Antonio Carlos Jobim Music

Of the 3 or 4 albums Joe Henderson did for the Verve label, this has to be among his best, on a par with the Miles Davis tribute and "Lush Life", his Grammy award winner. Many fans thought his best days were over since he left the Blue Note label but Joe proven them wrong with this beautiful session of Jobim songs. It was originally to be a date with Joe and Jobim but unfortunately, he died of heart disease a few weeks before this session was to take place so Joe was teamed with 2 rhythm sections. On side one, we have a Brazilian musicians such as Eliane Elias on piano, Dom Um Romero on percussion backing him then on Side Two, American musicians such as Herbie Hancock, Jack DeJohnette and Christian McBride backing him. I prefer the first side since there is an easy flow and empathy between Joe and the Brazilians who intuitively understand the song's rhythms and nuances while the Americans in particularly, Hancock, tend to rush and overplay the songs though "Triste" is a nice track. At least they left out the over-played "Girl from Ipanema" but I would've like to have heard a version of "Wave" which is played less often. Outside of that complaint, a great album.

Jobim may seem like the easiest musical material to toy with. And yes, some musicians can turn it into elevator music. Joe Henderson didn't take the easy way though. Every track here is done with the greatest care and affection, and new insights. Some tracks are lyrical in the simplest way (Happy Madness; Ligia). Some are deep and soulful (Portrait in Black and White). Others are searching and experimental without losing touch with Jobim's lyricism (Triste; No More Blues). Brazilian side men contribute what's essentially bossa nova. The Americans -Hancock, DeJonette, and McBride- add new dimensions to these simple tunes with fresh ideas and amazing virtuosity (just listen to Hancock's explosive solo on No More Blues).
Among my 1000+ CDs, this is one of those I listen to over and over. I sometimes replay the last note of some of the songs to relish it (Joe's breathing is just beautiful). A truly great album.

A wonderful concept, "Double Rainbow", to have one side of a Jobim tribute played with all Brazilian musicians, while the other utilizes American players, hence the title. Side One is awesome in its brilliance and subtlety, typical of the genre and the Man being honored. Henderson sounds perfect with backing by Oscar Castro-Neves on guitar (and some percussion), Eliane Elias on piano, Rico Assumpcao on bass, and Paulo Braga on drums. My favorites are: "Once I Loved", with only Castro-Neves' rhythmically perfect guitar backing Joe; and "Ligia", as subtle and beautiful a tune as Jobim ever composed. I have no idea why a previous reviewer would have a problem with Braga as the drummer on the 'Brazilian' side. Sure, the genre has evolved in its native land, but not only is this a 'tribute' recording, but Braga plays with Jobim on his last Brazilian release, "Antonio Brasileiro", and plays every variety of rhythm imaginable. He is a spectacular drummer who never overplays (...see next section) and always finds the right groove. The second side is completely different in its approach to Jobim's music. It was a shock to me at first after Side One. Herbie Hancock does what he does best - play into the outer reaches of melody, harmony, and rhythm - and, although it took a while to make the transition, he hooked me, especially on "Chega de Saudade". Christian McBride is solid throughout. MY problem, ironically, is that I feel that Jack DeJohnette has the tendancy to overplay on some of these tracks. Given, Hancock can bring that out in any drummer, as you try to follow and accentuate; and his playing on "Photograph "is tasteful, but, for me, bossa/samba is supposed to flow rhythmically, not be jarring with so many off-beat 'accents', and 'fills' all over the place ("Passarim"...). I could be missing the boat, though - perhaps that was exactly the point; to do a study in contrast. My favorite cut on Side two is, appropriately, minus drums...a really great jazz ballad version of "Retrato em branco e preto". All in all a great, if different, tribute to Jobim's mastery and genious.

This CD was my introduction to bossa nova music. I was blown away by the beautiful music. Being more knowledgeable about bossa nova music now, I have even more admiration for Joe Henderson's work on this CD. He treated A.C. Jobim's music with the respect it deserves and it shows in every tune. Joe was a whiz on the horn and he only got better with age. This is a nice treatment of bossa nova music.

Take the most imaginative composer, Tom Jobim, from the most innovative musical country - Brazil- and the most magical living saxophonist, Joe Henderson, and you are in for a treat. Add Herbie Hancock et al and you get one of the best if perhaps least known jazz gems of all time. If you have ever blown a horn, or put pen to stave you must do yourself a favour and hear this CD. The first track is sheer back of neck hairs bristling stuff and it goes on and on. Its up there with Kind of Blue. Nuff said!!

Of the 3 or 4 albums Joe Henderson did for the Verve label, this has to be among his best, on a par with the Miles Davis tribute and "Lush Life", his Grammy award winner. Many fans thought his best days were over since he left the Blue Note label but Joe proven them wrong with this beautiful session of Jobim songs. It was originally to be a date with Joe and Jobim but unfortunately, he died of heart disease a few weeks before this session was to take place so Joe was teamed with 2 rhythm sections. On side one, we have a Brazilian musicians such as Eliane Elias on piano, Dom Um Romero on percussion backing him then on Side Two, American musicians such as Herbie Hancock, Jack DeJohnette and Christian McBride backing him. I prefer the first side since there is an easy flow and empathy between Joe and the Brazilians who intuitively understand the song's rhythms and nuances while the Americans in particularly, Hancock, tend to rush and overplay the songs though "Triste" is a nice track. At least they left out the over-played "Girl from Ipanema" but I would've like to have heard a version of "Wave" which is played less often. Outside of that complaint, a great album.

