BOSSA NOVA BEAUTY:
MUSICAL PLEASURE WITH A BEAT THAT CAN’T BE BEAT
Music historians surveying what impacted, influenced, and changed what was on the charts and in the ears of listeners during the 1960s talk about two happy “invasions” from other continents shaking up America—in a good way. And with lasting resonance. There was the British Invasion with the Beatles and others. Much of it was rollicking rock, electric and driving. The other: The Brazilian Invasion, much of it far more low-key, lilting, and graceful in grabbing attention in its infectious, intoxicating magic.
Stacey Kent
Danilo Caymmi
In addition to importing the native artists’ work, artists from the USA and other lands jumped on the bandwagon to record the material, in Portuguese or English translations. They still do. Even a Bossa Nova addict who’s never been south of the Upper West Side knows and wants to sing the praises of “The Girl from Ipanema,” probably the most famous compositions of the acknowledged “father” of Bossa Nova, songwriter/performer Antonio Carlos Jobim (known to his friends by the nickname Tom). He passed away three decades ago, but his songs and others born in that style continue to be beloved, covered, discovered, and performed—with musicians influenced by Jobim and his peers continuing to create fresh material in the same vein, too.
Santra Coutinho, Master of Ceremonies
Vera Cordeiro, Founder and Chairwoman, Instituto Dara
The classy concert at The Town Hall on April 12, A Tribute to Tom Jobim, starred the tender-toned jazz-leaning singer Stacey Kent and vocalist/instrumentalist Danilo Caymmi, a longtime member of Jobim’s band. Each has a mellow, smooth sound that feels effortlessly natural. The voices of these two pros complement each other and it’s easy to surrender to the calm, cozy sweetness. Fellow musicians add layers of loveliness. It’s a festival of flute sounds, with that being the prominent instrument handled by multiple men. At times, that included Mr. Caymmi and/or Jim Tomlinson (more often on sax), who was introduced with a cute, coy Kent comment (“…whom many of you also know as my husband”). The married couple’s professional collaboration has been part of album releases for years, but in recent times they were also invited to record with this man of the Caymmi family of musicians. And that led to their live concerts, with the New York City event being a capper on a tour. Completing the band were flautist Aaron Irwin, guitarist Flavio Mendes, and cellist Annalissia Cecilia Martinez-Villavicencio. Heavenly!
Jim Tomlinson, Stacey Lent, Annalisa Cecelia Martinez-Villavicenzio,
Danilo Caymmi, Flavio Mendes
Mr. Caymmi spoke and sang in Portuguese, and it was clear that there was no language barrier for quite a few in the audience, because sentences were often greeted with appreciative laughter or applause. Ms. Kent spoke in English, stating how honored she felt to be working with someone who was part of the legacy, admitting she was not introduced to music of Brazil by absorbing it there, having grown up in New Jersey. She sang in both languages.
Danilo Caymmi, Flavio Mendes
There was obviously a mutual admiration thing going between the two singers as they exchanged smiles and compliments. Their appearance was non-glam—he in casual dark clothes, no jacket or tie, she in pants, a no-fuss white jacket, and sneakers. Stacey Kent is an understated performer, almost a minimalist, favoring subtle and simple over overblown or blowing the roof off. This makes her a fine fit for this material because it does not invite belting or big drama.
Jay Hassler, Aaron Irwin
Some tempi are somewhat fleeter than others, and the more blissful Bossa Nova is less percussive than dance-friendly sashaying, sultry sambas. However, a lot of similar-feel content makes a long program, given no intermission and time taken for an introductory film about the work and history of the Instituto Dara, the poverty-fighting charity benefiting from the ticket sales. Ninety minutes or more of these pretty melodies and grooves washing over you could make for a luxurious time in a hammock or lounge chair, cocktail in hand, or a stroll along the beach (Rio de Janeiro, ideally, I guess). But in a concert hall surrounded by people, with most of the lyrics in a language in which you’re not fluent, it takes some extra concentration after the first glorious hour.
Analissa Cecilia Martinez-Villavicenzio
So very many worthy, popular singers have gravitated mainly to the same smallish handful of Jobim gems that the melodies AND words have become as familiar as old friends. Their beauty often suffices. If that’s how you feel, too, you might say, “I’ve grown accustomed to their grace.”
Flavio Mendes
So, the set list presented many of “the usual suspects.” And they were welcome. And well handled to be sure; the evening’s sounds offered variety as each of the singers had vocal solos in addition to their duets, and selections with lengthier instrumental passages highlighting the different instruments. Besides being familiar with recordings sung by artists such as Astrud Gilberto and Flora Purim, and instrumental jazz players from around the world, favorite Americans such as Ella Fitzgerald, Sarah Vaughan, Rosemary Clooney, and John Pizzarelli have crooned the Jobim numbers. They’ve covered such items as “One-Note Samba,” the tricky list song titled “Waters of March,” “How Insensitive” and “Meditation,” the joyful “Wave,” the ingratiating “One Note Samba,” the uber-romantic “Corcovado” (known in English as “Quiet Nights of Quiet Stars”) the wistful and whisper-worthy romantic odes to “Dindi” and “Bonita,” “Triste,” as well as “Agua de Beber” and “The Song of the Sabia.” Frank Sinatra, who recorded with Tom Jobim himself (the songwriter on guitar, piano, some vocals) got to all of them.
Danilo Caymmi
Some music styles and trends are like sizzling summer days, trendy restaurants, torrid love affairs, fashions in clothing, and the careers of certain movie stars. They are HOT for a while and then… not—or not so much. While the so-called general public can be fickle, and former followers and record labels and the media give the cold shoulder to what they were once hot for, with much less in the way of major bookings at live venues (are there dead venues?), major label recordings (not labeled “nostalgia” or “reissue”), and radio play (how many folks still play the radio?).
Jim Tomlinson
But some styles—like Bossa Nova (“nova” Portuguese for “new”; “bossa” translated as “way” or “wave” or “trend”)—stick around, come back around, find new fans, artists, and writers while other subgenres are submerged in the quicksand of the past, almost as distinct as the dinosaurs and faded fads that found their fans—such as hula hoops, mood rings, pet rocks, Beanie babies, go-go boots, Cabbage Patch dolls, streaking, and flagpole-sitting (it was indeed a thing).
Stacey Kent, Danilo Caymmi
Jobim’s music has warm sentiments, refreshing as a cool breeze, and people are still hot to sing and play them. They have staying power and swaying power—a long shelf life. Meanwhile, there is less life left in the shrinking population of those who will continue to prize and praise and play and perform and cheer and cherish their favored fare that was once all the rage: whether it be disco, ragtime, skiffle, Hawaiian, New Jack Swing, heavy metal, glam rock, grunge, punk, funk, and assorted junk. And those who like beauty and elegance in music and words continue to hope for the demise of rap and cacophonous caterwauling and wall-to-wall throbbing thuds, blasting boring beats and other assaults and batteries not included on their personal playlists. And the sublime Brazilian offerings continue to captivate. The timelessness of A Tribute to Tom Jobim proves that. Expect major reminders in just two years when it will be the 100th anniversary of the icon’s birth.
Danilo Caymmi
photos by Sachyn Mital
Aaron Irwin, Jay Hassler, Jim Tomlinson, Stacey Kent,
Danilo Caymmi, Flavio Mendes, Analissa Cecilia Martinez-Villavicenzio
A Tribute to Tom Jobim
Stacey Kent and Danilo Caymmi
presented by Instituto Dara
The Town Hall in NYC
reviewed on April 12, 2025
