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Dom Salvador (Tio Macrô,...) (Ed. Jpn)

Dom Salvador
Discos: MPB / Pop

Disponible

Ficha técnica Discos

Sello	Sony Music
Estilo	MPB / Pop
Año de Edición Original	1969

Más

Dom Salvador (piano, arreglos)

Músicos no especificados. Producido por Helcio Milito.

Reedición japonesa, de 2023, en la serie "Os tesouros da música brasileira", del disco lanzado originalmente en Brasil en 1969 por el sello CBS. Remasterizado, con portada, contraportada y ficha técnica originales.

Después de haber trabajado como acompañate de grandes figuras de la MPB y de haber participado en la moda del Samba-jazz formando parte del Rrio 65 Trio, el inquieto tecladista, compositor y arreglista Salvador da Silva Filho (Rio Claro, São Paulo, 1939) grabó este primer disco a su nombre en el que combina la música brasileño con el pop interacional y marca el inicio de su transición hacia la la música soul y funk, de la que fue uno de los pioneros en Brasil.

"(...) One of the more innovative and forward-thinking producers working in Rio during the late ’60s was Hélcio Milito who was taking a sabbatical from his regular gig as the drummer/percussionist with the legendary bossa jazz group Tamba Trio. “Hélcio’s always been ahead of the curve,” says Salvador, “so [when he was in the U.S.,] he started checking out Sly and the Family Stone; Blood, Sweat & Tears; Chicago, and all those groups. When he went back to Brazil, he talked to me and said, ‘Listen, Salvador, let’s do something like James Brown.’ He told me, ‘You’re one of the only guys that could do that thing. The way you play, it would be easy for you.’ ”
Salvador naturally had reservations about appropriating a foreign sound, so he endeavored to give this album, 1969’s Dom Salvador, his own flavor. “For me to do a thing where I’m copying something else, I don’t want to do it. I like making a thing that’s a fusion, mixing the Brazilian thing with the soul thing.” As one of the first overt attempts at making a soul album in Brazil, Hélcio and Salvador were testing the waters with this new sound and the subtle reference to Black Power. “He used to wear that Black Power hair and all,” Milito recently reminisced. “And I did the record cover like that, he with his hand closed on the table, all in the black and white, he wearing a kind of Black Panther jacket. But he was no tiger; he was a little cat! I wasted my time. And so did he. And the company lost money.”(2)
The record was not a complete loss. For one, it stands up today as a lost classic, like many of Milito’s experimental productions with CBS during the late ’60s. Secondly, it gave Salvador a new name: Dom Salvador. At Milito’s suggestion, Salvador adopted the honorary prefix, the Portuguese equivalent to “Sir.” “I liked the combination,” Salvador says (...)" Allen Thayer (WaxPoetics, nº 48, 2011)