Carol Saboya - Carolina

Size: 105,3 MB
Time: 45:12
File: MP3 @ 320K/s
Released: 2016
Styles: Brazilian Jazz, Samba
Art: Front

01. Passarim (5:38)
02. 1 X 0 (3:54)
03. Senhoras Do Amazonas (4:32)
04. Hello, Goodbye (3:51)
05. Aviao (4:01)
06. Fragile (4:44)
07. A Felicidade (4:06)
08. Olha, Maria (5:38)
09. Faltando Um Pedaco (4:52)
10. Zanzibar (3:51)

Classic samba from enchanting Brazilian vocalist Carol Saboya and a first-rate band. It's a family affair, with her father, pianist/composer Antonio Adolfo in charge of piano and arrangements. He is working with his regular band, so the arrangements fit like a glove. The core repertoire is unimpeachable, with three songs by the legendary Antonio Carlos Jobim (including "Passarim" and "A Felicidade"), two by the later master Djavan, and one each by Pixinguinha, Joao Bosco and Edu Lobo. Saboya is equally skilled at delivering lyrics and singing vocalise, which is especially evident in the fleet lines in the closing track, Edu Lobo's "Zanaibar" (which also features a strong solo from guitarist Leonardo Amuedo).

Of the two pop covers, Sting's "Fragile" is a clear fit with the program. The original had a samba feel, and Saboya and her musicians only had to interpret it their own way, which they do, making the song sound as if it had been written by a Brazilian (translating the lyrics into Portuguese might have completed the illusion, but they're sung in the original English). It features an especially effective flute solo from Marcelo Martins. The Beatles tune "Hello Goodbye" is a bit more problematic. Re-imagined as a bossa—which requires some metrical and harmonic changes—it never quite feels settled. Points for originality, and the problem may be more over-familiarity with the original than the changes made to it in this arrangement.

Simply a delightful album, easily recommended to Brazilian music fans. This was my first encounter with Saboya, and I will certainly be on the lookout for more of her work.

Personnel: Carol Saboya: vocal; Antonio Adolfo: piano; Marcelo Martins: flute, alto flute and soprano sax; Leo Amuedo: guitars; Jorge Helder: double bass; Rafael Barata: drums; Andre Siqueira and Rafael Barata: percussion; Claudio Spiewak: acoustic guitar (9).

Carolina

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Carol Saboya & Nelson Faria - Interpretam Canções De Antonio Carlos Jobim

Styles: Brazilian Bossa Nova
Year: 2006
File: MP3@320K/s
Time: 44:44
Size: 103,8 MB
Art: Front

(3:41)  1. Meninos, eu Vi
(3:44)  2. Ana Luiza
(3:18)  3. Estrada do Sol
(3:32)  4. Chansong
(2:29)  5. Canção em Modo Menor
(3:25)  6. Caminhos Cruzados
(2:25)  7. Fotografia
(3:45)  8. Estrada Branca
(2:15)  9. Foi a Noite
(3:32) 10. Bonita
(2:53) 11. Sem Você
(3:59) 12. Janelas Abertas
(3:18) 13. Espelho das Águas
(2:22) 14. Chora Coração

Having released three solo CDs, the first of which was the winner of a Sharp prize, Carol Saboya has also considerable international experience for her age, having performed in New York, Miami, and New Orleans (U.S.). In Brazil, she has participated in a number of important projects like the Homenagem a Braguinha (with Zé Renato), Novos Cariocas (with Daniel Gonzaga, and Bernardo Lobo), 40 Anos de Bossa Nova (with Roberto Menescal and Os Cariocas) and Homenagem a Cartola, (with Paulinho Moska, Nelson Sargento, Dona Zica, Dona Neuma, Delegado, Arranco de Varsóvia, Beth Carvalho, and Emílio Santiago).

The daughter of pianist/composer Antônio Adolfo, she released a single at age eight, shared with Mièle. As a child, she also participated in recording choirs for artists like Erasmo Carlos and Ângela Rô Rô. In 1989, she moved to Los Angeles, U.S., where she participated in Sérgio Mendes' Brasileiro, Grammy winner in the World music category. She participated in Aldir Blanc 50 Anos singing "Carta de Pedra" (Guinga/Aldir Blanc). She has also been participating in Antônio Adolfo's albums and, due to his work at the Brazilian section of IAJE, Saboya performed at the international meeting of the jazz schools in New Orleans. Her first solo album, Dança Da Voz (1997), won the Sharp prize in the category Revelação MPB. In 1999, she recorded an album with guitarist Nelson Faria which was dedicated to Tom Jobim's compositions, Janelas Abertas. The two of them were also released in Japan. In 2000, she released Sessão Passatempo. ~ Bio  https://itunes.apple.com/ca/artist/carol-saboya/id180101894#fullText

Interpretam Canções De Antonio Carlos Jobim

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Carol Saboya - Belezas: The Music Of Ivan Lins and Milton Nascimento

Styles: Brazilian Jazz, Bossa Nova
Year: 2012
File: MP3@320K/s
Time: 54:11
Size: 124,4 MB
Art: Front

