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Maracana

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Reseña de álbum

While holding on tight to her bossa nova base, Caram ranges further afield in this Chesky outing to other strains of Brazilian music, even somewhat outside the country. Caram expands her palette to include a three-piece horn section — Steve Sacks, Al Hunt (reeds), David Sacks (trombone) — from whose versatile hands emerge a pocket-sized big band, a soulful flute choir, and other novel combinations. An occasional cello adds a brooding lyrical element, while an Argentine bandoneon sounds a bit cheesy and sentimental, and Caram herself plays an "electric" guitar with nylon strings — which sounds only slightly more gleaming than an acoustic model. The album's clever title is the name of the title track, Brazil's biggest soccer stadium and an anagram of the singer's own name, though exactly why it reflects Caram's "two sides" as suggested in the packaging remains unclear from the album's contents. While it is a worthwhile experiment, this CD isn't as focused and as attractive as Caram's U.S. debut, Rio After Dark. ~ Richard S. Ginell, Rovi

Biografía

Género: Brasileña

Años de actividad: '80s, '90s, '00s

The song tradition of Brazil is fused with American cool jazz by sultry vocalist Ana Caram. With her light, sensual vocals set to lush arrangements, Caram has brought a new sensibility to the bossa nova. Having established herself as a promising newcomer, Caram was encouraged by Antonio Carlos Jobim to go to New York in the late '80s. The move provided the key to Caram's success. Performing with jazz saxophonist Paquito D'Rivera at the JVC Jazz Festival, she caught the ear of an executive of the...
Biografía completa
Maracana, Ana Caram
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