The Career of Arnaldo DeSouteiro
Tidbits, Trivia and News (in chronological order)
Donatokeyboard-art.JPG
- An article from Keyboard Magazine, 1986 (courtesy of the writer,
Arnaldo DeSouteiro).
"Jazziz" magazine (USA) May 1990 - click on thumbnails below to see full screen size:
Excerpts from a story published in the above May 1990 issue of "Jazziz" magazine (USA) by Mark Holston:
An evening rain shower is pelting Copacabana as I slide into the back seat of jazz critic Arnaldo DeSouteiro's late-model Chevy for a visit to the popular jazz club "People" in neighboring Leblon. A cassette of one of singer Joao Gilberto's late-70s recordings supplies an appropriate mood as Arnaldo, his lovely wife Carol, and I zip through the glistening, neon-accented streets. This is one of those nights when low clouds obscure all but the summits of Sugar Loaf and Corcovado, giving Rio a mystical air. No wonder they call the place "Cidade Maravilhosa" - the marvelous city.
Arnaldo writes about jazz and Brazilian music for the Rio daily, Tribuna da Imprensa. He's the kind of guy who will offer up stimulating arguments on just about anything in jazzdom, from the validity of pianist Bud Powell's early '50s trios to the woes that beset some of his country's best improvisational artists. He also has strong opinions about the kind of Brazilian music that is too often heard in the States.
"Some of the albums produced there may be very well done by great musicians," Arnaldo says, "but the sound is not the real Brazilian sound - it's just fusion made by Brazilians." The writer also notes that, despite a flood of recordings in the U.S. by more contemporary musicians, American perceptions of his country's music remains shaped by the bossa nova revolution of the mid-1960s. "I'm almost sure that when people hear the new stuff, they are a little disappointed," he comments. Not because it's not good, but because it's completely different from what they expect. And I don't see any of the recordings by the new artists going to the top of the charts, as it used to happen."
... "It's sad that Brazilians didn't listen to Nara (Leao) very much in the last years of her career," Arnaldo DeSouteiro laments. Carol, Arnaldo, and I are now in "People" catching a set by pianist Joao Donato's trio. The famous composer/arranger/guitarist Dori Caymmi, a table companion, also decries the fickle nature of his country's record producers, radio programmers, and public. We can only hope that, in the U.S., the current media interest in sounds from Brazil is more than just another fad.
"Veja" magazine (Brazil) May 1990 - click on thumbnails below to see full screen size:
Story about João Gilberto published in the May 1990 issue of Brazil's leading magazine, "Veja", on which Arnaldo DeSouteiro is mentioned as one of Gilberto's closest friends.
"Jazziz" magazine (USA) May 1990 - click on thumbnails below to see full screen size:
Excerpts from a story published in the above May 1990 issue of "Jazziz" magazine (USA) by Mark Holston:
***
An evening rain shower is pelting Copacabana as I slide into the back seat of jazz critic Arnaldo DeSouteiro's late-model Chevy for a visit to the popular jazz club "People" in neighboring Leblon. A cassette of one of singer Joao Gilberto's late-70s recordings supplies an appropriate mood as Arnaldo, his lovely wife Carol, and I zip through the glistening, neon-accented streets. This is one of those nights when low clouds obscure all but the summits of Sugar Loaf and Corcovado, giving Rio a mystical air. No wonder they call the place "Cidade Maravilhosa" - the marvelous city.
Arnaldo writes about jazz and Brazilian music for the Rio daily, Tribuna da Imprensa. He's the kind of guy who will offer up stimulating arguments on just about anything in jazzdom, from the validity of pianist Bud Powell's early '50s trios to the woes that beset some of his country's best improvisational artists. He also has strong opinions about the kind of Brazilian music that is too often heard in the States.
"Some of the albums produced there may be very well done by great musicians," Arnaldo says, "but the sound is not the real Brazilian sound - it's just fusion made by Brazilians." The writer also notes that, despite a flood of recordings in the U.S. by more contemporary musicians, American perceptions of his country's music remains shaped by the bossa nova revolution of the mid-1960s. "I'm almost sure that when people hear the new stuff, they are a little disappointed," he comments. Not because it's not good, but because it's completely different from what they expect. And I don't see any of the recordings by the new artists going to the top of the charts, as it used to happen."
... "It's sad that Brazilians didn't listen to Nara (Leao) very much in the last years of her career," Arnaldo DeSouteiro laments. Carol, Arnaldo, and I are now in "People" catching a set by pianist Joao Donato's trio. The famous composer/arranger/guitarist Dori Caymmi, a table companion, also decries the fickle nature of his country's record producers, radio programmers, and public. We can only hope that, in the U.S., the current media interest in sounds from Brazil is more than just another fad.
"Veja" magazine (Brazil) May 1990 - click on thumbnails below to see full screen size:
Story about João Gilberto published in the May 1990 issue of Brazil's leading magazine, "Veja", on which Arnaldo DeSouteiro is mentioned as one of Gilberto's closest friends.
Published in Jornal do Brasil:
Mendes raros
Cristina Granato/1996
Sérgio Mendes relança raridades
Três raridades de Sérgio Mendes gravadas nos EUA nos 70 aportam aqui dia 20, reeditadas via BMG com produção e minuciosos textos de Arnaldo de Souteiro. Home cooking (1975) conta com Gilberto Gil (vocal e violão) em Emoriô, Hey, people hey (Ê povo ê) e a obscura Cut that out, Hermeto Pascoal (órgão Hammond e flauta), a dupla de trombones Raul de Souza e Frank Rosolino, além de Paulinho da Costa (percussão) e Claudio Slon (bateria). Carlos e Kate Lyra assinam It's so obvious that I love you (Cara bonita) e Kate é parceira de Sérgio na faixa título. Em Sérgio Mendes & The New Brasil 77 (1977), brilha o conviva Stevie Wonder, que toca teclados em várias faixas e fornece os hits Love city e The real thing. A percussão é reforçada por três bateristas (Steve Gadd, entre eles) e sete percussionistas, incluindo Dom Chacal, Laudir de Oliveira, Tião Netto (fora do baixo) e Stevie Forman, um ianque bom de cuíca, além do hit do Chicago If you leave me now. O terceiro é Brasil 88, com Naná Vasconcellos, Nelson Angelo, Ernie Watts, Buddy Shank, Alex Acuña (bateria) e Emil Richards (percussão), arranjos de cordas de Dave Grusin e Dick Hazard. De 26 a 31 de agosto, Sérgio faz temporada com a nova banda Brasil 2002 no Blue Note de Tóquio, promovendo três CDs que só sairão no Japão: País tropical (1970), Stillness (1971) e Live at Expo 70, gravado ao vivo em Osaka.
Bounce-cover.JPG - This is a Japanese magazine cover which contains an article on Sergio's 2002 CD reissues produced by Arnaldo DeSouteiro (article below).
Bounce-article.JPG - This is the Japanese article which talks about Sergio's 2002 CD reissues produced by Arnaldo DeSouteiro (albums are pictured on the right hand side of the article).
"Swing Journal, The Magazine For Jazz Devotees" [Japan] (August 2000).
Below are links to scans from this magazine which featured Arnaldo and his passion for Creed Taylor's recordings. Notice the photos of Arnaldo wearing a "CTI" t-shirt and another photo of him and Creed at a reissue session! Click on the thumbnail-sized pages below to see the page full-sized...
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