BN-LA-463-G

Moacir Santos - Carnival Of The Spirits

Released - 1975

Recording and Session Information

The Record Plant, Los Angeles, CA, March 17, 1975
Oscar Brashear, Mike Price, Jerry Rusch, trumpet; George Bohanon, J.J. Johnson, trombone; David Duke, French horn; Ernie Watts, bass flute; Jerome Richardson, soprano sax, alto flute; Ray Pizzi, soprano sax, clarinet, bass clarinet; Gary Foster, alto sax; Don Menza, tenor sax, flute, alto flute; Clare Fischer, piano; Jerry Peters, organ; Larry Nash, electric piano, Clavinet; Dennis Budimir, Dean Parks, guitar; Chuck Domanico, bass; Harvey Mason, drums; Louis Alves, Paulinho Da Costa, Roberto Silva, percussion; Lynda Lawrence, vocals; Moacir Santos, vocals, alto, baritone sax, percussion, arranger; Dale Oehler, arranger.

15760 (tk.5) Tomorrow Is Mine
15759 (tk.8) Coisa No. 2

The Record Plant, Los Angeles, CA, March 18, 1975
Oscar Brashear, Mike Price, Jerry Rusch, trumpet; George Bohanon, J.J. Johnson, trombone; David Duke, French horn; Ernie Watts, bass flute; Jerome Richardson, soprano sax, alto flute; Ray Pizzi, soprano sax, clarinet, bass clarinet; Gary Foster, alto sax; Don Menza, tenor sax, flute, alto flute; Clare Fischer, piano; Jerry Peters, organ; Larry Nash, electric piano, Clavinet; Dennis Budimir, Dean Parks, guitar; Chuck Domanico, bass; Harvey Mason, drums; Louis Alves, Paulinho Da Costa, Roberto Silva, percussion; Lynda Lawrence, vocals; Moacir Santos, vocals, alto, baritone sax, percussion, arranger; Dale Oehler, arranger.

15761 (tk.7) Route
15757 (tk.12) Kamba

The Record Plant, Los Angeles, CA, March 19, 1975
Oscar Brashear, Mike Price, Jerry Rusch, trumpet; George Bohanon, J.J. Johnson, trombone; David Duke, French horn; Ernie Watts, bass flute; Jerome Richardson, soprano sax, alto flute; Ray Pizzi, soprano sax, clarinet, bass clarinet; Gary Foster, alto sax; Don Menza, tenor sax, flute, alto flute; Clare Fischer, piano; Jerry Peters, organ; Larry Nash, electric piano, Clavinet; Dennis Budimir, Dean Parks, guitar; Chuck Domanico, bass; Harvey Mason, drums; Louis Alves, Paulinho Da Costa, Roberto Silva, percussion; Lynda Lawrence, vocals; Moacir Santos, vocals, alto, baritone sax, percussion, arranger; Dale Oehler, arranger.

15755 (tk.7) Quiet Carnival
15762 (tk.11) Anon

The Record Plant, Los Angeles, CA, March 20, 1975
Oscar Brashear, Mike Price, Jerry Rusch, trumpet; George Bohanon, J.J. Johnson, trombone; David Duke, French horn; Ernie Watts, bass flute; Jerome Richardson, soprano sax, alto flute; Ray Pizzi, soprano sax, clarinet, bass clarinet; Gary Foster, alto sax; Don Menza, tenor sax, flute, alto flute; Clare Fischer, piano; Jerry Peters, organ; Larry Nash, electric piano, Clavinet; Dennis Budimir, Dean Parks, guitar; Chuck Domanico, bass; Harvey Mason, drums; Louis Alves, Paulinho Da Costa, Roberto Silva, percussion; Lynda Lawrence, vocals; Moacir Santos, vocals, alto, baritone sax, percussion, arranger; Dale Oehler, arranger.

15758 (tk.5) Sampaguita
15756 (tk.11) Jequie

Track Listing

Side One
Title	Author	Recording Date
Quiet Carnival	Moacir Santos	March 19 1975
Jequié	Moacir Santos	March 20 1975
Kamba	Moacir Santos	March 18 1975
Sampaguita	Graham Dee, Jack Keller, Lora Kaye	March 20 1975
Side Two
Coisa No. 2	Moacir Santos	March 17 1975
Tomorrow Is Mine	Moacir Santos	March 17 1975
Route	Moacir Santos	March 18 1975
Anon	Moacir Santos	March 19 1975

Liner Notes

...

BN-LA-260-G

Moacir Santos - Saudade

Released - 1974

Recording and Session Information

United Artists Studios, Los Angeles, CA, March 5, 6 & 12, 1974
Steve Huffsteter, trumpet, flugelhorn; Benny Powell, trombone; Morris Repass, bass trombone; Sidney Muldrow, French horn; Ray Pizzi, bassoon, alto, tenor sax, flute, piccolo, bassoon; Jerome Richardson, soprano, alto, tenor, baritone sax, flute, alto flute; Moacir Santos, alto, baritone sax, arranger, conductor; Mark Levine, piano, electric piano, arranger; Lee Ritenour, guitar; John Heard, bass, electric bass; Harvey Mason, drums; Mayuto Correa, Carmelo Garcia, congas, percussion; Donald Alves, Mike Campbell, Jose Marino, Petsye Powell, Carmen Saveiros, Regina Werneck, backing vocals.

