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Jorge Autuori Trio Vol. 2 - Jorge Autuori Trio
whatmusic.com
£9.99

whatmusic.com presents 'Jorge Autuori Trio - Vol.2' the second instalment from drummer Autuori on the cult Mocambo label with more groovy takes on pop & bossa standards!

• First ever worldwide release!

• Exclusive liner notes

• Tracks include 'Lonely', 'Free Again' and 'I Say A Little Prayer'


Check the 30 second clips from the album...

01 POBRE MORRO 1:59
02 LONELY 3:23
03 i) ANDALUZIA ii) LONGE DOS OLHOS iii) SAMBA DA MINHA TERRA 2:14
04 JANUARIA 1:45
05 I SAY A LITTLE PRAYER 2:43
06 EU E A BRISA 3:08
07 VOLTEI 1:59
08 SAN FRANCISCO 3:28
09 VIOLA ENLUARADA 2:50
10 FREE AGAIN 2:02
11 LIVE FOR LIFE 2:24
12 AUTORIZANDO 1:36

The whatmusic.com interview...


missing in action!

The story of instrumental music in Brasil in the 1960s is indelibly linked with that of the bossa trios. Always piano-led, these acoustic trios developed from a hotbed of ferment in the universities and nightclubs of Rio and São Paulo from 1960 until the introduction of elements such as electric bass and organs around 1966 terminally changed the classic trio sound. During this time the main exponents of the genre – all Rio-based – were the Tamba Trio (named after drummer/percussionist Helcio Milito’s own invention the ‘tamba’ drum), the Copa Trio led by ace drummer Dom Um and the Bossa Três led by that dandy-about-town Luiz Carlos Vinhas.

Many of these trios were originally based on the line-ups used to record with João Gilberto (the Walter Wanderley Trio) on his 1958 debut LP. According to Bebeto, bassist and reeds player from Tamba Trio, his group were formed originally as a backing band for trombonist Raul de Barros and enjoyed playing together so much that the trio format stuck. However, many of the trios used the new recording techniques such as ‘punch-in’ and 2-track recording to augment the limitations of the piano, bass & drums setup. The Tamba Trio used Bebeto’s obvious skills on flute and sax as well as vocals, and most of the trios developed a style whereby they might not actually sing but would harmonise vocal passages in the choruses of the better known songs they were playing. According to Bebeto the Tamba Trio included a lot more vocals in their live sets than on the recordings, which must have been some feat!

In an obvious move by the record companies to cash in on the trio phenomenon, many of the trios were employed as backing bands for the emerging singers of the day. Meirelles’ Copa 3 was expanded to 5 to back Jorge Ben on his first three Philips LPs and the Bossa Três backed 50s crooner Maysa in her bid for bossa nova stardom. Other famous trios in Rio who recorded with singers included Milton Banana Trio, Antonio Adolfo’s Trio 3-D with Eliane Pittman and Tenório Jr. Trio with Leny Andrade.

Although stylistically based on such American groups as the Three Sounds, the influences of the piano trios were often anachronistic – more Nat King Cole than McCoy Tyner. But the inherent modernism of the new wave in Brasilian music meant that these trios (and certainly their pianists) often had a strong influence in return on their American heroes. On his early MPS albums, for example, Oscar Peterson draws heavily on the bossa trio style.

Like all musical movements the originators and leaders were inevitably followed by the followers and the imitators. But that didn’t meant that these trios were all derivative. Some of the musicians, like pianist Salvador Filho (later to become Dom Salvador) were just too young to have been playing professionally (or even semi-professionally) back in 61 in the Beco Das Garrafas, but his Rio 65 and Salvador Trios (also released on whatmusic.com) were both highly successful.

Wherever you are Jorge Autuori & co, we’re sure you’ll be picking up the vibes from a whole new generation of fans for the sound of the Jorge Autuori Trio!

Remastered by Simon Murphy at Sound Recording Technology, Cambridge, July 2006
Special thanks to José Sobrinho and Paula Rosa

©2006 whatmusic.com
£9.99
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