Futuro wasn't Paulo Ramos' first album for Mesa/Bluemoon, but it is arguably his best and most essential album. The list of people who join the Brazilian pop singer on this CD is fairly impressive; the participants range from Brazilian star Dori Caymmi (whose acoustic guitar is heard is heard on the sensuous "Viajar Cancao") to American jazz musicians like keyboardist/pianist Don Grusin (Dave Grusin's brother) and saxophonist Gary Meek. But Futuro isn't jazz, although Ramos' Brazilian pop (which is called MPB, or musica popular braziliera in Brazil) does contain elements of jazz and funk. Those who might question Futuro's authenticity because it was recorded in Los Angeles and employs so many American musicians needn't worry; if you didn't read the credits, you could easily assume that "Chegando Ao Futuro," "Lembranca," and other melodic MPB jewels were recorded in Rio de Janeiro or São Paolo. And besides, it's hard to question Ramos' decision to record in L.A. when you consider how influential American pop, jazz, and funk have been all over Brazil. Ramos has learned some things from American music, and similarly, Brazilian music has been a source of inspiration for Americans who range from Stan Getz to George Duke. Most of Futuro's lyrics are in Portuguese, although "Sincopado" is a bilingual offering that finds Ramos performing a vocal duet with American singer Shelby Flint -- she sings in English, while he sticks to Portuguese (his primary language). And the tune becomes a memorable Brazilian/American exchange. Futuro is hardly the only Ramos album that's worth owning, but if you must limit yourself to only one Ramos release, Futuro is the disc to acquire. ~ Alex Henderson, All Music Guide
Dori Caymmi (Guitar (Acoustic)), Dori Caymmi (Guitar), Dori Caymmi (Arranger), Dori Caymmi (Programming), Don Grusin (Synthesizer), Don Grusin (Piano), Don Grusin (Arranger), Don Grusin (Programming), Shelby Flint (Vocals), Karen Blake (Vocals), Marilyn Scott (Vocals), Paulo Ramos (Guitar (Acoustic)), Paulo Ramos (Guitar), Paulo Ramos (Percussion), Paulo Ramos (Arranger), Paulo Ramos (Composer), Paulo Ramos (Vocals), Paulo Ramos (Main Performer), Gary Meek (Arranger), Gary Meek (Sax (Alto)), Gary Meek (Sax (Tenor)), Alex Acuña (Percussion), Jon Bonine (Trombone), John Bonnie (Trombone), Dan Gigon (Bass), Dan Gigon (Guitar (Bass)), Yves Gigon (Drums), Bernie Grundman (Mastering), Roger Nichols (Engineer), Roger Nichols (Mixing), Eric Persing (Programming), Eric Persing (Synthesizer Programming), Ralph Rickert (Trumpet), Ralph Rickert (Flugelhorn), Tim Weston (Guitar (Acoustic)), Tim Weston (Guitar), Tim Weston (Arranger), Tim Weston (Guitar (Electric)), Tim Weston (Programming), Tim Weston (Producer), Jim York (Art Direction), Kaz Hori (Executive Producer), Hideo Kawahara (Photography), Scott Gould (Assistant Engineer), Scott Gould (Assistant), Audrey Krauss (Design), Shuichi Araki (Make-Up), Shuichi Araki (Hair Stylist), Kiyoshi Mizukami (Album Supervision), Kaz Ogawa (Stylist), Ken Ohyama (Album Supervision)
Futuro or Futuro House, is a round, prefabricated house designed by Matti Suuronen, about 100 were built during the late 1960s and early 1970s. The distinctive flying saucer like shape and airplane hatch entrance has made the houses popular among collectors. The Futuro is composed of polyester plastic and fiberglass, measuring about 3 meters high and 8 meters in diameter.
History
The Futuro house was a product of post-war Finland, reflecting the period's faith in technology, the conquering of space, unprecedented economic growth, and an increase in leisure time. It was designed by Suuronen as a ski cabin that would be “quick to heat and easy to construct in rough terrain.” The end result was a universally transportable home that had the ability to be mass replicated and situated in almost any environment.
The material chosen for the project – fiberglass reinforced polyester plastic - was familiar to Suuronen and was previously used in the design of a large plastic dome for the roof of a grain silo in Seinäjoki. To facilitate transport, the house consisted of 16 elements that were bolted together to form the floor and the roof. The project could be constructed on site, or dismantled and reassembled on site in two days, or even airlifted in one piece by helicopter to the site. The only necessity on site for its placement were four concrete piers, so the project could occupy nearly any topography.
Due to the integrated polyurethane insulation and electric heating system, the house could be heated to a comfortable temperature in only thirty minutes, from -20 to 60 degrees[1].
An excerpt from a February 1970 copy of Architecture D’Aujourd’Hui describes “Futuro” as:
the first model in a series of holiday homes to be licensed in 50 countries, already mass-produced in the United States, Australia and Belgium. The segments of the elliptic envelope are assembled on the site using a metal footing. Through its shape and materials used, the house can be erected in very cold mountains or even by the sea. The area is 50 sq m, the volume 140 cubic m, divided by adaptable partitions.
By the mid 1970s the house was taken off the market, arguably due to poor marketing, but primarily due to the Oil Crisis where tripled gasoline prices made manufacture of plastic extremely expensive. It is estimated that today around 60 of the original Futuro homes survive.
In 1998 Finnish film director Mika Taanila made a documentary film Futuro - A New Stance For Tomorrow about the Futuro house.
Futuro in Pensacola Beach, Florida
References
^ from Marko Home and Mika Taanila Futuro: Tomorrow's House from Yesterday.