13961-3 Early Morning Love
13962-6 Suk Cha
13963-4 Kathy
13964-3 Off And On
13965-7 A Saudade Matta A Gente
13966-4 What's My Name
13967-2 Amphibious
13968-11 This Life
13969-11 The City Of L.A.
13970-3 Happily-Happy

Track Listing

Side One
Title	Author	Recording Date
Early Morning Love	Santos, Yanna Cotti	March 5,6,12 1974
A Saudade Matta a Gente	Antonio Almeida, J. de Barro	March 5,6,12 1974
Off and On	Santos, Cotti	March 5,6,12 1974
The City of LA	Mark Levine	March 5,6,12 1974
Suk Cha	Santos	March 5,6,12 1974
Side Two
Kathy	Santos, Ray Evans, Jay Livingston	March 5,6,12 1974
Haply-Happy	Santos, Petsye Powell	March 5,6,12 1974
Amphibious	Santos, Assis	March 5,6,12 1974
This Life	Santos, Cotti	March 5,6,12 1974
What's My Name	Santos, Evans, Livingston	March 5,6,12 1974

Liner Notes

Moacir Santos - alto saxophone, baritone saxophone, conductor, arranger
Steve Huffsteter - trumpet, flugelhorn
Benny Powell - trombone
Morris Repass - bass trombone
Sidney Muldrow - french horn
Ray Pizzi - bassoon, alto saxophone, tenor saxophone, flute, piccolo
Jerome Richardson - soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, flute, alto flute
Mark Levine - piano, electric piano, arranger
Lee Ritenour - guitar, electric guitar
John Heard - bass, electric bass
Harvey Mason - drums
Mayuto Correa, Carmelo Garcia - conga, percussion
Donald Alves, Mike Campbell, Jose Marino, Petsye Powell, Carmen Saveiros, Regina Werneck - backing vocals

The three musical lives of Moacir Santos have been marked by sharp contrasts. The quondam child prodigy from Pernambuco In North-east Brazil, never has been less than a successful artist, one whose talent extended to almost a dozen instruments, yet to some extent his has been a roller coaster career.

Of the three main stages, the first two were documented in his Blue Note debut album, Maestro (BN-LA-007-G). The years in Northern Brazil with the traveling circus band led to prominence as a radio star in Recife; but Santos, not content With the life of a big fish in a little pond, moved to Rio, where he was a conductor for the National Radio Network from 1954-63.

During May of that year the third phase began. "I went to New York, just as a visitor for a while," he says. "Soon after I came back again to settle in the United States."

For all his fame at home, Santos remained in obscurity during the rest of that year, holed up in Newark, N.J., where he spent eight months studying English. At year's end he moved to California, partly at the urging of Sergio Mendes, with {whom he did some recording as a percussionist, "I tried to show my bag to people here, but for a long time nothing happened. I didn't mind too much — I'm a very conditioned person, simple, not worried about fame and money."

After many false starts, Santos met the one man who, instead of merely making promises, followed through on them: Horace Silver. "Horace had heard my music in Brazil. One night, at the Lighthouse In Hermosa Beach, he introduced me to the audience: afterward, he told me he was determined to really get me going here. It was through him that Blue Note Records became interested."

For this, his second Blue Note album, Santos has followed a pattern not unlike that of the first. As producer Duke Pearson said, "Moacir is so talented, and has such a sensitive ear, that he needed no guidance in the selection of musicians and material."

Petsye Powell, to whom Santos assigned the lining up of the various vocal groups, is the talented wife of the ex-Basie trombonist Benny Powell, who is also heard on this album, and a lyricist of demonstrable gifts by her Haply- Happy collaboration with Santos). The vocal solos on Early Morning Love are by Petsye and Donald Alves. For these and two other songs, English lyrics were provided by an American girl, Yanna Cotti, of whom Santos says, "My music got its American citizenship through her."

The other contributors to the writing were Dorival Caymmi, composer of the attractive A Saudade Mata A Gente (Homesickness Kills People); Mark Levine, who in addition to playing keyboards on the session was composer and arranger of The City Of LA (a reference to "la" in the solfeggio scale as well as to Los Angeles); Assis, a trumpeter friend in Brazil who worked With Santos a long time ago on the composing of Amphibious; and finally the well known U.S. team of Jay Livingston and Ray Evans, collaborators with Santos on two songs in the previous album, represented by What's My Name in the new set.

Despite the involvement of these qualified writers, Moacir Santos' music derives its strength essentially from his own multiple talents. As a composer, I believe that for all his successes at home, he is one the most underrated products of the Brazilian music world.

