Toronto – How do you link the following topics: traditional Bossa Nova, modern electronica, music royalty, and soul revivalists? The answer is of course Bebel Gilberto. Her latest album All In One has just been released, making it her debut on the Verve label. Furthering her work of creating Bossa-Nova infused pop, All In One provides a laid-back and non-confrontational vibe. Gilberto keeps things updated by partnering with such modern luminaries as Mark Ronson and the Dap-Kings. At the same time, she remains firmly grounded in her colourful past by working with a fellow member of Bossa Nova royalty, Daniel Jobim (grandson of Bossa Nova legend Antonio Carlos Jobim).
[Bossa Nova rhythms give] the music a sense of swaying coolness that provides the listener with a general sense of feelgoodness.
Bossa Nova (portuguese for “new trend”) evolved in the streets of Rio De Janeiro in the late 50′s by none other than João Gilberto, Bebel’s father. The movement was propelled by Antônio Carlos Jobim, and later Stan Getz, who helped take Bossa Nova to the American marketplace in the 60′s. Bossa Nova is itself routed in the syncopated rhythms of Samba. This rhythm gives the music a sense of swaying coolness that provides the listener with a general sense of feelgoodness. The strengths of Bossa Nova are apparently also its weaknesses, as watered down orchestral versions of it have for decades been associated with “elevator music”. This is a sad over-simplification and unfortunate reality of a great genre. There are a number of exemplary musicians that lend much credibility to the form. They include Laurindo Almeida, Bola Sete, Charlie Byrd, and Vince Guaraldi. Great riches go to those who are willing to scratch beneath the surface of this fantastic music.
Thankfully we have musicians like Bebel who have merged Brazillian Bossa with a more modern fare to keep the genre alive. Like her previous albums, this one showcases singing in both English and her native Portuguese. This work is a true melting pot of influences. Her inspiration for the album came during a vacation in Jamaica. This is fitting because she includes a very inventive cover of Bob Marley’s “Sun Is Shining” sung in a bilingual English/Portuguese format. In addition, the soul-tinged cover of Stevie Wonder’s “The Real Thing” is backed by Panic Manual’s favourite soul revivalists, The Dap-Kings. Despite the myriad influences at play, this album still manages to hold together with cohesion and ambiance. It’s not a challenging album, but it never intended to be.
If there’s one thing that gives me pause about Bebel’s efforts, it’s the English singing. This is not to say that I’m always opposed to people singing in their non-native tongue. Sometimes the innocence and simplicity of this can be wielded to great effect. The late great Nat King Cole used to sing in Spanish and Japanese with a fearlessness few could muster. He barely knew what he was singing; but his efforts were so earnest, and his voice so prodigious, that the crowds ate it up. It just worked. Bebel’s step-mother, Astrud Gilberto had such an innocent delivery of a young and delicate Portuguese woman singing in English that the result was positively infectious.
Sadly, not all attempts to sing outside of your native language will work so great. I’m reminded of French-Canadian singer Jorane, who produces several fresh and unique albums sung completely in either French or her own Sigur Ros-like made-up language. For her latest release (The You And The Now, 2005), she switched to English in what appeared to be a shot at a more mainstream audience. The results were forced and under-whelming. I wouldn’t describe Bebel’s efforts in English to be quite as heavy-handed, but I will admit that her Portugese songs come across as more natural, rhythmical and genuine.
Her fusion of old and new into something that is both demonstrates her commitment to the importance of having roots and wings.
Bebel is a musician that knows her roots. Her father pioneered Bossa Nova. Her mother (Miúcha) is an accomplished Brazilian singer. She performed with her mother and Stan Getz at NYC’s Carnegie Hall at the tender age of nine. Her fathers previous wife Astrud was an international superstar. The last time Bebel played the Mod Club in Toronto, she did a tribute to her step-mom by singing her song “So Nice”. It was a classy move.
But music that doesn’t evolve risks becoming outdated. Fortunately for us, Bebel has kept things modern by incorporating elements of pop, electronic, and soul with her Brazilian lineage. She has worked with Thievery Corporation, Mark Ronson, and The Dap-Kings, among many others, in order to bring the music that filled the streets of Rio 50 years ago to a new generation. Her fusion of old and new into something that is both demonstrates her commitment to the importance of having roots and wings.
