RSS 2.0 FeedMarch 17, 2010, Cover Stories, Jazz
Bossa nova at the Folly
After a seemingly endless winter in Kansas City, the idea of taking a sojourn to Brazil seemed like a godsend - even if the only way to accomplish that was vicariously through masters of the bossa nova. For the few hundred lucky jazz lovers who ventured downtown to the Folly Theater last Saturday, a vacation to the tropics wasn't such an arduous trek after all.
The sound of vibrant timbales and passion-fueled ballads made up for the lack of palm trees at the Folly Theater last Saturday night and set the stage for Brazilian Nights: The Music of Jobim. If your knowledge of Antonio Carlos Jobim was minimal upon entering the venue that evening (i.e., only being able to hum the tune to his classic "The Girl From Ipanema"), there's a strong chance the songwriter/guitarist/pianist's musical vision was much more accessible by the end of the two-hour concert.
Musicians from north and south of the Equator joined together to perform at the Folly, which featured Brazilian Nights as part of its monthly Jazz Series. Native Brazilians Nilson Matta (upright bass), Duduka Da Fonseca (percussion), and Maucha Adnet (vocals) shared the stage with North America's own Vic Juris (guitar) and Harry Allen (tenor saxophone), all of whom created a smooth-as-silk setlist that has been part of their repertoire for the better part of their careers. From the opening instrumental number "Corcovado," which highlighted the dreamy guitar effects of Juris and nimble bass work of Matta, to the personalized "Dona Maria," a song Da Fonseca penned for his grandmother, sophistication was the commonality with each successive song.
Vocalist Maucha Adnet's straightforward-yet-sultry delivery didn't immediately pack a punch, partly because the microphone's volume level needed a slightly adjustment at first. Her singing focused more on proper phrasing and annunciation than vibrato, but Adnet's unique style carried on the Brazilian jazz vocal tradition and was perfectly suited for songs like "Águas de Março" and "Dindi." From the first few lines she crooned in "The Girl From Ipanema" (performed in traditional Portuguese as "Garota de Ipanema"), a murmur took over the crowd. After all, that staple song of the 1960's bossa nova craze likely introduced many a Folly audience member to the Brazilian jazz genre.
The soundtrack for 1959's Black Orpheus, a film shot in Brazil and directed by Marcel Camus, was well-presented throughout the evening. Jobim composed the music for the cinematic adaptation of Greek mythology's Orpheus and Eurydice, and the film found a hefty audience thanks to its launch during the aforementioned bossa nova craze. For the Brazilian Nights set, the quintet chose the Black Orpheus selections "A Felicidade" and "Samba de Orfeu," the latter which showcased a brilliant, tom-tom-heavy drum solo by Da Fonseca. The percussion was a consistent pleasure throughout the evening, particularly given that the Latin percussion set-up offers a bit more variety than the standard jazz drum kit.
The night's biggest surprise arrived when saxophonist Allen, who had remained silent for most of the set, approached the mic. A man who seems as adept at comedy as music, Allen announced that one particular selection was dedicated to "the most beautiful woman in the audience." He deadpanned over the sound of audience laughter, "She knows who she is. The band knows who she is." So what was the heartfelt song dedicated to Lady X? Rather than opting for predictability with "You Go To My Head" or Embraceable You," Allen threw a curveball. The Brazilian quintet was about to play the sultriest version of "It's Not Easy Being Green" that you could possibly fathom. Even Kermit the Frog himself would have blushed. There was no tongue firmly placed in cheek for this instrumental interpretation, however, as the band approached the Muppets' classic with as much respect as any offering from the Jobim catalog.
For as enjoyable as the set was during Brazilian Nights: The Music of Jobim, the "wow" factor wasn't necessarily there. That's not to say that each solo was not executed beautifully or that Maucha Adnet's vocals weren't compelling. They were satisfying until the end. The fact of the matter was that the Folly show was pleasingly laid-back - and the crowd left smiling. While some Latin music genres focus on injecting the crowds with infectious rhythms that necessitate an immediate move to the dance floor, Jobim's work is mellow in its purest form and the band captured that mood perfectly.
REVIEW
Folly Theater Jazz Series
The Music of Jobim
Saturday, March 13, 2010
Folly Theater
12th and Central Streets, Downtown Kansas City, MO
www.follytheater.com
Top photo: Maucha Adnet
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