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Quietude

Eliane Elias
Discos: Bossa nova / Jazz

Disponible

Ficha técnica Discos

Sello	Candid
Estilo	Bossa nova / Jazz
Año de Edición Original	2022

Más

Eliane Elias (voz, piano)

Marcus Teixeira o Lula Galvão o Oscar Castro Neves (guitarra acústico), Marc Johnson (contrabajo), Celso de Almeida o Paulo Braga (batería, percusión), Emílio Martins (percusión).

Participación especial de: Dori Caymmi (voz).

La excelente pianista y cantante paulistana de jazz, de brillante carrera internacional, se recoge bajo la calidez de la eterna bossa nova, en su disco más brasileño y más intimista, con dulzura y elegancia. Un disco de intérprete en el que la guitarra acústica -en la que se alternan tres enormes y sensibles armonizadores- desplaza al piano como acompañante principal en la mayoría de los temas.

"At the bossa nova’s start in the late 1950s, the music was composed largely by male Brazilian sensualists. They sang their love songs at clubs along Rio de Janeiro’s Copacabana Beach in a whispered style, accompanied by just an acoustic guitar or spare notes on a piano and brushes on drums. Vocals were backed by a surfy rhythm, and the sophisticated melodies had a way of making listeners feel both elated and melancholy.
Not surprisingly, as the bossa nova caught on, it was popularized on Brazilian albums and TV by a growing number of female vocalists. Elizete Cardoso recorded “Canção do Amor Demais, ” widely considered the first bossa nova album, in 1958. A string of Brazilian female singers followed in the early 1960s, including Sylvia Telles, Nara Leão and Elis Regina. But it was Astrud Gilberto’s single of “The Girl From Ipanema,” released in 1964, that transformed the bossa nova into a global sensation.
Now Eliane Elias continues the tradition with the release of “Quietude” (Candid), her 31st leadership album (due Oct. 14), which rivals the collaborative beauty and poetic minimalism of the iconic 1964 LP “Getz/Gilberto.” A three-time Grammy-winning Brazilian jazz pianist and singer, Ms. Elias has recorded bossa nova albums in the past, but this one is the first designed to recapture the intimacy and authenticity of Rio’s original beach music.
Ten of the 11 songs on “Quietude” were recorded between 2019 and 2020 in São Paulo, Brazil, where Ms. Elias was raised. All of the tracks are melodically captivating and sung in Portuguese. In addition to writing the arrangements, she often embellishes her vocals on piano.
More prominently featured are the three acoustic guitarists: Marcus Teixeira, Lula Galvão and Oscar Castro-Neves, who plays only on “Tim- Tim Por Tim -Tim,” a 2013 recording Ms. Elias shelved following Mr. Castro-Neves’s death later that year. Also accompanying Ms. Elias is her partner, jazz bassist Marc Johnson, and several different Brazilian drummers and percussionists.
The album’s spare instrumentation places the emphasis on Ms. Elias’s seductive singing voice and the accompanying guitars. Her deep, warm tone imbues songs with a hushed yearning and traces of nostalgia.
Most remarkable is that Ms. Elias sings without vocal affectation. Notes aren’t drawn out or fortified with vibrato. Instead, they simply are sung and swung like notes played on a piano without the sustaining pedal, perfectly articulating bossa nova’s syncopated appeal.
Her more than 35 years of jazz experience is significant here, since the bossa nova’s inspiration came not only from the Brazilian samba but also American West Coast jazz of the mid-1950s. The dry, harmony-rich style on albums by Chet Baker, Gerry Mulligan, Bud Shank and Laurindo Almeida, among others, resonated in Brazil with future bossa nova singer-songwriters.
“Você e Eu” (“You and I”), written by Carlos Lyra and Vinicius de Moraes in 1960, opens “Quietude.” The spirited nesting song expresses the desire to be alone with a lover rather than out and about at parties. The rich quality of Ms. Elias’s voice and her chord voicings on piano immediately grab the ear, and her mid-song solo sweeps in like a wave.
Ms. Elias then sings Dorival Caymmi’s 1947 ballad “Marina,” about a lover who is cross with a partner for wearing makeup because he prefers her natural beauty. Ms. Elias doesn’t overdo the sentiment, delivering the song’s passion softy, allowing Mr. Teixeira’s guitar to stand out.
On Antônio Carlos Jobim and Aloysio de Oliveira’s percussive “Só Tinha De Ser Com Você” (“This Love That I’ve Found”), Ms. Elias’s voice and feel are as intimate as a secret. She winds down the 1964 song with a spectacular soul-bossa piano solo that exhibits her commanding jazz technique and Brazilian swing.
The full impact of Ms. Elias is felt on two songs where she’s accompanied only by an acoustic guitar: Roberto Carlos and Erasmo Carlos’s ballad “Olha” (“Look”) and a Caymmi medley with midtempo samba rhythms—”Saudade da Bahia” (“How I Miss Bahia”) and “Você Já Foi à Bahia?” (“Have You Been to Bahia?”). On these, she navigates challenging melodies with an impressive range.
“Eu Sambo Mesmo” (“I Really Samba”) was written by Janet de Almeida and first recorded in 1946. Ms. Elias adds a coy shimmy feel and sings the syncopated, pizzicato vocal as if dancing gingerly between beach blankets on hot sand.
Jobim and De Moraes’s “Brigas Nunca Mais ” (“No More Fighting”) was first popularized on João Gilberto’s seminal 1959 album “Chega de Saudade.” The make-up song opens dramatically with taunting chords but quickly relaxes under the spell of Ms. Elias’s lilting vocal and her superb extended jazz solo in the second half.
The album closes with “Saveiros,” a ballad by Dori Caymmi and Nelson Motta and sung as an impassioned duet by Ms. Elias and Mr. Caymmi, the 79-year-old son of legendary composer Dorival Caymmi.
Too often, bossa nova albums lean heavily on the music’s infectious beats, with vocals matter-of-factly delivered. Or vocals fail to navigate the Brazilian melodies’ hairpin curves and nuanced notes. Ms. Elias on “Quietude” proves that the bossa nova is most about deep passion and music that’s lighter than air." Marc Myers (The Wall Street Journal, 11.10.2022)

Temas

CD 1

Você e eu
Carlos Lyra - Vinicius de Moraes