Charlie Byrd - More Brazilian Byrd - AudioSoundMusic
Charlie Byrd - More Brazilian Byrd - AudioSoundMusic
Charlie Byrd - More Brazilian Byrd - AudioSoundMusic
Charlie Byrd - More Brazilian Byrd - AudioSoundMusic

Charlie Byrd - More Brazilian Byrd

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Charlie Byrd - guitar [click here to see more vinyl featuring Charlie Byrd]


Arranged and conducted by Tom Newsom

1 LP, standard sleeve

Original analog Master tape : YES

Heavy Press : 180g

Speed : 33 RPM

Size : 12'’



Record Press : Pallas

Label : Speakers Corner

Original Label :  Columbia

Recording: 1966 by Fred Plaut & Ed Michalski

Production: Teo Macero

Originally released in 1967

Reissued in 2018

Tracks :

Side A :

  1. One Note Samba / Samba De Uma Nota So (A. C. Jobim, N. Mendonca)
  2. Weekend In Guaruja / Fim De Semana Em Guaruja (C. Pereira, M. Albanese, Skylar)
  3. Little Boat / O Barquinho (R. Menescal, R. Boscoli)
  4. Pretty Butterfly / No Balanco Do Jequibau (C. Pereira, L. Deane, M. Albanese)
  5. Berimbau (B. Powell, R. Gilbert, V. DeMoraes)
  6. Agua De Beber (A. C. Jobim*, V. DeMoraes)

Side B :

  1. Jequibau (C. Pereira, M. Albanese)
  2. How Insensitive / Insensataez (A. C. Jobim, V. DeMoraes)
  3. Esperando O Sol (C. Pereira*, M. Albanese)
  4. Felicidade (From “Black Orpheus”) (A. C. Jobim, V. DeMoraes)
  5. Foi A Saudade / You Can’t Go Home Again (D. Ferreira, L. Feather)


« Creating a stirring and enriching blend of Spanish and Latin American flavors in his music, jazz guitar legend Charlie Byrd put Brazilian bossa nova on the map in the States with this follow-up, More Brazilian Byrd. With finesse and dexterity, the passion and lively soul of his melodies and lyricisms flow from Byrd's classical guitar like a river of musical heaven. From the charging and percussion-laden opening track, Antonio Carlos Jobim's "One Note Samba," to the mellowness and gentle innocence of "Pretty Butterfly," Byrd tackles a wide variety of dynamic textures, beats, and color tones with honesty and zest. Throughout the record, both its driving, uplifting side and its peaceful, ethereal tones (as on "Felicidade" and the quite sorrowful "How Insensitive"), Byrd demonstrates his ability to capture the heart and soul of the pieces with vintage style, grace, and a touch of romance. His backing band also deserves much credit for presenting such compelling and richly textured percussion and melodies. Joe Byrd takes the music to a higher level with richly textured, crisp basslines. Bill Reichenbach assumes the duties of percussion and drums, bringing them to the center with dazzling and soaring bossa riffs. The strings are orchestrated and arranged by the genius of Tom Newsom, creating a brilliant portrait, both shadowy and haunting at times. Hal Posey puts a charge into the trumpet and flügelhorn, with producer Teo Macero sharing time on saxophone. The string arrangements sound quite eerily like Miles Davis' work with Gil Evans. The reason may lie in the identification of the sheer sound of '60s jazz, this record especially being used as a key model of the decade's most defining works. Wonderfully arranged and lavishly produced, this record is a perfect fit into the collection of any avid jazz fan. Filled with marvelous guitar phrasing, radiant horn and flute leads, and crackling percussion, More Brazilian Byrd is just plain "more Brazilian." » AllMusic Review by Shawn M. Haney

Immortal samba, and its rhythmic relatives, is on the one hand so undemanding that it manages to take off with the simplest of instruments, yet on the other hand it is so concentrated that it can conjure up all manner of fantastic sound colouring.

With regard to these sessions that were recorded in the Sixties, when bossa nova found its way to the USA, the record bosses gathered together a superb array of musicians. Influenced by a classical training on the guitar, Byrd’s guitar playing weaves its way through the complicated but always lightweight arrangements. The "One Note Samba", with its intentional monotony, is performed nonchalantly yet does not lack verve; the "Weekend In Guaruja" is filled with sunshine and high spirits. The ensemble plays with great variance and well-measured phrases on the winds while cracking shots from the drum set mark the unwavering rhythm to which Byrd lets his guitar strings dance.

This blissfully harmonious interplay works equally as well in the small ensemble around the solo guitar ("Little Boat") as in the rich sequence of chords which ascend airily and delightfully aimlessly ("Pretty Butterfly"). And as a perfect ending we have once again a lush, full sound on the drums and trumpets ("Foi A Saudade"). It’s well nigh impossible not to be carried away by this thrilling roller-coaster ride.


Allmusic : 4.3 / 5 , Discogs :  4,56 / 5  , Rate Your Music  3,44 / 5

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