You'll Hear It: Full Album Deep Dives with Jazz Musicians - Our 7 Favorite Brazilian Tracks

Episode Date: February 21, 2020

To celebrate Carnival, Peter and Adam list off their favorite songs by Brazilian artists. Listen to 'em all in full with our Spotify playlist.Our 7 Favorite Brazilian TracksBeth Carvalho - "Coisinha do Pai"Romero Lubambo - "Lukinha"Elis Regina/Antônio Carlos Jobim - "Águas de Março"Caetano Veloso - "Trilhos Urbanos" (also check out this version)João Gilberto - "Estate"Vinícius de Moraes/Antônio Carlos Jobim - "Soneto de Separação"Clara Nunes - "Ê Baiana"Want to add some Brazilian flair to your own playing? The Samba Pack is now available from Open Studio! Featuring 7 curated lessons from our roster of Brazilian artists (including Helio Alves, Edu Ribeiro, and Romero Lubambo), the Samba Pack is also our lowest-price course ever from Open Studio.Interested in more music advice? Go here to browse our catalog of jazz lessons and courses available for purchase. And be sure to check out our All Access Pass - every course from Open Studio on every instrument.Let us know what you think by leaving a ⭐⭐⭐⭐⭐⭐⭐ review, or head over to our YouTube channel.Follow us on Facebook | Twitter | Instagram See acast.com/privacy for privacy and opt-out information.

Hey, Peter, hey, you ready to butcher a bunch of Portuguese? Do you do to be? I'm Adam Manus. And I'm Peter Martin. And you're listening to the You'll Hear It podcast. Daily music advice international coming at you. Normale. Normale.

Yeah, so we're listening to some... We are listening to some Brazilian music today because it's the beginning of Carnival. Actually, Carnival started like a month ago or something. Oh, in Rio, it started like, you know, a day after it ended last year. Preparations and in New Orleans and in New Orleans too yeah martygo fun fact you know where the first Carnival Marty Gras celebration in North America occurred no it was not New Orleans a lot of people think it was where was it was Mobile Alabama no way big shout out to to the Gulf Coast region down there yeah and they still have like the oldest continually running it's not quite the the drunken stupor

in size of New Orleans or Rio but it's the first I've never been to the New Orleans Mardi Gras and I don't know if I'm I think I'm too old to go now you barely survive our trip in January in shoulder season. I know. Yeah, we have a version of Mardi Gras here in St. Louis, and it's literally just a couple of Bud Light tents. It's very normality. I mean, it's just so corporate.

But it's actually one of the bigger ones in the stage, right? Yeah, but it's just like you'll be driving down the highway, not even near where it's happening, and there's just people like pulled over the side of the road, like puking. And isn't it actually have a corporate sponsorship? They're like, Mardi Gras, sponsored by court. Oh, like, how could that be? Yeah, no, it's Anheuser-Busch, of course. Anheuser-Busch, right.

But that's not what we're here for today. No, we're talking about... No, we're for the real deal. Our seven favorite Brazilian tracks. Now, caveat, I am not like a Brazilian music expert. I've learned so much in the last few years because we've been doing these great courses with all these incredible artists that we have here at Open Studio. And by the way, we do have a brand-new Samba pack available from all of our Brazilian

artists. I'm talking about Aalio Alves, Sumero-Lubombo, Audeau-Dou-Baro, the Brazilian rhythm section. We have like seven amazing lessons on Samba. We have a link here in the description, so check that out. And it's so new. It may not even, if it's, if the link doesn't go anywhere yet, it's going to be there soon, right? Because this is like. Oh, no, the link's going somewhere.

Oh, it's going somewhere. Yeah, you can check it out here in the link in the description. And it's super cool. Yeah, shout out to Sam for putting that together. Yeah, and it's, I believe this is our lowest price course for a very short time only that we've ever offered. It is. We're not even going to say. We're not legally, we cannot say it on the air.

