Hess Is More Hits The U.S.

In dark times people turn to art to restore their faith in the simple pleasures of life. The Danish, New York-based multi-instrumentalist/singer-songwriter/composer Mikkel Hess, a.k.a Hess Is More, has shrewdly revived the art of the absurd in music with just enough dark edges around his quirkiness to maintain a sense of relevancy in relation to the world we live in. And now courtesy of Nublu Records Hess's greatest hits will be released stateside. Simply titled Hits, the compilation reveals Hess's brand of quixotic pop. Dreamlike, catchy and cinematic without becoming encapsulated in a floating bubble devoid of references, the album has an unmistakable surreal patina and there are moments of spaced-out grooves which I like to refer to as inter-galactic pop. Songs like "Yes Boss," "The Magic Invention From T.D.P.R.C," an acronym for The Divine Presence Research Center, and "Don't Tell" display the kind of funny lyrics and out of this world dreamscapes required for head trips and out of body escapes. "Rosenkratz & Gyldenstjerned" is a whistled, space frontier song, while the whistling in "Glove Is In the Air" takes on more carefree, airy nuances and subtle, gypsy-jazz stylings in a ditty that reflects a comfortable familiarity with the known world. "Ssshhhh" is an upbeat, instrumental dancefloor foray that comes complete with an 80's inspired keyboard melody. The mood turns bleak in "In the Fridge," a dark and bluesy existential cry that hails from a cold world annexed by screeching violins and doomsday foreboding. By the end of the album "Never" doesn't necessarily restore your faith in lighter days ahead, though I suppose the 60's inspired la la la chorus and lyrics about never having cheated on his girlfriend or sleeping with a prostitute are tantamount to a step in the right direction. 

Rudi Y Cursi Soundtrack Out In All Digital Outlets

Gael Garcia Bernal and Diego Luna, co-stars in 2001's Oscar-nominated Y tu mamá también, reunite on-screen for Carlos Cuarón's directorial debut, Rudo Y Cursi. Co-produced by Cuarón's older brother Alfonso ("Children of Men"), Guillermo del Toro ("Pan's Labyrinth") and Alejandro González Iñárritu ("Babel") under the trio's new production company, Cha Cha Cha, the movie premiered in L.A. and New York City on May 8th. Already it's one of the highest grossing films in Mexican movie history. Released by Nacional Records, the soundtrack was co-produced by Camilo Lara (Mexican Institute of Sound) and the younger Cuarón. It flaunts itself like sonic bait boasting a who's who list of cutting-edge indie artists from Latin America and the U.S. The 17 deliciously crafted tracks display a refreshing variety of sounds that effectively reel the listener in to enhance the movie-watching experience. Covers of regional Mexican classics and original songs by indie luminaries like Devendra Banhart, Argentinean electro-folkie Juana Molina, Monterray rapper Niña Dioz - Mexico's answer to Lady Sovereign - and Black Lips all conspire to make this soundtrack one of the best I've heard since Trainspotting and Pulp Fiction. There's a rich palette of songs from Mexican hip-hop and Latin alt rock to electronic music, cumbia and indie pop. Banhart's rendition of "Lindo Cihuatlán" is especially haunting, while Niña Dioz's "Prefiero El Asfalto (Por Puro Gusto)" makes it clear why she's causing so much buzz these days as Mexican hip-hop's feisty soon-to-be ambassador. Jóvenes y Sexys' "Amor Platónico" is one track worthy of the repeat function on your iPod. Its diaphanous arrangements and heartfelt, wide-eyed lyrics are in stark contrast with the movies themes of ruthlessness and corruption in the world of pay-to-play sports. Three different versions of Cheap Trick's "I Want You To Want Me," including one sung in Spanish by an out-of-tune, seemingly inebriated Garcia Bernal, reflect some of the flick's moments of comic relief. The soundtrack ends with Bostich and Fussible's "Árboles De La Barranca" a Mexican classic naturally turned on its head. 

