8 minute read
Instant Karma
from Kutucnu_01221
by aquiaqui33
Fanboy three (l-r): BadBadNotG ood’s Alexander Sowinski, Chester Hansen and Leland Whitty; (inset below)Art urVerocai
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The good, the badand the V
WHENTorontojazzers BadBadNotGood were looking to add string arrangements to their upcoming fourth album Talk Memory, only one name was ever considered. Brazilian studio legend Arthur Verocai has sprinkled his magic on records by Jorge Ben, Gal Costa and Marcos Valle, although his finest achievement remains his 1972 selftitled debut, a gorgeous and unique blend of bossa nova, jazz, folk and orchestral soul, inspired by everything from Tom Jobim to Jimmy Webb, Frank Zappa, MilesDavisandRavel. “It’sacombinationof everything I love about music in one album,” says BadBadNotGood saxophonist Leland Whitty. Other famous fans include Madlib, Floating Points and Stereolab’s Laetitia Sadier, who picked the “mesmerising” album as one of her all-time faves in a past issue of Uncut. Yet on release it sank without trace, and Verocai didn’t make another record under his own name for 30 years.
“The market at the time was very commercial,” Verocai explains today, “and the album had artistic components without commercial retensions.” He also bristled at he lyrical censorship imposed by razil’s repressive military regime. s a result, Verocai retreated back ehind the studio glass to compose music for TV and adverts, ncluding a jingle for the 1994 ootball World Cup.
However, in the 2000s, hip-hop oducers such as MF Doom and h Wonder began discovering nd sampling the Arthur Verocai um, encouraging him to start riting songs again. “I was very happybecausetheywereenjoying mywork,whichuntilthenhadnot been recognised here in Brazil.” BadBadNotGood are from an even younger generation of disciples but Verocai was impressed with their sophistication: “The guys in the band are very talented and it gave me the conditions to do a good job.”
They originally came together when BadBadNotGood supported Verocai in São Paulo in 2019 and got to play some of the songs from the self-titled album with his band. “It was one of the most inspiring and special performances that we’ve done,” says Whitty. “Once the relationship was established it seemed like a no-brainer to ask him to do string arrangements, and everything he did was incredible. It was so easy because since we love his music and trust his vision so much, there were no notes or guidance on our end. It was perfect and beautiful, first try.”
“We had a few good conversations before and after the show,” adds BBNG bandmate Chester Hansen. “He was super-welcoming and told us a bunch of cool stories.”
Now 76, Verocai is more in-demand than ever. “I have been working a lot
BadBadNotGood
ascend to the next level, in cahoots with cult Brazilian arranger
Arthur Verocai , Brazilian and foreign,” he confirms. Most excitingly, he reveals that he has “a new album ready to record in the near future.” Since busting out of Humber College’s jazz programme a decade ago, BadBadNotGood have been thrilled to witness a renewed hunger among music fans for jazz and exploratory music in general, ushering in a new era of openminded collaboration across borders and generations. “There are so many fusions of multiple ARTHUR VEROCAI different genres, it’s super-exciting,” says Whitty. “Even though there’s this wave of ‘jazz’, every artist is finding unique sounds and combinations within that realm.” As well as Arthur Verocai, Talk Memory also features harpist Brandee Younger and new age composer Laraaji. “That was pretty special – he put a beautiful ambience on the whole thing, like azenguardianorsomething. Everythingthatwedidwiththis recordworkedout.” SAM RICHARDS
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