![]() this LP contains RDs biggest hit ever: Sweet Lucy. I was very impressed with the audio quality of this pressing.īut the music. ![]() I got this LP in the mid 90s as an audiophile pressing from a company called ATS out of Germany. I always liked the the Title song Sweet Lucy, but never purchased the LP. This LP was produced by George Duke, and certainly was responsible for getting a fair amount radio airplay. It is not my intention to take away potential revenue from copyright holders, but rather to further extend the performances from these great musicians rather than to be lost into oblivion. Its hard for all of the tracks to make an impact in this context (in my view), but Im sure at least one or two are going to keepers. By the first few strong notes of trombone on the title track, I knew Id be coming back for the FLAC. Hey Zeca, Another cover with a parrot, you forgot to mention that:-)))) Cheers, all the best. Nakagawa Arthur Wright) 02 - Only When You Can (Arthur Wright) 03 - Fe-no-me-nol (Arthur Wright) 04 - Pleasurize (G. Besides, De Souza doesn’t need to use his vocal chords to sing he does plenty of “singing” with his trombone, and his command of that instrument makes Sweet Lucy an LP that is excellent more often than not.Davis, Oneida James, Marie Jones (backing vocals) Track List 01 - Til Tomorrow Comes (B. The song is gorgeous, but De Souza doesn’t do it justice because, quite honestly, he can’t sing - calling his voice thin is being charitable. The LP’s weakest track is a performance of the Brazilian ballad “New Love (Cancão do Nosso Amor),” which finds De Souza attempting to sing. ![]() When he stretches out on “Bottom Heat,” “Wild and Shy,” and other pieces that he composed himself, De Souza shows a great deal of potential as a soloist. Vocal-oriented funk jams like “Wires” and the title song (both written by Duke) are catchy, but the fusion and pop-jazz instrumentals are where De Souza really shines. ![]() Produced by George Duke, 1977’s Sweet Lucy is the first of three albums that De Souza recorded for Capitol in the late ’70s. But regrettably, his recording career was short-lived. ![]() So why did he mysteriously fade into such obscurity in the 1980s? In an ideal world, De Souza would have built a huge catalogue. In the 1970s, it was obvious that the Brazilian trombonist had a lot going for him: a distinctive and appealing tone, major chops, versatility, and a lot of soul and warmth. Raul De Souza is one of the mysteries of the jazz world. ![]()
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