CéU Is Back With an EP Signaling the Release of a New Full-Length

Brazilian singer/songwriter CéU, who recently gave birth to her first child, has just released a four-track EP titled Cangote on Six Degrees Records. In anticipation of her second full-length since her 2007 self-titled breakthrough album, Cangote was recorded with CéU's musical soul mate, producer Beto Villares, who last year saw the U.S. release of his own beautifully crafted debut. Producer and engineer Gustavo Lenza (CéU’s touring engineer for the past 4 years) and soundtrack producer Gui Amabis, who collaborated with CéU on the Sonantes project, also added their magic touch to the new EP. The title-track is a daiphanous love song featuring the late legendary Brazilian drummer Gigante Brasil and Cuban keyboard player Pepe Cisneros who adds cool mystique with organ-infused soundscapes. “Bubuia," a song about floating on the surface of life, was written by CéU in collaboration with two of the most prominent Brazilian singers who are part of a new wave of the country's indie music scene. They are Anelis Assumpção, daughter of one of the most important composers and performers to come out of the São Paulo music scene ever – Itamar Assumpção – and Thalma de Freitas, vocalist of the band Orquestra Imperial. The EP also features the first studio versions of two songs that have been part of CéU’s live repertoire. CéU and her live band composed “Sonâmbulo” on the road. The studio version was done with her band and Villares on guitar. “Visgo de Jaca” is a classic samba made famous by singer Martinho da Vila back in the 70’s. This song also features CéU’s live band, who masterfully evoke the right kind of urban feel by updating the song. Soulful drums, percussion and pandeiro are laced with a retro keyboard groove and CéU's tradmark velvety vocals. Starting in July CéU will launch a brief U.S. tour, with performances in Seattle, New York, L.A. and San Francisco. For more info check go to www.sixdegreesrecords.com

The Dread Bass Chronicles Sparks a New Dancefloor Revolution

Kush Arora, a member of the San Francisco Surya Dub collective, has solidified his place as one of the most cutting-edge innovators in dub's latest evolution. The Dread Bass Chronicles unleashes urgent, aggressive beats and themes with which Arora is intimately versed in, such as the struggles of being an immigrant. A dancefloor warrior above all, he spikes his frenetic, cultural styled electronic riddims with a coterie of badass emcees to get his point across.  Guests on the album include Jamaican chanters Warrior Queen (the Bug) and Bongo Chilli, as well as Panama's MC Zulu, the Bay area's own Wiseproof, and longtime spars N4SA and Jukali. Arora's futuristic style melds subtle bhangra flourishes - remnants of his Punjab heritage - with punk, industrial sounds and in-your-face dancehall. "Dread Bass" may even be on its way to becoming the sound of a post-dancehall world, one in which Arora is the sonic explorer probing new realms of musical mutations.   

L.A. Jazz Collective Drops It For the People

Contemporary, forward-looking jazz plus grass-roots commitment to community through music equals a sonic co-op like no other. On its first outing, Sampler Vol. 1, the Los Angeles Jazz Collective channels the boundless spirit of the music in a patchwork compilation of some of the project's finest pickings. This is indie jazz at its best - unafraid to push the envelope and committed to the profusion of ideas that result when creatively inquisitive musicians join forces. One of my favorite tracks, "Loft Scene," injects subtle electronica within cool jazz contours. Who's ever doubted jazz's relevance needs a reality check and shot of Sampler Vol. 1.

The Fly Trio Soars with "Sky & Country"

I love jazz trios. Their uncluttered, crisp lines and intimate conversations are the best way to get turned on to the music. Modern jazz history can point to some spellbindingly dynamic trios. Sonny Rollins, Albert Ayler's mind-bending forays, and Ornette Coleman come to mind. The Fly Trio follows in their footsteps, except that they place a premium on inclusiveness and shifting perspectives. This is one ensemble that is devoid centripetal undertakings. Opting on an equation that thrives on equality, no one voice dominates and there's no centerpiece whose star power casts long shadows on supporting sidemen. The members of Fly Trio are in fact session musicians, but more than that, they are A-list players and composers who have accompanied some big names in the jazz world - Stan Getz, Chick Corea and Pat Metheny amongst others. On their new album saxophonist Mark Turner, bassist Larry Grenadier and drummer Jeff Ballard have reunited once again to promote the ideal of collectivity. But it's not like they're sacrificing individuality either. Each player contributes something unique to the whole, making this trio's functionality optimal, not just in a technical sense. These cats are musically interesting and relevant. Three is the new, hip formation and Ballard's opening track "Lady B" delivers with a supple tone that sets the vibe. "CJ" exudes very cool, sultry contours and "Dharma Days" is playful with jumping bass and subtle, yet kinetic drums rounding out Turner's laid back phrasing. Sky & Country closes with the unhurried, expansive "Super Sister" which features a rollicking drum solo almost midway and a creeping bass line accented by Turner's lamenting sax. Lookout, the Fly Trio is reclaiming the spirit of true collaboration for jazz.

