Tuesday, December 26, 2006

James Brown says :

"'Funky' is about the injustices, the things that go wrong, the hungry kids going to school trying to learn. 'Funky' is about what it takes to make people move - take it from the gospel, from the jazz."
James Brown 6-1933_ 12-2006

Sunday, December 17, 2006

Interview to Marva Whitney

Here we are ...Im very excite to have the pleasure and the privilege to make my Thang with Marva Whitney.

What was your taste in music at the beginning? And now ?

I grew up with the music in church. Later I really liked Dionne Warwick, Etta James and Tina Turner.

Is there anybody that inspired your style ?

My mother. She is playing in church with me still today.

How did you first approach making music after being a church singer?

I first toured with a gospel group called the Manning Singers. Later I went on the road Tommy and the Derbys, a classic R&B act.

How did you meet James Brown and how did the collaboration start?

James Brown was playing in Kansas City and my former manager Clarence Cooper got me an audition. Mr Brown's former musical director Alfred Pee Wee Ellis auditioned me and gave Mr Brown a tape. He then asked me to come into his dressing room and hired me on the spot. I went on the road with him right away.

You started with my favourite JB band of my favourite period, what do you
remember about that ?

It was a lot of work. 30 one-nighters in 30 days. They were a great band, that's for sure.

When did you start to do to your own thing?
After I left James I recorded a few tracks for T-Neck, later I married Ellis Taylor who recorded me for his Forte label.

Something I always like to ask. Could you describe the feeling, the vibe
and the sensations and the experience of living through that period at the
end of the 60?s

That's really hard to do, because when you are living it, you don't think about it. I was very young at that time and excited. Of course I loved the attention I was getting, but my party was while I was on stage. After that, I went to my room and that was it. But of course I went to Vietnam with Mr Brown, which was quite an experience.

When recording a track, how much space did you and the band have and how
much of that decision was taken by JB himself?

We had no space. He told me what to sing, but sometimes he would let me write my words. Sometimes I made them up while I was singing. I can't really speak for the band, because usually the tracks where already laid out when I came in.

Could you describe to me a typical working day in the recording studio?

There was never a typical recording day. We usually recorded on the road, on our off-days. Sometimes we'd cut at very unusual hours. "It's my thing" was recorded at 6 a.m.

What do you think about Funk, Soul, and the rebirth of these styles from
the 80?s till the present day.

I never really followed what was going on in the 80s. My son first told me that some groups had sampled my music, which made me upset at first. But there is a lot going on this days, my current band Osaka Monaurail is from Japan, and they sound exactly like the James Brown Orchestra from 1969. They take funk very seriously.

Your records are very expensive now...

.. and I don't get paid a dime.

Are you still in touch with JB and the other musicians ?

I see some of them when I work with my agency, Soulpower. Because they also work with Sweet Charles Sherrell, Bobby Byrd, Vicki Anderson, Martha High, Pee Wee Ellis. Martha is my close friend, so was Lyn Collins. I don't talk to Mr Brown, but his manager, Mr Bobbitt, usually calls me up when they are in Kansas City. But I never went to his show.

What are your future plans?

My new album is coming out in Japan this month, it will be released worldwide in February. I have been performing quite a bit this year, all over Europe and Japan. We are ready to go come back to Europe and Japan in 2007 and we will tour in Australia. And we will definetely record a new album next year. Marva Whitney is back!

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Introducing Marva Whitney and Her essential Funk 45's

Introduction to Marva Whitney – The Lady Of Funk

After a lot of Great men now it's time to speak to a Lady , the first Lady of Funk.
Friends and Guests of Jazzmotel I'm proud to introduce you Marva Whitney .
As always i dont know how introduce this kind of personalities , so many things to say ....so Great persons and Artists.
The James Brown experience , her own career , Alfred Pee Wee Ellis , Tommy and The Derbys (who rose to fame with Charles Wright & The Watts 103rd Street Rhythm Band) , "Live At The Apollo Volume II".
His record " It's my thing" spent seven weeks in Billboard's US R&B Hot 100, peaking at #19 in the summer of 1969 (#82 Pop).Other records like" Things Got To Get Better" and "I Made A Mistake Because It's Only You", made their presence too on the US R&B Top 40.
My favourite are " Unwind Yourself " and " I’m Tired I’m Tired I’m Tired" .
Now she's back with a great band and a lot of news so have a read on this Interview DJ Pari kindly maked me do and have a look at her site on the links section.

