VIDEO: Elis Regina - "Águas de Março"

[JSngry]

Sublime...

The melodic rhythms that result from the Portuguese lyrics of so many of these tunes just seem to flow so much more freely, at times, as here, magically so, than do the English...and who are the accompanying musicians?

In the zone, all the way.

[Jim R]

I believe that's Cesar Camargo Mariano on piano, whom she was married to at the time.

For some reason, this particular performance leaves me a little cold... seems like she's mailing it in a bit (compared to other versions I've heard). By comparison, I also miss the depth of the arrangement and group sound of Jobim's Banda Nova performances of this tune.

[Larry Kart]

Compare to this earlier duet version with her and Jobim:

Two people shouldn't be allowed to share this much pleasure in public, although for me there is a melancholic undertone to this performance.

[Jim R]

I like this duet even better...

Btw, Mariano led one of the great piano trios (Sambalanço Trio) in Brazil in the 60's.

Edited March 28, 2011 by Jim R

[JSngry]

I prefer the slower tempo. It floats more, and lord knows, everybody there knows what to do with a good float.

Not everybody does.

[Larry Kart]

I like this duet even better...

Oh, yeah -- I remember that one!

[Teasing the Korean]

If "Os Afro Sambas" by Vinicius and Baden Powll is my favorite Brazilian album, "Tom and Elis" may be my second favorite. I love their version of "Useless Landscape."

[Noj]

Our JC friend Root Doctor (Joe) posted a version with English subtitles on FB a few days back:

Cool lyrics! Elis Regina made short hair look appealing in a way few women can.

[seeline]

I believe that's Cesar Camargo Mariano on piano, whom she was married to at the time.

For some reason, this particular performance leaves me a little cold... seems like she's mailing it in a bit (compared to other versions I've heard). By comparison, I also miss the depth of the arrangement and group sound of Jobim's Banda Nova performances of this tune.

Yes, it's him, with Luisão Maia on bass ... and I'm blanking on the drummer's name.

It's from a TV program called "Ensaio" - the whole show was released on DVD a few years back. I *think* all the music portions of the show are on YouTube (at least, they used to be).

am not a big Elis fan, but she and the trio were just this side of "perfect" for this session, I think.

Edited March 30, 2011 by seeline

[JSngry]

uh oh...

[seeline]

btw, i agree on the feeling of the Portuguese lyrics for this song, though I like the English-language version a lot, too.

In both cases, Jobim was very careful about the number of syllables per word (and per line), the type of rhyme, etc. (Portuguese lyrics here: http://letras.terra.com.br/tom-jobim/49022/)

I've read that the opening line of this song ("É pau, é pedra" - literally, it is wood (stick, branch) / it is stone) were taken directly from an AFro-Brazilian religious ceremony, but that's speculation. (Though I wouldn't be surprised if it was true.)

Edited March 30, 2011 by seeline

[DukeCity]

I dig the way Elis is sometimes sitting "in" the time (in JSngry's first video, when she is nodding her head in time), and sometimes a little ahead of the time. It adds an interesting energy to the phrasing for me. I noticed the same thing in the Astrud Gilberto video of "Ipanema" that was discussed recently. Astrud would push the time on the last part of the bridge. Cool!

That phrasing a little ahead of the time thing is also one of the things I find attractive about Anita O'Day's singing. So often, vocalists are lagging behind the beat, stretching phrases, that when singers like Elis, Astrud and Anita go against the grain, it's really striking.

Thanks all for posting the above videos!

[Jim R]

Our JC friend Root Doctor (Joe) posted a version with English subtitles on FB a few days back:

Cool lyrics! Elis Regina made short hair look appealing in a way few women can.

btw, i agree on the feeling of the Portuguese lyrics for this song, though I like the English-language version a lot, too.

In both cases, Jobim was very careful about the number of syllables per word (and per line), the type of rhyme, etc. (Portuguese lyrics here: http://letras.terra.com.br/tom-jobim/49022/)

I've read that the opening line of this song ("É pau, é pedra" - literally, it is wood (stick, branch) / it is stone) were taken directly from an AFro-Brazilian religious ceremony, but that's speculation. (Though I wouldn't be surprised if it was true.)

I meant to respond to Noj's post earlier, but I forgot. The translated subtitles are not exactly what we should be paying attention to. I think it's worth noting that "Aguas de Março" was the first song that Jobim attempted to write with english lyrics, and he was quite proud of what he did with them. I'm sure his fellow musicians enjoyed learning the english lyrics too- must have been a rewarding challenge. I enjoy those lyrics, and yet, like many of us english-speakers, I still prefer to listen to it (and just about every other Brazilian tune) sung in portuguese.