The Altered State of RH+

RH+ is an alt rock band from Chile that just released its U.S. debut Quintana Roo (Nacional Records). They concoct a sound that's as expansive as their country's wildly diverse geography. Hopscotching through the sonic equivalents of their narrow topography of extremes, their ambient, aural landscapes are urban, glacial, and trippy - the last description ties in nicely with the Atacama desert, where the native hallucinogen known as San Pedro (Peyote in Mexico) grows abundantly. RH+'s mind-altering froth isn't as potent as San Pedro, but it's enough to get you fantasizing about being stranded in a desert where shamans once roamed. You can read my entire review of Quintana Roo in Spanish in El Nuevo Herald.
http://www.elnuevoherald.com/entretenimiento/musica/story/397284.html

Mark Rapp Brings Fresh Ideas to Jazz With His New Album

Mark Rapp is a young, up and coming trumpeter who seems to have found his footing in a sound that can best be described as soul jazz. On his new album, Token Tales, Rapp displays his knack for producing crisp melodic lines with both flair and a down-to-earth sensibility that intuitively gets the listener grooving. He knows just when to build momentum and expand the boundaries of improvisation. His tone is street wise and hip, but elegant enough to get nods from both novice and experienced audiences. Rapp can just as easily turn up the heat and then turn inward to radiate an ember glow. He weaves in global influences through his skillful playing of the Australian didgeridoo, a reminder that the world is increasingly a smaller place where there is no room for purists in music. In composition and playing, Rapp is a revelation and one of many young innovators who hold a key to the future of jazz in the present tense. In one word, Token Tales is ALIVE.

The Nublu Sound Undefined

The little club recast New York as a worldly musical epicenter and now its forward-looking indie record label attempts to capture the essence of its sound in twelve tracks. It's a musical curriculum vitae like no other: eclectic, innovative, and contemporary. The disc is a collection of sonic vignettes from bands either launched by Nublu (Brazilian Girls) or wisely picked up by the imprint (Sao Paulo's 3 Na Massa) in its quest to bring the world to the East Village. Other flagship Nublu acts such as the darkly decadent duo Kudu, the Brazilian, New York-based outfit Forro In The Dark, and trip-hop band Wax Poetic are featured on the compilation as well. The record opener, a fresh cut from I Led 3 Lives' spankin' new album, is a minimalist fusion of jazz and electronic accents, while the expansive finale, "Midsummer Sun," also incorporates electronic elements but within a wide-eyed, free-jazz context courtesy of Our Theory featuring Erik Truffaz. A slice of Nublu on disc, sustained by a viral, constantly churning state of musical evolution.

Taj Mahal Globalizes The Blues

Bluesmen are born resilient and it's no different with Taj Mahal. What makes him stray off the beaten path is a kind of meandering curiosity that's added refreshing versatility and allowed him to steer clear of musical constraints. One of the most influential American blues artists of the past half-century, the two-time Grammy winner has always had a panoramic approach to music making, over the years drawing on sounds and styles that resulted in a string of adventurous recordings in the 70s, a children's album in the early 90s, and multicultural excursions later that same decade, including a collaboration with Indian classical musicians, a cross-pollination of Hawaiian music and blues, and a meeting of the minds with Malian kora player Toumani Diabate. Taj may be high-minded but his output has always been more soulful than cerebral. The same can be said about Maestro, Taj's first album in the U.S. in five years and his first international debut on Heads Up. The newly released disc showcases the master's all-inclusive philosophy and gift for bringing other genres and artists of diverse styles into the fold of American roots music. Latin rockers Los Lobos back Taj on a few tracks, most notably on the boozy, rollicking "TV Mama," a tune written by Willie Turner and delivered here in a style reminiscent of seminal electric blues axman Elmore James. Ben Harper joins in on vocals on the raw and gritty "Dust Me Down," and surfer turned singer/songwriter Jack Johnson takes a cue from Taj's well-known "Further On Down the Road." Ziggy Marley also gets in on the action accompanied by his six-piece band and infusing some island vibe on "Black Man, Brown Man." Taj and Beninese songstress Angelique Kidjo share writing credits on "Zanzibar," a lilting African ballad on which she sings and which also features the sublime artistry of Diabate on the kora. Taj's global perspective is informed by many currents, but he goes back to basics reviving his roots by paying tribute to the likes of Ottis Redding on "Scratch My Back," Fats Domino on "Hello Josephine," and by doing what he does best with roadhouse swagger on "Diddy Wah Diddy," a Wille Dixon/Bo Diddley classic. It's the blues according to Taj Mahal.