Marva Whitney essential Funk 45's

I am what I am P.1 / I am what I am P.2

Your love was good for me / Saving my time for my baby
Federal, F12545

If you love me / Your love was good for me
King, K6124

Undwind yourself / If you love me
King, K6146

Your love was good for me / What kind of man
King, K6158

Things got to get better (get together) / What kind of man
King, K6168

I'll work it out / All my love belongs to you
King, K6181

I'm tired, I'm tired, I'm tired / If you love me
King, K6193

What do I have to do to prove my love to you / Your love was good for me
King, K6202

Tit for tat (Ain't no takin' back) / In the middle (Instr.)
King, K6206

You gotta have a job (with James Brown) / I'm tired, I'm tired, I'm tired
King, K6218

It's my thing / Ball of Fire
King, K6229

Things got to get better (Get together) / Get out of my life
King, K6249

I made a mistake because it's only you P.1 / P.2
King, K6268

He's the one / This girl's in love with you
King, K6283

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Groovin' with the Beatles

I proposes a look at the more groovy pieces of The Beatles re-interpreted by musicians that, in the 60’s and 70’s, were part of that sound that we all now define as Groovy Beatles! Why The Beatles? Simply for two reasons: above all they are and always will be my favourite band as well as being the ones who opened my mind musically when I was young, in fact I can state that my Karma as a DJ made itself known at the age of six when I used to listen to “Let It Be” (that came out only six years before!). The second reason is that last November 17th of last year “Let It Be” was re-published in its original version, that which the authors themselves would like to have seen pressed. Phil Spector, the producer at the time, remixed unknowingly by them the whole album in an effort to make it less raw and more sweeter, he added angelic choruses and orchestras and created many upsets amongst The Beatles who were close on breaking up, that now, at a distance of 33 years, see again (sadly only Mc Cartney and Starr) published their piece of work just how it was planned at the time! Before closing this Beatles section I want to be precise, once and for all, that “Let It Be” was not their last album that they realised in the studio but was in fact the one but last, even if the last, “Abbey Road”, was published in ’69 and “Let It Be” in ’70. Now, as always, I will list a quick but significant quantity of titles and authors, starting with George Benson, a very famous jazz guitarist, who published an album entitled “The Other Side Of Abbey Road” in which, of them all, stands out the very ‘Soul Beat’ version of “I Want You”. Ramsey Lewis also, another very famous artist, re-proposed with the electric piano that characterised his sound the famous White album in a groovy version, calling it “Mother Nature Son” like one of the pieces of Paul. Ramsey was also a big fan of The Beatles, in fact right from the beginning of the 60’s he proposed many cover versions of the group in lots of his albums. In a precedent appointment that was dedicated to the Sitar I mentioned how The Beatles were the first to introduce this instrument into pop, therefore, what better way, in the swinging sixties, to make a cover of their songs than using a Sitar? Here then is Big Jim Sullivan at work on “She’s Leaving Home” (originally taken from “Sgt. Peppers”) or Lord Sitar who put two pieces on his self titles album, “Blue Jay Way” and “I’m The Walrus”, both taken from “The Magical Mystery Tour”. Moving on to the Hammond organ we rediscover two extraordinary and highly danceable versions of “Get Back” respectively done by Shirley Scott (very jazzy) and the guitarist Dennis Coffey (touching on psychedelic funk rock contained on the album “Hair And Things”). Another great organist, Jimmy Caravan, in his “Look Into The Flower” proposes a great version of “A Day In The Life” in trio where the cacophony orchestra of the original piece, that divided the two ‘separate’ pieces of Paul and John, is substituted by a cacophony organ that gives you goose pimples with the Lesley (for those that don’t know this is a trumpet shaped amplifier that the Hammond possesses, capable of creating an effect like sucking). Rob Franken also, a less noted German organist, proposed his versions of “The Fool On The Hill” and “Ob La De Ob La Da” worthy of noting (they are contained on a very rare record that, however, is well worth looking for). Also Sergio Mendes was another big fan of the ‘fab four’ and, just as you can hear on many of his albums, loved re-interpreting their songs. Staying in South America I will tell you about a wicked version of “Come Together” that has been looked after by the very famous and much sought after Brazilian drummer Wilson Das Neves of whom his 70’s album entitled “Samba Tropi” is at the moment valued at around 250 dollars! El Chicano, a group that was born ‘bad’ like Santana but remained that way, offered us their Latin funk version of “Eleanor Rigby” where the sweetness of the original piece leaves space to a very aggressive Latin beat that is worthy of the most dusty powdered Mexicans! Astrud Gilberto also (an artist that is better known by us) re-proposed “In My Life” (in 1968) and “Here There And Everywhere” (in 1969) including them on her rarest (just for a change) album “Windy” and “17th September 1969”: there is no point mentioning that her Brazilian sweet voice makes these songs even more pleasurable.

