S.P. 73

Hareton Salvanini

1973

Cover of S.P. 73
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Why This Album Matters

Hareton Salvanini's S.P. 73 is a singular work in Brazilian music, standing out for its innovative fusion of genres. The album fluidly transitions between jazz, funk, soul, folk, and classical music elements, creating a deep, cinematic orchestral sound that set it apart in the MPB scene of its time. With a rich sonic palette of string, wind, organ, and percussion arrangements, S.P. 73 offers an intense and emotional listening experience. The work is notable for its ambition and its ability to evoke complex and introspective soundscapes, establishing itself as a cult album for connoisseurs of experimental and orchestrated Brazilian music.

Context

Hareton Salvanini, born in Bauru and raised in Campinas, had already demonstrated his artistic flair as an arranger and composer before S.P. 73. His musical background included jazz and classical music, and he was significantly influenced by the Bossa Nova movement, going on to form the Hareton Trio and perform at festivals alongside names such as Wilson Simonal and Elis Regina. S.P. 73 marks Salvanini's debut on LPs and is the result of a close collaboration with his brother, Ayrton Salvanini, a theatre director. Ayrton was responsible for the album's concept and the song lyrics, seeking to create a kind of musical 'script'. The title, 'S.P. 73', refers to São Paulo and the year of recording, with the work conceived as a representation of the unease in the metropolis. The project also had roots in previous works, such as the EP Hareton + Meta, which Hareton composed for one of Ayrton's theatrical productions.

Recording

The recording of S.P. 73 was a notable effort, utilising the Complete Orchestra of the Municipal Theatre of Campinas, which gave the album its rich orchestral texture. The production featured a wide array of instrumentalists, including names such as Heraldo do Monte on guitar and 12-string acoustic guitar, Gabriel Bahlis on double bass and electric bass, and a robust section of strings, winds, and percussion, in addition to Hareton Salvanini himself on piano, organ, and celesta. The creative process was surprisingly swift, with Hareton and Ayrton Salvanini developing the album, including the lyrics, in about a week. The album's producer was Walter Silva and the recording engineer was José Oraldo Brocchi, elements that contributed to the work's characteristic sound. The intention was to create a 'script across different scenarios', with almost imperceptible transitions between tracks, blending vocal songs and instrumental pieces.

Songs

The tracks of S.P. 73 intertwine into a 'deep soundscape of filmed MPB melodies', which alternate between instrumental moments and songs with lyrics written by Ayrton Salvanini. Among the highlights, the track "Irracional" has a particular history, having originated from a musical production presented at a TV Tupi festival. This song is described as a 'magnificently tormented' work, with winding strings and rich vocals, evolving dramatically with tempo changes, strident brass, and intense percussion, expressing the desolation in São Paulo. Other notable songs include "Papa-Mama", which is based on a drum rhythm of the same name, and the tracks "Viver" and "Prelúdio Em Si Bemol Menor", which gained recognition upon their inclusion in Floating Points' "Summer 14 in Brazil" mix. The track "Salamandras" is also mentioned, being interpreted as a song about the 'end of life', highlighting the album's thematic depth.

Legacy

Despite its initial release, S.P. 73 solidified its status as a cult work in Brazilian music. Over the years, the album experienced a resurgence of interest, being officially reissued by the Mr Bongo label in 2016, which made it accessible to a new generation of listeners and collectors. Its importance was recognised internationally, being awarded 'Best Foreign Album' by the Japanese Jazz Journal. The album's unique sound, frequently compared to that of Arthur Verocai and described as 'melancholic instrumental magic' analogous to soundtracks of unmade films, influenced and was sampled by DJs and producers, as evidenced by the inclusion of "Viver" and "Prelúdio Em Si Bemol Menor" in renowned mixes. Original LP copies, especially versions with the artist's name incorrectly spelt, are considered rare and valuable in the collectors' market.

Tracks

Credits

Producer, Liner Notes

Walter Silva

Bass Trombone

Iran Fortuna

Cello

Ezio Dal Pino, Flabio Antonio Russo

Clarinet, Alto Saxophone, Flute

Demétrio Santos Lima, Eduardo Pecci

Clarinet, Tenor Saxophone, Flute

Isidoro Longano

Concept By

Ayrton Salvanini

Concept By, Music By, Arranged By, Conductor, Vocals, Voice, Piano, Organ, Celesta

Hareton Salvanini

Congas

Rubens De Souza Soares

Contrabass, Electric Bass

Gabriel Bahlis

Copyist

Orlando De Oliveira Pinto

Cowbell

Ernesto De Lucca

Drums

Antônio De Almeida, Toniquinho

Electric Piano, Organ, Harpsichord

Mario Casali

Flute, Piccolo Flute

Rosario De Caria

French Horn

Francesco Celano, Silvio Oliani

Harp

Santa Borelli

Musical Assistance

Rosario De Caria

Oboe, English Horn

Francesco Pezzella

Tenor Saxophone, Flute

Carlos Alberto De Alcântara Pereira

Trombone

Arlindo Bonadio, Renato Cauchioli, Severino Gomes

Trumpet

Dorival Aurieni, Geraldo Aurieni, Sebastião J. Gilberto, Settimo Paioletti

Twelve-String Guitar, Guitar, Electric Guitar

Heraldo Do Monte

Viola

Loriano Rabarchi, Marcelo Dworecki, Michel Verebes, Yoshitame Fukuda

Violin

Alexandre Ramirez, Caetano Domingos Finelli, Elias Slon, Felix Farrar, German Wajnrot, Joel Tavares, Mario Tomassoni, Razza Laura De Santi

Mastered By

Rogerio Gauss

Technician

José Oraldo

Artwork

Oscar Paolillo

Layout

Sergio Grecu

Photography By

Peninha Imagem

Analyses

More Info