{"id":3641,"date":"2021-09-26T09:49:53","date_gmt":"2021-09-26T09:49:53","guid":{"rendered":"http:\/\/www.sebpalmer.com\/blog\/?p=3641"},"modified":"2022-12-18T12:11:09","modified_gmt":"2022-12-18T12:11:09","slug":"music-aguas-de-marco-disco-do-bolso-jobim-1972","status":"publish","type":"post","link":"http:\/\/www.sebpalmer.com\/blog\/?p=3641","title":{"rendered":"MUSiC: Aguas de Marco (Disco do Bolso), Jobim, 1972"},"content":{"rendered":"\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n

This is a little oddity! <\/p>\n\n\n\n

Today\u2019s post concerns a wee 7\u201d single – or Disco do Bolso (pocket record!) – which was given away in a Brazilian supplement to the Pasquim<\/em> newspaper. On one side the debut recording of Joao Bosco, on the other, another debut. But this time from the venerable old master, Tom Jobim\u2026 read on. <\/p>\n\n\n\n

Regarding the Jobim track, it\u2019s the first recorded iteration of a Tom classic that\u2019s gone on to become a signature song both for the composer himself, and Brazilian art music\/culture, of the 20th century. Covered many times by many artists. A favourite amongst musicians worldwide, it\u2019s less widely or popularly known – compared with numbers like The Girl From Ipanema or How Insensitive – outside Brazil. <\/p>\n\n\n\n

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Funky font on the 7\u201d label.<\/figcaption><\/figure>\n\n\n\n

This particular version is certainly not the best; it\u2019s a bit fast, and the production values are fairly poor. But this earliest recording does<\/em> capture the joy and energy of creation itself. The excitement Jobim\u2019s performance conveys is both palpable and infectious. <\/p>\n\n\n\n

It\u2019s a quite rough and ready recording, like a demo, really. Not the sort of finessed kind of mix or production of most Jobim commercial recordings. But it has extra charm for just those reasons. <\/p>\n\n\n\n

I initially supposed the guitar, vocals and layered flutes, and poss even vocalised \u2018cabasa\u2019 style percussion, were all by Jobim. Leaving me wondering who played bass and drums. But a little online digging led here<\/a>, where I discovered it was otherwise than I supposed.<\/p>\n\n\n\n

Tom is credited as arranger and vocalist, with guitar played by Eduardo Athayde, bass by Novelli, drums by Jo\u00e3o Palma, and Bebeto, Paulo Jobim (family!), Franklin, Paulo (another one; a family friend, apparently!), and Ratto, all playing flute!<\/p>\n\n\n\n

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Image from an online ad for the mag\/disc.<\/figcaption><\/figure>\n\n\n\n

If I had the money, I\u2019d love to track down a copy of the magazine with the disc. I did find one – pictured above – on eBay, asking price circa $180! Interestingly both the lyrics and Jobim\u2019s handwritten musical score are printed. <\/p>\n\n\n\n

Oh, and I adore the artwork! Jobim squatting by a tree (or rock?), with his flute at the ready, apparently reading some music off a sexy bikini clad lady\u2019s very fine posterior! <\/p>\n\n\n\n

NB – Google Translate renders the info on the Brazilian wiki-link about this release thus:<\/p>\n\n\n\n

Ant\u00f4nio Carlos Jobim's Tom eo Tal de Jo\u00e3o Bosco is a simple 1972 compact made for the Disco de Bolso d'O Pasquim collection, released by Tom Jobim and Jo\u00e3o Bosco. Side A of the single brings the first recording and release of \"\u00c1guas de Mar\u00e7o\" and side B brings the song \"Agnus Sei\" by Jo\u00e3o Bosco (his first recording). Despite recording and tuning problems, the single is seen today as of great historical importance.<\/pre>\n","protected":false},"excerpt":{"rendered":"
This is a little oddity! Today\u2019s post concerns a wee 7\u201d single – or Disco do Bolso (pocket record!) – which was given away in a Brazilian supplement to the Pasquim newspaper. On one side the debut recording of Joao Bosco, on the other, another debut. But this time from the venerable old master, Tom … <\/p>\n
Continue reading “MUSiC: Aguas de Marco (Disco do Bolso), Jobim, 1972”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[1],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/paGwUa-WJ","_links":{"self":[{"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/posts\/3641"}],"collection":[{"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3641"}],"version-history":[{"count":12,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/posts\/3641\/revisions"}],"predecessor-version":[{"id":7625,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/posts\/3641\/revisions\/7625"}],"wp:attachment":[{"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3641"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3641"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3641"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}