Menescal blends his voice with Elias\u00e2\u20ac\u2122s in his classic \u00e2\u20ac\u0153Voc\u00c3\u00aa\u00e2\u20ac\u009d and backs her on guitar in that piece and his \u00e2\u20ac\u0153Rio,\u00e2\u20ac\u009d both augmented with a string orchestra. The sessions include rhythm players from Brazil\u00e2\u20ac\u2122s corps of talented musicians. Mark Kibble and the vocal group Take 6 provide background vocals for a lush version of \u00e2\u20ac\u0153Waters of March,\u00e2\u20ac\u009d the first time, surprisingly, that Elias has recorded that Jobim masterpiece. She has additional vocal assistance in the album from her daughter Amanda Brecker and the prolific Brazilian pop musician Ed Motta. Her bassist husband Marc Johnson does not solo, but his solid foundation is important to the success of several pieces, including \u00e2\u20ac\u0153Some Enchanted Place,\u00e2\u20ac\u009d an Elias composition whose lyric he wrote with her. <\/p>\n Johnson\u00e2\u20ac\u2122s lyric to her \u00e2\u20ac\u0153Driving Ambition,\u00e2\u20ac\u009d an homage to—or maybe a spoof of—the Beatles\u00e2\u20ac\u2122 \u00e2\u20ac\u0153Drive My Car,\u00e2\u20ac\u009d incorporates a succession of rhyming words that lack profound meaning but help advance the song\u00e2\u20ac\u2122s bossa nova rhythm and a series of interesting harmonic modulations. An impressive pianist influenced by Bud Powell and Bill Evans, Elias has continued to fashion her solos using increasingly sophisticated harmonies and judiciously timed silences. \u00e2\u20ac\u0153Some Enchanted Place\u00e2\u20ac\u009d contains one example, her short improvisation on \u00e2\u20ac\u0153Searching,\u00e2\u20ac\u009d another. <\/p>\n This is the first album Elias has recorded in Brazil since she moved to the United States more than three decades ago. She set herself a challenge as producer, composer, arranger, pianist, lyricist, star and cover model. The result is a fine addition to her extensive discography.<\/p>\n <\/strong><\/div>\n Rodrigo Lima<\/strong>, Saga<\/em><\/a> (JSR)<\/p>\n For his recording debut as a leader, guitarist and composer, Lima drew on his standing among colleagues in Rio de Janeiro to recruit veterans of Brazilian music including trombonist Raul de Souza, pianist Lima\u00e2\u20ac\u2122s playing on several classical, acoustic and electric guitars is marinated in Brazilian tradition and leavened with the influence of Americans like Jim Hall and Pat Metheny. An admirer of Creed Taylor\u00e2\u20ac\u2122s CTI label, Lima emulates CTI with Sebesky\u00e2\u20ac\u2122s rich arrangement of Lima\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Flying Waltz\u00e2\u20ac\u009d featuring Lima, Laws and a string quartet. Saga\u00e2\u20ac\u2122s<\/em> cover photo is by Pete Turner, who provided many CTI cover shots. de Souza\u00e2\u20ac\u2122s soulful trombone work is the solo heart of Lima\u00e2\u20ac\u2122s and co-producer Arnaldo De Souteiro\u00e2\u20ac\u2122s arrangement of the third movement of the Brahms Third Symphony. It recalls CTI\u00e2\u20ac\u2122s adaptations of classical works. Mainieri, Lima and percussionist Sammy Figueroa also make notable contributions. The engrossing two-CD collection ends with \u00e2\u20ac\u0153Nosso Borogod\u00c3\u00b3 Cai\u00c3\u00b3,\u00e2\u20ac\u009d totally improvised on the spot by Pascoal at the piano and Lima on classical guitar. It is saturated in Brazilian spirit. <\/p>\n Anat Cohen<\/strong>, Luminosa<\/em><\/a> (Anzic) <\/p>\n The same can be said for Cohen\u00e2\u20ac\u2122s