Some other titles with Beatles reinterpretations are :

Booker T anbd the MG's Soul Limbo Stax
Ella Fitzgerald Watch whats happens MPS
Shirley Scott and the Soul Saxes Atlantic
Andrew Tartaglia Tartaglian Theorem Capitol
Ramsey Lewis Mother Nature Son Cadet
Steve Marcus Tomorrow never knows Vortex
George Benson The Other Side Of Abbey Road CTI
The Knut Kiesewetter Train Stop!Whatch!and Listen ! MPS
Mongo Santamaria Working On A Groovy Thing Columbia
Shirley Bassey Something UA
Big Jim Sullivan Sitar Beat Mercury
The Harvey Averne Dozen Fania
And loads more .....

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Sunday, December 10, 2006

Interview to Brian Auger

Im proud and excite to introduce to you another of my chats with a great Organist and Pianist that need no presentation ...Brian Auger , his Organ style groove us from the 60's till now !
Trinity , Oblivion Express , The Steampacket and all the London scene !
I hope you enjoy this interview i did .

Whats you favourite Bands and your musical tastes in the beginning and now ?

My Favourite bands early on were Art Blakey's Jazz Messengers, Miles Davis, John Coltrane, Blood Sweat & Tears, Steely Dan, Yes, Led Zeppelin, Mothers of Invention, Herbie Hancock Quintet, Aretha Franklin, Donnie Hathaway, Stevie Wonder, Marvin Gaye and many many
Today Tears for Fears, Brand New Heavies, Incognito, Jamiroquai, John Mayer, Coldplay, Foo Fighters, Down To The Bone. etc etc.

Can you tell me about when you decide to move from Jazz and Piano to join Organ and R'n'B ?

I switched to the R&B/ Rock scene in 1964 and bought my first Hammond Organ in Early 1965. I have not left the Jazz Scene and I incorporate much Jazz in my music, and play on many Jazz Festivals. I also never left the piano and still play piano pieces every night on tour.

Flamingo Club in London was one of the many Clubs in where you played , how was the Club vibe in the 60's , which were the Sound of that period .

The three most influential clubs in Central London in the 60s were The Ronnie Scott Club ( strictly Jazz, and still going), The Flamingo, (home of the R&B organ based bands) and the Marquee Club ( home to Jazz, Blues and the new pop bands like The Who, Spencer Davis Group, The Steampacket, The Move etc etc. As one of the only musicians that played in all three clubs, always liked the Flamingo for its mixed audience of English kids, West Indian fans and American soldiers and airmen who came into London on the weekends. This was a dancing audience and had the best atmosphere.