In his role as arranger, Moacir has provided his musicians with settings that enable them to adjust to the particular kind of rhythmic stimulation endemic to his music.

As in the previous album, there is a happy reconciliation of concepts, idioms, rhythmic and melodic ideas that might once have been thought irreconcilable. Schooled studio veterans like Jerome Richardson (and, needless to say, Santos himself) are juxtaposed with brilliant neophytes such as the 21 year old Lee Ritenour, whose electric guitar contributes to Haply-Happy.

Of Ray Pizzi, who plays such a striking variety of instrumental roles, Santos simply observes, "I consider him a genius." He adds that drummer Harvey Mason may be placed in the same class. The former George Shearing and Herbie Hancock percussionist was able, Moaclr points out, to assimilate immediately the particular feeling required for this ensemble.

Some of the song titles have a special meaning for Moacir. Kathy, a delightful theme in 5/4, was dedicated to a girl friend of Bob Hicks, a trumpeter who worked With Stan Kenton and Santos' own band, Suk Cha was named for Moacir's daughter-in-law from Korea, where his son served in the U.S. Army.

Summing up the philosophy that led to the generation of so much colorful music, Moacir Santos says. "My feeling is Afro-Brazilian soul." The characterization is an appropriate one, and a reflection of the soulfully modest individual who made lt.

— LEONARD FEATHER
(Author of The New Encyclopedia of Jazz, Horizon Press)

Produced by DUKE PEARSON
Executive Producer GEORGE BUTLER
Recorded At' United Artists Recording Studio. Los Angeles, California
Recorded March 5th, 6th & 12th, 1974

BN-LA-007-G

Moacir Santos - Maestro

Released - February 1973

Recording and Session Information

A&M Studios, Los Angeles, CA, September 29 & October 10, 1972
Oscar Brashear, trumpet; Frank Rosolino, trombone; David Duke, French horn; Ray Pizzi, alto, soprano sax; Don Menza, tenor sax, flute; Moacir Santos, baritone sax, vocals, percussion, arranger; Hymie Lewak, piano; Clair Fisher, organ; Bill Henderson, electric piano; Joe Pass, guitar; John Heard, bass; unknown, drums; unknown, percussion; Sheila Wilkinson, vocals; Reggie Andrews, arranger; and others.

tk.9 The Mirror's Mirror
tk.12 Kermis
tk.15 April Child
tk.16 Mother Iracema

A&M Studios, Los Angeles, CA, September 29 & October 18, 1972
Oscar Brashear, trumpet; Frank Rosolino, trombone; David Duke, French horn; Ray Pizzi, alto, soprano sax; Don Menza, tenor sax, flute; Moacir Santos, baritone sax, vocals, percussion, arranger; Hymie Lewak, piano; Clair Fisher, organ; Bill Henderson, electric piano; Joe Pass, guitar; John Heard, bass; unknown, drums; unknown, percussion; Sheila Wilkinson, vocals; Reggie Andrews, arranger; and others.

Nana
tk.4 Luanne
tk.17 Bluishmen
Astral Whine (An Elegy To Any War)

Track Listing

Side One
Title	Author	Recording Date
Nanã	Santos, Mario Telles, Yanna Cotti	September 29 1972
Bluishmen	Santos	September 29 1972
Luanne	Santos, Jay Livingston, Ray Evans	September 29 1972
Astral Whine (An Elegy to Any War)	Santos	September 29 1972
Side Two
Mother Iracema	Santos	September 29 1972
Kermis	Santos	September 29 1972
April Child	Santos, Livingston, Evans	September 29 1972
The Mirror's Mirror	Santos	September 29 1972

Liner Notes

Born in Pemembuco, Northeastern Brazil, where the great Amazon snakes through lush jungle, little Moacir was known as "Carcia Querido de Flores", or the cherished boy of music. At the age of five, he was a familiar face at the Municipal Band Hall and was already playing flute, guitar and drums. By the time he was 11 years old, he had added trumpet, clarinet, saxophone and others to the list. Then Moacir Santos went on the road and played with bands in almost every village and town until he was 17. He then organized a traveling circus band and they toured until they reached the state capital of Bahai where he decided to pursue a more formal study of music. He soon became a star of Radio Recife, where he remained until he was 23. At this point, already a celebrity in Northern Brazil, Moacir Santos again packed up and set off for Rio de Janiero where he signed with National Radio Network as a musician. Within three years he became a conductor, a position he held until 1967. During this period of development in brazil, Moacir Santos wrote, scored, conducted and played dozens of television music specials, 10 major motion pictures, no less than 50 albums, besides creating an endless array of arrangements and musical stylings. His biggest hit was "Nana," on the charts for over a year. Now Brazil's "man of music" is in this country beginning a second career. He feels a great affinity for all things metaphysical, finds Buddism fascinating, and his idea of fun is a deeply involved discussion of comparative philosophy. His favorite color is bright blue which, somehow, is imparted in his music along with the very bright future that lies just around the corner.