Monday, May 16, 2016

Herbie Mann - Right Now & Latin Fever

Herbie Mann spent much of his career at Atlantic, which he signed with in the early 1960s and recorded for until 1985. The flutist provided a very wide variety of music during his long stay at Atlantic; this rewarding 1962 LP found him combining bop with various forms of world music. Mann has long been famous for his love of Brazilian music, and that interest serves him well on the charming "Borquinho" and Luiz Bonfa's "Manha de Carnaval," as well as two Antonio Carlos Jobim pieces: "Desafinado" (a major hit for Stan Getz in the early 1960s) and "Meditation." But Mann goes for more of an Afro-Cuban flavor on his exuberant "Free for All" and Lester Young's "Jumpin' With Symphony Sid," and he successfully incorporates elements of Jewish and Middle Eastern music on the moody "Challil."
Alex Henderson

Source : http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:gxfyxqwgldhe

Herbie Mann
Right Now
Latin Fever

Tracks

1 Right Now (Mann)  3:15
2 Desafinado (Jobim, Mendonca)  4:24
3 Challil (Mann)  4:41
4 Jumpin' With Symphony Sid (Young)  2:56
5 Borquinho (Boscoli, Menescal)  3:42
6 Cool Heat (Mann)  5:15
7 Carnival (Bonfa, Merchan)  2:59
8 Meditation (Gimbel, Jobim, Mendonca)  5:55
9 Free for All (Dennis, Mann, Nugent, Shorter)  2:21
10 Harlem Nocturne (Hagen)  2:17
11 Fever (Cooley, Davenport)  1:53
12 Not Now-Later On (Meade, Sherman)  1:53
13 The Golden Striker (Lewis)  2:15
14 Insensatez (Jobim)  3:06
15 You Came a Long Way from St. Louis (Brooks, Russell)  2:30
16 Batida Differente (Einhorn, Lelys)  5:14
17 Nana (Powell)  4:01
18 Groovy Samba (Mendes)  5:08
19 Influenza de Jazz (Lyra)  5:38


*

Personnel
[# 1-9] Herbie Mann Octet - Right Now - Atlantic (1384)
Herbie Mann - fl
Hagood Hardy - vb
Billy Bean - g
Don Payne - b
Willie Bobo - dr
Carlos "Patato" Valdes - cg &dr
Johnny Pacheco, Willie Rodriguez - perc
Recorded in New York City ; March 12 & 28, & April 19, 1962
[# 10-19] Latin Fever - Atlantic (1422)
Feat. Herbie Mann, Paulo Moura, Pedro Paulo, Ernie Royal, Clark Terry, Sergio Mendes, Antonio Carlos Jobim, Paul Griffin, Durval Ferreira, Bill Suyker, Baden Powell, Nabil Totah, Gabriel, Otavio Bailly Jr., George Devens, Dom Um, Rudy Collins, Bobby Thomas, Juquinha, etc...
Recorded in Rio De Janeiro, Brazil; between October 15, & October 19, 1962

See also
http://www.jazzdisco.org/atlantic-records/discography-1962/

__________
Herbie Mann speaks

"You see, Brazilian music has shown me that music in general can still remain exciting and dramatic without having an overabundance of drums. In other words, the rhythm can be implied, rather than made obvious. We now have a more subtle approach, playing more straight jazz and bossa novas than anything else.
Sometime ago I spoke rather sharply about the many inferior and unsympathetic bossa nova recordings. I have changed my opinions slightly. I now feel that even though most of the non–Brazilian bossa nova records didn’t manage to capture the subtleties and warmth of the authentic Brazilian article, they shouldn’t be put down completely.
Jazz is a medium for individual approach to a song depending on the feeling or the interpretation of the musicians concerned—and that’s what I feel the majority of American produced bossa nova albums amount to.
In all honesty I think that our own group gets closer to the original than anyone else for a number of reasons. I believe that my own temperament is closer to that of the Brazilians than any American musicians who have entered this particular field. Moreover, the group has had more opportunities of hearing and playing new Brazilian compositions, and my guitarist, Attila Zoller, learned how to play bossa nova and other rhythms from listening to the recordings of guitarist Baden Powell. I consider Baden Powell to be the finest exponent in the world of authentic contemporary Brazilian music. In fact, I used Baden Powell as both musician and composer on the sessions I cut in Rio de Janeiro for Atlantic. I feel that the sessions I cut in Rio are the best examples of the bossa nova and the progressive samba on disc. It’s the only album that really captures the true feeling of this wonderful music.
As far as I am concerned, the bossa nova is a modern samba. Most of the rhythm players in Brazil don’t play set patterns, but improvise as they feel. And do they swing! Unfortunately, many American percussionists stick to repetitious patterns, making for stodgy and uninspired results. During the first week I was in Rio I listened to well over 75 compositions. From these I picked the ones I wished to record, then fixed arrangers, musicians and groups.
The numbers of Baden Powell and Antonio Carlos Jobim which I cut are true bossa novas, while the pieces of Sergio Mendez and Luis Carlos Vinhas are progressive sambas, for which the jazz group improvises on a progressive samba beat. For example, I recorded the late Clifford Brown’s “Blues Walk” with the Sergio Mendez Bossa Nova Rio Group. This fine sextet comprises Mendez on piano, Paulo Moura (alto sax), Pedro Paulo (trumpet), Duval Ferreira (guitar), Otavio Bailly, Jnr. (bass) and Dom Um on drums. On the sides I cut with Baden Powell we used a bass player called Gabriel and alternated with two drummers, Papao and Juquinha.
Besides recording with Powell and Mendez I also cut sides with pianist Luis Carlos Vinhas and his trio and with a large string orchestra conducted by Antonio Carlos Jobim, who also sang and played piano on his now famous composition, “Samba De Una Nota So” (One Note Samba). The other large group with which I recorded was the 17– piece Zezinho E Sua Escola De Samba (Zezinho and His School of Samba). This group is made up of carnival samba players who perform in the streets at a carnival or mardi gras, playing traditional music on such instruments as cuica, reco– reco, pandeiro, frigideira and surdo, among many others.
During trips taking me to South America and the African continent I have collected over a hundred different flutes. For public appearances and recordings I use a concert flute in C, alto flute in G and E flat flute, plus a number of hand– made native flutes. In the future I intend to incorporate more and more folk music from various countries into our programme. The bossa nova will stay a part of my catalogue, along with the music I have gathered from other parts of the world combined with jazz. I feel that gypsy music and the folk music of Eastern Europe and the Middle East contains some wonderful rhythms and melodies to improvise on."
Herbie Mann interviewed in 1964

Source : http://www.brazil-on-guitar.de/opus/sideman/herbie_02.html

15 comments:

itr said...

Great, many thanks Mel. I'm a Mann's fan.

rm said...

Many thanks Mel for this Mann

LaroSwing said...

Merci merci merci!!!

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Historicus said...

... great a BIGST Thank You!!!

musician3 said...

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deGallo said...

Thank you.

Fred Archtop said...

Thank you so much Mel.

Otis Foster said...

Replaces some lost files - Thanks as always melanchthon

adakun said...

Gracias Mel.

cvllos said...

Thank you, Melanchthon, for all Most's posts!

elpeleon said...

Muchissimas gracias !!

Jazzsoulman said...

Thank You

jettoki said...

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jettoki said...

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