I saw an Auger Driscol Compilation called " The Mod Years " , whats your relation with Mods ?

My connection with Mods began in the Steampacket. We wore tailored suits and Carnaby Street clothes and the public called us Mods for our "modern Style of Stage Wear'. Indeed the unknown Rod Stewart who really started his career in the Steampacket became known as Rod the Mod.

What you remeber about the Steampacket period and Long John Baltry , Stewart and Jules ?

Steampacket was a great group. The first Supergroup. Unfortunately there were three managers, one for Baldry, one for Rod and one for myself and Julie. This caused a lot of problems and we never got to record properly because we were all on different labels. The only tracks available were pirated.

Then the Trinity with Auger and Driscoll in '66 , "Open" in '67 and so on , did you get the feeling to be starting a group like that ?

At the end of the Steampacket, I already knew that I wanted to start a band that would be a bridge between the separate scenes of Jazz and Rock. I wanted a rhythm section that could play funky R&B + jazz and I wanted to put Organ Solos on that base using my Jazz Harmony chords and with a positive vocal message. This was the Trinity, the first band of its genre to headline the Montreux Jazz Festival , The Berlin Jazz Festival, The Rome Jazz Festival , and all in 1968 with our first album OPEN and our single SAVE ME.

How did you define the Trinity Sound and how the Oblivion Express sound ?

The sound of the Trinity and the sound of Oblivion Express were pointed out in the recording studio. I simply tried to make sure that everything that was played by each musician was clearly heard, and a little reverb was added. I am not a Phil Spectre who is trying to create a particular sound to every one of his recordings.

When and how you decide to form the Oblivion Express ?

After the Trinity broke up in 1970, I really wanted to push the musical envelope and develop the Jazz Fusion music that I had started.
As this meant that I would be going against the wishes of the record company who wanted more and more commercial music, I thought I was going the quickest way to Oblivion,( Oblio) so I called the band The Oblivion Express, (Il Rapido a Oblio). We are still going, but now with my Daughter Savannah on Vocals, and my son Karma on drums. This is the happiest Express so far.

I know you played a lot in Italy and also that you speak Italian , tell me something about your Italian side .

I first came to Italy as a student when I was 16 years old and instantly loved Italy and the Italian people. In 1967 I came back as a musician to play in a club in Milano and met my wife, who is from Cagliari Sardegna. This was the best thing that ever happened to me.I already had studied French and Latin at college, and Italian came easily for me. My connection with the Italian fans grows stronger every year, and I sent my three children to study in Italy so my whole family speaks fluent Italian.

Can you tell me something special , a funny thing or a story about your B3 ?

My Hammond B3 in the USA, originally was built in London England, but when I moved to the US, I had to install an American tone generator in it. So it is the only Anglo American Hammond that I know about.

Whats your future plans ?

My future plans are to play live with my band until I leave the Planet.

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Monday, December 04, 2006

the Soul of JB part one .

