Sergio Mendez was truly a master
interpreter. Being a fine interpreter of
the music of others seems to be an under appreciated art these days. Really, since the members of the Beatles blew
the doors wide open with writing their own material, the focus has been on
writing songs yourself. The problem is that
most artists/bands find it hard to consistently write a full album of top rate
material. This is not to say the Sergio
lacks the ability to write a good tune; that is beside the point. His albums are special for a different
reason. He has a sound, and you buy his
records to hear that sound. To me,
he could really take any song and make it his own. What makes this album such a delight, is that
he has some really great songs to apply his sound to.
Let’s begin with the last song for
a change. “So Danco Samba” is of course,
one of Antonio Carlos Jobims’ most well known songs. What sets this version apart from the myriad of
other versions is the mixture of both the male and female vocals. The double tracked vocals float over the Bossa
Nova beat like parallel lines disappearing over the horizon. Listen to the way the female singer pinches
out the word “vai.” It’s almost like a
reverse gasp. After Lani Hall’s main lead
vocal jumps to the forefront for a few bars, the song opens up with a reserved swinging
push.
And speaking of Lani Hall, what a
voice! It has a dynamic subtly that
draws me in every time. It is beautifully plush and is accentuated by
its double tracked recording. Lani Hall’s
doubled vocals are as much a part of the Brazil ’66 sound as Sergio’s
piano. When I hear a song like “Constant
Rain (Chove Chuva)” I really feel a touch of warm sadness. Listen to how she sings “…to be alone and lonely
in the rain.” The notes go from being
sung hard to being sung softly in quick bursts.
I have to admit that I had a bit of a crush on that voice in my late
teens. (Herb Alpert must have had a
small crush too because he married her, and the two have been married for about
40 years.)
A few more Jobim songs are covered
on this album as well. I find myself concentrating
on the maracas in the left channel on “Triste.”
How often do maracas catch your attention? They are featured heavily in “Sympathy for
the Devil,” but that is the only song that comes to mind quickly. I love how they are mixed right on top of the
drums as well. The other Jobim tune is “Wave.” I have a special place in my heart for the
melody of this song. I made a “sleep mix”
for my son right after he was
born. Every night, the original Jobim
version started off a 2 ½ hour mix of 60’s Bossa Nova and cool jazz that we
would listen to as he fell asleep (or stayed up all night). The melody really is something amazing, and
in the competent hands of Sergio Mendez, the song becomes more effervescent and
accessible. Before I heard this version,
I had never heard the lyrics (sung in unison by both men and women here) before. I love how simple they are:
So close your
eyes
For that’s a lovely way to be
Aware of things your heart alone
For that’s a lovely way to be
Aware of things your heart alone
Was meant to see
The fundamental loneliness goes
The fundamental loneliness goes
Whenever two can dream a dream together
There
are a few other tracks that really grab me as I continue to listen to this album. “Cinnamon and Clove” has a wonderful hook
that I find myself singing along to. “For
Me” plays with rhythm in a way no other song on the album does. Quietly fading in, it starts with a show tune
feel that is filled out with some Walter Wanderley inspired organ stabs. It then
moves into a driving Bossa Nova beat that gradually weakens. “Bim-Bom” (sung in English as opposed to the
original Portuguese version) and “Night and Day” are also given the Brazil ’66 treatment
with excellent results.
Cover Note: Not bad,
but not great. What could the context
for this photo be? Where are they and
why is everyone looking up? It screams “album
cover photo shoot” to me. Compared to
the other Brazil ’66 covers like “Look Around” (which is far more natural
looking), and “Fool on the Hill” (which is far more weird/artistic), “Equinox"
leaves me wanting more, especially because the music is so great.
Price paid: I do not
have a vinyl copy of this one. I have a
great CD reissue (an LP facsimile to be exact) that I bought in the early 2000’s
when I was first getting into Bossa Nova music. This was before I was into vinyl. I think I paid about $15.00 for it, maybe less. The good news is that I have seen vinyl
copies of it at places like flea markets quite often. Don’t pay more than $5.00 or $6.00 for it
though.
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