{"id":3723,"date":"2021-09-29T08:00:00","date_gmt":"2021-09-29T08:00:00","guid":{"rendered":"http:\/\/www.sebpalmer.com\/blog\/?p=3723"},"modified":"2022-12-18T12:09:32","modified_gmt":"2022-12-18T12:09:32","slug":"music-terra-brasilis-jobim-1980","status":"publish","type":"post","link":"http:\/\/www.sebpalmer.com\/blog\/?p=3723","title":{"rendered":"MUSiC: Terra Brasilis, Jobim, 1980"},"content":{"rendered":"\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n

Belonging to what one might call Jobim\u2019s \u2018third age\u2019 (I\u2019ll say a bit more on this later), this is a mid to late period recording, and is utterly sublime. <\/p>\n\n\n\n

If, like me, you really love the music of Ant\u00f4nio Carlos Jobim, then this is an essential purchase. It\u2019s his 11th album, released in 1980, so perhaps around the middle of his career, and now about 40 years old.<\/p>\n\n\n\n

There are many familiar tracks here, such as The Girl from Ipanema and Dindi. Then there are others less familiar, such as the the extraordinary Two Kites. But all superb, and the older numbers are given very fresh treatments, such that none are just routine reworkings. For example, Someone To Light Up My Life is terrifically re-imagined.<\/p>\n\n\n\n

Originally a double album, it all fits conveniently on one CD. A key part of the albums charm is Jobim\u2019s partnership with arranger Claus Ogerman, which reaches a kind of apotheosis here.<\/p>\n\n\n\n

\"\"
Jobim and Ogerman in the studio.<\/figcaption><\/figure>\n\n\n\n

With twenty tracks, including versions of most of the ol\u2019 favourites – but pretty much all reworked in refreshing ways (for example the final track is a vocal and piano only version of Estrada Branca, sung in English) – and a number of new pieces, it\u2019s a smorgasbord, or an embarrassment of riches. <\/p>\n\n\n\n

Perhaps rather ironically, one of the weakest cuts, at least to my ears, is his most famous, The Girl From Ipanema, which is relegated to opening side three of the vinyl, or track eleven on the CD. <\/p>\n\n\n\n

As usual, the supporting cast are both diverse and stellar, with American jazzers like Bob Cranshaw (bass), Bucky Pizarrelli (guitar) and Grady Tate (drums) rubbing shoulders very smoothly with Brazilians Pascoal Meirelles (drums) and Rubens Bassini (percussion). It\u2019s interesting that, unlike most of his earlier albums, no star horn players are mentioned. <\/p>\n\n\n\n

Returning to my \u2018third age of Jobim\u2019 idea, I think this is a good example of how, after his youthful bossa period, in the \u201860s, then his leaner \u2018art music\u2019 era of the \u201870s, from this recording onwards, he achieved a kind of late-era synthesis, moving easily between vocals and instrumentals, large orchestrations and solo performances, simplicity and complexity. <\/p>\n\n\n\n

If you\u2019re building a Jobim collection, although I wouldn\u2019t say this is the best or most logical place to start, it\u2019s not a bad one either, as it contains something from almost all aspects of his career. For the experienced Jobimista, it is, of course, essential. <\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Belonging to what one might call Jobim\u2019s \u2018third age\u2019 (I\u2019ll say a bit more on this later), this is a mid to late period recording, and is utterly sublime. If, like me, you really love the music of Ant\u00f4nio Carlos Jobim, then this is an essential purchase. It\u2019s his 11th album, released in 1980, so … <\/p>\n

Continue reading “MUSiC: Terra Brasilis, Jobim, 1980”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","footnotes":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false,"jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","enabled":false}}},"categories":[10],"tags":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/paGwUa-Y3","_links":{"self":[{"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/posts\/3723"}],"collection":[{"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3723"}],"version-history":[{"count":2,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/posts\/3723\/revisions"}],"predecessor-version":[{"id":7620,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=\/wp\/v2\/posts\/3723\/revisions\/7620"}],"wp:attachment":[{"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3723"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3723"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.sebpalmer.com\/blog\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3723"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}