These days, even the most
hardcore jazz afficionados would probably have a hard time denying
having felt the slow unswaying pulse of the bossa nova at one
time or another. In fact, one can probably make a good argument
that the massive invasion of the bossa nova in the early 1960's
was perhaps the first ever real glimpse of what is known today
as "Smooth Jazz." Back then, some notables including
Antonio Carlos Jobim, Joao Gilberto, Astrud Gilberto, Djalma
De Andrade "Bola Sete", Herbie Mann, Sergio Mendes,
Charlie Byrd and Stan Getz were making history performing soon
to become Jazz classics like "Desafinado" and "Girl
From Ipanema", among others respectively.
Soon after, the bossa nova would prove to be a mayor influence
and remain a permanent musical fixture upon America's Jazz idiom.
Moreover, so strong was the influence of this music that almost
every Jazz musician beyond the 1960's has recorded at least one
of many bossa novas that are part of the standard Jazz repertoire.
Considering that the bossa nova was described to be a popular
fab in those early days, it would soon give way to other music
styles of the times. However, like all fabs that invade America,
it would soon
return and go away again. Forty years later, the bossa nova is
still proving to be alive and well in the capable hands of vocalist/guitarist
Ana Caram and her new CD titled "Blue Bossa."
Ana Caram poses a smooth and silky voice adding an authentic
texture, almost a similar style by comparison reminiscent of
Astrud Gilberto. The music is centered around a simple rhythm
ensemble that includes drummer Paulo Braga, guitarist Nelson
Faria, bassists David Finck and Joe Fitzgerald, pianist Cliff
Korman and saxophonist Paulo Levi performing a program of 12
bossa novas. The session includes several compositions from the
song book of Tom Jobim"Triste", "Corcovado",
Inutil Paisagem", "Desafinado" and the title track
Kenny Dorham's composition "Blue Bossa", among others.
For the most part, Ana Caram and crew maintain a smooth tipico
bossa tempo throughout. Paulo Levi makes his saxophone sound
like a crossover between Stan Getz and Paul Desmond. There is
nothing innovative or a fresh approach in Caram's interpretation
of the bossa nova. Perhaps the big difference between this CD
and the 1960's bossa nova interpretation is the sound quality.
Caram's "Blue Bossa" lacks the most important ingredient
of spontaneity in this music that was ever present in those early
recordings by Getz, Byrd and others.
Perhaps a sign of the times, the listener will definitely
find this music relaxing. Pleasant...more like elevator music.
review by John Davis
JDavis@latnjazzclub.com
Contributing writer
LatinJazzClub Magazine
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