Janeiro in New York: The House of Tom

Tom Jobim and Louis Armstrong belong to an exclusive fraternity of musicians who have had airports renamed in their honor. Such is the place of unrivaled honor held by composer-arranger-musician-vocalist Antonio Carlos “Tom” Jobim in his native Brazil. Yet, it is the private Jobim that his widow Ana faithfully captures in her documentary The House of Tom: Mundo, Monde, Mondo, which screens tomorrow at the 92 Y Tribeca as part of Cinema Tropical’s Janeiro in New York film series.

Blending the influences of American jazz and the French Impressionist composers, Jobim and Luiz Bonfá, started the international Bossa Nova craze with their bestselling soundtrack to Marcel Camus’s Black Orpheus. Many of his hundreds of songs have become familiar jazz standards, like “Wave,” “The Waters of March,” and “Dindi,” several examples of which are heard throughout House. Yet probably more than any other tune, Jobim’s “The Girl from Ipanema” would define Bossa Nova and Brazil in general for millions around the world. However, in the reminiscences recorded by his widow, Jobim recalls the initial resistance to a song about “Ipanema,” a place few Americans had then heard of.

Much of Ana Jobim’s footage consists of Tom Jobim reading poetry—either Naruda’s or his own. In particular, we hear extended excerpts from his long poem inspired by the process of building their final home in Brazil. Naturally, there is also quite a bit of music in House as well, but instead of polished concert hall performances, Ana Jobim shows viewers the informal Tom Jobim, singing and playing with family and friends during parties or when simply relaxing at home. Of course as a legendary composer, the musical talent of Jobim’s nearest and dearest was well above average, so these relaxed sessions prove to be quite entertaining.

Not surprisingly, Jobim on Jobim is an intimate, highly complimentary portrait of the late Bossa Nova maestro. Only briefly do we hear the composer allude to political controversies, clearly comparing himself to the Brazilian classical composer Villa-Lobos for their shared aversion to ideology.

An accomplished photographer, Ana Jobim also intersperses House with images of Brazil’s natural beauty, which was a major source of inspiration for her late husband. As a result, it is also quite an effective advertisement for Brazilian tourism. Still, it is the many previously unseen interviews, private performances, and candid photos collected in her film that will really interest Jobim’s scores of fans. In many respects, House is like some of Jobim’s finest songs, short in duration, but gently wistful, with some moments of real beauty. It plays tomorrow night (10/29) as Janeiro in New York continues at the 92 Y Tribeca.

Back to Bossa with Eliane Elias

Bossa Nova Stories
By Eliane Elias
Blue Note Records

Throughout Calle 54, Fernando Trueba’s exceptional Latin jazz performance documentary, only one woman is seen on-screen. At least Eliane Elias made the most of her appearance, giving the film a power-shot of elegant glamour, as she leads her own trio in a performance of a Baden Powell tune. Now Elias unapologetically embraces that alluring image with her latest CD, Bossa Nova Stories, a set of romantic Bossa standards and arrangements, featuring lush strings and her own vocals.

Elias has dazzling technique at the piano, but this CD is more about flirtation and seduction, starting with the all-time Bossa classic, Antonio Carlos Jobim’s “The Girl from Ipanema.” While the string arrangements follow the style of Jobim’s 1970’s CTI sessions, Elias’s caressing vocals never let the song of unrequited love feel too melancholy. Growing up in a musical Brazilian family, Elias actually knew Jobim as a teenager, so it is not surprising he is well represented on Stories with three tunes. His nearly-as-famous “Desafinado” gets a similar orchestral treatment, but more space is allotted to Elias’s piano statements, while the gentle swinger “Chega de Saudade” features Elias and her trio of drummer Paulo Baraga and bassist (and husband) Marc Johnson (of Bill Evans Trio fame), along with Brazilian guitarist Oscar Castro-Neves.