This is a very hot topic hotter than ever , im writing a small but very hard breakdown of vinyl from the ‘Godfather of soul’ Mr. James Brown. Everybody knows that his career started about 40 years ago with a very soulful piece but it hasn’t finished yet because our Godfather is still playing all over the world, he is also recording an album that will be the soundtrack to the new ‘Rocky’ film! The part of his discography that I would like to recommend is that which goes up to the end of the 60’s and beginning of the 70’s, the same years that have become a habit for ‘The Soul Beat’. That which follows doesn’t wish to be a detailed list of his records but just a taste of his capacity in inventing a sound that still goes today… frightening! We shall start the journey with “Grits And Soul” where James might not even be recognised because he doesn’t sing but instead plays the Hammond organ: we are talking about a collection of pieces that range from soul to honky tonk right up to orchestral R’n’B with “Who’s Afraid Of Virginia Wolf” (a classic that was even done by Jimmy Smith) that I would strongly recommend to all those who love soul from the mid 60’s. Following there is “It’s A New Day” (that begins to be more R’nB even if Soul is still in charge) in which groovy pieces such as “Let A Man Come And Do The Popcorn”, “Give It Up Or Turn It Loose” and “It’s A New Day” alternate with big dance numbers like “It’s A Mans Mans World” or “Georgia On My Mind”. The album “Say Loud I’m Black And I’m Proud” starts to show us that Brown has some clear ideas about politics, about Soul and about what he wants… this is because he is beginning to become a kind of God and many are beginning to take note! In this case also songs like the title track or “Licking Stick” alternate with other cooler ones like “I Love You” or “Maybe I’ll Understand”. To keep under observation, also, are a few instrumental singles that represent rare material because James likes so much to sing. Not many know that he, apart from dancing, is an orchestra leader as well as arranger, he also plays the organ, therefore there comes out 7”’s such as “Shhhhhh For A Little While” (remember that I mentioned this in the Boogaloo edition of ‘The Soul Beat’) or “The Soul Of JB” b/w “Funky Soul” on the KING label as well as the very rare and much sought after instrumental “The Drunk” on BETHLEM that, with the difference to the others, is not contained on any album. To follow there was “The Popcorn” that, apart from being the name of a dance that he invented, is also the title of the album where ‘our man’ leads and dances with the JB Band! In it, even picking with your eyes closed, we can find brilliant songs such as “The Popcorn”, “Soul Pride”, “In The Middle pt. 1 & 2”, “The Chicken” or “The Chase” (just to name a few). In these pieces you can hear that things are slowing down and that the groove is getting ever deeper: next is the birth of true funk! On the album “It’s A Mother” James invented definitely the ‘Funky with feeling’ sound with pieces such as “Mother Popcorn”, “Mashed Potatoes Popcorn” and “You’re Still Out Of Side” (there is no use mentioning “Pop Corn With A Felling” and the others!). In 1970 James Brown changed his band and published another instrumental album entitled “Ain’t It Funky” in which there is (in my opinion) the first true Funky pieces such as “Ain’t It Funky”, “Nose Job” (the title says it all!!), “Use Your Mother” and “Cold Sweat”: in my opinion this album will remain a milestone in the JB story, even if it is one of the lesser known ones. Before finishing off the first part of this edition of ‘The Soul Beat’ I want to mention another album, also instrumental, one of which I redefined my opinion on JB… It is entitled “Sho Is Funky Down Here” and represents a monumental parenthesis that James opened and closed during his long career. The mentioned album is nothing but a Funky Trip of Hammond, Clavinet, Fuzz Guitar and Wah Wah Grooves whilst the sound that it unleashes is a kind of cross between the soundtrack to a porn or police film. I highly recommend that you hunt it out and take a careful listen: you will be nicely surprised! It is now time to say goodbye so see you in the nest edition with ‘The Soul Of JB part 2”… naturally in ‘The Soul Beat’! Peace all around and make it funky!

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the Soul of JB part two .

