Hermeto Pascoal - Slaves Mass (1977)

Artista: Hermeto Pascoal

Álbum: Slaves Mass
Año: 1977
Género: Jazz rock / Jazz fusión
Duración: 77:17
Nacionalidad: Brasil

Lista de Temas:
1. Mixing pot (Tacho)
2. Slaves mass (Missa dos escravos)
3. Little cry for him (Chorinho para ele)
4. Cannon (Dedicated to Cannonball Adderley)
5. Just listen (Escuta meu piano)
6. That waltz (Aquela valsa)
7. Cherry jam (Geléia de cereja)
Bonus tracks
8. Open field (Campo aberto)
9. Pica pau (Take 1)
10. Star trap (Part 2)

Alineación:
- Hermeto Pascoal / piano, keyboards, clavinet, melodica, soprano sax, flutes, acoustic guitar, twelve strings guitar and vocals (in "Cannon").
Invitados:
Flora Purim / vocals (in "Slaves mass" and "Cannon").
Airto Moreira / drums (all tracks except "Mixing pot", "Pica pau" and "Star trap"), percussion and vocals (in "Cannon").
Chester Thompson / drums (in "Mixing pot", "Pica pau" and "Star trep").
Ron Carter / acoustic bass (all tracks except "Mixing pot", "Pica pau" and "Star trap").
Alphonso Johnson / electric bass (in "Mixing pot", "Pica pau" and "Star trap").
Raul de Souza / trombone and vocals (in "Cannon")
David Amaro / electric guitar, acoustic guitar and twelve strings guitar.
Hugo Fattoruso / vocals (in "Cannon").
Laudir de Oliveira / vocals (in "Cannon").

Gilgamesh aporta más cosas brasileras mientras su espíritu sigue las implicancias del mundial, y así es que nos deja otra belleza de esas que faltaban en el blog, el gran Hermeto y uno de sus discazos, acompañado, po si fuera poco, de un montón de músicos impresionantes. Así que ahora ya tenemos en nuestro blog el disco del chancho!!! y si no conocen la referencia, Bueno, resulta que cuando escuchen este disco van a descubrir los sonidos de un cerdo... pero sigan leyendo los comentarios y se van a enterar.
Y más allá que sea jazz, debo decir que este disco me suena muy muy progresivo y experimental...

Slaves Mass is a 1977 album by Brazilian composer and multi-instrumentalist Hermeto Pascoal. Recorded for Warner Bros. Records, the album featured some of the most beloved Brazilian musicians of the time.

Resulta que el tipo quería grabar el disco utilizando al chancho, no para que toque instrumento alguno, sino para que suene su melodiosa voz en el registro. Y resulta que este disco fue grabado en un estudio de EEUU, pero cuando vieron entrar a Hermeto al estudio de grabación con un cerdo bajo el brazo, rápidamente le bloquearon la entrada y no se lo permitieron. Hermeto trataba vanamente de explicar en portugués (historias de un brasileño en Nueva York), que necesitaba al cerdo para grabar y utilizarlo como efecto e inspiración... imagino que lo tomaron por loco (a lo sumo, habría sido un loco en medio del reino de la locura), pero la cosa se resolvió cuando expuso como antecedente, que Alice Cooper, que grababa en ese mismo estudio, llevaba su boa constrictor a las sesiones de grabación. Animal por
animal... Finalmente la gente del estudio de grabación cedió y el cerdo pudo ingresar, so pena de que no ensuciara.

Aquí están las dos estrellas de este fabuloso álbum. Aunque lamentablemente el cerdo no está en los créditos.

Flora Purim, (productora de este álbum, además de ser la voz en Return To Forever) dice en la carátula interna de disco:

No es muy difícil escribir sobre alguien a quién conoces desde hace mucho tiempo, pero no es fácil volcar en palabras la creatividad de Hermeto. Él ha sido una de las más grandes fuentes de inspiración para Miles Davis, Airto Moreira, Cannonball Adderley, Duke Pearson, Herbie Hancock, Gil Evans y especialmente, para mi misma.

A veces es free jazz, otra latin jazz, otras jazz rock, en otras se mete casi de lleno en el Avant Garde y la fusión, pero siempre muy experimental y rompiendo códigos, estructuras, estilos y límites.

