Eumir Deodato - Prelude

1. Aldo Sprach Zarathustra (R. Strauss)
2. Spirit of Summer
3. Carly & Carole
4. Baubles, Bangles and Beads
5. Prelude to the Afternoon of A Faun (C. Debussy)
6. September 13

Prelude

If ever a recording was a product of its time, it was 'Prelude' by Eumir Deodato. From its classical-collides-with-fusion conceits, souped-up funk-rock guitar solos and plinking electric piano, to its stentorian brass sections and lighter-than-air flutes (not to mention its tribute to Carly Simon and Carole King,) Prelude practically screams 1972.

Musically, the early '70s were a transitional period when  the anything-goes experimentation of the 1960's was still in high gear,but the grandiosity and taste for kitsch that wouldweigh down the latter half of the new decade began creeping in. Prelude aims for high art status, but goes through the back door of pop to find it. The result is a time capsule recording which can be appreciated for its first class groove and excused for its questionable pretensions.

Without question, the rhythm section-including bassist Ron Carter, drummer Billy Cobham and conga player Ray Barretto-kicks up some dust. The tracks that rely on a solid back beat have a liveliness and spontaneity in the rhythm interaction that belies the heavy coating appliedon top. Face it - a funky version of "Also Sprach Zarathustra", the Richard Strauss classical composition best known as the dramatic prelude to Stanley Kubrick's 1968 film 2001: A Space Odyssey, may be one of the silliest ideas ever devised-but it does swing its tail off. Guitarist John Tropea's scratchy chording and Carter and Cobham's locked-in groove give the track an infectious propulsion that's irresistible. Others agreed. "Also Sprach Zarathustra" was a top ten hit in the winter of 1973 and garnered the Grammy award for Best Pop instrumental Performance that same year.

Brazilian pianist and arranger Eumir Deodato had already established himself as an industry favorite by the time of Prelude. Creed Taylor had been instrumental in fostering Deodato's careerby using three of hits arrangements on Wes Montgomery's Down Here On The Ground. Deodato would go on to work with artists ranging from Bette Midler and Roberta Flack to Aretha Franklin and Frank Sinatra.

For Prelude, Deodato's first CTI album as a leader, a crack band of studio pros was assembled. Look over the credits-prestigious names like Bill Watrous, Marvin Stamm, Jay Berliner and Phil Bodner keep popping up. Combining first class brass, wind and string sections with ace rhytm players insured that Prelude's pre-fab orchestra would sound as tight as a seasoned big band.

As producer and former CTI executive Didier Deutsch has pointed out, "Also Sprach Zarathustra" was not originally meant for Deodato. It was conceived for CTI arranger Bob James, but after Creed Taylor heard Deodato perform it at a 1971 concert in Los Angeles, he turned it over to him.

Deodato was featured on only two more CTI recordings after his great 1973 success. He continued his recording career, scored films and gained fame as a producer with Kool And The Gang. Recently, Deodato returned to the spotlight through his featured arrangements on Bjork's Post.

His funky "Also Sprach Zarathustra" lives on. As long as there are oldies stations and compilations of  '70s hits sold on TV, it has a home. Deodato's arrangement has also recently found its way into the repertoire of the rock  band Phish. And something tells me that on New Year's Eve, as the year 2000 becomes 2001, Deodato's take on Richard Strauss is going to be heard loud and clear across the land.

(Steve Futterman, 1997)