I continue the ‘hot thing’ that I left half way through the edition for the conclusion of this ‘The Soul Of JB part. 2’. We left off with some of the hotter singles so now we will continue with the albums and a live that all, yes all the lovers of James Brown have owned on vinyl or even on tape, bought by themselves or recorded by friends, I am talking about (naturally) “Sex Machine” from 1970. When I hear this double piece of vinyl I still get goose pimples… yes, exactly like when I heard the whole thing, for the first time, exactly 13 years ago! Leaving aside the usual, celebrated “Sex Machine” (of course) or “Give It Up Or Turn It Loose”, I would like to bring to your attention some pieces that, in my opinion, have passed into the background even though maintaining the same notoriety as the titles that I have just mentioned seeing as they contain many grooves. “Lowdown Popcorn” and “Spinning Wheels” for me show the true soul of JB and his band in such that they are relaxing (but knowingly) and full of Soul! “Mother Popcorn”, in my opinion, represents Funk in its purest form and puts into evidence the coordination of the virtuous musicians that never tripped up, leaving spaces in all the right places, something different than what happened with Fusion at the end of the 70’s and beginning of the 80’s where the musicians, very technical, created a too perfect and ‘full’ sound, only leaving space to the soloists at the moment of their solo’s. After this mention of Fusion I will pass over to “Get On The Good Foot” from 1972 where inside the cover (double) you can see his evolutions on stage under the dazed and attentive eyes of the band. Of this album I would recommend the title track, also pieces like “Cold Sweat” (different from the 45), “Funky Side Of Town” and “Dirty Harri”! With this album JB began to realise a series of works that left many spaces to the solo artists, also the same songs began to last 6 minutes or even more! “The Payback” is without doubt a must as far as breaks are concerned, those parts that have been sampled by practically all the Hip Hop and R’n?b bands, and songs such as “The Payback”, “Take Some And Leave Some” or the infinite and super ‘bad groove’ of “Mind Power” with a series of Black ideology of the power of the mind and other things, leave you once again understanding who was the true Godfather Of Soul in that period! Also “Hell” in 1974 pointed out an important political and social passage of Brown concerning the black brothers and, maybe, even the white ones! ‘It’s Hell Down Here And We Got To Make A Change’ or ‘It’s Hell When You Don’t Have A Job And You Have To Eat’ are, in fact, some of the phrases written inside the cover. The 8 minutes of “I Can’t Stand It” reassume in a big way the groove of the entire album and “Papa Don’t Take No Mess” redefines it clearly! Relaxing with pieces such as “Lost Someone” or “These Foolish Things Remind Me Of You” is obligatory! Well, I have to be sincere… in this album you will find much of that which could be called ‘Soul Beat’. Before closing I would like to mention some productions by Brown that are needed to make grow the notoriety of the ‘James Brown family’ through a larger public. A record that shouldn’t be missed for any reason (just think, the original costs more than 100 Pounds Sterling!) is “It’s My Thing” by Marva Whitney, the ex chorus singer of James that, thanks to her voice and the JB band, makes the album not have one song that I would recommend to you… because they are all fantastic! Apart from the ones by the JB’s (one of his band – maybe the last from the real Funk period – that succeeded the Kings Men or the Famous Flames), I would recommend all the works by Maceo Parker from 1970 to 1974 as well as those of Fred Wesley and Bobby Byrd from the same period. My favourite pieces, with which I opened the dance a few years ago, are “Blow Your Head” by Fred Wesley And The JB’s and “I Know You Got Soul” by Bobby Byrd, respectively sampled, towards the end of the 80’s, by Marrs for the hit “Pump Up The Volume” and Eric B and Rakim in “I Know You Got Soul”!

Interview to Marcos Valle

Like a dream come true i went in contact with one of my great Idols , my favourite Brasilian composer , Mr Marcos Valle.
I discover a great man , humble and cool , a man with an open mind , an artist always ready to experiment and create new sounds always with his great and unmistakable sound and touch ...heres a chat with Marcos Valle

I read you studyed classical music , wich one is your favourite classical
composer , theres someone who inspired your musical taste and style?

M: Ravel and Debussy were the pricipal ones.

Listening to some of your records like " Garra " or " Marcos Valle " from
1970 i heard that in songs like " Des Leis " i can feel some kind of 60's
European or American infuence , wich bands were an ispiration for you?

M: Steely Dan,Chicago, Earth,Wind And Fire, Beatles, Harold Melvin And The
Blue Notes, War, Blood,Sweat And Tears, were some of them.

My Marcos Valle favourite tunes are " Ele e Ela "," Viagem " and "Pigmaiao
" also because i love that kind of waltz tempo , can you tell me something
more about " Ele e Ela " and waltz tempo in Bossanova?

M: Jobim,Menescal and I have written some waltz tempo songs.. I think it
blends well with the the softness and sensuality of the Bossanova mood.
I have written at least 6 of them,and "Ele e Ela" is also one of my
favorites,because of the chords changes and the smooth melody.

Most of your songs are about love how love influenced your musical life .