Here's a nice article about the song: http://www.connectbrazil.com/news/me-watersofmarch-03052006.html

[Jim R]

I dig the way Elis is sometimes sitting "in" the time (in JSngry's first video, when she is nodding her head in time), and sometimes a little ahead of the time. It adds an interesting energy to the phrasing for me. I noticed the same thing in the Astrud Gilberto video of "Ipanema" that was discussed recently. Astrud would push the time on the last part of the bridge. Cool!

That phrasing a little ahead of the time thing is also one of the things I find attractive about Anita O'Day's singing. So often, vocalists are lagging behind the beat, stretching phrases, that when singers like Elis, Astrud and Anita go against the grain, it's really striking.

For me, Joao is the master. Phrasing ahead, phrasing behind... I don't even think about what he's doing, actually- I'm too busy trying to soak it in and hope some of it stays in me.

[JSngry]

The phrasing reminds me so much of Miles....

[seeline]

Which begs the question... was Miles listening to a lot of Brazilian music?

Because Elis's phrasing is very much in tune with the language (Brazilian Portuguese as well as certain kinds of music from there). There's no doubt in my mind that Elis spent time listening to N. American jazz singers, but imo, this is very Brazilian-sounding music, and a really masterful interpretation and phrasing on her part. Personally, I think a big case can be made for cultural currents running both ways (from Brazil to the US and Europe and back again), and I think that if you asked musicians who were around at the time, you'd get a lot of agreement on that.

As I said earlier, this was a fantastic session - probably far and away my favorite out of all the Elis recordings I've heard, and definitely one of those rare times when everything was not only just right, but was captured on audio and video while it was happening.

Something to keep in mind: a lot of young writers wanted Elis to perform and record their music... Milton Nascimento, Edu Lobo, Ivan Lins, Joyce and many others. They liked her interpretive ability.

"Atrás da Porta" was written by Francis Hime and. Chico Buarque. Chico is a really a superb lyricist and composer, although his writing is complex and my language skills aren't up to that standard as yet.

Lyrics here: http://letras.terra.com.br/chico-buarque/45113/

Edited April 4, 2011 by seeline

[JSngry]

Which begs the question... was Miles listening to a lot of Brazilian music? ...Personally, I think a big case can be made for cultural currents running both ways (from Brazil to the US and Europe and back again),...

Same here...a case of kindred spirits finding each other once "the world began to shrink"...not just those two but musicians in general began to realize that there were other people in other places with other languages who shared many of the same qualities.

[seeline]

Yes... but it also seems (to me) to be a case of people listening to very specific things; also working with Brazilian musicians.

Think about it: Airto and Flora, Moacir Santos (terrific arranger/composer and baritone sax player) and many other Brazilian musicians either emigrated to the US and/or started working regularly with American and European musicians, beginning in the late 1960s. (Two of the latter - not emigrants - Hermeto Pascoal and Naná Vasconcelos... Hermeto recorded with Miles.)

And these people were recording on their own and gigging with lots of other folks. Moacir Santos was also teaching at Gary Foster's school.

There's a *lot* more going on here, I think, than meets the eye. (Spelled out a bit more explicitly in Chris McGowan and Ricardo Pessanha's book The Brazilian Sound.)

Edited April 5, 2011 by seeline

[JSngry]

Well, if you're talking specifically about the Miles/Elis thing, hey, Miles was already there...don't know how much he would have been influenced as much as he would have been an influence, at least early on. But it's also safe to assume that hearing people such as Elis who were kindred spirits within their own native idiom was not something he would have had an indifferent response to...remember, he gave Gilberto the "he could sing the phone book and make it sound good" compliment back in 62/63, so you know he was heartened to hear other original voices coming from the same general place he was. Who wouldn't be?

Miles could easily have been named Sherwin-Williams. He pretty much covered the world.

[seeline]

Hermeto worked with Miles - he's on "Live-Evil."

Airto has worked with Lord knows who all; ditto for Naná Vasconcelos, etc. etc.

I think a lot of musicians up here have been influenced greatly by direct contact with Brazilian musicians they've played with and by simply listening to and absorbing things re. the Brazilian music they've heard. (That said... most N. Americans play samba in 4/4 rather than in 2/4, which is how Brazilians feel - and notate - it. Make of that what you will!)

I wasn't referring specifically to either Miles or Elis, but to broader trends in which I suspect they both played a part. (Musical trends and ideas that were being passed around in Brazil and making their way to N. America and Europe, and vice versa - obviously, recordings were a part of that.)

