Customer Reviews

Double Rainbow: Music of Antonio Carlos Jobim

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Being myself a brazilian, I just can't avoid being proud of the inspiration that Tom Jobim's music brought to the jazz world. Listening to this album, I came to the conclusion that american jazz, despite its richness and diversity, would lack some sweet melody flavour if it wasn't influenced by the bossa nova movement. In the first suite of this wonderful "Double Rainbow", Joe teams up with a crew of brazilian musicians like Nico Assumpção (bass) and Eliane Elias (piano), that were very efficient at marking a clear line between the brazilian jazz playing style and the american one, brilliantly represented by musicians like Herbie Hancock(piano) and Christian McBride(acoustic bass). The highlights are "Boto", a group performance of amazing beauty that reaches perfection,"Triste", maybe the most fluid track of the album and "Lygia", the unforgettable tune of the brazilian master. If Tom was born in America, he would certainly stand alongside Cole Porter and George Gershwin in the pantheon of american immortal song writers. Definitely, this album is a must-buy for any serious jazz fan. It is strange to see how this album remains unknown or underrated by most of jazz listeners. It never appears in any "top 10 or 15 jazz albums of all time" list and it undoubtedly deserves it.

Joe Henderson's interpretations provide a stunning reminder that there is still much to be done with the music of Carlos Jobim. The two sets, recorded in New York and Rio, differ in the raw edge brought to bear by the Brazilian players with their incredibly subtle shifts of emphasis and timing. Henderson floats over it all with a range of tone and approach that point up Jobim's brilliance in finding alternative harmonic patterns. This album is more than a simple tribute - it is a technical and emotional masterpiece. However many times you play it, you will never hear it in quite the same way - it changes your perceptions every time. Superb.

This album was recorded in two different sections, or "Suites". The first Suite was recorded using some of Brazils best known jazz musicians...Eliane Elias, Oscar Castro-Neves, Nico Assumpcao, and Paulo Braga. Unfortunately, Jobim who was scheduled to play piano on that Suite, came down with health problems just days before recording and was unable to, and so Eliane was substituted. The 2nd Suite features some of Americas best loved jazz musicians, to give it a North American feel, and features Christian McBride, Herbie Hancock and Jack DeJohnette. And soaring above everybody is the beautiful sax of Joe Henderson. This is truly a wonderful jazz album, and a huge tribute to a wonderful musician, Antonio Carlos Jobim.

This CD is Fantastic in many ways. We all know the Genius called Tom Jobim and his compositions. In this album, we have a good opportunity to listen how different musicians, native and non-native Brazilian musicians play Tom Jobim's music. Although Brazilian drummer choosen for that played the bossa-nova style as if bossa nova itself hasn't evoluted (he plays as we played in mid 60's ) (Today, in Brazil we have a totally different approach to the style), the result it is very good because the CD contains many good musicians. But, as a Jazz pianist myself, I made this review just to remark the INCREDIBLE presence of Herbie Hancock on this CD. He is so outstanding in his solos that he practically dominates the CD. He made such wonderful solos that ofuscated even Joe Henderson Sax. And that climax was on "No more Blues (chega de Saudade)". Incredible ! If you heard it, you won't miss Bud Powell nor Chick Corea...:)) Listening is believing.

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.

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.

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.

I first heard Joe playing in that urgent style of his, on Horace Silvers' "song for my father" album. The thing about him is that his playing has always sounded mature and developed, like he was born to play. On this CD, Felicidade in particular, he simmers, builds to a rolling boil, and simmers again so nicely as he takes you to Brasil. Also the straight ahead playing on Triste' is nothing short of marvelous playing by the group! The whole is CD is great. Go 'head Joe!

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!!

The late tenor sax veteran Joe Henderson teamed with two different bands for two different approaches to the music of the late Antonio Carlos Jobim in this recording, a Brazilian aggregation that took a more traditional Brazilian approach and then a more jazz-oriented group including Herbie Hancock, Jack DeJohnette, and Christian McBride. The inevitable comparison to Stan Getz in Jobim's music shows Getz to be a little more romantic and smooth, Henderson more toward the analytic side, but not without fire and passion. Fans of Jobim's music will find much to admire in this fine recording.