stella by Starlight. With Teddy Edwards (tenor sax), Duke Jordan (piano), Larry Ridley (bass) and Freddie Waits (drums). Recorded June 25, 1976.

I agree with you, Teddy Edwards plays great as ever. I have some of his records, incuding "Teddy's Ready" (Contemporary, now on Original Jazz Classics series) and "Sunset Eyes" (Pacifc Jazz).

Duke Jordan is one of my long standing favorites since his Charlie Parker days. I had the great fortune to hear Duke Jordan with Parker in August 1954 at Birdland and it was one of the highlights of my life. That night changed my whole life concerning music and jazz. I'll never forget that wonderful night.

José

I hope this is on the way to being reissued. Let me know if anyone hears about this!

 

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Date:   20-Jul-1999 08:06:16

From: José Domingos Raffaelli

One record I would like to have in CD is the first Clifford Brown-Max Roach recorded in concert for the Gene Norman Presents label. Aside [from] the leaders, the group line-up was Teddy Edwards (tenor sax), Carl Perkins (piano) and George Bledsoe (drums).

In the 10 inch LP there is a sensational introduction for the members of the quintet where each musician improvises some bars. One interesting thing is that bassist Bledsoe plays the first ten notes of the Brazilian national anthem, what obviously was a big coincidence. The introduction spoken first by Gene Norman and then by Max Roach calling each musician has been omitted in the 12 inch release.

[Does] anyone know if this album has been released in CD ?



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