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(Translated
from Portuguese) Rio de Janeiro Brazil, Nov 18 1997 LA TRIBUNA IMPRENSA
THREE HARMONIOUS TEMPTATIONS – Arnaldo Desouteiro
As record companies get ready for ’98 they begin releasing recordings
that are powerful and fiery enough to capture the consumers’ attention
in the midst of the customary avalanche of new releases. When commercial
appeal (in the best sense, different from ‘roll-call’ appeal)
and artistic quality are combined, you’re sure to have a hit.
For example the very new “Breath of Heaven” arriving this
week in stores bringing Christmas songs in jazz recreations by Grover
Washington Jr. Equally tempting, “So I’ll Dream You Again”
captures singer Gladys “Havana” Carbo adapting in a jazz
idiom a passionate selection of boleros.
SEDUCTIVE BOLEROS
Imagine an album of boleros recorded by Shirley Horn and directed by
Chet Baker. If this isn’t enough to send chills through you then
prepare yourself. A fan of Shirley, Chet and Tormé, Gladys “Havana”
Carbo will awaken many emotions with “So I’ll Dream You
Again” (64min. 33s) her debut disc on the CAP label (headed by
pianist Mike Longo) after her highly praised “Street Cries”
(with Gene Bertoncini and Marvin Stamm) which was launched by Soul Note.
This new CD, co-produced by the singer and Brazilian bassist Nilson
Matta, joined by other Brazilian compatriots such as pianist Helio Alves
(ex Joe Henderson, ex Hendrik Meurkens), and percussionist Valtinho
Anastacio (ex-Luis Bonfa, ex-McCoy Tyner), is one of the most pleasant
surprises of 1997.
Born in Havana, raised in New York, Carbo demonstrates her passion for
that era of Cuban music in the last years prior to Fidel’s revolution.
She travels with a voice that has a distinctive timbre and warmth, extraordinary
phrasing and stirring expressiveness, through the variants of the bolero:
bolero-mambo, bolero-son, bolero-canción, bolero-fox, bolero-moruno.
Intimate arrangements, free of unnecessary embellishments, realize a
natural adaptation for a jazz context.
This CD is DESTINED TO DEVELOP A CULT on the level of “Amoroso”
(Joaõ Gilberto) or “Sleeping Gypsy” (Michael Franks).
Even without percussion, the singer loses nothing when it comes to foundation
and swing, having instead a very subtle balance in perfect tune with
the recording’s proposed aesthetic. Romanticism never gives way
to melodramatic interpretations; Carbo insinuates rather than explains.
Good composer as well, right on target with “Te Volveré
a Soñar” (solo by Diego Urcola on flugelhorn), “Seashell”
(recitative with percussion effects and tenor sax by Oscar Feldman a
la Gato Barbieri, and “Funny Little Dream” which flirts
with a baiaõ.
But the CD’s treasure, like precious pearls, are the immortal
melodies of Electo Rosell (“Murmullo”), Cesar Portillo de
la Luz (“Noche Cubana”), his greatest hit next to “Tu
Mi Delirio”, Garcia Perdomo (“Total”) and Julio Gutierrez
(“Inolvidable”) Cubans all, and also jewels by Puerto Ricans
Rafael Hernández (“Desvelo de Amor”) in duo with
pianist John Di Martino, and Roberto Cole (“Olvídame”).
The singer also fished out Argentinean Sergio Mihanovich (“Si
Me Enamoro”) and revived Schwartz and Dietz (“Haunted Heart”),
applying the same display of vocal dynamic.
Enamored of Brazil’s music, she included two other Jobims in the
program: “O Que Tinha de Ser”, a sort of supplication/vignette
(or vice/versa) and “Fotografía”, bass and voice
duo reaffirming Nilson Matta’s enormous caliber (ex-Don Pullen,
ex-Joe Henderson), author as well of the beautiful arrangement of “Noche
Cubana”. Discreet congas and bongos enter here and there, as well
as the trumpet of “Chocolate Armenteros” in “Olvidame”
and “Inolvidable”.
FOR LISTENING, MAKING LOVE AND DANCING, NOT NECESSARILY IN THAT
ORDER, ENJOY!
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