Beto Villares Takes The Plunge

Brazilian producer Beto Villares' self-titled debut stands out as the best album I've heard so far this year. Not surprising for someone whose credentials range from composing film scores to producing multi-platinum selling recording artists. Most notably Villares is recognized for his contemporary global stylings on Brazilian chanteuse CéU's Grammy-nominated breakthrough --one of the biggest selling international records of 2007. Stepping out with his own project Villares presents a microcosm of Brazil's rich, musical landscape. Paying homage to the musical legacy of a country such as his is always a grand aspiration, but the Sao Paulo native does so from a unique perspective, infusing a new dynamic that's nothing short of sublime. The 16-track sonic voyage soaks up Brazil’s diversity into the fold of other global influences. The result reflects the magical tapestry of Villares' musical DNA. Delicate bossa novas are subtly embellished with overdubbed voices hovering in the background, eerily meandering synthesizers, and layers of percussion. Rapping in Portuguese collides with percolating rhythms, Latin funk grooves, and crypto-reggae beats. And sambas combine with old-world arrangements within looping beats. Villares' lush musings seamlessly flow in a mapped out universe of his creation and the sounds emanating are close to cosmic.

Donny McCaslin's Trio For The Ages On His "Recommended Tools"

Saxophonist Donny McCaslin is a well-versed jazzman who isn't afraid to partake in some stylistic somersaults in the kind of experimentalism that leads to that far out place that shimmers just beyond the horizon. On his latest recording, Recommended Tools (Greenleaf Music), McCaslin chooses a trio formation for the first time and delivers a dynamic set that really is, as the press release boasts, reminiscent of the classic trios of Sonny Rollins and Joe Henderson. At times rambunctious, other times laid back and cool, McCaslin's distinct tenor is always conversational no matter what the context and there's great chemistry in the room. Jonathan Blake's drum work is snappy -- crisp rolls and precise interplay -- while the bass adds depth in the hands of Hans Glawischnig. There are great improvisational solos that seem to build and expand in every direction to then naturally flow back in sync with the rest of the band. This is one of those great rummaging, probing, jazz albums that has all the makings of a timeless affair.

Introducing Spam Allstars

The Spam Allstars' latest funky little gem of an album -- number six if you've been counting --serves as an introductory crash course into the ways of DJ Le Spam and his motley crew of sonic dreamweavers for those who are oblivious. For those who aren't Introducing Spam Allstars is another delightful trip aboard Miami's funkiest indie outfit. The term descarga takes on a whole new dimension when filtered through the band's sultry mix of improvisational electronica, turntablism, Afro-Cuban music, Latin rhythms, funk, hip-hop, and dub. Le Spam (aka Andrew Yeomanson) is a Canadian-born musician who once played guitar for Cuban-American alt-rocker Nil Lara. He also cut his teeth DJ-ing on a pirate radio station in Miami where he gained a devoted listnership for his deftly executed mixes. The underground radio gig soon translated into a mainstream club gig at Miami's Hoy Como Ayer where musicians of all backgrounds fell under DJ Le Spam's spell. With Adam Zimmon (formerly of Shakira) on guitar, Tomas Diaz on timbales and vocals, AJ Hill (who played with everyone from Sly and the Family Stone to Herbie Hancock) on saxes and vocals, Steve Welsh on saxes, Mercedes Abal from Havana (formerly with Albita) on flute, Chad Bernstein on trombone and vocals and the great Afro-Cuban percussionist Lazaro Alfonso (formerly of Irakere) on congas, DJ Le Spam has assembled a super-charged, A-list posse that has successfully melded what may seem like opposite poles in music -- the organic with the mechanical. "Gallo Pinto," for instance is a retro groove with a backbeat, hustling horns, Afro-Cuban percussion, chekeré, an insistent funk guitar riff, and flute. "Ochimini" is a trance-inducing chant sung in Yoruba and anchored in a rubbery bass line that has the power to suck you in the very potent brew bubbling at the band's core. Another highlight is the more melodious, light-on-your-feet "Afrika," with folkloric call and response embellishments for added exoticism. "Descarga Gusano" starts as an old-school descarga from Cuba's golden age in music but is updated with layers of samples, Latin jazz horn improvisations, drumming, and hand claps. If you haven't fallen under the spell of Spam, now is the time.

