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Sylvia Telles & Bossa Nova

Brazilian Music & Bossa Nova
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Music of Mr. Jobim
(1965)

This was, sadly, Sylvinha's last album (although not her last recording). And, in a way, it was fitting that it should be all-Jobim (except for a rather extraneous Das Rosas, by Dorival Caymmi, included because it was at the time a big hit in the US market, to which this album was aimed), with arrangements by Lindolfo Gaya, who also arranged her 1959 Amor de Gente Moca album, the very first all-Jobim one (Elizete Cardoso's Cancao do Amor Demais had some songs with words and music both by Vinicius de Moraes). During her all-too-short recording career (1956-1966), Sylvia Telles was Jobim's favorite singer, to whom he often handed, "hot off the piano" as the liner notes say, many classics-to-be such as her trademark Dindi. In turn, Jobim penned no less than half the 100-odd songs she ever cut. As always, her voice matches Jobim's melodies and moods perfectly, whether somber, sprightly, introspective, impressionistic or unabashedly romantic as my personal favorite, All That's Left Is to Say Goodbye. In the nine tracks with words in English, a language she was fully fluent in, Sylvia delivers the lyrics faultlessly (with just an occasional, and endearing, touch of "carioca" accent), again conveying just the proper emotional tone. So do Gaya's lush arrangements, and kudos for Dubas Music, the producers of this reissue, for their care in listing the musicians who, as best as can be ascertained, played at the sessions. This album leaves just one thing to be desired: that Sylvinha had stayed longer with us, enchanting us with her beautiful voice and even more beautiful spirit.
 

It Might As Well Be Spring
 

Bossa Balanco Balada (Serie Elenco)
(1959)

In 1959, just weeks after Joao Gilberto's landmark Chega de Saudade was released, Amor de Gente Moca hit the shelves: twelve songs by Antonio Carlos Jobim, most of them first recordings, beautifully sung by 25-year-old Sylvia Telles. It wasn't her debut, or the first time she recorded Jobim; by then, she was already a well-known and cherished singer. With this album, however, she established herself as *the* female bossa nova voice, and was ever since Jobim's favorite. And vice-versa: of the 100-odd songs she recorded during her all-too short carrer, half were by Jobim. Bossa Balanco Balada, released in 1964, reunited her with Lindolpho Gaya, Amor de Gente Moca's arranger, and features songs by Jobim as well by other bossa nova greats such as Roberto Menescal, Carlos Lyra and Johnny Alf (and even a haunting rendering of Midnight Sun with Portuguese lyrics). It's a perfect showcase for her range and artistry, and not to be missed not only by fans of Brazilian music, but by any music lover.

 

Bossa Nova

Brazil Meets Jazz

Brazilian Music Store:
Index of Artists & Genres

 


 


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