| |
MAGICAL
AND TRANSCENDENTAL VOICES
HAVANA CARBO shines on new CD
Arnaldo DeSouteiro, La Tribuna, Rio de Janeiro, Brasil
Since “Street Cries”, recorded in 1990 on the Italian label
Soul Note, Havana Carbo conquered a cult following that knows it’s
in the presence of a singular artist, one who possesses an incomparable
and extremely personal timbre. The charm, subtlety and sophistication
that made “So I’ll Dream You Again” (1997) one of
my “desert island discs”, are revealed once more in this
second CD on the CAP label,“LUNA DEVARADERO”(43mins.42s).
The difference is in the instrumentation: while in the previous album,
flutes, sax, trumpet, guitar and percussion by the Brazilian Valtinho
complemented the basic group, the new recording’s foundation is
simply an excellent trio formed by Dario Eskenazi (Argentinean pianist
of the noble lineage of Bill Evans), Nilson Matta (Brazilian bassist
living in New York for almost twenty years, with whom I had the honor
of working on the “The Bonfá Magic” CD, by Luiz Bonfá,
in 1991) and drummer Vince Cherico (of the Ray Barreto group).
We’re not dealing with a trio accompanying a singer, but a quartet
that highlights, as synthesized perfectly by the greatest jazz historian
today, Ira Gitler, a “lovely, warm and intimate” voice.
The Cuban-born Havana, who grew up and resides today in New York, breathes
in unison with the musicians. This sensation is reinforced in the mix
which places them all at the same level, opting for an ample sound,
hot, bright, “older-sounding” (in the good sense), not compressed,
preferring the transparency of all frequencies and allowing the drums
to sound truly “acoustic”.
The arrangements, for the most part authored by Eskenazi (heard with
Mongo Santamaria, Paquito D’Rivera and the Caribbean Jazz Project)
are well structured and work well. Comparisons exempted, Havana can
share the same stage with Helen Merrill (but armed with greater sensuality)
and Shirley Horn (without the handlebar of suffering).
Sublime Performances
Throughout the 13 tracks of this sublime album, Gladys Havana Carbo
turns the listener into her accomplice, caressing his soul, inviting
him to cuddle together in the anthological “Acércate Mas”,
by Oswaldo Farres. Made popular in the US by Nat King Cole, rarely recreated
by jazz musicians (Zoot Sims presented us with a beautiful interpretation
by the title of “Come Closer to Me”) it reappears here luxuriously
elevated into a bossa-bolero.
The sensual charge increases in “No Me Platiques Más”,
by Mexican Vicente Garrido. Ms. Carbo continues to glide smoothly through
“Moon and Sand”, by Alec Wilder, who won new fame after
Chet Baker’s recording of it in a track of “Let’s
Get Lost”. Speaking of Chet, another stirring theme, “The
Wind” written by his pianist Russ Freeman … reaching a new
dimension in Havana’s voice. Drummer Vince Cherico contributed
to the hypnotic effect using ‘mallets’ up to the beginning
of Dario Eskenazi’s solo.
In the standard “I Fall in Love Too Easily”, a song by the
team of Jule Styne - Sammy Cahn for the MGM film “Anchors Aweigh”),
Havana gets the message in 2 min 49s, with room for a solo by Nilson
Matta. In the title tune “Luna de Varadero”, by Bobby Collazo,
Vince plays bongos. The temperature becomes even more intimate in the
voice and piano duos “Aquellas Pequeñas Cosas”, by
Spaniard Joan Manuel Serrat, and “Atrás da Porta”
by Francis Hime and Chico Buarque.
Another Brazilian tune in the reperoire, also arranged by Nilson, “Bonita”,
is sung as an “up-tempo bossa”, English lyrics are by Ray
Gilblert for a jewel launched by Jobim in his ”The Wonderful World”,
arranged by Nelson Riddle in ’65. Pianist Eskenazi realizes one
of his best solos, combining the lyricism of Bill Evans and balancing
it with the economy of Tom, quoting “O Barquinho” during
a tag, while Vince uses the brushes with his customary class.
Carbo, whose intimacy with the bossa nova dates back to when she worked
with drummer Edson Machado, returns to ballads and connects “I
Wish I Knew” (with a delicacy comparable to a Keith Jarrett treatment)
to “In the Wee Small Hours of the Morning” (immortalized
by Sinatra, before she presents us her author’s face in the waltz
“Paris”, opened by Eskenazi whistling, and with a nostalgic
lyric inspired during a summer she spent in Montmartre.
In the Cuban ‘bolerazo’ (Super Bolero) “Contigo en
la Distancia” by Cesar Portillo de la Luz, (he also wrote “Tu
Mi Delirio”, recorded by Astrud and by Azymuth), a hit of Lucho
Gatica, Olga Guillot, and now Christina Aguilera, Carbo reaches the
peak of emotion right down to her skin.
Closing theme, “No Dejes que te Olvide” (Ignacio Villa),
transports one to those memorable late night clubs with its main interpreter,
the legendary Bola de Nieve, at the Tropicana Club in Havana, singing
love’s pain without despair or melodrama. Ideal closing brooch
for a perfect CD, passionate and inspiring passion.
… on a much higher plane than the prevailing mediocrity that reigns
in the marketplace.
|
|