Introducing Spam Allstars

The Spam Allstars' latest funky little gem of an album -- number six if you've been counting --serves as an introductory crash course into the ways of DJ Le Spam and his motley crew of sonic dreamweavers for those who are oblivious. For those who aren't Introducing Spam Allstars is another delightful trip aboard Miami's funkiest indie outfit. The term descarga takes on a whole new dimension when filtered through the band's sultry mix of improvisational electronica, turntablism, Afro-Cuban music, Latin rhythms, funk, hip-hop, and dub. Le Spam (aka Andrew Yeomanson) is a Canadian-born musician who once played guitar for Cuban-American alt-rocker Nil Lara. He also cut his teeth DJ-ing on a pirate radio station in Miami where he gained a devoted listnership for his deftly executed mixes. The underground radio gig soon translated into a mainstream club gig at Miami's Hoy Como Ayer where musicians of all backgrounds fell under DJ Le Spam's spell. With Adam Zimmon (formerly of Shakira) on guitar, Tomas Diaz on timbales and vocals, AJ Hill (who played with everyone from Sly and the Family Stone to Herbie Hancock) on saxes and vocals, Steve Welsh on saxes, Mercedes Abal from Havana (formerly with Albita) on flute, Chad Bernstein on trombone and vocals and the great Afro-Cuban percussionist Lazaro Alfonso (formerly of Irakere) on congas, DJ Le Spam has assembled a super-charged, A-list posse that has successfully melded what may seem like opposite poles in music -- the organic with the mechanical. "Gallo Pinto," for instance is a retro groove with a backbeat, hustling horns, Afro-Cuban percussion, chekeré, an insistent funk guitar riff, and flute. "Ochimini" is a trance-inducing chant sung in Yoruba and anchored in a rubbery bass line that has the power to suck you in the very potent brew bubbling at the band's core. Another highlight is the more melodious, light-on-your-feet "Afrika," with folkloric call and response embellishments for added exoticism. "Descarga Gusano" starts as an old-school descarga from Cuba's golden age in music but is updated with layers of samples, Latin jazz horn improvisations, drumming, and hand claps. If you haven't fallen under the spell of Spam, now is the time.

The Roots of Jazz

From Delta blues to Afro-Cuban music to cumbia, The Paul Carlon Octet plays roots music from a jazz perspective. On Roots Propaganda (Deep Tone) the end result flows naturally. There's a contagious, warm vintage feel resonating from this recording that I found to be very inviting. Maybe it's Carlon's arranging approach, reminiscent of the way Duke Ellington would write parts to fit the individual musical nuances of each member in his big band. On Roots Propaganda distinct elements meld into a harmonious whole. There's also a spiritual quality to some of the tracks, a few of which are even named after Yoruba deities from the Afro-Cuban pantheon, like "Ochun," in honor of the orisha of love, midway through the album. Vocalist Christelle Durandy nails every track she's featured in, from the swinging, trumpet and trombone infused intro "Backstory," to the closer "Yorubonics," beautifully sung in Yoruba and layered with soulful electric guitar and elegant piano. There's a call and response toward the end with the brass section acting as the responding chorus to Durandy's melodic chants. The effect is very cool.

