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whatmusic.com presents ‘Samba Em Paralelo’. Much pirated, the last of Orlann Divo’s trio of classic LPs recorded for Musidisc finally gets the reissue it deserves!
  • First ever worldwide release!
  • Remixed and remastered from original tapes!
  • Exclusive new liner notes
  • Also available on CD Digipak® (WMCD-0029)

Check the 30 second clips from the album...

The whatmusic.com interview...

o superman!

Having released Orlann Divo’s previous two recordings for Musidisc, ‘A Chave do Sucesso’ (1962) and ‘Orlann Divo’ (1963) we now arrive at his third, and last LP, recorded for the Rio-based label in 1964. Previously available only as a poor quality pirate reissue, whatmusic.com now brings you ‘Samba Em Paralelo’, fully remixed and remastered from the original tapes.

The following is the full-length version of the recent whatmusic.com interview with Orlann Divo

Tell us how you got started as a musician Well, I’d written some songs with a guy called Paulo Silvino and we were supposed to record on an album called ‘Nova Geração em Ritmo de Samba’. Eumir Deodato, who was still just a kid, he was on it and Durval Ferreira, he was already on board too. But anyway, some stuff happened and they ended up not asking me to record but they used one of my songs. In fact it was the first time that Claudette Soares had recorded anything and she recorded my song ‘Cinderela em 3D’ which told the story of a modern Cinderella in Copacabana.

What year was that?
That was in 1959 and I had been playing in local bars in Copacabana, principally with Djalma Ferreira at his nightclub, the famous Drink. Ed Lincoln was his bass player in those days. Anyway, they had me singing and they had Silvio Cezar and Miltinho singing as well. It was Miltinho who helped me to develop my singing style – I was terrified of being compared with João Gilberto, everybody was at that time. Also my thing wasn’t really bossa nova it was samba de balanço; music for people to dance to, not just to sit and listen. Miltinho convinced me to sing my own compositions and that was a first for me. So I started singing and developing this style I have until today. Around that time I had fallen out with Paulo Silvino and started working with Roberto Jorge with whom I composed over 100 songs.

When did you cut your first record?
Well, Nilo Sérgio at Musidisc had heard me at the Drink, you know, and Ed Lincoln was already on his label and so they called me in and I sang four songs. They came out on an EP with a black and white picture of me on the cover. The songs were a real success and were played everywhere. The Jornal do Brasil gave me a great big write up in their Sunday section, the radios were playing the record non-stop. It got tons of radio play and you could hear it everywhere you went but in those days the radio didn’t pay royalties and no one got any money, so the best thing was playing live shows. TV appearances paid well when you could get them. This was before TV Globo existed; in Rio in those days there was only the TV Tupí station in the old casino at Urca and I was invited to co-host a weekly show on Saturday afternoons called ‘Alo Brôto’ with Sonia Delfino. Man, I used that show to help a lot of my friends that were playing samba de balanço get their first steps into TV; Jorge Ben, Wilson Simonal even Roberto Carlos, you know. Because I was already there on the inside I could get them onto the programme. But playing live was the best thing still, because we could make any audience get to their feet and start dancing and not want to stop. Ed Lincoln had swapped his bass for the organ by then. He’d started playing it one day at Drink and Djalma Ferreira said “that’s a great sound, we gotta have that sound on stage”. Because it was a younger sound, you know, more ‘dançante’. And Durval Ferreira joined Silvio Cezar and myself and Rubens Bassini. We made a really good living for a long time with dance music.

After the success of the single Musidisc invited you to record more songs for the first LP?
Oh yeah, because of all this success we recorded some more songs in addition to the four from the single and put out that first LP ‘A Chave do Sucesso’. Some of those songs went around the world. I got a call once from Doris Monteiro who was in Portugal and she said, “Orlann, ‘Samba Toff’ is being playing 24 hours a day as a jingle here”. Apparently for a long time it was the jingle for a local brand of coffee, Café Toff!

Who were the players on the records? Those covers never tell you anything!
That’s right but we had only the best, only the absolute best on those albums. Ed Lincoln on organ and piano, those piano solos are his, and Waltel on guitar. That’s right, Waltel Blanco on electric guitar, Rubens Bassini on percussion.

Who was on drums?
Well, we had Fernando on drums. In truth there were two Fernandos! Fernando Careca was called that because he was bald and after he left we had Fernando Bancário. Bancário because he worked in a bank!

I wanted to ask about your singing style – it reminds me very much of early Jorge Ben even though you were obviously recording and playing before him.
There’s a funny story about this. One day I was playing at Bottles on the Beco das Garrafas and the owner of the Plaza Club, Oliveira Filho, came up to me and said “Orlann, there’s a kid outside who says he’s written some songs for you”. I was quite curious so I went out and there was this kid, you know, very, very young, and he took the guitar and started playing ‘Por Causa de Voxe’ and ‘Mas Que Nada’, and he had that same singing through the nose style that I have; singing ‘Por Causa de voh-shay’ instead of ‘voh-say’. Obviously I was flattered but I thought they were fantastic and said “Kid you gotta record them yourself”. He said “Oh no Mr Divo, I wrote these songs for you, I’m not a singer!” So I said “hey kid, I wasn’t a singer either and look at me [laughs]!” Some while later I heard that Armando Pittiligiani from Philips had signed him up and the next thing you know Jorge Ben and ‘Mas Que Nada’ is selling millions all around the world! But, in truth I had just recorded my first LP and I didn’t think I could take the kid’s songs and not record them. But he found his own voice and that’s great. He even ended up covering one of my songs!

Your sound in the 60s was so far away from pure bossa nova, wasn’t it?
Well all those serious bossa musicians, those that came from the universities and sat around in wealthy friends apartments in Ipanema, you know, playing their violãozinhos, that wasn’t us at all.

That’s right, so it must have come as a surprise to you that Tamba 4, who as the Tamba Trio were really the most bossa nova of trios, came to record two of your songs for their album on CTI in the States?
Well the producer of that record (Creed Taylor) was always calling me because he liked my songs and then Bebeto and Luizinho Eça, they were looking for some songs that were more groovy, that had the balanço they needed. Because in the United States the bossa nova was really for dancing not just to listen to, and Rubens Bassini, who was their percussionist, said “what about those songs of Orlann Divo’s?”. So they recorded ‘Onde Anda O Meu Amor’ and ‘Tamanco No Samba’ which they called ‘Samba Blim’ and that became the title of the record!

Apart from your records with Ed Lincoln throughout the 60s you didn’t record under your own name again until 1977. This is the LP that made you famous in Europe and Japan, principally in its bootleg form…

What do you think about the fact that these albums are finally being reissued legitimately?
I think it’s great. It’s like they got their own lives back!

Remixed from the original two track tapes at Musidisc Brasil by Ary Perdigão

Remastered by Luigi Hoffer at Digital Mastering Solutions
Rio de Janeiro November 2002

Special thanks to Durval Ferreira, Ary and Nilo Sérgio and of course, Orlann Divo

© 2002 whatmusic.com
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