You're going to learn a lot about how to actually play a legitimate. Samba by legit Brazilians. Yeah. And if you're just a fan of anything that you hear today and just want to kind of hear this play, there's a lot of great playing in these lessons, of course, as you would do if you're a, a level Brazilian artist, which is the only thing that we have at Open Studio as it were.

So our first track, was our intro track here. This is Casina da Pi. And so I was talking to Hamero. We were having some Saziracs one night over at Taste, and I said, do you know Beth Carvalo? And he was like, who? What? And you were like, yes.

Yeah, I was, no. And then he was like, oh, betch. And I was like, what? That was your first lesson one. BF, betch. But that is, this is a betch. Be careful how you say it, too. I know, I know.

This is, I don't know how I found this, but the first time I heard this, I flipped out because I just thought it was so funky. Here we go. She has such an awesome voice. It's that classic, like, call and response. Samba school thing, man. It's so.

But you can see the whole, it's incredible. Parading. Oh, man, awesome. All right. So what we got for number two? I think this is yours. I mean, I love this.

I love this track too. So, you know, Oh, no, I actually have Homerilobo here. Oh, we'll jump to there. Okay. For Lucchina. Oh, we have, okay, yeah.

Lucchina by Romero Lobbo on. This is from, I love Hamara. I've played a lot with him. We actually recorded this song together on a duo, but that's not the version that we're presenting. We're presenting his version from, I believe this is around 2015.

On a wonderful record he did called September. And I always call it, September, but it's not a September and this is Romero Lubamba with Lucchina. Yeah, so this is what are Hamero's original compositions and we're going to link to all these on the Spotify

and support these artists, listen to them, love them if you like but what I love about this is his, like that's that kind of my own rhythm that is so like with the solo guitar, he's just, it's so relaxed, but the attention to detail with the

groove and the time, but layering in this the relaxedness is just, to me, that epitomizes great Brazilian jazz guitar, so which Romero doesn't get any better than that. He's a master, he's a master. And then, you know, he goes on, like the track, it gets, like, he gets so complex but, like, that underlying groove that he

establishes is so strong from the beginning that you're just dancing along. It just shows what you can do, even when you don't have the full Samba school marching with you. So let's move on here to, well, have you ever heard of Antonio Carlos Jobim? I like that guy. That guy's good.

And this is, so he would probably be your most internationally known composer of practitioner. For sure. I mean, you know, when they did, when they had the Olympics in Rio, like they, he was included in the opening ceremony. His music was included in the open. That's, I think the airport. That's culturally what he means to the country. Yeah, I believe the airport, somebody can correct us if we're wrong. I could go to Wikipedia, but I'm old school.

I don't like to do that. I believe the airport. It's Tom Joe Beam. Well, there's two, yeah, I think one of the airports is the Tom Job Beam International Airport. It's amazing. This is him with Elise Regina. This is the waters of March. Awas de Marco.

Alex, can you get me a chaperna, please, a capparine, please. Alex, can you get me a capparina, stat? Thank you. Isn't that great? I mean, you know, that's just a list song. It's not much different than like, you know, a classic, like, Irving

Berlin List song or a Gershwin List song. Yeah, the Waters of Mark. All these things that are listed. But it's so beautiful. And the way that he, like, the craft of this song is incredible. Like the way that the changes kind of circle around. Yeah. It's just amazing.

It's a very complex structural tune, actually, that's made to sound very simple and singable and likable and lovable right when you first hear it. Have you played this with a singer? Oh, yeah. It's so hard. It's super hard. Actually, there's only a handful of singers that I'll, most singers, I'm just like, no. Like, if they want to do this, I'm like, no, because I know you can't do it.

Yeah. At least Regina, the story goes, like, she practiced on this for like three or six months or something crazy every day for hours before they recorded this. And what's awesome about that, that recording is so effortless sounding. I love that when somebody, like puts that into the crap, but then doesn't make it sound like they practice it. It sounds like she's just reading it, you know, but it's very difficult in the duet and the way the lyric, I mean, it's, you know, genius. You know what Brazilian music is great for, too? Just a history of just beautiful music. Yeah.

