I Love Brazil

Performer: Sarah Vaughan
Artist: Dori Caymmi; Milton Nascimento
Producer: Aloysio de Oliveira
Distributor: Fantasy (distributor)

Notes: Personnel: Sarah Vaughan, Dorival Caymmi (vocals); Dori Caymmi, Milton Nascimento (vocals, acoustic guitar); Danilo Caymmi, Paulo Jobim (flute); Mauricio Einhorn (harmonica); Edson Frederico, Antonio Carlos Jobim (piano); Jose Roberto Bertrami (electric piano, organ); Helio Delmiro, Nelson Angelo (electric guitar); Sergio Barroso, Claudio Bertrami (acoustic bass); Novelli (electric bass); Wilson Das Neves, Robertinho Silva (drums); Chico Batera, Ariovaldo, Luna, Marcal (percussion). Engineers: Mario Jorge Bruno, Luiz Carlos T. Reis. Recorded at RCA Studios, Rio De Janeiro, Brazil in October & November, 1977. Includes liner notes by Bob Blumenthal. Digitally remastered by Phil De Lancie (1994, Fantasy Studios, Berkeley, California). Sarah Vaughan's debut for the Pablo label is a bit of an acquired taste for the jazz fan. She is accompanied by a variety of Brazilian all-stars (including Milton Nascimento, Dori Caymmi and on two numbers Antonio Carlos Jobim himself) and Sassy (whose voice was still in tremendous form) fares quite well, but few of the performances are all that memorable and none of the dozen songs entered her permanent repertoire. This set is really more for fans of contemporary Brazilian music than for jazz collectors. ~ Scott Yanow Sarah Vaughan's recordings during the last phase of her magnificent career weren't always up to her usual standards, but this late-'70s set focusing on Brazilian music was a superb exception. Vaughan sounded as delightful and glorious as ever doing songs by legendary composers Antonio Carlos Jobim and Milton Nascimento and newer voices like Dorival Caymmi, Oscar Castro Neves and Eumir Deodato, among many others. The backing and rhythms weren't Americanized pap, but an accurate reflection of contemporary Brazil's sounds at the time. The CD adds two bonus tracks that weren't on the original, giving listeners the full results of what proved to be one of the great Sarah Vaughan's final studio triumphs. ~ Ron Wynn

JazzTimes (11/94, p.93) - "...[I LOVE BRAZIL] defines the perfection of Sarah's studio expertise and demonstrates her ability to merge Brazilian with bebop via an exquisite delivery of beautiful Portuguese-into-English wordpictures..."

Sarah Vaughan's name was synonymous with jazz singing for two generations. She probably ranks as a close second only to Ella Fitzgerald in terms of influence, vocal range, and sheer, consistent brilliance. Her knowledge of bebop, gained during her '40s stint with Billy Eckstine, enabled her to advance the harmonic side of her work beyond that of her contemporaries. Throughout the '50s, she produced a torrent of albums in either a popular vein for Mercury Records, or more jazz-oriented material for subsidiary label EmArcy.

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