album. It has pieces from other genres, including the electronic musician Flying Lotus\u00e2\u20ac\u2122s hypnotic \u00e2\u20ac\u0153Putty Boy Strut\u00e2\u20ac\u009d and her own blues-inflected tenor saxophone feature Hamilton De Holanda<\/strong>, Caprichos<\/em><\/a> (Adventure Music)<\/p>\n The focus of this two-CD set is De Holanda\u00e2\u20ac\u2122s mastery of the ten-string Brazilian mandolin known as the bandolim. He is a wizard of the instrument, as he fully demonstrates in 24 caprices that he wrote. Seven are unaccompanied solos. The rest are duo or trio collaborations. Among the highlights is a Harry Allen\u00e2\u20ac\u2122s All-Star Brazilian Band<\/strong>, Flying Over Rio<\/a> (Arbors)<\/p>\n The tenor saxophonist takes the album title from Duduka Da Fonseca\u00e2\u20ac\u2122s song and employs the veteran Brazilian in his rhythm section, along with bassist Nlson Matta, guitarist Guilhereme Monteiro and An indicator that he has moved solidly onto his own territory is the authority with which he claims \u00e2\u20ac\u0153The Girl From Ipanema,\u00e2\u20ac\u009d playing only one phrase that that echoes Stan Getz, the tune\u00e2\u20ac\u2122s virtual patent holder among tenor players. Mueller stamps his Brazilian musical passport with his composition \u00e2\u20ac\u0153Bute Papo\u00e2\u20ac\u009d and his light, rhythmic, playing on it. The tremulous quality of Maucha Adnet\u00e2\u20ac\u2122s voice may be essential to the drama of the emotional effect she achieves in several songs in Portuguese, and Jobim\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Bonita\u00e2\u20ac\u009d sung in English. In this relaxed album, Allen sounds thoroughly at home with the Brazilian material and his Brazilian companions.<\/p>\n Sergio Mendes<\/strong>, Magic<\/a> (Okeh)<\/p>\n![\"Elaine](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Elaine-Elias-Cover.jpg\")
<\/a>The pianist and singer\u00e2\u20ac\u2122s latest tribute to her native land begins with \u00e2\u20ac\u0153Brasil (Aquarela do Brasil)\u00e2\u20ac\u009d and ends with \u00e2\u20ac\u0153No Tabuleiro de Baiana,\u00e2\u20ac\u009d both by Ary Barroso (1903-1964), Brazil\u00e2\u20ac\u2122s patriarch of modern popular songwriting. It is to Elias\u00e2\u20ac\u2122s credit that the six new songs she wrote for the album keep comfortable company with those by Barroso and two other heroes of Brazilian music, Antonio Carlos Jobim and Roberto Menescal. <\/p>\n\nBrasileiras In Brief<\/ul>\n
![\"Rodrigo](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Rodrigo-Lima-Saga.jpg\")
<\/a> Hugo Fattoruso, vocalist Ithamara Koorax and the godfather of Brazilian jazz, Hermeto Pascoal. His American guests are clarinetist-tenor saxophonist Anat Cohen, flutist Hubert Laws, vibist Mike Mainieri and arranger Don Sebesky. All-star considerations aside, the music is what counts, and the music is superb. <\/p>\n![\"Anat](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Anat-Cohen-Luminosa.jpg\")
<\/a>\u00e2\u20ac\u0153The Wein Machine.