(4:08)  1. Bola De Meia, Bola De Gude (Sock Ball and Marbles)
(4:12)  2. Who Is in Love Here (a Noite)
(4:26)  3. Abre Alas (Open the Way)
(4:35)  4. Tristesse
(4:33)  5. Beleza E Canção (Beauty And Song)
(4:21)  6. Anima
(3:53)  7. Soberana Rosa (She Walks This Earth)
(4:26)  8. Doce Presença (Sweetest Presence)
(5:37)  9. Tarde (Evening)
(4:50) 10. Tres Pontas (Tres Pontas Town)
(4:23) 11. Velas Içadas (Hoisted Sails)
(4:42) 12. Estrela Guia (Oh, Shining Star)

Brazilian vocalist Carol Saboya's previous recording with her father, pianist Antonio Adolfo La e Ca: Here and There (AAM Music) was one of the highlights of 2010. She returns as headliner on Belezas: The Music of Ivan Lins and Milton Nascimento again, supported by Adolfo and his very fine quartet. Composers Lins and Nascimento represent a late '60s answer to bossa nova, which had dominated Brazilian (and a good bit of American jazz) in the late 1950s and early '60s. Called MPB (Musica Popular Brasileira), this music was less a musical genre and more a combination of original songwriting and updated folk themes. 

The twelve-song recital is sung in Portuguese and English with splendid musical direction by Adolfo and accompaniment by guitarist Claudio Spiewak, whose clean lines and elastic chording properly dress up- tempo pieces like "Tres Pontas" and ballads like "Doce Presenca," which features the excellent Hendrik Meurkens working his Latin harmonica magic. Providng soprano ("Tristesse") and tenor saxophone ("Tarde"), Dave Liebman proves a master of musical barometric pressure, manipulating a song's humidity to effect just the proper sensuousness to complement Saboya's well-balanced soprano.

In what seems an endless flood of Latin jazz, excellence always finds its way and is properly manifested in Saboya and Adolfo. The pair's specific choice of such a narrow wedge of Brazilian music tightens the focus of the disc, making it intelligent and aesthetic entertainment. There is much to be learned and enjoyed about Belezas: The Music of Ivan Lins and Milton Nascimento, and we are lucky to have it to enjoy. 

~ C.Michael Bailey  http://www.allaboutjazz.com/belezas-the-music-of-ivan-lins-and-milton-nascimento-carol-saboya-aam-music-review-by-c-michael-bailey.php
 

Personnel: Antonio Adolfo: piano; Claudio Spiewak: acoustic and electric guitars; Jorge Helder: double bass; Rafael Barata: drums and percussion; Dave Liebman: soprano and tenor saxophones (4, 9); Hendrik Meurkens: harmonica (8).

Belezas: The Music Of Ivan Lins and Milton Nascimento

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Carol Saboya, Antonio Adolfo, Hendrik Meurkens - Copa Village

Styles: Brazilian Jazz, Bossa Nova
Year: 2015
File: MP3@320K/s
Time: 50:26
Size: 116,1 MB
Art: Front

(4:55)  1. The Girl From Ipanema
(4:22)  2. Copa Village
(4:07)  3. Show de Bola
(5:03)  4. O Bôto
(4:09)  5. Como Se Fosse
(4:34)  6. Água de Beber
(5:02)  7. Pois É
(3:26)  8. Pretty World
(4:54)  9. Two Kites
(4:17) 10. Nosso Mundo
(5:33) 11. Visão

Back in 1969, pianist Antonio Adolfo was working with vocalist Elis Regina. While touring through Sweden, Regina and her band had the opportunity to connect with Toots Thielemans, leading to the recording of Elis & Toots (Philips, 1969). Now, more than forty-five years later, Adolfo finds himself in a similar situation, working alongside another sunny Brazilian singer and European harmonica player—vocalist Carol Saboya, who happens to be his daughter, and vibraphonist/harmonica player Hendrik Meurkens. Copa Village finds these three delivering a program of cheery originals and Antonio Carlos Jobim numbers. The album ostensibly draws a parallel between Rio de Janeiro's Copacabana sector and New York's Greenwich Village in the '50s and '60s; the music, however, does not. The cast may include New York-based Brazilians, and Copa Village may have been recorded in The Big Apple, but these sun-dappled songs don't speak to the intense and gritty attitude of that city. This beautiful music flows in the Brazilian breeze, inducing smiles and soothing ears as it flies along.

The album opens with "The Girl From Ipanema/Garota De Ipanema," giving Saboya a chance to work through both the English and Portuguese lyrics connected to this oft-covered song. From there, it's off to the chipper, choro-ish title track, Meurkens' "Show De Bola," and Jobim's lesser-known "O Boto." Each one is different and distinct, yet all are winsome in nature. There are reflective moments to be found further down the line, as everybody slowly glides along on "Pois é" and gently coasts through "Visão," but gaiety and effervescence often win out on this outing. Saboya, Adolfo, and Meurkens prove to be a well-matched set of charmers, delivering seductive and stylish songs in seemingly effortless fashion. ~ Dan Bilawsky  http://www.allaboutjazz.com/copa-village-carol-saboya-aam-music-review-by-dan-bilawsky.php

Personnel: Carol Saboya: vocals; Hendrik Meurkens: harmonica, vibraphone; Antonio Adolfo: piano; Claudio Spiewak: acoustic guitars, electric guitars; Itaiguara Brandao: bass; Adriano Santos: drums; Andre Siquera: percussion.

Copa Village

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