Connect Brazil Review Of ‘João’ by João Gilberto

Released in 1991, this self-titled album is among João Gilberto’s very best

Connect Brazil’s review of João Gilberto’s final full studio recording, captured just before his 60^th birthday and framed with Clare Fischer’s incredible ensemble arrangements.

Originally published by Scott Adams, July 15, 1991. Updateed December 2, 2001.

This is perhaps João Gilberto’s finest recording, and most certainly his best in the third period of his long and storied career.

It had been five years since his last recording (‘Live at the 19^th Montreux Jazz Festival’) and fully ten long years since his last studio date. For all practical purposes, Gilberto had shown little interest in recording or touring.

Reclusive, subject to fits of whimsy, and decidedly non-committal with his professional life, it seemed that he had reverted to his earlier days when he had arrived in Rio from his hometown in Bahia to join as the (sometimes present) lead singer for the group ‘Garotos da Lua’ (the Moon Boys).

But now he was back, smiling and ready to record once again. How did Brazil see it?

Veja’s Review Of ‘João’ by João Gilberto

The May 30, 1990, edition of Brazil’s newsweekly Veja dedicated its cover and a seven-page article to Gilberto with the headline “The Secret Life of A Brazilian Genius.” Flipping to page 48, the headlines continued: “The mysterious and genial João Gilberto leaves his apartment to record a new album.” Just ahead of his 60^th birthday, João Gilberto – The father of Bossa Nova – had summoned the world’s attention once again.

‘Joao’ isn’t simply a great recording; its majesty is its scope. Covering everything from Caetano Veloso’s ‘Sampa’ to Noel Rosa’s ‘Palpite Infeliz’ and Cole Porter’s ‘You Do Something To Me’ is a vast musical territory.

The material comes from three continents and covers three decades, and not surprisingly, it took only three nights for Gilberto to record the definitive versions of these 12 songs, the entire album, before it was sent stateside for Clare Fischer to work his magic.

Famed Brazilian producer and songwriter Nelson Motta was asked to write about this recording in advance of its release in 1991. He wrote that “In João Gilberto, voice, guitar, and microphone become a sonic body, whole and indivisible, which moves organically to the time of the rhythmic needs of his guitar and in the spaces of the silence that he creates with his voice. It is a perfect and delicate polyrhythm dressed by sweet and delicate timbres.”

Connect Brazil’s review of João: Arrangements and Performance

Fischer’s arrangements are wondrous; they frame Gilberto’s voice in a way that’s never been equaled. Impressively, the sound here is jazzy, but there are no solos of any kind to distract you from the musical focus. The interplay of this ‘strings and brass’ ensemble is instantly reflective of Joao’s emotional cadence, from phrase to phrase, song to song.

Nine years after this release, João Gilberto would return to the studio again for João Gilberto Voz e Violão, with Caetano Veloso overseeing the solo, acoustic setting. However, João had grown older, and the world, as it always does, had grown younger.

Then, during the subsequent concert tour, Veloso at one point commanded the stage to plead with the Brazilian audience to give its respect to the legend that sat on stage next to him.

João Gilberto still sings occasionally, as only he can. And this album may be his finest hour. Connect Brazil has awarded this album as an ‘Editor’s Choice’ selection.

Scott Adams, Connect Brazil

Tracklist: ‘João’ by João Gilberto

I Really Samba (Eu Sambo Mesmo)
Go On (Siga)
Little Rose (Rosinha)
Malaga
A Woman (Una Mujer)
My Heart And I (Eu e Meu Coração)
You Do Something To Me
Unhappy Remark (Palpite Infeliz)
Ave Maria On The Hill (Ave Maria No Morro)
Sampa
Smiled At Me (Sorriu Para Mim)
I Wish You Love (Que Reste-t-il De Nos Amours)

Personnel: João Gilberto (vocals, guitar), Jim Hughart (acoustic bass), Dave Stone (bass), Joe Correro (drums), Michito Sanchez (percussion). Clare Fischer (keyboards, conductor). Assa Drori (violin, concertmaster). Isabelle Daskoff, Don Palmer, Henry Ferber, Sheldon Sanov, Harry Scorzo, Robert Sushel, Francine Walsh, Edward Green, Mari Tsumura, Yoko Matsuda, Teruko Brooks, Joseph Brooks, Ronald Clark, Reginald Hill, Karen Jones (violin), Marilyn Baker, Alan DeVeritch, Margot MacLaine, Michael Novak, Jorge Moraga (viola), Ray Kelley, Anne Karam, Ron Leonard, Frederick Seykora, Todd Hemmenway, Ronald Cooper, Earl Madison, Suzie Katayama, David Stockhammer (cello), Ronnie Lang, Gary Foster, John Lowe, Dan Higgins, Gene Cipriano, Don Shelton, David Hill, Robert Stone, Dick Mitchell, John Reilly (brass).

Produced by Mayrton Bahia, Carmela Forsin. Arranged and Conducted by Clare Fischer. Voice and guitar recorded in 1990 at Polygram Studios, Rio de Janeiro, Brazil. Orchestra arrangements recorded in 1990 at Mad Hatter Studio, Los Angeles, CA.