\u00e2\u20ac\u009d But on clarinet, bass clarinet and tenor, Cohen\u00e2\u20ac\u2122s Brazilian tinge colors the CD, delightfully in the irrepressibly happy \u00e2\u20ac\u0153Espinha De Bacalhau\u00e2\u20ac\u009d with its Rio-New Orleans street beat feeling; touchingly on clarinet in \u00e2\u20ac\u0153Ternura\u00e2\u20ac\u009d with a sense of yearning sadness that Brazilians call saudades<\/em>. With Romero Lubambo\u00e2\u20ac\u2122s guitar and Joe Martin\u00e2\u20ac\u2122s bowed bass, her bass clarinet on Edu Lobo\u00e2\u20ac\u2122s and Chico Buarque\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Beatriz\u00e2\u20ac\u009d defines how simplicity and restraint can create beauty. In Milton Nascimento\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Cais,\u00e2\u20ac\u009d by contrast, she takes the bass clarinet to a dynamic pitch of excitement before letting the piece ebb into silence. Bassist Martin, pianist Jason Lindner and drummer Daniel Freeman—Cohen\u00e2\u20ac\u2122s regular rhythm section—work beautifully with their boss and several guest artists including Lubambo, guitarist Csar Garabini and accordionist Victor Goncalves, who is crucial to the success of the memorable \u00e2\u20ac\u0153Ternura.\u00e2\u20ac\u009d <\/p>\n![\"Hamilton](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Hamilton-De-Holanda-Cover.jpg\")
<\/a> breath-taking duet with harmonicist Gabriel Grossi on \u00e2\u20ac\u0153Sky Caprice.\u00e2\u20ac\u009d In \u00e2\u20ac\u0153Spain Caprice,\u00e2\u20ac\u009d De Holanda jousts with bassist Andre Vasconcellos and percussionist Thiago Da Serrinha. \u00e2\u20ac\u0153Brazilian Caprice\u00e2\u20ac\u009d is notable for turns of thematic surprise and Da Serrinha’s dazzling work with wire brushes. Accordionist Alessandro Kramer appears only once, in a duet with De Holanda on the lightning-fast \u00e2\u20ac\u0153Waltz Caprice.\u00e2\u20ac\u009d One track with a player this good isn\u00e2\u20ac\u2122t enough. In a brief album note, De Holanda writes that his caprices are, \u00e2\u20ac\u0153\u00e2\u20ac\u00a6poems of musical notes, instrumental songs that allow the pleasure of listening while simultaneously engaging the fingers in their technical development.\u00e2\u20ac\u009d If you don\u00e2\u20ac\u2122t have a mandolin handy for the pursuit of finger development, rest assured that De Holanda\u00e2\u20ac\u2122s caprices give the ears and brain plenty of listening development. <\/p>\n![\"Harry](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Harry-Allen-Rio-Cover.jpg\")
<\/a>pianist Klaus Mueller, who was born in Germany but did much of his growing up in Brazil. The repertoire is replete with six pieces by Jobim and others by Brazilians including Matta, Ivan Linz and Johnny Alf. Allen\u00e2\u20ac\u2122s affinity for Brazilian idioms and his proficiency in them has grown impressively over the years as he expanded his stylistic range. <\/p>\n
![\"Sergio](\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2015\/04\/Sergio-Mendez-Magic.jpg\")
<\/a> always, Mendes embraces current trends in pop music and advances in recording techniques. In Magic<\/em>, he manages to assemble a cast with members as varied as the venerable Brazilian star Milton Nascimento, the rapper known as will i. am, former Weather Report bassist Alphonso Johnson, pop singer John Legend, the multifaceted Bahian entertainer Carlinhos Brown and longtime Mendes vocalist Gracinha Leporace (Mrs. Mendes). Leporace and fellow singer Alia Menezes tear it up on Mika Mutti\u00e2\u20ac\u2122s lusty \u00e2\u20ac\u0153Samba De Roda.\u00e2\u20ac\u009d Nascimento is typically irresistible in his \u00e2\u20ac\u0153Olha A Rua.\u00e2\u20ac\u009d Mendes allots himself a short piano solo on Legend\u00e2\u20ac\u2122s feature, \u00e2\u20ac\u0153Don\u00e2\u20ac\u2122t Say Goodbye.\u00e2\u20ac\u009d The guest stars may be crucial to the kind of pop acceptance Mendes craves, but more of his playing would have been welcome.<\/p>\n","protected":false},"excerpt":{"rendered":"