Numerosas referencias hice a lo largo de este blog a este señor albino que figura en la tapa de este disco, a mí entender uno de los más grandes virtuosos, talentosos y creativos multi-instrumentistas y compositores en la historia de la música latinoamericana. Sí, Hermeto Pascoal, aquel que por su albinismo desde su infancia se replegó bajo el techo de su casa tocando horas y horas el bandoneón de manera autodidacta sin verle la cara al sol, luego su curiosidad lo llevaría a conocer infinidad de instrumentos e incluso a fabricarse los suyos. La genialidad de Hermeto fue fuente de inspiración para músicos de la talla de Miles Davis, Herbie Hancock, Airto Moreira (quien participa en este álbum), entre otros.
En este trabajo Hermeto toca el piano, la flauta, el clarinete, el saxo, la guitarra, entre otros, pero esta versatilidad no es lo más distinguible de él, sino más bien su innovación para crear composiciones experimentando con el Jazz y elementos de la música brasilera con una enorme diversidad de sonidos. Otro aspecto muy característico es la capacidad que tiene para duplicar el tempo (la velocidad de ejecución) de manera abrupta y repentina en alguna de sus canciones.
Pero ponerse a hablar de Hermeto no tiene mucho sentido, solamente hay que escucharlo, tal y como lo propone el tema Just Listen, donde derrocha virtuosismo y creatividad tocando el piano (el instrumento que más me fascina escucharlo tocar), dejando boquiabierto a cualquier ser con dos oídos funcionando.

El humo está en el foco

En este álbum el multiinstrumentista brazuca se hace cargo de las flautas, percusión, teclados, guitarra acústica, saxo soprano, así como también de la composición y los arreglos.
Pero tocar bien todos esos instrumentos, no es lo que lo diferencia de los demás. Es su coraje, su valentía de experimentar con todo (claro, hasta con un chancho en Nueva Nork), y cualquier tipo de música en un nivel avanzado. Y acá se manda un discazo!!!
En la parte interior de la carátula, hay un dibujo de un pentagrama en espiral, con notas musicales, y al pie del mismo dice asi: Este dibujo, de Ruy Pereira, un gran amigo de Hermeto, representa, literalmente, nota por nota, el solo de flauta llamado Cannon, le llevo seis horas transcribirlo al papel, porque fue una experiencia de total improvisación. La finalidad fue la de preparar una sesión espiritista e intentar comunicarse con Cannonball. Alguno de nosotros lo logró exitosamente.

Pero vamos con algún comentario en inglés y déjense de joder que lo que acá importa es la música del disco!

Not strictly a jazz album in the strict sense (it was originally issued as part of the Masters of MPB on LP in 1977), Slaves Mass has strong compositional themes among its seven tracks. The maestro Hermeto Pascoal plays everything from flutes, soprano saxophone, guitar, Fender Rhodes, acoustic piano and clavinet on this set, and enlists help from Ron Carter, Airto, Flora Purim, Raul DeSouza, David Maro and others. "Mixing Pot," is the opener and an anomaly in that it is a vanguard fusion tune where Pascoal really digs in and improvises. It also features the only appearance on this set of Alphonso Johnson on electric bass. In "Missa Dos Escravos," the title track, Pascoal's emblematic pig gives his first growls in a song dominated by Brazilian Indian references. Wonderfully and intricately composed, it centers around folk tropes. "Chorinho Para Ele" is a beautiful and modern choro with a somewhat challenging glissando bridge that really proposed new directions for the traditional genre. "Aquela Valsa" is a beautiful six/eight theme that turns into a samba with a beautiful trombone solo by DeSouza. "Cannon" is an utterly improvisational piece that meanders and winds around Pascoal's flute solo. Atonalism dominates the piano solo in "Escuta Meu Piano," which also presents bits and pieces of different styles (like baião) and folk songs. Hot samba improvisation is found in "Geléia de Cereja," that slips and slides through a variety of schema and dynamic changes without much internal focus, but it is a compelling bit of creative anarchy nonetheless in that it displays Pascoal's full range of restless musical and textural impulses -- as well as a beautiful soprano solo. Slaves Mass was finally issued on CD by Collectables in the United States in 2005.

Thom Jurek

Released in 1976 and produced by Flora Purim who also provides vocals on 2 compositions and Airto Moreira ( Drums on all except Melting Pot ( Tacho) as well as doing the live pigs for Slaves Mass) Sounds strange but not as you would think for the use of the sounds of nature are a component in Hermeto Pascoals compositions and every one was composed by him on this Jazz masterpiece . Avante Garde at times but not in an extreme manner and with the use of his own native Brazilian music in the structures makes this one quite different and enjoyable fusion album.
Hermeto plays Acoustic Piano,Fender Rhodes,Recorder,Clavinet,Soprano Sax,Flutes and Acoustic Guitar. Multi instumentalist and good at them all. Ron Carter provides bass on all except Melting Pot and as mentioned above Flora Purim and Airto Moreira do their parts as well with Raul De Souza (Trombone) and David Amaro on Guitars of any variety.Track one, Melting Pot does not have Ron or Airto but they are replaced with Alphonso Johnson and Chester Thompson.
Mixing Pot is a fairly rapid composition and is driven along with a Fender Rhodes current. Hermeto lets go with the Flute for a solo but what is different as with most of the tracks is the use of voices which could be described as Scat but with Brazilian influence and really does give the album such variation and a wonderful atmosphere. Now for Slaves Mass, track two with the the pigs and to be honest if I did not mention them you would not realise what they are. The track is beautiful and begins with an accoustic guitar introduction and interspersed you will hear them. Voices again are used and the track begins what is like an ascent with the guitar riding the tune and then another change and simply wonderful use of the human voice. Track 4, Cannon is dedicated to Cannonball Adderley and Flute and Voices are major components and this is one of the most interesting Jazz compositions you could wish to hear. All up there are seven tracks on the original album and with the cd that I have there are three Bonus tracks. Track eight is one and Open Field with a sound just like it is titled and with a Brazilian rythmn and it just rolls along.with Hermeto's voice singing scat right through out,soprano sax,trombone,guitars and of course Airto Moreira's fantastic drumming from this album. There is not a poor track on this album.
If you like your Jazz original and different you would be hard pressed to go past this wonderful and distinct album. Masterpiece you betcha and one that has its own notch in Jazz.

