We really love it when we come across a CD that becomes a quick and lasting favorite. But before we get to our review of ‘Wanda Vagamente’, we need to connect a few dots by looking at another CD first.
When Rosalia de Souza’s ‘Garota Moderna’ CD was released here in July 2003, the public response was one of overwhelming acceptance – The combination of Italian producer Nicola Conte’s direction and de Souza’s delicate singing matched up perfectly with the album’s song list – a mixture of originals and classic Bossa Nova tunes wrapped in a New Bossa sheen. Conte’s production was so effective that you’d be forgiven for not being able to differentiate between the two.
Not long after ‘Garota Moderna’ made its debut, one of our friends rushed in with a reissued copy of ‘Wanda Vagamente’ and she could scarcely contain her excitement: “Check out the first track, and the fifth, too.” she said. “And then listen to ‘Garota Moderna’. You’ll be surprised!”
The first song was ‘Adriana’, written by Roberto Menescal for his daughter who was born just before the recording of the album we’re about to introduce you to. The other was ‘Mar Azul’ and both were nicely recreated – almost note for note – by Nicola Conte for Rosalia de Souza to sing.
The real surprise is that while Conte was updating our ears with ‘Garota Moderna’, he was also updating our understanding and appreciation of what occurred in a recoding studio in Rio years before he was born, and why ‘Wanda Vagamente’ is a true Bossa Nova original.
The early 60’s were heady days for Bossa Nova in Rio de Janeiro – and many of the stories from that time have passed from second-hand fact into legend. More than one of these centered on a trendy ‘guitar school’ run by two rising stars - Roberto Menescal and Carlos Lyra.
Author Ruy Castro has done a great job in covering the extracurricular activities of these two twenty-something Cariocas in his book ‘Bossa Nova’, but the Academy did produce a good number of students who went on to make their mark in Brazilian music. One of these was Wanda de Sá.
By 1963 the young 18 year-old guitarist had made the move from São Paulo to Rio, and had been studying at Menescal’s school for the better part of five years. She had grown into a capable musician around Rio’s club scene and had scored early laurels by being the first to record Antonio Carlos Jobim’s beautiful ‘Inútil Paisagem.’
For his part, Menescal’s career was in full ascendancy – two years earlier he had penned one of Bossa Nova’s most enduring anthems – ‘O Barquinho’ (The Little Boat) and in ’62 he found his way to New York as part of the ‘casting call’ talent line-up for the Carnegie Hall Bossa Nova concert in November of that year. His eyes (and ears) were opened to new ideas brought home from the ‘States.
Clearly, both teacher and student were ready for the next step, and it came in the form of a studio date on the very eve of Bossa’s cultural demise in Brazil.
‘Wanda Vagamente’ was Sá’s debut album, recorded in April of 1964 - half a world away and exactly 13 months after the legendary Getz/Gilberto sessions. We’ll probably never know what influence (if any) Astrud Gilberto’s singing had on Menescal’s vision in his role as producer, but there is a semblance in style – Sá’s lightly romantic voice is a bit deeper and more interpretive than Astrud’s, but carries that same slightly out-of-tune charisma that became a calling card for Bossa Nova here in the US. Beyond that, comparisons fade away.
Menescal’s deft touch as an arranger is part of the reason. In addition to his own guitar, he surrounded his protégé with an impressive core of musical talent including keyboardist Eumir Deodato (who was also given one of his very first arranging and conducting opportunities) and drummer Dom Um Romão – even members of Bossa 3, one of Rio’s hot instrumental groups of the day. These jazzy small combo voicings, such as flute, organ and vibraphone on one track, muted trumpet and strings on another, keep the music fresh and swinging.
It’s apparent that these varied arrangements play to Wanda Sá’s strengths as a performer, and she gets the most from each song. The result is a well-crafted album and one of the most enjoyable Bossa recording we’ve come across in recent years.
By 1964, Brazil’s musical export, Bossa Nova, was beginning to skyrocket in the US. And once again, history found its way into the original 12 tracks of this CD. Specifically, a new arrangement for ‘Inúitl Paisagem’ intended to include a full complement of strings. But it turned out quite differently as Roberto and Wanda explain:
“On the scheduled recording day, I picked up Wanda, the recording technician, and Sérgio Barroso, the bass player,” recalled Menescal. “We headed downtown, to the studio. The streets were empty, so we were able to park in front of the studio. The technician had the keys and let us in. No one was there, not even the orchestra. While we waited, we decided to check out the sound, with bass, guitar and voice.
”The technician decided to record it,” said Wanda. “But the original idea was to abandon that and make a new recording later on with the orchestra.”
Menescal continued: “As no one showed up, we closed the studio and left. On our way back, we noticed the streets unusually empty, and then we spotted the police, the soldiers: it was the day of the military coup in 1964! That recording became the definitive one, and it’s regarded as cult to this day.”
This re-issue contains three bonus tracks which partially explain why Wanda Sa never became the household name in Brazil that did some of her 1964 peers, including Nara Leão, Elis Regina and of course, Astrud Gilberto.
Her success with ‘Wanda Vagamente’ led to an offer to tour US Universities with Sergio Mendes the following year and Sá jumped at the chance. In addition to the college concerts, the group would also line up special performances for local record producers. When they played in Los Angeles, the group was offered a contract with Capitol records and soon were in an LA recording studio.
Mendes thought that a new version of ‘Samba de Verão’ (which was already a big hit here in the US) would be a good choice, but with Wanda singing the tune in English for the very first time. The song ‘Summer Samba (So Nice)’ became a Bossa classic and it is included here, as is ‘Corcovado’ (also in English but with slightly different lyrics) from ‘Softly’, Wanda’s solo album. “This track was recorded in one single take: I stood in the middle of the studio, surrounded by the whole orchestra,” says Wanda.
So now you know why ‘Wanda Vagamente’ has become a favorite of ours, and why it is considered by many to be an essential part of Bossa Nova’s storied past: All the way from Rio’s memories to our daily lives. That’s a fact not lost on Nicola Conte and Rosalia de Souza, or on anyone after reading this review.
There’s one more story: The ink was barely dry on that Capitol Records contract in Los Angeles when the group’s name was promptly changed to ‘Sergio Mendes and Brazil 65’. It began a new era for pop music in the US and Brazil and you’ll find more about that on other pages within Connectbrazil.com.
