Zum Tod von Sergio Mendes: Jazz and Samba

“Jetset Pop” would be a piece of music that was never honest, but a false representation of the sound and the sounds of Sergio Mendes. It should be free to play a few ensembles, one of the gehobenen party music and the soundtracks for cocktail bars and pop music phenomena of machen, the pianists, singers and arrangers of Brasilia’s one of the best commercial souls and the Ruf a cultural culture in the best countries. Sergio Mendes spoke in his inspiring art that, his musical runway was determined by happy coincidences, a sympathetic substitution for a world career, which spanned more than six years and yet functioned according to the principle of the communicating rods.

When the pinch pianist of the Beco das Garrafas, the Vergungungsmeile von Rio, first block chords à la Dave Brubeck with seven sambar hythms disappeared, one could resound independently in the active music of the Bossa Nova, which had rightly achieved its first international success through Marcel Camus’ film “Orfeu Negro” with the sophisticated sounds of Antonio Carlos Jobim in 1959. We see the first record with the title of Duke Ellington, Jobim sees João Gilberto on and heard at his Aufenthalt in New York in 1962 with his interpreter, the new sound in the sacred Carnegie Hall and American music with Stan Getz or Charlie Byrd an alternative for a better price for the best Wahrnehmung-boasting Free Jazz boats.

It is no longer the case that Bossa Nova is a blood transfusion for jazz or the most popular jazz, a vitamin spritze for late American music and rhythm warfare. I am a group that bestimmt the Wechselspiel of the Werdegang of Sergio Mendes this time. If you have played a new generation in Los Angeles, the game with Jazzgrößen with Cannonball Adderley and Herbie Mann together, half Frank Sinatra with a Karriereschub – or is the war an umgekehrt? –, Ließ seine Musik von Herb Alpert produzieren en fand einen characteristics Sound für seine legendäre Band Brasil 66 with two Sängerinnen, who in combination with Jorge Ben’s Composition “Mas que nada” einen Hiterten, der zur inofizielen brasilianischen Nationalhymne from the Perspective of the Beach- Fußballer of the Copacabana Wurde.

The Brazilian National Mannschaft 1998 as an amateur Weltmeister for the Turnier in France and Werbe-Video einspielte, with Ronaldo, Rivaldo, Zé Roberto and Co. in his legendary Kabinettstückchen and Flankenläufe during the Areal des Flughafens von Rio zu den Klängen von “Mas que nada “Vollführten, hatte jedenfalls etwas Zwangsläufiges. Jorge Bens’ war worked for a long time on his opus magnum of Mendes, when he was in the Hip-Hop version of the Black Eyed Peas 2006, had never stopped for so long during his best career.

Sergio Mendes, from a classical Klavierstudium last year, has not made any major mistakes as a Jazz Pianist or as a Song Composer. The sound of the phrasing of the Portuguese spoken sound with a two-tone vocal part, a completely swinging Latin rhythm, an unpretentious melody, with a wide range of cover versions, all the way through the charm and war during the journeys in Paris, London and Barcelona were in balance for six months. Nun died in Los Angeles at the age of 83.