It's all so beautiful. Yeah, they don't, they don't, it's like, you know, it's like a quiz. It's like Italian cuisine or something. It's like you can go in a lot of directions, but it better be beautiful and good and tasty. Well, so we'll go right on here to the next one, which is also very beautiful. We actually play this in our little two piano duo concert. We did, yeah. And we're not going to do that version, although I felt good about it.

We're going to go to the original Catano Veloso with his beautiful trios, trios, Arbottis. The world The time Sconde Long, Much, much Long, but

been there's Where did Avo There's Darao Jopinu Tama

M'amere N' Never me I I Ike Where the Emperor

did X Kna doce Kana Dose Santo Amaro Gosto

Morrow I'll bring in me for you And a Strel always a lus So This is actually A different version This is not the original version

It's a beautiful version Maybe we'll link to the original Because it's so great to hear the maturity This is quite a bit later from the original When Kaitana Kaitano is still him And the song and like his conception With the guitar with that

bass line. I love the simplicity of this version. It's incredible But we're going to link to both versions just because it's a fun thing to kind of compare those. Cool. Next we have Zhao Gerberto. Of course, classic Brazilian crossover to America in the 60. Jao made those records with Stan Gets and was kind of a star for a minute in his own right,

over here in America. And the tune I picked from Zhao is not even Brazilian. It's Italian. It's Estate, written by Bruno Brigetti and Bruno Martino. Italians are very proud of this tune that it made the Basanova canon. which it certainly has. It's just a gorgeous tune about summertime. This is Estate.

Can you give me a glass of cognac, please? Man, you're going through the full cycle of... That's amazing. Apperatives, dejustice, everything. That's incredible. And, of course, we lost Zhao just... Was that last year, right? Yeah, it feels like a few months ago.

Yeah, and I mean, look, the number of just classic in terms of you're talking about having a big career in the States, It's like I've seen some, I remember when Giberto Gilles did a concert at the Hollywood Bowl and they had to extend it to like three nights. Like the love for the Brazilian artists, whether you speak Portuguese, well, of course, L.A. probably has a million Portuguese-speaking Brazilians living there as well. But it goes beyond just, you know, expats, Brazilians around the world. The love, you know, in Europe and in Africa and South, I mean, all over, all over the world.

This is a truly international music, which is interesting because it's not like in a language that a lot of people know, but beautiful language. Oh, we know that language. Oh, yeah. I don't know what they're saying, but I understand exactly what's going on. It's just beautiful. Okay, our number six, this was yours.

I not heard this, but it's so cool. So, yeah, this is, yeah, this is, you're welcome in advance. Let's just play it, and we'll talk about it. Sonnet of separation. Of repent, of the riso, celestious and black,

like a broom, and in the bocas unied, made se expulma and in the hands expalmated of a calm did so the vento that of the

eyes disfees the ultimate and the passion did so the presentiment and in the moment immobile

of a not more that of a repent did be to be to be the

the man and of sozio did soz did the same or distant

Oh, distan. Yeah, it's just unbelievable. So that's Talbzio Beeman. I wanted to just really highlight his piano playing. That's so tasty. Yeah, that's Sonneto de Separacio, their song that he wrote with, and I've been practicing the name, Venetius de. De Morais.

And I even call Hamero this morning. Let me see if we can... He was teaching me. So yours first again? Well, that's not... Okay. Vinisa's de Morais.

And then... Venise is Jimorais. Oh, that's close. You got close. Yeah, you got it. Yeah, you did it. You did it. I got it.

Anyway. Nice one. So we'll have a playlist. Spotify playlist. We'll link here in the description as well as a link to our brand new Samba pack that we put together

that's at a very special price this weekend in honor of Carnival. Yes. And we're going to go out here number seven with another sort of Samba school style. Clara Nunez, this is A. Bayanya. This is, I mean, if this doesn't make you feel good,

then not the well. Until next time. You'll hear it.