LP-705

The Ramsey Lewis Trio - Bossa Nova

Released 1962

Recording and Session Information

Ramsey Lewis, piano; Jose Paulo ,guitar, pandeiro; Eldee Young, bass; Redd Holt, drums; Carmen Costa, cabaca,vocals
Yamaha Studio, San Francisco, California, September 22 and 25 1962

11903 O pato
11904 Manha de carnaval
11905 As criancinhas
11906 A noite de meu bem
11907 Roda moinho
11908 Canacao para Geralda
11909 Samba de Orfeu
11910 A felicidade
11911 Care de Palhaco
Generique

Track Listing

Samba De Orpheus	Jobin, Bonfa	September 22 + 25 1962
Maha De Carnaval (The Morning Of The Carnaval)	Jobin, Bonfa	September 22 + 25 1962
A Criancinhas (The Children)	Eldee Young	September 22 + 25 1962
A Noite Do Meu Bem (The Night Of My Love)	D. Duran	September 22 + 25 1962
O Pato (The Duck)	J. Silva	September 22 + 25 1962
Generique (Happiness)	Ramsey Lewis	September 22 + 25 1962
Roda Moinho (Whirlpool)	V. Guaraldi	September 22 + 25 1962
Cara De Palhaco (The Face Of The Clown)		September 22 + 25 1962
Canacao Para Geralda (A Song For Geraldine)	R. Lewis	September 22 + 25 1962

Liner Notes

ONCE IN A LONG, long while there comes along a musician who seems to have the knack of keeping his ear and his music in tune with the broad taste of thc public. He struggles along unheeded by the teeming throng, he may become recognized as a great neglectcd artist. If he is quickly and painlessly accepted and is financially successful, more than likely he will be classified as quote "commercial" unquote. For some logic-defying reason, money and acceptance in jazz can become the kiss of death.

The Ramsey Lewis Trio has been, since its inception, a "winner." The group suffered through no "dues paying" period per se. The three healthy, normal, well adjusted family men got together in Chicago, rehearsed, worked local clubs, recorded and became a popular attraction without ever leaving home. More than five years later the original musicians still with the trio as normal, well adjused family men - (same families). Commercially, the trio is the one shining exception to Chicago's traditional indefference to homegrown talent. Lewis & Company is an ovcrwhelming favorite in the Windy City. This album is a good indication of why.

For the past eighteen months, jazz has been floundering in the dregs of the waning "soul" movement. Writers, listeners, and music fringe craftsmen have been groping feebly for new, fresh ways of saying "It's the same old groove: badly mutilated and overdone." Meanwhile the serious jazz musician has been experimenting with a new idea. The perfected product is now bombarding the airwaves under the grandiose title of Bossi Nova.

In the past, American jazzmen have drawn on the latin culture for rhythmic variation; flavor and excitement in music. In the main, however, the latin harmonic limitations were not conducive to jazz improvisation. Melodies were undistinguished and almost horizontal in structure. There few challenging chord progressions or variations. The emphasis was strictly on rhythmic development.

In the late fifties, a new musical concept was becoming prominent in certain areas of Latin America. Primarily based in Brazil, a style was emerging which still employed the latin rhythms; but displayed more extensive harmonic breadth. Gradually, the melody began to stand out with an identity of its own. With this change, the latin music of Brazil began to lend itself more readily to jazz adaptation. There were fundamental compromises to be made before jazz and the Brazilian music were to fuse into a new "school."

The latin music was still basically a percussion orientated one; while in jazz, the piano is the only prominent percussion instrument and it is employed in a melodic or harmonic capacity as well as a rhythmic one. Often jazz musicians, accustomed to playing primarily in flat keys found themselves faced with the dilemma of either transposing this music and possibly losing some of its subtle connotation or playing it in the unfamiliar, sharp keys. There were infinite variations in instrumentation to be adjuested to.

It was Ramsey's task to make these adjustments within matter of days. Having become acquainted with the music as a listener and admirer, he set about learning the technical fundamentals of the form. He was fortunate in having Josef Paulo and Carmen Costa to woodshed with the trio. These artists are two of the most sought after performers in the Bossa Nova rage. So thoroughly did the trio become entrenched in their music, that both Lewis and Eldee actually contributed original tune to this date.

By this time, "Bossa Nova" is the big thing in jazz and everyone should have become familiar with the term. For those who may not have heard yet, "nova" means new and there is no literal English translation for "bossa." Very, very loosely, it represents the equivalent of our slang "bag" or "thing." Ironically, there is a similar Russian pronunciation which means "barefoot"; that should result in an International definition "new barefoot" music. Somehow, the term seems appropriate for the Ramsey Lewis Trio whose music has always been synonymous with that which is and "of the people."

Again this unit has responded to the music of the hour. Today, the listening public is halfway between the emotional outpourings of the "soul" school and the exciting rhythmic beckoning of Bossa Nova. This album is a happy balance embodyipg both.

Barbara J. Gardner