You might be surprised to find the names of Al Jarreau, Dave Grusin, Art Porter, El DeBarge, Herbie Hancock, Oleta Adams, The Yellowjackets and Antonio Carlos Jobim together in the same sentence. But when the creative wealth of these talented musicians is brought together, the result is a reshaping of Brazilian music for the times: A Twist of Jobim.
It’s a project close to producer Lee Ritenour’s heart. Ritenour, who early on in his career was befriended by Oscar Castro-Neves and Sergio Mendes, and now the guitarist, who has enjoyed one of the most successful recording careers in contemporary jazz, returns to spearhead a tribute album to the late Brazilian composer from an American perspective.
“From the beginning, it was my intention to create a sort of fabric of American musicians to pay tribute to Jobim’s songs and to Jobim himself,” says Lee. “I wanted to prove that his songs are universal, that they stand the test of time in the 90s as well as they did in the 60s when most of these songs were written.”
Included are time honored selections such as “Dindi,” an early favorite for radio play courtesy of the synergy between El DeBage and Art Porter. DeBarge transforms the song with an Urban spin, and in doing so sets the stage for Porter’s silky smooth soprano. It was to be Art’s last recording; and his ability to capture the longing and desire of the lyrics stand as testament to his talent and sensitivity to the moment. Lee calls upon Alan Pasqua and Ernie Watts to revisit “Children’s Games,” a tune he earlier covered with the Yellowjackets, who this time around appear on the lesser known “Mojave.”
Al Jarreau and Oleta Adams bring their distinct vocal styles to A Twist of Jobim with two favorites and in doing so, will re-shape the perception of both singers’ repertoire. Listen to how Jarreau purposely “undersings” the lyrics of “The Girl From Ipanema,” paying homage to the original vocal by Joao Gilberto. And Oleta’s passionate vocal magic on “Waters of March” only enhances the lyrics of this Jobim masterpiece.
One of the keys to the success of A Twist of Jobim is the quality of the ensemble play. This satisfying interaction is a direct result of Lee’s dedication to arranging the music for this album. “A number of his songs are almost perfect,” explains Lee. I spent a long time on the arrangements, respecting that balance between the original and the desire to work with each song.
A Twist of Jobim shows that Ritenour’s vision of Antonio Carlos Jobim’s music is remarkably similar to the creative flux that originally spawned Bossa Nova. A development of combined musical styles to reflect the fashion of the day. Adults worldwide have been captured by the warmth and emotion of Jobim’s melodies, and now new generations are discovering that the more things change, the more they really do stay the same. Lee Ritenour has found an exciting way to broaden that idea, making Jobim’s musical legacy relevant for today’s contemporary jazz.
Other Voices:
From the Record Label:
As musical trends come and go and as contemporary jazz continues in its evolution, it might surprise you to find the names of Al Jarreau, Dave Grusin, Art Porter, El DeBarge, Herbie Hancock, Oleta Adams, The Yellowjackets and Antonio Carlos Jobim together in the same sentence. But when the creative wealth of these talented musicians is brought together, the result is a reshaping of Brazilian music for the times: A Twist of Jobim.
Bowing as IE Music’s first release, A Twist of Jobim is a project close to producer Lee Ritenour’s heart. Ritenour, who started his professional career with Sergio Mendes has never strayed far from the influence of the Brazilian sound, and now the guitarist, who has enjoyed one of the most successful recording careers in contemporary jazz, returns to spearhead a tribute album to the late Brazilian composer from an American perspective.
“From the beginning, it was my intention to create a sort of fabric of American musicians to pay tribute to Jobim’s songs and to Jobim himself,” says Lee. “I wanted to prove that his songs are universal, that they stand the test of time in the 90s as well as they did in the 60s when most of these songs were written. I wanted to use the best American jazz and pop musicians that I could get my hands on in this period to interweave them into sort a wonderful twist of his music, if you will.”
