ME-7: Um Senhor Talento / Sérgio Ricardo

2004年頃に ME-10 “Nara Leão” を入手して以来、一時期 ELENCO レーベルのオリジナル盤 の蒐集にハマっていましたが、アロイージオ・ヂ・オリヴェイラ時代のLPのうち7割ほど揃ったところで2014年頃に小休止してしまっていました。

Since I acquired ME-10 “Nara Leão”, I had been obsessed with collecting original Brazilian LP issues of ELENCO label – but in 2014 I decided to take a short break. I have collected approximately 70% of the entire Aloysio de Oliveira catalog.

ここ最近、久しぶりに ELENCO 作品を LP や CD、ストリーミングで聴き込み直していたのですが、そういえばうちにある ME-7 ってセカンドプレスだったなぁ、15年ほど前は比較的適価で入手できてたけど、最近はあまり eBay でも見かけないし、値段もあがってるんやろうなぁ、と、ふと検索をかけたら、茨城県にある Paddy Field RECORDS という中古レコード店に ME-7 のファーストプレスの在庫があるのを見つけ、嬉しくなってオーダーしちゃいました。

Recently I often listen again to those ELENCO recordings, with LPs, CDs, streaming, etc., when I remembered that the copy of ME-7 I have was “second pressing”. Hmmm, 15 years ago vintage ELENCO LPs could be found at fair price with some lock, but I seldom see ELENCO listings on eBay or the likes – I guess the price now might be much higher these days… Then I googled some, and out of nowhere I found a used record shop “Paddy Field RECORDS” in Ibaraki, Japan, and the shop stocks the “first pressing” of ME-7. Without hesitation I soon bought the copy online.

[ME-7 Front Cover] [ME-7 Back Cover]

Um Senhor Talento / Sérgio Ricardo
(Elenco [BR] ME-7) で CD を買う | Buy this CD at

レコードデビューは1957年、ミュージシャン、歌手、作曲家、果ては映画監督や俳優としても活躍された セルジオ・ヒカルド (Sérgio Ricardo)。後年はトロピカリズモの中で前衛的革新的なアルバムを生み出した多才な人という印象ですが、ELENCO の本アルバムがリリースされた当時、比較的ボッサ・ノーヴァのマナーに則った「ELENCOらしい」作風ではあります。ただ、ひと味もふた味も異なる個性はすでに光っています。

Sérgio Ricardo (1932-2020) made his first record debut in 1957 – a 78 rpm on RGE label. Since then, his activity was literally diverse – a singer, a musician, a composer, an actor, filmmaker and dicrector, etc. His later recordings (1970s-) displays his eccentric and diverse talents under the “Tropicalismo” movement, while on the other hand this album from 1963 is one of the typical “Elenco’s Bossa Nova-ish”, although with his own unique talent.

まず、このアルバムの12曲全曲が、自身の作曲であることがユニークです。ホベルト・メネスカル (Roberto Menescal)、カルロス・リラ (Carlos Lyra)、エデュ・ロボ (Edú Lôbo)、バーデン・パウエル (Baden Powell)、アントニオ・カルロス・ジョビン (Antônio Carlos Jobim)、ヴィニシウス・ヂ・モライス (Vinícius de Moraes) といったボッサを代表するミュージシャン兼作曲者(ヴィニシウスさんは作詞)の曲が多勢を占める中、全曲自作で通しています。しかも、素直かつ味のある個性的なヴォーカルで。

The first unique point on this album is, all of the twelve tracks are composed by Sérgio Ricardo himself, not by the famous composers/lyricists of Bossa Nova such as Roberto Menescal, Carlos Lyra, Edú Lôbo, Baden Powell, Antônio Carlos Jobim, Vinícius de Moraes etc. And sung by his genuine and significant voice.

