Customer Reviews

Dom Salvador Trio

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This album and all those made in the same line, like the second "Salvador Trio", both "Rio 65 Trio", Edison Machado's "É Samba Novo", Tenorio Jr's "Embalo" and some others made in the beginning of the 60's, marks a very special moment in brazilian popular music, when samba began to be played in other ways.

Untill then mostly played with pandeiro, tamborim, etc., samba begins to be experimented in the classic formation of drum, piano and bass. In it's evolution, it was inevitable for samba to absorb jazz elements.

Note, although, that this is not pure jazz, in the classical 4/4 compass meaning, but instrumental samba. The beat is radically different, following an abreviation of samba beat. It does not have the same regularity of most jazz patterns. Otherwise, samba has much more swing than jazz itself, and one can perceive it listening to these albums. I think the swing is even more present in Edison Machado's recordings, maybe the most undervalued drummer of all time.

Listen... listen.. listen... that's all....

Throughout the 1960s, Brazilian pianist Dom Salvador (aka Salvador da Silva Filho) worked in a series of bossa-samba jazz combos, and professionally backed top-name artists such as Elis Regina, Jorge Ben and Edu Lobo. In the early '60s he jammed with Paul Winter when the West Coast jazzman made his fabled Brazilian pilgrimage, and later formed this outfit, which was a pretty swinging, compact jazz trio. Although some of the tracks on this 1965 album are similar to the fairly commonplace instrumental efforts of contemporary Brazilian acts such as the Tamba Trio, et al, there's also a high proportion of more melodically rich, compelling material, including several romantically graceful themes. Almost all the songs were original compositions, showing Salvador clearly a cut above his Brazilian jazz brethren. Sure, for serious jazz fans this might have its limitations, but in the Brazilian sphere, these sessions definitely stand out.