The Roots of Jazz

From Delta blues to Afro-Cuban music to cumbia, The Paul Carlon Octet plays roots music from a jazz perspective. On Roots Propaganda (Deep Tone) the end result flows naturally. There's a contagious, warm vintage feel resonating from this recording that I found to be very inviting. Maybe it's Carlon's arranging approach, reminiscent of the way Duke Ellington would write parts to fit the individual musical nuances of each member in his big band. On Roots Propaganda distinct elements meld into a harmonious whole. There's also a spiritual quality to some of the tracks, a few of which are even named after Yoruba deities from the Afro-Cuban pantheon, like "Ochun," in honor of the orisha of love, midway through the album. Vocalist Christelle Durandy nails every track she's featured in, from the swinging, trumpet and trombone infused intro "Backstory," to the closer "Yorubonics," beautifully sung in Yoruba and layered with soulful electric guitar and elegant piano. There's a call and response toward the end with the brass section acting as the responding chorus to Durandy's melodic chants. The effect is very cool.

Gilberto Gil Offers His Worldview

Hot on the heels of his new release, Banda Larga Cordel (Warner Music Latina), Grammy-winning statesman Gilberto Gil -- Brazil's current minister of culture -- tips his hat to the digital revolution in an interactive, eleven-city U.S. tour that openly invites fans to capture the shows' images and sounds for the purpose of refraction, reproduction, and dissemination on a grand scale. It's Gil's way of making his music accessible to the masses and efficiently transmitting his message to the world that the digital divide is another man-made inequality that's not insurmountable. With dates from June 18 to July 5, the tour is Gil's first full-band swing through the U.S. since 1999. Technology has been a leit motif throughout Gil's long and storied career. On the occasion of announcing his new record he even invited U.S. journalists to pose their questions via a virtual press conference. I for one passed on the invitation since, admittedly, I've only partially crossed over to the other side of that divide. Gil's album, which translates as "The Broadband Pamphlet," alludes to the Internet as a tool that spreads his poetic and philosophical parables about the human condition. And he does so with a decidedly electronic sound folded into a plethora of Brazilian folkloric rhythms and styles. "Os Pais," is a song about modern parents who worry about the kind of world their children will inherit as they walk the fine line between cultural freedom and the kinds of excesses that can result in social ills. "Nao Grude Nao," is a reminder that no matter how far you travel you can never escape your own reality. And "Nao Tenho Medo da Morte," is a ballad that confronts the fear of death. Lighter songs about carnival trysts and bachelor parties round out historically themed songs such as "Outros Viram," an ode to Brazil as the center of civilization where miscegenation is the norm, and those that touch on the technological revolution as a double-edged sword. Musicianship and thought-provoking lyrics continue to define Gil's legacy.

Gilberto Gil Offers His Worldview

Hot on the heels of his new release, Banda Larga Cordel (Warner Music Latina), Grammy-winning statesman Gilberto Gil -- Brazil's current minister of culture -- tips his hat to the digital revolution in an interactive, eleven-city U.S. tour that openly invites fans to capture the shows' images and sounds for the purpose of refraction, reproduction, and dissemination on a grand scale. It's Gil's way of making his music accessible to the masses and efficiently transmitting his message to the world that the digital divide is another man-made inequality that's not insurmountable. With dates from June 18 to July 5, the tour is Gil's first full-band swing through the U.S. since 1999. Technology has been a leit motif throughout Gil's long and storied career. On the occasion of announcing his new record he even invited U.S. journalists to pose their questions via a virtual press conference. I for one passed on the invitation since, admittedly, I've only partially crossed over to the other side of that divide. Gil's album, which translates as "The Broadband Pamphlet," alludes to the Internet as a tool that spreads his poetic and philosophical parables about the human condition. And he does so with a decidedly electronic sound folded into a plethora of Brazilian folkloric rhythms and styles. "Os Pais," is a song about modern parents who worry about the kind of world their children will inherit as they walk the fine line between cultural freedom and the kinds of excesses that can result in social ills. "Nao Grude Nao," is a reminder that no matter how far you travel you can never escape your own reality. And "Nao Tenho Medo da Morte," is a ballad that confronts the fear of death. Lighter songs about carnival trysts and bachelor parties round out historically themed songs such as "Outros Viram," an ode to Brazil as the center of civilization where miscegenation is the norm, and those that touch on the technological revolution as a double-edged sword. Musicianship and thought-provoking lyrics continue to define Gil's legacy.