A Twist of Jobim is an all star event that combines the talents of many great musicians with 11 tracks from the Jobim songbook. Included are time honored selections such as “The Girl From Ipanema” and “Dindi,” an early favorite for NAC play courtesy of the synergy between El DeBage and Art Porter. DeBarge transforms the song with an Urban spin, and in doing so sets the stage for Porter’s silky smooth soprano. It was to be Art’s last recording; and his ability to capture the longing and desire of the lyrics stand as testament to his talent and sensitivity to the moment. Lee calls upon Alan Pasqua and Ernie Watts to revisit “Children’s Games,” a tune he earlier covered with The Yellowjackets, who this time around appear on the lesser known “Mojave.”
Al Jarreau and Oleta Adams bring their distinct vocal styles to A Twist of Jobim with two favorites and in doing so, will re-shape the perception of both singers’ repertoire. Listen to how Jarreau purposely “undersings” the lyrics of “The Girl From Ipanema” as if to pay homage to the original vocal by Joao Gilberto. And Oleta’s passionate vocal magic on the duet “Waters of March” only enhances the lyrics of this Jobim masterpiece.
“The music of Jobim is something that I love to sing anytime, anywhere and I knew that the guitar would get really special treatment,” Jarreau recalls. “The guitar is a very special part of Jobim’s music and because I have a history with this type of guitar playing myself, I knew that Lee would give it the respect it deserves. I have a real love and appreciation for the magic of Brazilian guitar and how it is used.” A good example of this is the opening track “Agua de Beber,” which takes on new life as a result of Ritenour’s intuition. Dave Grusin’s piano compliments the melody as Lee’s use of the instrument sets a relaxing pace for the popular bossa. Grusin also teams up with Brazilian percussionist Cassio Duarte (he and fellow rhythm maker Paulinho da Costa are the only Brazilians on the album) for a thought-filled rendering of the lovely ballad “Bonita.”
One of the keys to the success of A Twist of Jobim is the quality of the ensemble play. This satisfying interaction is a direct result of Lee’s dedication to arranging the music for this album. “A number of his songs are almost perfect,” explains Lee. ”And that was the hard part of planning A Twist of Jobim. You have to respect that balance between the original and the desire to work with it. The true test of any great songwriter is his music’s ability to stand the test of time. I spent a long time on the arrangements to make sure it came out the way I envisioned it.”
Part of this vision is placed in the capable hands of saxophonists Eric Marienthal and Ernie Watts. Marienthal is featured on the jazzy “Captain Bacardi,” and his melodic inventiveness transforms the song in ways that surprised Lee Ritenour’s expectations of a special reunion: “Not many people remember that Jobim wrote a few blues tunes. Dave Grusin and I used to play this song quite often years ago, and when I invited him to play on the album, he immediately remembered our history with the song.” Marienthal, who’s close enough to Brazil to understand the way music integrates with the rest of life, follows Lee’s direction and the song swings and sways with a straight ahead feel not hinted at in the original. And “Stone Flower,” with it’s propulsive drive gives Hancock, Steve Tavaglione, John Pattitucci and Russell Ferrante room to stretch.
In New York about a year and a half ago, Ritenour assembled his first star studded gathering to pay tribute to Jobim at Lincoln Center. That evening became the catalyst for A Twist of Jobim when Lee and his Brazilian wife, Carmen, were overwhelmed by the spirit of the moment. The memories linger here: Herbie Hancock recalls his New York performance with “Stone Flower” recaptured in this recording. Dave Grusin reflects on “Bonita.” Brazil’s superstars took the stage to celebrate where it all began for bossa nova in 1962. To honor the man who defined the music for all time.