Jobim may seem like the easiest musical material to toy with. And yes, some musicians can turn it into elevator music. Joe Henderson didn't take the easy way though. Every track here is done with the greatest care and affection, and new insights. Some tracks are lyrical in the simplest way (Happy Madness; Ligia). Some are deep and soulful (Portrait in Black and White). Others are searching and experimental without losing touch with Jobim's lyricism (Triste; No More Blues). Brazilian side men contribute what's essentially bossa nova. The Americans -Hancock, DeJonette, and McBride- add new dimensions to these simple tunes with fresh ideas and amazing virtuosity (just listen to Hancock's explosive solo on No More Blues).
Among my 1000+ CDs, this is one of those I listen to over and over. I sometimes replay the last note of some of the songs to relish it (Joe's breathing is just beautiful). A truly great album.

A wonderful concept, "Double Rainbow", to have one side of a Jobim tribute played with all Brazilian musicians, while the other utilizes American players, hence the title. Side One is awesome in its brilliance and subtlety, typical of the genre and the Man being honored. Henderson sounds perfect with backing by Oscar Castro-Neves on guitar (and some percussion), Eliane Elias on piano, Rico Assumpcao on bass, and Paulo Braga on drums. My favorites are: "Once I Loved", with only Castro-Neves' rhythmically perfect guitar backing Joe; and "Ligia", as subtle and beautiful a tune as Jobim ever composed. I have no idea why a previous reviewer would have a problem with Braga as the drummer on the 'Brazilian' side. Sure, the genre has evolved in its native land, but not only is this a 'tribute' recording, but Braga plays with Jobim on his last Brazilian release, "Antonio Brasileiro", and plays every variety of rhythm imaginable. He is a spectacular drummer who never overplays (...see next section) and always finds the right groove. The second side is completely different in its approach to Jobim's music. It was a shock to me at first after Side One. Herbie Hancock does what he does best - play into the outer reaches of melody, harmony, and rhythm - and, although it took a while to make the transition, he hooked me, especially on "Chega de Saudade". Christian McBride is solid throughout. MY problem, ironically, is that I feel that Jack DeJohnette has the tendancy to overplay on some of these tracks. Given, Hancock can bring that out in any drummer, as you try to follow and accentuate; and his playing on "Photograph "is tasteful, but, for me, bossa/samba is supposed to flow rhythmically, not be jarring with so many off-beat 'accents', and 'fills' all over the place ("Passarim"...). I could be missing the boat, though - perhaps that was exactly the point; to do a study in contrast. My favorite cut on Side two is, appropriately, minus drums...a really great jazz ballad version of "Retrato em branco e preto". All in all a great, if different, tribute to Jobim's mastery and genious.

This CD was my introduction to bossa nova music. I was blown away by the beautiful music. Being more knowledgeable about bossa nova music now, I have even more admiration for Joe Henderson's work on this CD. He treated A.C. Jobim's music with the respect it deserves and it shows in every tune. Joe was a whiz on the horn and he only got better with age. This is a nice treatment of bossa nova music.

Take the most imaginative composer, Tom Jobim, from the most innovative musical country - Brazil- and the most magical living saxophonist, Joe Henderson, and you are in for a treat. Add Herbie Hancock et al and you get one of the best if perhaps least known jazz gems of all time. If you have ever blown a horn, or put pen to stave you must do yourself a favour and hear this CD. The first track is sheer back of neck hairs bristling stuff and it goes on and on. Its up there with Kind of Blue. Nuff said!!

Simply a wonderful compilation of almost all the highlights of Jobim's recording career on Verve. It's all there, from his easy-going bossa classics like "Ela e Carioca" and "Girl from Ipanema" to his melancholy ballads like "Soneto do Separacao" and "Pra dizer Adeus." It collects the essential tracks from all his major collaborations, including Elis Regina, Edu Lobo, and Dorival Caymmi. Whether you're just a casual listener of bossa nova or a dedicated fanatic, DEFINITELY pick this one up.

Simply a wonderful compilation of almost all the highlights of Jobim's recording career on Verve. It's all there, from his easy-going bossa classics like "Ela e Carioca" and "Girl from Ipanema" to his melancholy ballads like "Soneto do Separacao" and "Pra dizer Adeus." It collects the essential tracks from all his major collaborations, including Elis Regina, Edu Lobo, and Dorival Caymmi. Whether you're just a casual listener of bossa nova or a dedicated fanatic, DEFINITELY pick this one up.

I would've liked to have been present for tea and cakes during these delightful recording sessions and see who calls Edu & Tom, or what friends or relatives show up to make an appearance.

The overall feel of this production is that it's a family affair.

Edu's voice blends with Jobim's so well at times it's hard to tell them apart.

Aloysio De Oliveira lends a hand, I appreciate his ear for acoustic recordings.

I can only begin to imagine how popular this CD is with the girls.

It's exciting to own a Japanese pressing of the CD.

Order Edu & Tom for your family to enjoy.

You won't be disappointed, a true collector's gem!