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| 1. | (Sittin' On) The Dock of the Bay
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| 2. | Viola
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| 3. | Song of No Regrets
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| 4. | Salt Sea
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| 5. | Empty Faces
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| 6. | Pretty World
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| 7. | Dois Dias
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| 8. | You Stepped out of a Dream
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| 9. | Crystal Illusions
Memorias de Marta Sare
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Jazz / Easy Listening; Samba; Pop; Latin Pop; Bossa Nova; Lounge
Recorded: 1969, Hollywood
Sergio Mendes - keyboards, vocal arranger
with
Oscar Castro-Neves - guitar
Sebastiao Neto - bass
Rubens Bassini - percussion
Dom Um Romao - drums
Lani Hall - vocal
Karen Philipp - vocal
Dave Grusin - orchestra arrenger, conductor
By 1969, Sergio Mendes & Brasil '66 were proven hitmakers, with an effervescent signature sound that was instantly recognizable. Crystall Illusions kept that sound alive, and it also added some new elements to the mix - digging deeper into Mendes's roots with dazzling new tunes by young Brazilian songwriters like Milton Nascimento and giving the band a chance to stretch out and experiment on the adventurous title track.
The sound and band that served Sergio Mendes well on Fool on the Hill remain intact on Crystal Illusions, with few modifications. Dave Grusin is right there with a lush, haunting orchestral chart when needed; Lani Hall is thrust further into the vocal spotlight, as cool and alluring as ever in Portuguese or English. Mendes remained on the lookout for fresh Brazilian tunes, and he came up with a coup, one of the earliest covers of a Milton Nascimento tune to reach North America, "Vera Cruz" (with Hall's English lyrics, it became "Empty Faces"), as well as Dori Caymmi's "Dois Dias." The two singles, the perky "Pretty World" and sax-streaked cover of Otis Redding's "The Dock of the Bay," are nice slices of Mendes pop, though they were not significant hits. And yes, Sergio Mendes & Brasil '66 did take a large risk on the title track, a lengthy, kaleidoscopic treatment of an Edu Lobo tune that, inspired perhaps by "MacArthur Park," shattered radio's time barrier at seven minutes and 50 seconds. Yet while Grusin goes into a psychedelic freakout, we get a rare chance to hear Mendes stretch out a bit on electric piano. Weird and overblown, but wonderful.
---Richard S. Ginell, allmusic |
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