Matthew

Hermeto Pascoal, the Brazilian multi-instrumentalist whose contribution to jazz is beyond measure ever since the short-lived Quarteto Novo and his collaboration with Miles Davison Live Evil, surrounds himself with a stellar line-up on this long awaited reissue. With an impressive ensemble including Weather Report's Chester Thompson and Alphonso Johnson, and with long-time friends Airto Moreira and Flora Purimas producers, Hermeto opts for a collective approach.
Pascoal's flamboyance is clearly recognisable on Slaves Mass, even if in embryonic form, along with his passion for turning everyday objects into musical instruments (amazingly Moreira is credited with 'Special Effects with Live Pigs' on the title-track). His improvisational phrasing draws on the rhythmic patterns of the spoken word and sounds of nature.
One can spot many an influence. Hermeto's soprano playing recalls Wayne Shorter's (with a flair for the experimental as in Weather Report's I Sing The Body Electric). On "Cannon", (dedicated to alto saxophonist Cannonball Adderley), Hermeto's speech-likeflute is the principal voice. Flora Purim enriches the already eclectic vocal brew with her plastic, magnificent voice. Airto, on the other hand is ever-present both on vocal and percussion, enhancing the multilayered rhythmic complexity of the writing.
There are many delights here; the baroque bossa of "Little Cry For Him" offers abig grin of carnival happiness, with speedy, high-pitched keyboards and flute engaging in mad child-like runs. Pascoal's piano on "Just Listen" is a gurgling, improvisational bonanza.
And don't miss the blissful joy of the bonus track "Open Field"...

Lara Bellini

This is multi-instrumentalist Hermeto Pascoal's third studio album released in 1977. He's from Brazil and to say he's very talented would be an understatement. The Brazilian husband and wife team of Flora Purim (vocals) and Airto Moreira (drums) are here and might be known to some for being on RETURN TO FOREVER's debut. Airto would play with Miles Davis and many others. For me the shock was seeing that the legendary Ron Carter is playing bass here making this a formidable rhythm section on all but the opening track. Who's playing bass and drums on the other track ? It's the opening song by the way. None other then Chester Thompson on drums and Alphonso Johnson on bass. What ?! Johnson was in WEATHER REPORT and played with Cobham, McLaughlin and many more. And we all know Chester. The music is for sure Jazz / Fusion but the Avant vibe is quite strong.
"Mixing Pot" is led by a beat early as the keyboards join in. It kicks in before 1 1/2 minutes with flute, guitar and bass. It's jazzy after 2 1/2 minutes with percussion and electric piano joining in. The horns are crazy late. "Slaves Mass" opens with gentle guitar then we can hear pig noises (haha). Percussion and bass join in then the tempo picks up with vocals. Solemn stuff. It turns experimental before 3 1/2 minutes. So much going on including laughter. "Little Cry For Him" is uptempo with piano, drums and bass leading. This is upbeat and reminds me of Zappa. "Cannon (Dedictaed To Cannonball Adderley)" opens with melancholic flute as these chipmunk-like spoken words can be heard pretty much throughout. Weird but funny especially when you consider this is supposed to be a dedication (haha). There are mumbled words too.
"Just Listen" is piano only throughout but man this is impressive especially after 2 minutes when he becomes a little insane. Check it out 5 1/2 minutes in. Fast paced is the word. Vocals and expressions arrive before 6 minutes along with yelling etc. "That Waltz" is jazzy with horns, bass and drums. The tempo picks up a minute in and we get vocal sounds after 2 minutes. "Cherry Jam" opens with electric piano, atmosphere and more. Dissonant horns join in. Horns, bass and drums start to lead in a relaxed manner. It picks up before 2 1/2 minutes and the electric piano replaces the horn. The horn is back. Distorted keys along with bass lead 4 1/2 minutes in. Horn replaces the keys. The electric piano is back 7 1/2 minutes in. The horn is intense almost Elton Dean-like around 9 minutes to the end.
That was different ! Just a really interesting album with top notch players. Highly recommended.

John Davie

Y debemos agradecer todos que Gilgamesh haya traído esta belleza. De más está decir que recomiendo más que fervientemente este registro herméticamente maravilloso!!! Y recién caigo en cuenta que es nuestro primer disco de Hermeto en el blog cabezón, ya vamos a traer más...