Customer Reviews

Primal Roots

5 star:		(6)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

This 1972 release was Mendes' big "I can, too, play traditional!" album... and, boy, could he! A thunderous, kaleidoscopically produced sound with some killer Afro-Brazilian percussion. If you don't want to fool around with the lite pop stuff, but are still wondering what all the fuss was about, then try this one out. (Issued as "Raizes" in Brazil)

This cd blends both Brazilian and African-American Roots into one musical form. The songs are splendid and the sound of this cd puts most American product to shame. Again Gracinha Leporace shines throughout. She is Mrs Sergio Mendes but has nothing to apologize for. Her credentials are solid and the entire ensemble has opportunities to stretch, especially in the course of the cd's magnum opus The Circle Game. Special thanks to Japan for including the bonus cut The Crab.

By sharing its culture, Brazil has enriched countless lives around the world. Coming from a nation of great musical traditions, Sergio Mendes has never been one of his country's best exports. Always fast to embrace the commercial sound du jour, Mendes' discography hasn't aged well. "Primal Roots" is the exception to this rule. As the title suggests, this isn't another cornball excursion into Brazilian pop. Here, there's no pandering to Tropicália, disco or whatever was en vogue in 1972 -yes despite being played by the Brasil '77, the album was actually recorded in 1972 under the alternate title "Raízes." This is an album of traditional Brazilian music. The compositions feature traditional percussion instruments such as the gogó, cuica, pandeiro and atabaques. Much of the compositions emphasize the African origins of Brazilian music. While "Primal Roots" doesn't sell out to commercial pressures, it is far from a field recording of traditional music. While some songs feature minimalist chanting and drumming, others feature those silky smooth female vocalists, flutes and some psychedelic keyboard work. Sergio Mendes may never be remembered in the same light as Astrud Gilberto, Airto Moreira and Gilberto Gil but "Primal Roots" will always be remembered as his 'important album.'

I bought this on vinyl in 1973 & on CD a few years ago. Bought this copy for a Brasilian friend who translated some of it for me back in the 70's. She loves it still. The music grabs you. The beat, the feel of it just can't help but make you smile, make you move. I have been a Sergio Mendes fan since I was 10 years old. I don't speak a word of the language, but the beat just grabs your soul. Buy it and enjoy the experience.

I fished this LP out of a bargain bin years ago. What a gem! Real indigenous Brasilian music with a jazz edge. I look forward to hearing the remastered version. Expensive, but worth it, I'd say.

Sergio Mendes uses an expanded percussion ensemble, virtuoso flute, and folk guitar to develop an appealing set of Brasilian music. African and Amerindian rhythms form the core, and his ability to blend them into his trademark sound makes Primal Roots special.
Two Brasil '66 standards open. His organ captures the religious invocation in "Promise"; Sunrise", a steady, melodic chant, is powerful in its simplicity. "Canto'', "Iemanja"' and "Pomba" are primal. The tempo is faster, approaching urgency, with male/female voices using call/response and singing/chanting in unison."Circle Game", a series of extended, alternating, abstractions, is the centerpiece, comprising half of the 37:05. He introduces the flute dramatically, followed by a wailing voice. "Circle" bursts into frenetic song, and then slows to a crawl. The flute takes a long solo, with piano and guitar creating a contemplative mood,flute joining guitar as piano recedes, and percussion ultimately adding contrast. The group catches fire, changing pace twice near the finish to play the pulsating bridge of "Primitivo", a 1964 song Mr. Mendes recorded with Bossa Rio. "Circle" flows pleasantly into the tranquil opening of "Promise" in closing. "Crab", full of sunshine and warmth, provides a joyous end.
Primal Roots is the best of all worlds. Whether you have enjoyed Sergio Mendes' music for years, or seek an introduction, you will enjoy.

By sharing its culture, Brazil has enriched countless lives around the world. Coming from a nation of great musical traditions, Sergio Mendes has never been one of his country's best exports. Always fast to embrace the commercial sound du jour, Mendes' discography hasn't aged well. "Primal Roots" is the exception to this rule. As the title suggests, this isn't another cornball excursion into Brazilian pop. Here, there's no pandering to Tropicália, disco or whatever was en vogue in 1972 -yes despite being played by the Brasil '77, the album was actually recorded in 1972 under the alternate title "Raízes." This is an album of traditional Brazilian music. The compositions feature traditional percussion instruments such as the gogó, cuica, pandeiro and atabaques. Much of the compositions emphasize the African origins of Brazilian music. While "Primal Roots" doesn't sell out to commercial pressures, it is far from a field recording of traditional music. While some songs feature minimalist chanting and drumming, others feature those silky smooth female vocalists, flutes and some psychedelic keyboard work. Sergio Mendes may never be remembered in the same light as Astrud Gilberto, Airto Moreira and Gilberto Gil but "Primal Roots" will always be remembered as his 'important album.'

because I probably didn't have any other of his records, but he'd always been a guilty pleasure on the radio and maybe I had a couple of his albums bought at a yard sale. But, oh man, this is a fantastic album, with really thoughtful arrangements and compositions, more ambitious than anything else he released. It works as an album, too, in the way it flows and moves around. Of course the core is the 19-minute masterpiece "The Circle Game", which manages to combine Brazilian and African sounds. It drives hard in places, sings sweetly in others, and does not compromise in any. The band is the early 70s classic, with a pair of female singers, and two percussionists who constantly amaze at their taste. If you like Brasil '66 (Ye me le, or equinox, or look around that stuff is so great) (well maybe not the lounge-y stuff he did lately!) don't hesitate to snag this one and give it the time it richly deserves.