#quartin

[budaallmusic]

Eumir Deodato And Best Of Friends ‎– Daybreak #RecordBazaar 1976 🇮🇹 Italy issue of the 1971 #Quartin Brazilian OG. Musicians on the album included drummers #GradyTate, #DomUmRomao and #GeoffDaking, bassist #RussellGeorge, guitarists #JoeBeck and #BobRose, keyboards by #EumirDeodato and #KennyAsher. There were strings and horns as well, contracted by #HarryLookofsky. Joe and Bing played all the acoustic guitars. https://www.instagram.com/p/Bs83nsfgG6m/?utm_source=ig_tumblr_share&igshid=4a7yfmkx582m

[sweetly-cider]

Quarten, do you have a favorite song to sing?

[dustedmagazine]

Victor Assis Brasil – Esperanto/Toca Antonio Carlos Jobim (Quartin/Far Out Recordings)

John Coltrane’s impact on jazz remains irrefutable and vast. What isn’t always acknowledged or gauged is the late doyen’s lasting leverage on other idioms. Brazilian saxophonist Victor Assis Brasil came under Coltrane’s thrall while studying at the Berklee College of Music in Boston, soaking up the saxophonist’s advances and fusing them with the traditions both long-standing and nascent in his native country. Several years earlier his music had caught the ear of prestigious producer Roberto Quartin whose Forma label served as home to over twenty albums in the 1960s including two by Brasil, the first cut when he was just eighteen. Upon his return home, the saxophonist set about recording two more, Toca Antonio Carlos Jobim and Esperanto, at a single session for Quartin’s new label carrying just his surname that echoed the galvanizing political consciousness emerging as the zeitgeist.

Far Out Recordings couples both albums in a single two-fer package, reversing original release order to position the record featuring Brasil’s compositions (and a stirring cover of Jimmy Heath’s “Gingerbread Boy” as another Coltrane salute) as the entry point. The sidemen were regarded as studio aces and included pianist Dom Salvador on electric keys, guitarist Helio Delmiro, bassist Edson Lobo and drummer Edison Machado. Adopting the titular invented international language as album title was another indication of Brasil’s progressive and globalist approach to politics. Brasil doubles on soprano and alto saxophones and favors a dense and often biting sound on both. Delmiro is similarly expeditious in his constructions, trading sharp-toothed picking with ringing octaves that make bracing use of the tensile tautness of his strings. Lobo and Machado gel through a range of elastic grooves and sound right at home in the modal mix.

The Jobim project isn’t quite the singular artistic statement as its successor, but Brasil still takes intriguing liberties with the source material. Ballads “Wave” and “Bonita” become pulsing modal workouts with Brasil’s alto shaping snake-charming leads over swirling syncopations given added ambiance by Salvador and Lobo’s choice of electric instruments. “Dindi” is similarly transformed with Salvador’s whirring organ joining bass and malleted drums to create an itinerary both ominous and delicate that’s further embellished by the emotive textures of Brasil’s soprano cries. Alternate longer takes of “Marilla” and “Ao Amigo Quartin” from Esperanto result in a disc that clocks to just shy of eighty-minutes. Brasil parlayed the success of both albums in greater national recognition, but his life was cut short at thirty-five after succumbing to a rare circulatory disease. Like his informal American mentor he left the planet far too soon.

Derek Taylor

[parallelrealitiesstudio]

O Grupo E Coisa E Tal (1971)

Copacabana CLP 11640 O Grupo for the first time on Parallel Realities. The group consist of: Quartin: Órgão, Piano, Vocal Renato: Baixo, Vocal Roberto: Bateria, Vocal Márcio: Saxofone, Flauta, Clarinete Carlinhos: Guitarra, Vocal Jaime e Maurício: Ritmo, Vocal Arranjos Instrumentais: Alberto Arantes Coordenador de produção: Moacyr Silva O Grupo (in this formation at least) has only this one album and one compacto in their discography but there were three other groups in Brazil with the same name, out of which one O Grupo with their only album released in 1968 for Odeon could, maybe be the initial O Grupo, consisting of 4 musicians) which got transformed and became another O Grupo with a different cast. The fact that leads to that conclusion is that a Jaime and a Maurício can be found in both O Grupos (rhythm and vocal). Plus, the sond of both O Grupos is similar. You may read more about O Grupo and their music on both covers of this LP inside a text about them, written by Sergio Bittencourt. The remaining two O Grupos I will not mention further as the confusion is confusing enough as it is. Enjoy: 01. Socorro (Fred Falcão / Arnoldo Medeiros) 02. Vera Verinha (Maurício Duboc / Carlos Colla) 03. Yarabela (Toninho Horta) 04. Lá Vai Ela (Eduardo Souto Neto / Sérgio Bittencourt) 05. Canção Para Inglês Ver (Lamartine Babo) 06. Vogue (Renato Amorim) 07. Não Te Conheço Não (Fred Falcão / Arnoldo Medeiros) 08. Senhores do Mundo (Roberto Quartin) 09. Matilda (Harry Thomas) 10. Bloco da Solidão (Jair Amorim / Evaldo Gouveia) 11. O Problema Dela (José Luis Amalio / Reinaldo Pimenta) 12. E Coisa e Tal (Eduardo Souto Neto / Sérgio Bittencourt) GRUPO O GRUPO Créditos: Pedro & 300discos

[sweetly-cider]

Does Quartin have anyone they fancy?~~

“Perhaps! Though I’ll leave that up to you to find out who they are.”

Eh heh heh @lynrie

[sweetly-cider]

Asks are once again open!

Askables in the tags~

[budaallmusic]

Victor Assis Brasil ‎– Toca Antonio Carlos Jobim #Continente 1981 Brazil reissue of the 1970 #quartin original. Great music. Alto Saxophone – #VictorAssisBrasil Bass – #EdisonLôbo Drums – #EdisonMachado Guitar – #HélioDelmiro Liner Notes – Antonio Carlos Jobim Piano – #DomSalvador Producer, Directed By – Roberto Quartin