Once called
the Tamba Trio
(they became a quartet in 1966),
the Tamba 4
made its North American debut with an often adventurous recording that stretched the boundaries not only of
bossa nova
but of producer
Creed Taylor
's soundworld at
A&M
. The erudite composer/pianist/organist
Luiz Eca
was the band's intellectual spark plug; his cross-genre borrowings would eventually pave the way for present-day Latin piano virtuosos like
Chucho Valdes
and
Gonzalo Rubalcaba
.
Bebeto
played lively
jazz
flute and bass,
Drio
handled bass, guitar and percussion, and
Ohana
was the extraordinarily flexible drummer. Along with their
classical
pretensions and straight-ahead
swinging, the group dabbles with voodoo-like incantations that could weave a seductive spell on tunes like
"Lemanja"
"Chant of Ossanha."
Their take on
Jobim
's
"O Morro"
is a lengthy, complex, structured composition with
Eca
's piano frequently summoning forth
Ravel
,
Gershwin
, and 20th century dissonance, finally bursting into ecstatic Brazilian
swing
at the close.
also sings in silky mellow Portuguese on
"Flower Girl,"
and the foursome provides its own shadowy vocal support on several tracks. Impeccably recorded at
Rudy Van Gelder
's studio in New Jersey, this recording ought to be high on
Brazilian jazz
collectors' want lists. ~ Richard S. Ginell