[ME-7 Side-A] [ME-7 Side-B]

しかも、「いわゆる1963年のELENCOらしい」アレンジと作風とはいえ、そのバリエーションが非常に豊かです。サンバ・カンソンっぽいのから、独特のセンスでジャズ風味を取り入れたジャズボッサ、そして王道ボッサ・ノーヴァまで、一曲一曲のキー、コード進行、アレンジ、トーンがそれぞれ個性的で、両面12曲を全く飽きることなく何度でも聴いていられます。A-1 “A Fãbrica” 冒頭のアレンジは何度聴いてもシビれますし、B-5 “A Vizinha (Minha Vizinha)” では、チューバ ユーフォニウムが大きくフィーチャーされた面白いアレンジで斬新さを感じます。

Secondly, song variation among the album is rich, although there’s still a taste of “what the ELENCO in 1963 sounds like” in it. Samba-canção, Jazzy samba (but his own way of integrating the essence of Jazz into Brazilian music), and straightahead Bossa-Nova. The opener A-1 “A Fãbrica” starts off with very ear-catching (but complex) arrangements; B-5 “A Vizinha (Minha Vizinha)” even features Tuba Euphonium that adds very unique atmosphere to this song.


According to the Portuguese version of Wikipedia, Sérgio “played at the historic Bossa Nova Festival at Carnegie Hall”, and he “stayed in New York for 8 months, looking for a producer for “Boy in the White Pants” and playing live at clubs like the Village Vanguard, where he took turns on stage with Herbie Mann and Bola Sete” – so I guess he learned and incorporated the essence of Western popular music in his own way, unlike Jobim or Bonfá.

一方、あっちこっちの有名曲のアレンジやメロディを一部拝借しているのも聴き取れ、パクリではなくギリギリオマージュなのか?(笑)というスレスレの線もあったりします。例えば A-2 “Enquanto A Tristeza Não Vem”、これの前半部分って、もうモロにジャズのスタンダードナンバー “Stella By Starlight” そのまんまですよね(笑) なのに、そこからメランコリックなサンバっぽいマイナーキーへと収束させる流れがなかなかゾクゾクきます。

On the other hand, on some tracks, you may hear the very similar (or the very same) arrangements and melodies as famous songs. For example, listen to the opening melodies of A-2 “Enquanto A Tristeza Não Vem” – I can’t help thinking this as the very same chord progression and melodies of the Jazz standard number “Stella By Starlight” – so he stealed the idea? Not sure, but anyway the following melodies suddenly turns into melancholic samba in minor key – it’s very thrilling progression for me.

Paddy Field RECORDS さんから今回購入させていただいた1963年ファーストプレス、盤質も申し分なく良く、当時のブラジル盤レコードとしてはノイズ極少、音圧たっぷりの力強いモノーラル再生が楽しめました。こちらは刻印マトリクスでした。

This particular copy – 1963 first pressing – I bought from Paddy Field RECORDS was a really clean copy with few surface noise, and plays bold and gutsy monaural sound. The disc has stamped matrix.


The other copy I have is 1967 second pressing, handwritten matrix, a bit scratchy condition, and the sound playback sounds a bit “thin” compared with the 1963 copy.

[ME-7 Side-A, 2nd Pressing]

Side-A label of 2nd pressing (1967) – platter itself is lighter and thin, and the matrix is handwritten type.

Paddy Field Records

今回買わせていただいた Paddy Field Records さんのステッカー

A-1: A Fábrica (Sérgio Ricardo)
A-2: Enquanto A Tristeza Não Vem (Sérgio Ricardo)
A-3: Barra Vento (Sérgio Ricardo)
A-4: Manha (Sérgio Ricardo)
A-5: Tamborim (Sérgio Ricardo)
A-6: Menino Da Calca Branca (Sérgio Ricardo)

B-1: Esse Mundo É Meu (Sérgio Ricardo – Ruy Guerra)
B-2: Fôlha De Papel (Sérgio Ricardo)
B-3: Sȯ Eu Sei (Sérgio Ricardo)
B-4: Teresinha De Jesus (Sérgio Ricardo)
B-5: A Vizinha (Minha Vizinha) (Sérgio Ricardo)
B-6: Olã (Sérgio Ricardo)

Produced by Aloysio de Oliveira.
Engineered by Norman Sternberg.

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