Listen to A Twist of Jobim and you’ll soon realize that Lee Ritenour’s vision of Antonio Carlos Jobim’s music is remarkably similar to the creative flux that originally spawned bossa nova. A development of combined musical styles to reflect the fashion of the day. Adults worldwide have been captured by the warmth and emotion of Jobim’s melodies, and now new generations are discovering that the more things change, the more they really do stay the same. Lee Ritenour has found an exciting way to broaden that idea, making Jobim’s musical legacy relevant for today’s contemporary jazz.
From The Liner Notes:
Deep in Ipanema, an afternoon walk might bring you to a quiet street corner shadowed by buildings and tall trees, and a small bronze bust of Brazilian philosopher Carlos Drummond de Andrade, it’s forehead brightly polished from years of off handed tribute by passing cariocas. De Andrade believed that Brazil’s cultural identity should be developed through the assimilation of other cultures, then re-invented to create something uniquely Brazilian. This philosophy, like the street corner, has faded into prominence to take its place as a part of daily Brazilian life. And its an important key to understanding the creativity of Antonio Carlos Jobim.
Somewhere (God knows where...!) Tom (as he was known to his friends), who passed away in December of 1994, is smiling, because the album that you’re holding in your hands is true to both the intent and promise of bossa nova. Guided by the able talents of producer Lee Ritenour, A Twist of Jobim is bossa reborn for the 90’s... a re-revolution of the music that was the life work of a musical master intended to reach audiences old and new. Unlike the Beatles or Elvis, Jobim was a musician’s musician, much like Charlie Parker. But when Bird played, many of the musicians who lined up to hear him put their horns down, knowing they could never attain that level of creativity. When musicians heard Jobim’s music, they picked them back up.
To this day, while some Brazilians may decry the role American jazz played in the creation of bossa nova our jazz musicians who experimented with Jazz Samba in the `50s and `60s will graciously admit to the influence of Brazil upon their own music. So which came first: the frango or the ovo? As de Andrade would surely attest, for Brazilians this melding of cultures is nothing new.
And so, in typically Brazilian fashion, A Twist of Jobim is different. It represents a sea change in the direction of Jobim’s music for generations to follow. This album is less about Al Jarreau, Oleta Adams, El DeBarge or of Herbie Hancock or the prowess of Lee Ritenour, Dave Grusin, Ernie Watts, Eric Marienthal or the Yellowjackets. It’s about Jobim’s legacy and its relevance to the future of contemporary jazz. Not for the musicians, but for us.
While this statement may shock you, it doesn’t surprise Ritenour. “A number of his songs are almost perfect,” explains Lee. ”And that was the hard part of planning A Twist of Jobim. You have to respect that balance between the original and the desire to work with it. The true test of any great songwriter is his music’s ability to stand the test of time. I spent a long time on the arrangements to make sure it came out the way I envisioned it.”
Like many of us, Lee was hooked by the seductive message of Brazil early in his life. He tells the story how his father would play bossa records for him in his younger days. In fact, Lee’s first major musical role was with Sergio Mendes, and he’s never strayed far since. A Twist of Jobim represents the culmination of a dream: to present Jobim’s music through a purely American perspective. In choosing the musicians who appear on this album, Ritenour followed another tenet. With the exception of percussionists Cassio Duarte and Paulinho da Costa, all of the musicians are American. This is a tribute, an homage that could only be created from a gringo’s perspective, generations removed from the original.
Jobim’s influence on American jazz and pop music is something that should never be taken for granted. Let’s set aside the fact that Jobim was a Brazilian for just a minute. Taken purely on a musical level, even the most casual listener is captured by the warmth and emotion of a Jobim song. And with well over 300 compositions to his credit, Jobim was nothing if not consistently creative.
Take a look at the songs selected for this project. Several unusual choices. Many others of landmark status. All part of today’s future by recalling the past, half a world away. Of “Captain Bacardi” Lee remarks, “Not many people remember that Jobim wrote a few Blues tunes. Dave Grusin and I used to play this song quite often years ago, and he immediately remembered our history with the song.” Eric Marienthal, who’s close enough to Brazil to understand the way music integrates with the rest of life, follows Lee’s direction and the song swings and sways with a straight ahead feel not hinted at in the original.
