Search - Tom Jobim :: Antonio Brasileiro Jobim

This is a stunning CD - Jobim's last, and my favorite..

douglasnegley | Pittsburgh, Pa. United States | 08/26/2003

(5 out of 5 stars)

"WOW - I can hardly believe that no one has reviewed this. I know, it is an import (never having been released in the U.S.), and that could account for the relative obscurity. Let me say this: this CD was Jobim's last work, and he sets the record straight on a few older charts. "So Danco Samba" opens the recording, and while Jobim gets off to a bit of a shaky start with the vocal, still this is the version for posterity. The other highlights (the whole recording is one highlight) are Jobim and Sting doing "Insensatez"...and again Jobim sets the record straight on the chart, modulating down a half step on the last verse and breaking into a spine-tingling harmony with Sting. "Surfboard" is one of those tunes that sounds easy at first, but is incredibly subtle and satisfying. "Samba de Maria Luiza" was written for his youngest daughter - who also gets some vocal time on this and "Forever Green". An out-take, Jobim tells his little daughter, "Don't sing so hard!" in Portugese at the conclusion of "Maria Luisa". "Blue Train (Trem Azul)" is the best song on the CD in my opinion. Note the 'wah-wah' from guitarist, son Paulo Jobim, and the spectacular flugelhorn work from Marcio Montarroyos. Also, the production is fascinating on this track - the entire song is drenched in a very subtle "phase shift", and the effect on the lush, wide-open chordal vocals is beautiful. Jobim also performs some classically oriented material, such as his tributes to Radames Gnattali, and Pele. "Pato Preto" is also spectacular, with its beautiful vocal arrangements, which run through the entire CD. Jobim utilizes his family's vocals, with wide ranges of harmonies creating an amazing tightness of sound in such a wide field of chordal depth. Another great production technique on this CD is the intricate interweaving of synthesized sounds with real orchestrated ones; done so well that, at times, it takes headphones and a really good ear to distinguish the 'real' from the 'synth'. Perhaps my favorite undercurrent on this and many of Jobim's later works is the way in which he uses his voice to simulate a cello. He seems to have an incredible harmonic affinity with that particular instrument, and it is breathtaking how well he hears, and sings, cello parts (check out "Choro Coracao"). Yes, I love this recording...it is included in my top 5 of all time. It would be well worth any price in my opinion."

Antonio Jobim's Re-Confirmation

REESHO | New York | 12/19/2005

(5 out of 5 stars)

"It's not an exageration to say that every one of the 15 tracks of this CD is truley remarkable and is a real gem. When I first heard this, Jobim's last, my heart was smitten. So much beauty. Jobim brings to bare a lifetime of deep musical understanding and adventurous harmonic invention tastefully apllied to the song form that everyone can hear. The arrangements are absolutely top shelf and there is a satisfying mature blending of the musical elements of the most intelligent jazz sensibilities with Jobim's own brand of historically revolutionary Brazilian legacy. Here are my impressions...



The CD opens with the beautiful and graceful "So Danco Samba". Only 2 precious minutes of the smoothest sonic heaven. Here the song's essence is presented with nothing overstated. I could've used minutes more of this elegant performance. So it's here at the beginning where the listener can begin his or her estatic swoon through the rest of the CD...



Next is "Piano na Mangueira" - another lively and delitefully satisfying samba. This one a little longer at almost 3 minutes. The ladies, as usual, are in perfect pitch and by the sound of it, have to be in perfect love with what they're doing. The melody is genius and like everything else Jobim, it comes directly from the heart. That's why my heart stirs when I hear it.



Next is the staple "How Insenitive (Insensatez)". Although covered as much as any other Jobim song, here we get a surprise with Sting in the vocal chair on a new tasteful arrangement that sports a vocal support by Antonio. Anytime Jobim interjects a vocal embellishment it always makes things more musically complete and is never merely fill! Thanks to perfectly placed backround vocals, flute, and piano, the songs remains engaging throughout. This a an artful re-rendering of a classic and you will re-appreciate it.



