By all accounts, Suba was the toast of the Brazilian music scene, known for his ability to blend electronic production techniques with Brazilian instrumentation and rhythms. Serbian-born, Suba was killed in a studio fire at the age of 37 and did not live to see the release of his album Sao Paulo Confessions or Bebel Gilberto’s acclaimed album Tanto Tempo to which he contributed. Tributo is an attempt to piece together some of the remaining works of Suba, in the form of remixes, reconstructions and remakes. The result is a vibrant collection of tracks that effortlessly combine authentic Brazilian flair with electronica. The two versions of “Samba Do Gringo Paulista” were inspired by sampling a track from Sao Paulo Confessions, in the absence of the destroyed masters. Both emphasize kinetic Brazilian percussion rhythms - Zero db outlines them with a delicate house flavor while Bigga Bush’s remix uses understated acid tweakings. Throughout the CD are percussive interludes dubbed as “duets” between Suba and percussionist Joao Parahyba. These were recorded live in concert – Suba would electronically process JP’s drumming as he played. Tributo is a remarkable album that bears testament to the strength of Suba’s musical spirit -maintaining a cohesive sound, despite the variety of producers involved. The circumstances of its production lend it a haunting dignity. Anyone looking for something a little different than your average 4-on-the-floor will find this completely refreshing.
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.