Mark Morganelli & the Jazz Forum All Stars Brasil!

Mark Morganelli & the Jazz Forum All Stars
Brasil!
Jazz Forum Records

This double CD album was recorded at the Tarrytown, NY club, The Jazz Forum, that trumpet and flugelhorn master Morganelli has been operating for a couple of years. Morganelli has been listening for 40 odd years to Brazil and its music. On this salute to Brazil and its music, Morganelli is backed by a band that includes Abelita Mateus on acoustic and Fender Rhodes piano and vocals; Eddie Monteiro on Midi-Accordion and vocals; Monika Oliveira on vocals; Nilson Matta on bass; Adriano Santos on drums; Nanny Assis on percussion, guitar and vocals and Carlos Barbosa-Lima on guitar.

The 27 tracks on the two discs contain an hour and 48 minutes of renditions of songs, some familiar and others new to listeners. Among the composers here are Antonio Carlos Jobim, Vinicius Morales, Baden Powell, Ivan Lins, Claudio Roditi, Joao Donato, Luiz Bonfa, and Ary Barroso. Jobim is the most represented composer with 18 of the selections composed in whole or in part by him.

Jobim-Moraes' "Amor Em Paz" opens this marvelous celebration of Brazilian music with a breezy groove and Morganelli's melodious flugelhorn and inspired improvisation that is followed by Monteiro's accordion sounding like a Hammond B-3. Baden Powell's brisk "Deixa" introduces us to vocalist Oliveira whose approach contrasts with the softer approach, whispery style of Astrud Gilberto. After a crisp Morganelli solo, Mateus improvises over several inspired choruses. One of the most familiar compositions here will be "Desafinado." It opens with lovely guitar from Assis before the leader's lyrical improvisation. Morganelli's favorite Jobim tune is "Chovendo Na Roseira," with its jazz waltz feel and another vocal from Oliveira with Monteiro's midi-Accordion evoking the Toots Thielemans' harmonica.

There are so many impressive performances including Monteiro's vocal on Ivan Lins' "Velas Icadas," and Morganelli's take on Claudio Roditi's "Rua Dona Margarida," which he produced years ago. One would have to check the pulse of anyone not moving in some way to "So Danco Samba." Is it Mateus' Fender Rhodes that takes a vibes-sounding solo, while Morganelli quotes "Takes the A Train" during this track. Then there is "A Ra" by Joao Donato and Caetano Buarque with an infectious rhythm and bright solos from the leader and Mateus on Fender Rhodes to accompany Monteiro's vocal (and a sympathetic vocal chorus).

"A Felicidade" by Jobim and Moraes opens the second disc with its samba groove and the leader's bright melodicism. Nanny Assis takes the vocal on Jobim's "Este Seu Olhar," with Morganelli's lyricism and Assis' soft vocal delivery supported by Carlos Barbosa-Lima's charming guitar. "Corcovado" is a jazz standard known in English as "Quiet Nights of Quiet Stars." Morganelli's flugelhorn has a haunting beauty here with Mateus sublime on piano. Then there is the delight of "Samba de Verae" that some may know from organist Walter Wanderly's recording. Morganelli's improvisation here goes beyond melodic embellishments. Oliveira's loveliest vocal may be on her enchanting, wistful rendition of Jobim's "Dindi."

"Mas Que Nada,"  will be familiar from Sergio Mendes and spotlights Oliveira's spirited vocal. It is followed by a medley of a couple of Luis Bonfa compositions from the film "Black Orpheus," Manha de Carnival/ Samba de Orfeu." A wordless chorus is featured in the first number in addition to the leader's mid-range melodicism. It segues into a lively samba with Monteiro again emulating an organ on the Midi-Accordion. Santos solos crisply on this.

An infectious interpretation of "Aquarela do Brasil" (known as "Brazil") may evoke Carmen Miranda and closes this release with a vibrant mood. It concludes a varied, superbly played, and enthralling salute to the music of Brazil by Mark Morganelli and associates.

I received my review copy from a publicist.  This review appeared in the July-August 2019 Jazz & Blues Report (Issue 385) to which I made some stylistic changes for clarity.  Here is a video from this year's CD release party for this recording.

 

Saboya Adolfo Meurkens Copa Village

A new album “Copa Village” (AAM Music) represents a collaboration between Brazilian singer Carol Saboya; her father, pianist and composer-arranger Antonio Adolfo who now lives in and the German born vibraphonist-harmonica player, Hendrik Meurkens. “Copa” in the disc title refers to Rio de Janeiro’s Copacabana section while the Village refers to Greenwich Village, both being musical meccas in the 1950s and 1960s, when Brazilian and jazz musicians began collaborating in earnest with the emergence of bossa nova in the United States.

In 1969, Antonio Adolfo was pianist with the the legendary Brazilian singer Elis Regina who had just met Toots Thielemans in Stockholm and they recorded a classic recording “Elis & Toots - Aquarela do Brasil.” Several years later he met Meurkens who he refers to as “another incredible harmonica player.” They have played together several times including in Summer 2014 in New York City with his daughter leading to the recording of this album.

For this recording, they are joined by guitarist Claudio Spiewak, bassist Itaguara Brandão, drummer Adriano Santos and percussionist André Siqueira for some fresh takes of Brazilian music, including renditions of five songs penned by Antonio Carlos Jobim; a collaboration between Adolfo and Meurkens; three from Meurkens and two from Adolfo. Included are several celebrated Brazilian music classics starting with the lovely “The Girl From Ipanema (Garota de Ipanema);” and “Aqua De Beber (Water to Drink);” both by Jobim and Adolfo’s “Pretty World” (with English lyrics by Alan Bergman and Marilyn Bergman).

Listening to her lovely singing on “The Girl From Ipanema,” one cannot avoid noting her rendition holds up well to the famous Astrid Gilberto rendition with Meurkens’ harmonica adding to this rendition's charm. “Copa Village,” a collaboration between Adolfo and Meurkens, is a breezy  performance with Saboya’s charming wordless vocal serving as an additional horn-like voice to the harmonica. There is  lovely piano here as the rhythm section provides solid, restrained support. Meurkens "Show De Bola (lyrics by Paulo Sergio Valle)" is lively with spice to the wonderful singing added by Meurkens' vibraphone. The rendition of “Aqua De Beber” is terrific with marvelous harmonica solo and Adolfo’s marvelous piano. Saboya delights on her father’s “Pretty World” that some may know from recordings by Sergio Mendes and Stevie Wonder.

Adolfo’s “Visão” with a lovely Saboyo wordless invocation of the melody is the final track. Originally recorded by Elis Regina and Toots Thielemans on “Aquarela do Brasil”, it is a fitting conclusion to the excellent and enchanting“Cope Village.”

I received my review copy from a publicist. I have made some stylistic changes to the original review that appeared in the May-June 2015 Jazz & Blues Report (Issue 360). Here are Adolfo and Meurkens performing recently.