...don't know how much he would have been influenced as much as he would have been an influence,

I think that's debatable, really. There was an entire generation of Brazilian musicians who played both samba and jazz (and other forms of music, too) who were Miles' contemporaries. A lot of them moved to either the US or Europe after the dictatorship in Brazil started making things difficult... And who's to say that any of us are ever at a point where we would not be influenced by new (to us) music and musical ideas?

*

Re. Miles' pronouncement on J. Gilberto, he said the same thing (or something much like it) about the late Shirley Horn. I think that "sing the phone book" line is very overused, but were Miles - and others - acknowledging someone who is a top-notch musician? Sure!

That said, there are (imo) many others who are just as talented. João Gilberto has gotten international exposure; many others never have, and some of the best never gigged outside of Brazil or are only known to a handful of people outside of Brazil. (The late Moacir Santos - mentioned above - is one of the latter.)

And frankly, as good as João Gilberto is, he's just the tip of the proverbial iceberg re. good Brazilian music. There are so many regional styles/genres - even now - that don't get much time even in Brazil, let alone outside it.

Edited April 5, 2011 by seeline

[seeline]

There are some nice uptempo songs on the "Ensaio" show, like this one (by Edu Lobo) -

[JSngry]

You think Miles had been hanging out and playing with Brazilians when he did "My Ship" or "The Meaning of the Blues" with Gil?

Otherwise, I think we're in agreement about the actual cross-pollination that went on later...Duke Pearson, quite as it's maybe kept, was mixing it up pretty nicely in the late 60s.

But re: Miles & Elis, I've no doubt that there was some mutual admiration, and I've no doubt that Miles & Hermeto would've made a delightfully out-there match, but I'm not going to be so bold as to say that Miles' core ballad style had Brazilian influence as one of it's basic founding principles...that math just ain't right.

Beides, it really doesn't matter...the number very real cross-pollinatroy delights that exixts as time went by are all there to had a splendid time with.

[seeline]

His core ballad style: I didn't say that. but i think you're trying to draw direct lines between Miles and Elis (please correct me if I'm misreading you on that) - and if so, I have to say that I can't agree, though I certainly do hear a kinship. However (big "however"), he could well have heard Brazilian piano trios (etc.) from the late 50s on... no telling what records made their way to him, now is there?

Miles supposedly called Hermeto "the most impressive musician in the world," fwiw. (I have no idea if that quote is apochryphal or accurate, though I suspect the former.)

Re. "Gil," I had to stop and think for a second, if only because Gilberto Gil is usually referred to as "Gil." (Soft g, though.)

Edited to add; Elis could really be a belter - this is one of the rare times where we get to hear her in a quieter setting... which is probably one of the reasons why I like this session so much.

Sadly, she died when she was just starting to sing in a more mature style (imo), and I can;'t help wondering what direction(s) she would have taken had she lived.

Edited April 5, 2011 by seeline

[JSngry]

The phrasing reminds me so much of Miles....

Which begs the question... was Miles listening to a lot of Brazilian music?

I thought you were asking me if Miles' ballad phrasing was brazillian-influenced, which is not what I meant at all because this doesn't sound like somebody by whom Miles had been touched, this sounds like somebody who had been touched by Miles, although not enough as to be slavishly derivative, but just enough to be spiritually nourished and encouraged.

His core ballad style: I didn't say that. but i think you're trying to draw direct lines between Miles and Elis (please correct me if I'm misreading you on that) - and if so, I have to say that I can't agree, though I certainly do hear a kinship.

The kinship was all I was ever alluding to. No direct lines other than two people who used a lit of dramatic tools to get ballads across, though some of those tools (space, straight tone, dynamic drama) are certainly shared, they aren't necessarily executed the same way, thank god, and each one leaves as they came, beautiful, soulful, renegade senusalists

Edited April 5, 2011 by JSngry

[seeline]

OK, my bad! Thanks for the clarification.

However, do I think Miles was (possibly) influenced by Brazilian music later in his life? Maybe so - there's no proof I can offer, but I suspect his ears were just as open as those of his colleagues (Don Cherry and Don Pullen, to name two).

afaik, Brazilian music didn't really start circulating here until the 1950s; late 50s-early 60s if you go by the date that Charlie Byrd and others (wish I had my references handy!) 1st went to Brazil on a State Dep't.-sponsored tour.

(Will have to add the info. later... sorry to be somewhat vague. However, McGowan & Pessanha's book - mentioned a few posts back - has some great info.; would also suggest a look at John Storm Roberts' "The Latin Tinge" and "Latin Jazz: The First of the Fusions.")

Edited April 6, 2011 by seeline