M: I can´t understand the world without love,so my songs talk about it.Not
only love between 2 persons,but also love for your people,for all the
races,for the ones who need care.

What you think about mixing Bossanova with other styles like Funk or
Psychedelic sounds in the 70's or electronics today..

M:I love these experiments and mixings.They inspire and excite me.

How important were the traveling in North America for being in time with the
music , like you are already now.

M:Well,besides having my songs recorded there,my personal contacts were very
I had good times touring with Sergio Mendes in the Sixties.
The success of my song "Summer Samba "in 67 took me to some of the most
important musical American TV shows;I had the chance to record then 2
albuns:one for Warner,named "Braziliance-The Music Of Marcos Valle" and one
for Verve:"Samba 68".I had a chance to meet important artists as Henry
Mancini,Quincy Jones,Johnny Mandel,Ron Carter and others.And from 75 until
80,when I stayed 5 years there,I met Sarah Vaughan,with whom I
recorded,besides having my songs recorded by her;the group Chicago also did
it;I had a chance to write many songs with Leon Ware,partner of Marvin Gaye
(Leon recorded many of our songs);I collaborate with Airto Moreira writing
the arrangements for his album "Touching You,Touching Me",and also had songs
recorded by my friend Deodato.

You wrote the Azymuth song that inspired Azymuth band , can you tell me
something about that soundtrack , i mean "O fabuloso Fittipaldi".

M: I had written the song "Azymuth",with my partner Novelli,in the 60s,for
the opening of a TV film,about racing driving.And recorded in the accoustic
piano myself. Then,years later 2 important movie makers,Roberto Farias and
Babenko decided to Make a film about the 2 times World Formula One Champion
Brazilian Racing Driver Fittipaldi,and they asked me to write the score; and
as they loved the song "Azimuth",they asked me if I could write a new
arrangement of that song for the opening of the film,which I agreed.To
record the soundtrack with me,the producer of the album decided to call 3
talented musicians: Jose Bertrami(Keyboards),Alex Malheiros(bass) and
Mamao(drums),and I playing the accoustic piano.
Bertrami and I wrote the arrangements together.We wrote a new arrangement
for "the song "Azymuth",but basically,my piano solo was the same,and I wrote
new songs for the rest of the film.
I could not put my name in the record as a performer,once I had a contract
with EMI,and this was being recorded in Phillips(Universal today).So,we had
to find a name for the performers.The producer thought about "Conjunto
Azymuth" ("Azymuth Band"),because of the opening song.I agreed.
After the record,those 3 musicians decided to stay together,and asked me if
they could use the name "Azymuth" for the band.I agreed,and I became the
"Godfather" of the group.And I really think they are probably the best
Brazilian instrumental band .

You collaborate with a lot of Brasilian musicians , wich collaboration were
the most important for you .

M: Joao Donato , Milton Nascimento , Edu Lobo , Menescal , Lulu Santos ,
Carlos Lyra , BossaCucaNova , Cidade Negra , are just some of them.

Its very difficult to find Marcos Valle original vinyls , the vinyls you
find are very expensive . what you think about this ?

M: I wished they were less expensive , so people who enjoy my music were
able to buy them.

Can you describe me the felling of Rio de Janeiro in the 60's .

M: It was very stimulating.I had my first song,entitled "Sonho de Maria",
recorded in 1963,by Tamba Trio.And a little bit after that,Os Cariocas
recorded 2 songs of mine,"Amor De Nada" and "Vamos Amar".And in 64,I signed
a contract to record to EMI for 5 years.
What was fantastic is that all the composers,musicians and singers use to
get together almost every week,in someone,s house,and I always wanted to get
there with a new song to show Jobim,Carlos Lyra,Menescal,and all the
others.So,I had to look for quality.I did not think in what would be
comercial,never.We just wished to write good songs.And that was the same for
film producers,plays,books,all kinds of art.The sixties were very creative.
Even when we had the military government,we were very productive.We had
problems with the censors,but did not give up.The lyrics started to change
to social and protest subjects.The meetings now were not only musical,but
also political,to discuss what we could do against the government.They
included all kind of art people.