In addition to Bossa standards, Elias also recasts a number of traditional jazz standards as Bossas. Harry Warren’s “The More I See You” might be her strongest vocal of the set, thanks to the nicely suggestive turn she gives to the lyrics. The Gershwins’ “They Can’t Take that Away from Me,” likewise has a pleasingly sultry Diana Krall-esque vibe.

Two prestigious musicians well versed in Brazilian musical idioms also lend their talents to Stories. Representing contemporary Brazilian music, Ivan Lins appears as a composer and guest vocalist (briefly) on the dreamy “I’m Not Alone (Who Loves You).” Though not the first jazz harmonica player, Toots Thielemans is certainly considered the greatest and in recent years he has frequently explored the possibilities of Brazilian music. His wistful sound is instantly recognizable on “Estate (Summer)” and Stevie Wonder’s “Superwoman,” given a legitimate jazz treatment by Elias and her group.

In more or less confining herself to the Bossa, Elias can only range so far in terms of tone and tempo here, but it makes for an effective mood-setter. Elias is a wonderful pianist and her vocals are surprisingly strong throughout the session. Recorded at London’s storied Abbey Road Studios, Stories is a well-crafted showcase for her talents that should prove popular with the Starbucks set, given its consistently warm and appealing sound.

(Photo Credit: Fernando Louza)

Scow & Brough

Sharon by the Sea
By Eva Scow & Dusty Brough
Adventure Music

If you programmed a computer to generate a group best suited to the editorial preferences of No Depression (formerly the magazine, now the bookazine, whatever that is), the result would probably bear a striking resemblance to the duo of Eva Scow and Dusty Brough. Mandolin prodigy? Check. Diverse world music influences? Check. A blatant disregard for genre boxes? It’s all in there, and can be heard on their debut CD Sharon by the Sea, which is now available from Adventure Music.

Though defying category, Scow and Brough can sort of be thought of as a bluegrass string duo performing largely acoustic jazz with Latin and Brazilian rhythms and a folky attitude. That is an imperfect description, but at least it is a place to start. In fact, Scow and Brough are a string band unto themselves, with the former playing both acoustic and electric mandolins, as well as violin on Sharon, while the latter is heard on guitar (nylon string and electric), acoustic bass, and the Turkish cumbus. While their musical voices clearly dominate the proceedings, they are augmented by several musicians, most frequently percussionist John Martin III.

Despite their dazzling technique, Scow & Brough keep the mood relaxed throughout Sharon, never letting the music get overly frantic or rushed. Having co-written most of the tunes, the co-leaders show a knack for up-beat melodies, as on the opening pseudo-flamenco “Bird with Beastlike Qualities” and the easy-going “Rodolfo.” Scow and Brough’s highly attuned, seamless interplay is quite impressive throughout their set, at times requiring concerted listening to untwine their blended lines.

Their influences are indeed quite diverse, as on the classically inspired “Theoretically Speaking,” the traditional Venezuelan “Pica Pica,” and the vaguely Hot Club-sounding miniature “Best in Show,” (which clocks in at a mere forty-two seconds). However, some of the best tracks incorporate unexpected aural colors and combinations, particularly Javon Davis’s Fender Rhodes, which takes the title track in an unexpectedly funky direction and makes for an intriguing aural combination with Scow’s mandolin on “Gateway Chronicles.” On the concluding “Saturday,” Scow herself over-dubs on the Fender Rhodes to pleasing effect, before segueing into an appropriately greasy coda (complete with nightclub background noise), to close out the set.

Scow and Brough have an audible rapport and a really fresh sound. While Sharon might have benefited from a bit more contrast in terms of overall mood (like a legitimate up-tempo burner), it is surprisingly accomplished musical statement that actually appreciates with repeated listening.

Singles from Argentina

Maria Puga Lareo
In a Sentimental Mood
Beijo Partido with Quique Sinesi
My Keter Records downloads

Welcome to the post-album future. This is the first time I have reviewed EP’s available only online, but I suspect it might become an increasingly widespread practice. Truly, the downloading revolution ended the days of bulking up albums with mediocre tracks, so more and more singles and EP’s are turning up exclusively at online retailers. Such is the case with Maria Puga Lareo’s single “In a Sentimental Mood” and her two-song EP recorded with Quique Sinesi.