Or El DeBarge and Art Porter teaming up for “Dindi.” DeBarge transforms the song with an Urban spin, and in doing so sets the stage for Porter’s silky smooth soprano. It was to be Art’s last recording; and his ability to capture the longing and desire of the lyrics stand as testament to his talent and sensitivity to the moment. Lee calls upon Alan Pasqua and Ernie Watts to revisit “Children’s Games” ( the name of the song is Double Rainbow when it appears with lyrics), a tune he earlier covered with the Yellowjackets, who this time around appear on the lesser known “Mojave.”
Al Jarreau and Oleta Adams bring their distinct vocal styles to A Twist of Jobim with two favorites and in doing so, will re-shape the perception of the singers’ repertoire. Listen to how Jarreau purposely “undersings” the lyrics as if to pay homage to the original vocal by Joao Gilberto.
With Jobim the tradition of change runs deep. One of the keys to Jobim’s success in the US was the fact that his songs were quickly transformed with new English lyrics, and accordingly acceptance came more easily. But back in the 60’s on Planet Samba, the critics attacked Jobim for bastardizing their sacred song form. The beat was too slow, the harmonies were all wrong and harsh to the ear. Where is the passion? Is this our future? “Desafinado” (Off Key) was Jobim’s response to his critics lack of vision; the message cloaked in pseudonym as a story of unrequited love:
You insist my music goes against the rules.
Ah, but rules were never made for lovesick fools!
I wrote this little song for you but you don’t care.
It’s a crooked tune, ah but all my love is there...
Of course, back then Jobim often relied on others for the lyrics to his beautiful melodies. “Desafinado’s” original words were penned by Newton Mendoca, for example, with Gene Lees providing the close English translation. The Portuguese lyrics for “The Girl From Ipanema” were co-written by Vinicius de Moraes and later in English by Norman Gimbel.
Those were heady days for the young composer in Rio, back before Copacabana was widened to it’s four lane super-beach status, back when the so called intellectuals had the run of Ipanema. Plenty of time on their hands; we called them beatniks.
One of my favorite pictures of Jobim during this time is the “totem” shot, famous for it’s generational caricature: four musicians, hands upon the shoulders of the one below. Carlos Lyra on the bottom, Ronaldo Boscoli next, then Jobim and an aging Ary Baroso at the top. Baroso looks wise, happy to be there to bridge his musical world with those who would follow. Boscoli and Lyra predictably playful; ready for what the day would bring. But Jobim?
Jobim is a study of confidence, his face already showing hints of the character lines that would someday define his faintest smile. A dozen years senior to Joao Gilberto, Mendes, and a host of soon-to-be legends, Jobim’s vision went beyond the late night jam sessions at Nara Leao’s Copa apartment, further than the impromptu beach concerts. Jobim already knew the day-to-day business of music with his position as artistic director for the Odeon label. Where others were swept along with bossa’s torrent, Jobim was there by choice and he was ready for it.