When i listen to your 60's and 70's records i feel a kind of energy and
positive thinking about that period , it's Brasil changed today ?

M: As I say,I was very stimulated to do things and write a lot.
Today we have democracy,thanks God.Elections are free,we choose who we
want.But we still have the social problems.The population is much bigger,the
poverty also.We must fight that to find peace in our country.
We do not have anymore those weekly meetings,but I love to get together with
other composers of other generations,other music styles,and write songs with
them.That moves me.

What are you doing now , i know you are playing a lot in this period , can
you tell me something about your future projects?

M:I just came back from a great European tour,with my band,including 17
shows in different countries.
I Have recorded a new CD,all instrumental,with new and old
songs,produced,arranged and performed by me,playing the Rhodes,Accoustic
Piano,Guitar,Mellodica and keyboards,with my band,and have achieved the Tim
Award (the most important music award in Brasil) as the best instrumental CD
of the year.The CD was released in Europe,Japan and USA by Universal.
I will be perfoming 5 shows in Australia next January,in Sydney and
Melbourne Festivals,and in May I will start a new European tour.
And in Brasil,I will be perfoming a lot, also with my band .
And I will be recording a new record in 2007,I still do not know were.Let´s

Marcos Valle

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approach to Marcos Valle

The first time i heard directly Marcos Valle voice was in 1995 after Mr Bongos compilations “ The essential Marcos Valle “ vol 1 and 2 .
Before i just listened at Astrud Gilberto , Walter Wanderley , Sergio Mendes and loads more versions and interpretations, cause Valle were the 60’s and 70’s and still is the main Bossa Nova men into the 80’s and todays evolution of it.
I remember my favourite song were “Ele e Ela “from the Odeon album “Marcos Valle “ 1970 ,then “ Viagem “ and “ Tiao abraco forte “ from “ Viola Enluarada “ 1968.
After a lot of researching and spending also in Sao Paulo Brasil i get most of the 60’s and 70’s Valle works , all beautiful and all very interesting as ideas and concepts.
“Era uma noite fra de domingo .Mais 2 oras e Marcos chegaria dos Estados Unidos “ quote from the back cover of “ Viola Enluarada “ .
Marcos was always travelin’for more than 20 years from South to North America to get inspirations and to work too , to get ideas and feelings to compose pieces like “ Proton Electron Neutron “ or “Siute imaginaria “ .
A life spent to create the Bossanova sound and the today brasilian sound as well.
Born in Rio de Janeiro in 1943, Marcos Valle studied classical music as a child but listened to many different types of music, especially jazz music .
He started to write songs with his brother Paulo Sergio , he was the tune writer and his brother the lyrics writer .
After the hit of Tamba Trio with his song “Sonho de Maria “ Marcos was named as Brazil’s Leading Composer of the year at the age of 19 .
Then a Record contract and the first album in 1964 “ Samba Demais “ for EMI Brazil , a tour with Sergio Mendes and Brasil ‘65 and then it arrives his first connection to America.
Then “ Braziliance!” and his debute on Verve with “ Samba 68 “ and songs like "Batucada," "Chup, Chup, I Got Away " and "Crickets Sing for Anamaria"
all sung with his wife Anamaria .
In the end of 60’s with the big success of Rock Music and Tropicalismo with bands like Os Mutantes , Gilberto Gil or Caetano Veloso he get influenced too and record the fantastic album “ Garra “ in wich for the first time he introduce groovy heavy basses into a kind of smooth funk , all together with his great style.
Then he went in America again to produce tracks for Eumir Deodato and Airto Moreira till the London explosion in the late eightyes with Acid Jazz movement and the rebirth of tracks like "Crickets Sing for Anamaria".
Then Mr Bongos complilations , the big success in the 90’s in Europe and Japan till the new experience with Joe Davis and Far out Records till today ...

Marcos Valle Discography













GARRA 1971



SAMBA''68 1968




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