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Home , Charlie Byrd, Laurindo Almeida

LAURIN DO BRAZILIAN - ALMEIDA 5ouL -

LAURINDO ALMEIDA • • • GUITAR GUITAR PERCUSSION BASS

The concept of guitar duets is nothing new. From regarded classical guitar, while Laurinda plays a SIDE ONE classical traditions through and even rock, unique instrument of his own design - a classical gu itarists have pa ired thei r talents for various (built by Jul ius Gida of Los Angeles) with a cuta- l . CARIOCA (3 :44) purposes. In Brazilian Soul , however, we hove way portion to permit greater access to the higher (Ernesto Nazareth) a totally new departure - the first basso nova- tones. The blending of the two guitars' sounds is a s f la vored guitar duo. And 's choice of successful as the pairi ng of the two players 2 . NAQUELE TEMPO (3:38) performers couldn't have been better: Laurinda themselves. (Alfredo Vionno ) Almeida, the man most generally credited with Side One opens with Nazareth's " Carioca." This is 3. COCHICHANDO (2 :37) combining jazz and Brazilian music into what mostly Laurinda, though the guitarists share some (Al f redo Vionno) was to become bossa nova, and Charl ie Byrd, the of the f irst lead. Charlie's guitar is the lower first o ne to popularize that form in America. They pitched. 4. LUPERCE (2:49) both possess vast knowledge of Brazilian music, " Naquele Tempo" has Byrd ploying the opening (Luperce M i ra ndo) along with the flawless technique needed to play it. melody and most of the solo. The two had often appeared on the same bill over 5. FAMOSO (2 :55) "Cochichando" (whispering), is Laurindo's a r- the years, and knew each other well. But, aside (Ern es to Nazareth) from o ne or two brief impromptu backstage jams, rangement. He i ntroduces the melody and plays most of the rest as well, with Charlie primarily 6 . CHORO II (2 :50) they'd not performed together. Chari ie had often responsible for the repeats. (Jaco Pernom buco) thought of recording some pre- b o ssa nova ion co mpositions. As he puts it, " I felt I ike the Almeida also does the bulk of " Luperce," o piece A ll se lec tions p ubl ished by Brozi ll ionce M usic young jazz musician who first finds out about the titled with the composer's name. Pub. Inc. -A SC AP days of bebop . I wonted to learn all I could about " Famoso" showcases Laurinda, too, who plays SIDE TWO tho se earlier pieces. I got in touch with Laurinda to about 80% of the melody, though Charlie comes show hi m what I was d iscovering - a nd he knew forward more in the lower register at the end . l . BRAZILIAN SOUL (2 :44) them co ld! He even knew some of the composers Byrd arranged " Chore II " from a Pernambuco (Rodomes G notto l i) Brozi ll ionce M usic Pub. lnc. -ASC AP personally. After all, he'd been there, he'd l ived guitar solo. Laurinda plays the opening theme. the music." 2. STONE FLOWER (4:55) Gnattali, considered one of Brazil's foremost com- The music he refers to is , for the most part, com- (A ntonio Carlos Jobi m) Co rcavodo M usic Corp. - BMI posers of whot might be called " serious" music, prised of pre- 1940 pieces, the most notable e xcep- penned "Brazil i an Soul ," which Almeida ar- tions being Jobi m's " Stone Flower," " Don't Cry For 3. FOR JEFF (6 :46) ranged for two guitars. Charl ie plays most of the Me, Argentina," from the musical Evita , and (Charl ie Byrd ) M JDCW M usic - BMI melody, though both guitarists share the second Charlie's own " For Jeff." A ccord ing to Laurinda, half. The truly amazing boss solo, with all its rich 4 . DON'T CRY FOR ME ARGENTINA " Even in Brazil few people know the music of glissandos, is Robert M agnusson's, a former french peo ple like Nazareth and M iranda. Nazareth, for (From "Ev ita") (3 :32) hornist with the San Diego Symphony. instance, was a pianist who spent his entire l ife in (A ndrew Ll oyd Webber-Tim Rice) Leeds M usic Corp . Rio, and left a wealth of popular pieces . He died in Laurinda leads off " Stone Flower," Charlie's ar- (MCA)-A SC AP 1934, having gone insane after the deaths of his rangement of the popular Jobim tune. The bluesy daughter and wife." Almeida knew two of the soloing is Byrd's, as are the higher pitched repeats. CARI OCA, COCHICHANDO. LUPER CE, FAMOSO and BRA ZILIAN SO UL a rr. by L. A lmeida . composers, having played for more than a decade On " For Jeff," Chari ie plays the first and second CHO RO II, STONE FLOWER, FOR JEFF and DO N'T on Brazilian radio with the famous flutist Alfredo melodies, then Laurinda comes in and plays the CRY FOR ME ARG ENTIN A arr. by C. By rd Vianna (better known as Pixinguinha) and the second an octave lower followed by the first NAQUELE TEMPO a rr. by Al meida and Byrd mandol i nist/ p ianist Luperce Miranda. theme aga in but with written variations. The selections for this album were all arranged by " Don't Cry For Me, Argenti na" is the second of the either Charlie or Laurinda though they'd occa- ® 1981 Concord Jozz, Inc. sionally contribute almost equally to a tune. There LP 's two non-Brazilian composi tions. Laurinda plays the initial melody, and from there on the is v irtually no improvisation. Almeida adds a spontaneous phrase here and there as a transition two alternate. Charlie Byrd, a man with more than sixty solo between segments on some pieces, while Charl ie Produced by Corl E. Je fferson, President, , Inc. albums to his credit, sums up his feelings about stretches out a bit on " For Jeff" and " Stone Flower" Recorded a t Coast Recorders, San Francisco, California (one of the album's highlights). Generally, the this LP emphatically: "To put it simply, this was the Dece m be r 1980 greatest recording experience of my life- bar none." compositions have the A -B-A -Trio-A form where Remixed a t PER , San Francisco, California the initial theme is stated, another is added, the And it's certainly one of the greatest listening Record ing a nd remix engineer: Ph i l Edwards f irst is restated, a trio comes i n, the n the opening experiences of mine. M astered by George Horn theme concludes the piece. JIM CROC KETT Cover photo, Horry Noltchoyon Byrd chose the Ko hna 30, Japan's most highly Publisher, GPI Publ ications A rt Direction, Dic k Hendler

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