Rossa Passos's Bossa Nova Romance

In style and substance, Brazilian songstress Rosa Passos has been heralded as the female equivalent of João Gilberto. The comparison hasn't been gratuitous. Since her 1979 debut, Passos has kept the embers of bossa nova glowing long after its initial explosion enraptured the world and like Gilberto she's become the genre's international voice. In the manner of her idol, Passos is an accomplished rhythm guitarist as well. And last but not least there's a similar intention in both of their voices, where impeccable timing, clarity, and a nuanced conversational approach are favored over ornamentation. Gilberto and Passos exude a subtle, sophisticated cadence found somewhere between the ethereal sway of introspection and the inviting warmth of simplicity. On Passos's latest recording, Romance (Telarc) -- released to coincide with bossa nova's 50th anniversary -- the singer/songwriter tackles the timeless topic of love with her signature torchy vocals in twelve gems culled from the Great Brazilian Songbook. Arranged for a small jazz ensemble, Passos's phrasings are deliberate and disarming. Antonio Carlos Jobim ("Por Causa de Você," "Eu Sei Que Vou Te Amar"), Djavan ("Alibi"), Ivan Lins ("Doce Presenca"), João Donato ("Cadê Você"), Dorival Caymmi ("Nem Eu"), and Chico Buarque ("Tatuagem"), are some of the luminaries whose songs Passos inhabits in intimate, heartfelt renditions. Love, sensuality, and heartache are universal emotions that Passos taps into by singing from a very personal perspective. To be commended are the fine musicians who accompany Passos on her sentimental journey. Pianist Fabio Torres, bassist Paul Paulelli, drummer Celso de Almeida -- whose brushwork is exquisite -- guitarist Lula Galvão, trumpeters Daniel D’Alcântara and Nahor Gomes, and saxophonist Vinícius Dorin convey the required vulnerability and elegant restraint from where Passos glides, hovers, or meanders in verbose lyricism. Romance is bossa nova at its finest and Passos is its reigning queen.

Rossa Passos's Bossa Nova Romance

In style and substance, Brazilian songstress Rosa Passos has been heralded as the female equivalent of João Gilberto. The comparison hasn't been gratuitous. Since her 1979 debut, Passos has kept the embers of bossa nova glowing long after its initial explosion enraptured the world and like Gilberto she's become the genre's international voice. In the manner of her idol, Passos is an accomplished rhythm guitarist as well. And last but not least there's a similar intention in both of their voices, where impeccable timing, clarity, and a nuanced conversational approach are favored over ornamentation. Gilberto and Passos exude a subtle, sophisticated cadence found somewhere between the ethereal sway of introspection and the inviting warmth of simplicity. On Passos's latest recording, Romance (Telarc) -- released to coincide with bossa nova's 50th anniversary -- the singer/songwriter tackles the timeless topic of love with her signature torchy vocals in twelve gems culled from the Great Brazilian Songbook. Arranged for a small jazz ensemble, Passos's phrasings are deliberate and disarming. Antonio Carlos Jobim ("Por Causa de Você," "Eu Sei Que Vou Te Amar"), Djavan ("Alibi"), Ivan Lins ("Doce Presenca"), João Donato ("Cadê Você"), Dorival Caymmi ("Nem Eu"), and Chico Buarque ("Tatuagem"), are some of the luminaries whose songs Passos inhabits in intimate, heartfelt renditions. Love, sensuality, and heartache are universal emotions that Passos taps into by singing from a very personal perspective. To be commended are the fine musicians who accompany Passos on her sentimental journey. Pianist Fabio Torres, bassist Paul Paulelli, drummer Celso de Almeida -- whose brushwork is exquisite -- guitarist Lula Galvão, trumpeters Daniel D’Alcântara and Nahor Gomes, and saxophonist Vinícius Dorin convey the required vulnerability and elegant restraint from where Passos glides, hovers, or meanders in verbose lyricism. Romance is bossa nova at its finest and Passos is its reigning queen.