Tsvia Abarbanel – Soul of The East (1970)

Soul of The East
Soul of The East

Following our last post, we’ll continue in Israel. To show you a little forgotten 45 single, re-released by Fortuna Records. Established in 2012, this new label is aimed to reissue psychedelic nuggets printed in Israel, as well as Middle-Eastern grooves in general, although this time ain’t a Koliphone release. There are only two songs but I was really impressed with the fabulous crossover between east and west!

Let’s go to her history:

Born in Radda, South East Yemen in the late ’40s, Tsvia Abarbanel immigrated to Israel with her parents and settled in the north of the country. She was raised in a traditional Yemenite house where she learned the culture and traditions of Yemen.

She spent most of the youth as a Shepherdess looking after her family’s herd, during the long hours in the fields, Tsvia developed her singing skills, practicing traditional Yemenite chants, typical to the region of Radda. When she was 25 years old, she bravely left home to go and study Ethno-Musicology and Fine Arts at the Los Angeles University. The early hippie movement dominated the college halls and soon enough she started frequenting the LA club scene. It was by pure chance that she found herself at Watts, queuing for a Dinah Washington concert at the Kabuki Theatre.

Every night from midnight to 6, Tsvia, would flock to the Kabuki to get a glimpse of the biggest musicians of the time such as Ramsey Lewis, Ray Charles and more!

70's Portrait
70’s Portrait

This community-only event drew her deep into the sounds of soul and jazz, inspiring Tsvia to give her own musical background a totally new interpretation. Before even recording her first song, she started performing throughout the west coast, in big venues such as the Hollywood Bowl & The Cow Palace in San Francisco, showcasing her unique brew of traditional Yemenite singing and western jazz rhythms.

A beautiful 26 years old Yemenite girl was an odd sight in the Afro-American music scene of LA in the mid-’60s. She looked different, she sounded different, but her musical talent was so explosive she was immediately embraced by local musicians!

Let’s go to our record:

Returning to Israel in 1970, Tsvia started working on her debut album with a prominent Tel Aviv jazz band called Piamenta’s Guys. Led by Albert Piamenta, musician and arranger, who introduced funk and western elements into traditional Israeli songs, the result was one of the most magical recordings to ever come out of the region. However, the Israeli record industry found it far too strange and of no commercial potential. (!) And so Tsvia and her husband released a limited 45, making this one of the most obscure and hard to find Israeli records ever.

Yemeni Lady
Yemeni Lady

The ‘IM’ highlights spare any comment: Yahalel Hawa, has an strong percussion pace and a sour folklore singing, assisted by this little cool jazz veil. A classy ethnic one! And Wings of Love, certainly a challenge to anyone who admires the frontiers from music, with a Yma Sumac’s intro, this jazzy soul got some horn attacks, organ, sax solos, heavy drums, and the always lively percussion, recalling us the strong geographical bond that Yemen has with Africa. Unluckily both sounds end up until 3 minutes, but the fusion stamp that Tsvia left are forevermore!

Our little Shepherdess, is still performing, writing and composing her own material, spreading Yemenite music in Israel to this day. Hyvää Matkaa!

Tracks include:

A Yahlel Hawa

B Wings of Love

Credits

  • Accompanied: Piamenta’s Guys
  • Mastered [Uncredited]: Beau Thomas
  • Producer: A. Piamenta, D. Abarbanel
  • Written: S. Shabazi

Notes

Licensed courtesy of Tsvia & David Abarbanel

Produced and recorded in Tel Aviv, 1970

(P) & (C) Fortuna Records 2012

Sana'a, Yemen
Sana’a, Yemen

Rogério Duprat – A Banda Tropicalista do Duprat (1968)

capa cópia

Born in 1932 in Rio de Janeiro, Rogério Duprat, began studying cello at the early ’50s, a period that integrates the State Symphony Orchestra. In 1955 moves to São Paulo, becoming conductor and composer of the Symphony Orchestra. In the early ’60s, funds the classical avant-garde movement ‘Música Nova’, alongside Júlio Medaglia, Damiano Cozzella, Régis DupratGilberto Mendes.

still on the ’60s, travels to Europe, where he studied in France, with the composer Pierre Boulez, and in Germany with Karlheinz Stockhausen. (!)