Roughly 12 years would pass before Jobim would venture his own lyrics in English with a song that captured all the magic and misery of life. “Waters of March” today remains an amazing collection of words, formed to create a poetic comparison in rhyme, meter and meaning, all cloaked in the nursery-rhyme simplicity of a melody that would later cover the world as a soft drink jingle. Enjoy the story:
A stick, a stone,
It’s the end of the road,
It’s the rest of the stump,
It’s a little alone
It’s a sliver of glass,
It is life, it’s the sun,
It is night, it is death,
It’s a trap, it’s a gun
The oak when it blooms,
A fox in the brush,
The knot in the wood,
The song of the thrush
The wood of the wind,
A cliff, a fall,
A scratch, a lump,
It is nothing at all
It’s the wind blowing free,
It’s the end of the slope,
It’s a beam, It’s a void,
It’s a hunch, It’s a hope
And the riverbank talks
Of the waters of March,
It’s the end of the strain,
It’s the joy in your heart
The foot, the ground,
The flesh and the bone,
The beat of the road,
A slingshot stone
A fish, a flash,
A slivery glow,
A fight, a bet,
The range of the bow
The bed of the well,
The end of the line,
The dismay in the face,
It’s a loss, it’s a find
A spear, a spike,
A point, a nail,
A drip, a drop,
The end of the tale
A truckload of bricks
In the soft morning light,
The shot of a gun
In the dead of the night
A mile, a must,
A thrust, a bump
It’s a girl, it’s a rhyme
It’s a cold, it’s the mumps
The plan of the house,
The body in bed,
The car that got stuck
It’s the mud, it’s the mud
A float, a drift,
A flight, a wing,
A hawk, a quail,
The promise of Spring
And the riverbank talks
Of the waters of March
It’s the promise of life,
It’s the joy in your heart
A snake, a stick,
It is John, It is Joe,
It’s a thorn in your hand,
And a cut on your toe
A point, a grain,
A bee, a bite,
A blink, a buzzard,
The sudden stroke of night
A pin, a needle,
A sting, a pain,
A snail, a riddle,
A wasp, a stain
A pass in the mountains,
A horse, a mule,
In the distance the shelves
Rode three shadows of blue
And the riverbank talks
of the waters of March
It’s the promise of life
In your heart, In your heart
A stick, a stone,
The end of the load,
The rest of the stump,
A lonesome road
A sliver of glass,
A life, the sun,
A night, a death,
The end of the run
And the riverbank talks
Of the waters of March
It’s the end of all strain
It’s the joy in your heart
It’s the way that we live, it’s the story of life. Jobim’s lifeline and Ritenour’s career intersected several times. The first time was during Lee’ stint with Mendes. “It was the same night that I met Dave Grusin. I guess I was about 18 or 19 then. We all jammed at Sergio’s studio that night. I’ll never forget it. It had a big impact on me.” Over the years, Jobim would be there; at the nightclubs, for the concerts, lending the invisible touch that would guide Ritenour’s recordings with other Brazilians including Joao Bosco, Djavan, Ivan Lins and Caetano Veloso, to name but a few.
In New York about a year and a half ago, Ritenour assembled his first star studded gathering to pay tribute to Jobim at Lincoln Center. That evening became the catalyst for this album when Lee and his Brazilian wife, Carmen, were overwhelmed by the spirit of the moment. The memories linger here: Herbie Hancock recalls his New York performance with “Stone Flower” recaptured in this recording. Dave Grusin reflects on “Bonita.” Brazil’s superstars took the stage to celebrate where it all began for bossa nova in 1962. To honor the man who defined the music for all time.
Today, Brazil is undergoing another, less romantic musical revolution. Here, the changes are guided by market trends and there’s a whole generation of young Brazilians who would be hard pressed to remember Jobim’s contribution’s, let alone build upon them. After all, a million seller is a million seller. But, one must remember that it took the Beatles to knock “The Girl From Ipanema” off the charts in 1966, and million seller hits come and go.
In a world of one-hit wonders it almost seems rhetorical to ask: Is Jobim’s music still relevant? Or has it made its run as it closes in on it’s fifth decade? To discover the answer let A Twist of Jobim take you back to Brazil. To Rio de Janeiro, to Ipanema. Find the street off the beach that intersects with Rua Vinicius de Moreas, and look for an open seat at Garota de Ipanema Bar, the little sidewalk cafe were Jobim’s most famous song was written during a long steamy Brazilian summer. Sit back, order a cold choppe, put on your headphones, and dream. Then, if you want, you can search for that other street corner. The one with the bronze bust. You’ll soon discover that all Jobim needed was a little twist.
Scott Adams
Connectbrazil.com