Next is "Querida", a bouncey and beautiful little shuffle like a European romance. I don't know what the words mean but it's got to be about love and romance either with a person or a place. Jobim's interplay of resolutions between major and minor modes is a real treat and the unison flute and piano solo is priceless and is indicative of the type of special melodic invention (beautiful and unconventional) that permeates this music.



Next is "Surfboard". OK so we're surfing in the sun smoothly gliding along a magical and mysterious wave that takes us into new ever changing tropical vistas, a lifting and upbeat musical experience with definite hypnotic moments when the music pauses, strings come in with a two note figure followed by the 'a tempo' with vocal "ahs" over a dominant chord which is almost Debussey-like. This music will slam the glands in your head!



Next is "Samba de Maria Luisa". This is the vocal that's shared by Antonio and his young daughter. She sounds very young but with remarkably good pitch and grasp of the music. The soft rubato intro gives way to a sweet upbeat bossa. To hear Antonio and his little daughter sing this pretty piece together is a real joy and a real tease at only a minute 14 seconds!



Next is "Forever Green" where Jobim pays tribute to planet earth in a gorgeous easy moving swing showing his love and appreciation for the natural beauty of "planet blue", a call to save the earth, the source of inspiration for this great music. God asks "Where is the green, where is the blue - where is the house I made for you?"



Next is "Maracangalha" and is yet another upbeat bossa where everything comes together so extraordinarily well. It's a perfect mix of instrumentation showing off the love Jobim must have regularly felt while composing and laying down all this great music in the studio. Although this one's an older classic by Dorival Caymmi, this rendition is cool and delicious. You'll want to dance to this one!



Next is "Maricotinha". Echo the description above but add some ice cream...



Next is "Pato Preto". Did I say upbeat? Well here's another, good vibes and positive move-ahead elements to keep your leg moving and your finger tapping. Damn I'm feelin' good now!



Next is "Meu Amigo Radames" - an instrumental which is an amazing exercise in inspired composition. What starts off as a Bach like piano line soon morphs into a brilliant set of transitional motifs taking us from classical flavorings to romantic pop reminicent of some of Leroy Shields more sweeter moments with the classical motif again reappearing in new clothes. For those who have ears to hear let them hear. It's impossible not to be moved by this music.



Next is "Blue Train (Trem Azul)". What can I say? The sky is just the best blue ever, riding this "Blue Train" with the "sun on your hand". I must mention some excellent horn playing on this one weaving in and out of the chorusing vocals which switch from English to Portugues and back again. Light and airy you just close your eyes and fly with the wind that carries this song.



Next is "Radames y Pele" - a medium bossa which has a haunting melody as it's main theme, dark at first but then breaking into light and then shadow again - a thoughtful piece that could be sad at times with a short moment reminicent of the ending of "Once I Loved". Although this song is in a minor key, Jobim ends it with a major chord reminding us that nothing is sad forever.



Next is "Chora Coracao" - a serious ballad featuring duet male/female vocals beautifully sung. Like the previous track it's also in a minor key but this contains no percussion and utilizes the delicate instrumentation of piano and strings only.



Next is "Trem de Ferro". As if to make up for any melancholy of the previous two tracks Jobim works his genious on this glorious finale cut. With a rhythmic motif like a relentless pumping train, a train of rich compositional gravy. It makes a great theatrical stop during it's passage and then starts up again to continue on it's way. We wonder where it's headed and it's an exciting anticipation we feel, but at the same time we're content to just listen to the sound of the engine and the great steel wheels as they roll along Jobim's invincible track until it reaches the end of the CD leaving us more than satiated.



As his last work Antonious Carlos Jobim leaves us with a re-confirmation of his lasting genius and we are ever grateful. His contributions to our musical world are undeniable and can't be over stated. This CD is important. It isn't cheap but saying it's worth every penny is an understatement. You really do get what you pay for here so just go ahead and buy it. You won't be sorry!"

Just correcting something

Raphael Gimenes | Salvador, BA Brazil | 03/24/2005

(5 out of 5 stars)

"This album is great, the person above has written all that needed to be written, hehe. I'm just saying that in the end of "Samba de Maria Luiza" Jobim's daughter says: "again, again!" and then he says "don't speak or it will be recorded!" (and it was ;) hehe).

So, that's it :)

I recommend this album!"