Though released earlier in the year, the publicity campaign is evidently just ramping up. Despite some overdubbing effects, all three tracks express the spare intimacy of a duo setting. During “Sentimental” Lareo is primarily accompanied by the sensitive playing of pianist Frank Collett, an American jazz pianist probably best known for his work with Carmen McRae and Louis Bellson. Producer Fernando Gelbard, a jazz pianist countrymen of Lareo’s, adds a tasteful solo of his own, in nice wistful take on the Ellington standard.

With Argentinean guitarist Quique Sinesi, Lareo also recorded two Brazilian songs of a distinctly romantic flavor. Here Lareo’s delivery is breathier, caressing the lyrics of “Beijo Partido” and “Atras Da Porta.” Probably best known to American audiences for recordings with Pablo Ziegler, Sinesi is delicate and expressive in support, getting a nice little solo turn on “Beijo.” Through over-dubbing, Lareo harmonizes with herself before taking the track out. While slower in tempo, “Atras” might frankly be a bit too similar in theme and tone for the purposes of an EP. As background listening, they blend together in the ear. Lareo’s vocals on “Atras” express even greater yearning and are quite pretty, but more variety might have showcased her range to better effect.

These are three nice tracks, proving Lareo can certainly do the dreamy Brazilian thing. According to the “liner notes” an album with Eddie Gomez on bass is forthcoming. It will be interesting to hear if she stretches in new directions with its release.

Imagina

Imagina: Songs of Brasil
By Karrin Allyson
Concord Records

Karrin Allyson seems to have a facility for bilingual albums. In 1999’s From Paris to Rio alternated between French and Portuguese lyrics (as well as some English). Her latest, Imagina (Dummies translation here), concentrates on the songs of Brazil, but nicely blends the original Portuguese with both original and classic English translations.

If not fluent in Portuguese, she has no problem singing the authentic lyrics of classic Brazilian songs. She opens with the familiar Vinicius de Moraes lyrics to the instantly recognizable “A Felicidade” before segueing into Susannah McCorkle’s less familiar English lyrics. The bittersweet words seem to describe the late vocalist’s life all too aptly when Allyson sings: “Happiness must end, but sadness goes on and on.” McCorkle’s “Vivo Sonhando (Living on Dreams)” also takes on additional layers of tragic meaning, through lyrics like: “Everyone says that I’m crazy, but I can’t change.”

“Correnteza” is a much less recorded Jobim-Bonfa tune, as opposed to say, “Insensatez.” Allyson’s brief rendition is all Portuguese, with the attractive added textures of Gil Goldstein’s accordion and Steve Nelson’s vibes—a great combination of sounds.

Imagina features two songs with original English lyrics by Chris Caswell, “Medo de Amar (Surrender the Soul)” and “Pra Dizer Adeus (Time to Say Goodbye).” Both lead with the original lyrics and then shift to Caswell’s English. The vibe of elegant lament is heightened on both by Goldstein on accordion.

Allyson also covers the classic American jazz-bossa songbook, like Jon Hendricks’ gently upbeat “Desafinado (Slightly Out of Tune). All English, or some relaxed scat, it is the strongest all-around jazz cut, with swinging contributions from Nelson. For Gene Lees’ lyrics to “Double Rainbow,” it is back to the Portuguese then English format.

Allyson has assembled a talented band, many of whom often back her. Goldstein is ever eloquent, on both piano and accordion, and Allyson’s Kansas City associate Rod Fleeman solos with taste and style. Hearing him here suggests he ought to have a greater national reputation.

Imagina is quite a well produced album. Give credit for the unusual clarity of David Finck’s bass solo on “Sonhando” and the tasteful arrangements, most by Allyson alone, or in collaboration with band members. Despite some last minute changes to the program, the selected songs prove a good match for her expressive voice. Always respectful and at times dramatic, Allyson demonstrates a rich affinity for the songs of Brazil.