(Brazilian Jazz, Bossa Nova, Vocal Jazz) Ithamara Koorax & Juarez Moreira - Bim Bom: The Complete Joao Gilberto Songbook - 2009, FLAC (tracks+.cue), lossless

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 6. February 2010, 16:50
Ithamara Koorax & Juarez Moreira / Bim Bom: The Complete Joao Gilberto Songbook
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REM DATE 2009
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PERFORMER "Ithamara Koorax & Juarez Moreira"
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Brazil is unusually rich in excellent singers, but even in a crowded field of brilliant vocalists, Ithamara Koorax stands out (and not only because she has the most awesome name in all of jazz). In a way, this album comes as something of a surprise -- João Gilberto is such an important name in Brazilian music that it's difficult to believe that either his entire compositional output can fit on a single disc, or that a "songbook" project like this has never been attempted. But both actually seem to be the case, and it's hard to imagine a better pair to take on the project than Koorax and the equally gifted guitarist Juarez Moreira. Both the singing and the playing are consistently brilliant throughout the program -- while the guitar instrumental "An Embrace to Bonfá" is pretty but unexceptional, the songs are all gems, from the sweet and tender "Hô-Bá-Lá-Lá" to the nimbly jazzy "Bim Bom," and from the lightly dancing "Minha Saudade" to the simple and heartbreakingly beautiful "Undiu." The latter exemplifies one of Gilberto's interesting tendencies -- writing songs composed of either a single word ("Undiu") or no words at all, only vocalese ("Valsa (Bebel)"). Absolutely wonderful.

Хотя самым известным в джазовом мире композитором босса-новы является Жобим, отцом, а точнее Папой (да-да, именно так, как титулуют римского первосвященника) этого изящного ответвления самбы в Бразилии почитают Жоао Жильберто. Именно он, как гениальный механик, что-такое «подкрутил» в самбе, что-то такое изменил в ритме, мелодике, принципах гармонизации, манере вокала – и получил «новую вещь», как переводится с португальского босса-нова. Как это перекликается с другой «новой вещью», new thing, которую примерно в те же годы создавали в джазе афроамериканские авангардисты, дававшие и такое определение тому, что мы называем чаще фри-джаз.
Но если фри-джаз так и остался музыкой элитарной, то босса-нова очаровала весь мир. Усилиями Жобима, де Мораеша, Бонфа, Насименто и других бразильских композиторов и исполнителей, а затем многих американцев и европейцев, игравших эту музыку, она стала интегральной частью современного джаза. Но первым был он, Папа, Жоао Жильберто. В 1959 году вышел его дебютный диск Chega de Saudade, в который вошли Bim Bom и Hô-Bá-Lá-Lá, первые в бразильской музыке образчики босса-новы.
В 2009 году, в ознаменование пятидесятилетия со дня рождения босса-новы, бразильские исполнители, певица Итамара Куракс и гитарист Хуарес Морейра, вместе с продюсером Арнальдо де Соутейро создали уникальный проект, собрав на одном диске все творческое наследие Жоао Жильберто, все сочиненные им композиции. Их немного, всего одиннадцать (Hô-Bá-Lá-Lá включена в двух версиях, португало- и англоязычной). Но их вполне достаточно, чтобы вновь ощутить прелесть, гибкость, невероятную романтичность и лиричную сентиментальность этой музыки в первоклассном исполнении Куракс и Морейры.
Итамара Куракс с начала нового столетия почти регулярно попадает в десятку лучших джазовых певиц мира в анкетах читателей Down Beat. И вполне заслуженно. Ее голос, интонирование, блистательный скэт-вокал (особенно в Minha Saudade) как нельзя лучше лают представление о красоте босса-новы. Гитара Хуареса Морейры не просто аккомпанирует певице, но составляет полноправный дуэт с ее голосом. Дополнительным достоинством альбома я бы назвал прекрасные liner notes от такого видного специалиста, как Айра Гитлер. Альбом – настоящий подарок для любителей бразильского джаза.