Back in Brazil, he dedicated to creating experimental pieces on the computer, with Damiano Cozzella once more. At the University of Brasilia, where he taught, Duprat was part of happenings and manifestations of random music.

Still, on the sixties, he began working on several film soundtracks and is from there that he initiates contact with popular music, most especially with Os Mutantes!

III Festival de Música Popular Brasileira, TV Record
III Festival de Música Popular Brasileira, TV Record

Debut in 1967 with Domingo no Parque alongside Giberto Gil and Os Mutantes and bill the award for the best arrangement of the III Festival of MPB (TV Record). Thereafter, the proposal of Geléia Geral by Tropicalia enters the scene.

Pop Cannibalism. Revolution Consumerist. /// o sol se reparte em crimes, espaçonaves, guerrillas /// He works extensively with Caetano Veloso, Gal Costa, Gilberto Gil, Os Mutantes, Tom Zé, Lanny Gordin, Erasmo Carlos, Walter Franco, etc, of the records from Festivals, dozens and annual, recorded live.

Gil & Mutantes, Live Divino Maravilhoso (Tv Program)
Gil & Mutantes, Live Divino Maravilhoso (TV Program)

Let’s go to our record:

When asked of his first solo foray, the conductor is emphatic:

‘I do not really like that. In fact, they forced a lot. For starters, that picture, made ​​me climb on the table to beat photograph … Something so silly, naive, bitchy! Anyway, I ended up doing because I wanted to make the album, has some things I like. But it suffered from the fact that the record company forces me a bit on some international music repertoire, which was a bit more commercialized. Within the record company, they did not understand things well…’

Launched in the first half of 1968, riding on the musical-wave Tropicalia, the album was a commercial failure and saw over the decades to become a holy grail of all Tropicalista production from 67 to 69. Often compared to a tupiniquim George Martin, Rogério Duprat has his own vision of what you expect from American standards, pop, sambas, bossa, psychedelia and much more!

The Maestro
The Maestro

Both scholar and pop, coming from the leading arranger of Brazilian music, certainly the freest and inventive, the Tropicalia pope! The ‘IM’ highlights: ‘Flying’, roaming a psych landscape with reverse fuzz and an oniric feel. And ‘Quem Será?’, a samba from the ’40s in a luxury cinematic collage, amazing!

As if that were not enough, the album also features the always welcome participation of Os Mutantes in four tracks, wandering through all aspects of the disc. Bonum Iter!

Tracks Include:

A1. Judy In Disguise
(J. Fred / A. Bernard / J. Wessler)

A2. Honey
(Bobby Russell)
Summer Rain
(James Hendricks)

A3. Canção Para Inglês Ver
(Lamartine Babo)
Participação: Os Mutantes
Chiquita Bacana
(João de Barro / Alberto Ribeiro)
Participação: Os Mutantes

A4. Flying
(John Lennon / Paul McCartney)

A5. The Rain, The Park And Other Things
(Steve Duboff / Artie Kornfield)
Participação: Os Mutantes

A6. Canto Chorado
(Billy Blanco)
Bom Tempo
(Chico Buarque)
Lapinha
(Baden Powell / Paulo César Pinheiro)

B1. Chega de Saudade
(Tom Jobim / Vinicius de Moraes)

B2. Baby
(Caetano Veloso)

B3. Cinderella-Rockefella
(M. Williams)
Participação: Os Mutantes

B4. Ele Falava Nisso Todo Dia
(Gilberto Gil)
Bat Macumba
(Gilberto Gil / Caetano Veloso)

B5. Lady Madonna
(John Lennon / Paul McCartney)
Participação: Os Mutantes

B6. Quem Será?
(Jair Amorim / Evaldo Gouveia)

Ficha técnica do disco sem créditos aos músicos da banda.

 Philips 765.048 (Mono)

Chacrinha & Caetano Veloso, 1971
Chacrinha & Caetano Veloso, 1971