Customer Reviews

Urubu

5 star:		(15)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

After reading the customer reviews of this disc, I feel compelled to chime in. This is a fine album, but it's not jazz, doesn't purport to be jazz, and thus shouldn't be criticized for not being jazzy enough. It was conceived by Carlos Jobim as a tribute to one of the greatest Brazilian composers of all time, Heitor Villa-Lobos. The project is executed with great feeling and beauty. Anyone who would call this "schmaltz" is unable or unwilling to approach Carlos Jobim as a serious composer and instead treats his work as if it were not something of real value but only of novelty value to be played as background music for a dinner party, a seduction, or a quiet evening at home. I can recommend this album very highly to those who are interested in actually listening to some wonderful pieces of music in the Brazilian tradition.

In my opinion, this is Jobim's masterpiece and a largely underestimated album. It is much more sophisticated than his albums usually identified with bossa nova, recorded in the early 60's. It reveals a composer that goes well beyond catchy melodies such as The Girl from Ipanema. I particularly love the instrumental tracks (Saudade do Brasil stands out), but I also find Lígia and Correnteza great songs. Special attention must be paid to Claus Ogerman's arrangements. In short, I think this album is mandatory for those interested in Brazilian music in general and Jobim's legacy in particular.

For those discovering Jobim and his bossa nova sound, Urubu will come as a surprise: it's neither bossa nor jazz, but a stunning confluence of both, resulting in a heavily-orchestrated type of 'easy listening' that is anything but. Jobim's recognised compositional idiosyncrasies and Claus Ogerman's lush arrangements keep pulling the music (and the listener) away from the deadness of muzak and into an extraordinary soundscape of traditional instruments and Brazilian-style orchestration. A note also has to be made here about the warm, analogue-sounding transfer to cd, which is crystal clear yet light as meringue. If you like the idea of music that slips down like soft ice cream on a hot day, yet doesn't leave any sickly aftertaste, then get this album!!!

Perhaps his most lyrical, beautiful and lasting work. Truly the work of a master artist/craftsman in his prime. The orchestrations and jobim's melancholy vocals make this a must have for ANY music lover.

Jobim has a very special musical signature and this production is representative of his style, including variations within the key of the melody, harmonies, and other musical traits and characteristics comprising his ¨musical personality¨. Albeit this is not music for every or any ¨ear¨ and taste, I deem this production worthy given my attribution of musical, ethnical and collector's value.

Urubu is very, very good. On this Jobim, already well established as a song writer, moved into composition for orchestral arrangements. That said, its not coincidentally a tribute to compatriot Heitor Villa-Lobos, an early twentieth century composer influenced by vernacular musical traditions as well as a concept album embracing the legends and folklore of his native Brazil.

All the tasteful restraint, superb arrangements, and subtle sense of melodicism associated with Jobim are showcased wonderfully here. If anything this is an excellent example of his maturation as an artist...the refinement he brought to the samba of Dorival Caymmi when looked at through a jazz-trained lens is here distilled further into the purely symphonic. Lots of lush strings and indigenous Brazilian instrumentation, an aversion to brass, and a delicate, Impressionistic, sensibility. This isn't, and never was intended to be, a jazz album. If you're looking for something that sounds like Stan Getz, this isn't it. If anything it might best be listened to as a soundtrack to a nonexistent movie.

If you're a fan of Wave, Stone Flower, and enjoy his distinctive voice and phrasing (yeah, he sings a great deal here)--and also like Debussy or Ravel--chances are you'll really like this.

For those discovering Jobim and his bossa nova sound, Urubu will come as a surprise: it's neither bossa nor jazz, but a stunning confluence of both, resulting in a heavily-orchestrated type of 'easy listening' that is anything but. Jobim's recognised compositional idiosyncrasies and Claus Ogerman's lush arrangements keep pulling the music (and the listener) away from the deadness of muzak and into an extraordinary soundscape of traditional instruments and Brazilian-style orchestration. If you like the idea of music that slips down like soft ice cream on a hot day, yet doesn't leave any sickly aftertaste, then get this album!!!

One of the best of Tom Jobim!! Lyrical , Harmonical and Deep

And yet, I'm not short of them... To begin with, is it "jazz"? Well, are Ellington and Gershwin "jazz"? Geez. Never mind; it's Jobim, and so it's *music* - beautiful music, and as such part of The Great Whole [expletive] Multiverse Songbook. Those who mistakenly identify Jobim with the muzak schmaltz "bossa nova" has been corrupted into in the US have no idea how gifted and versatile a songwriter and musician Jobim was, nor do they even begin to have a clue where his musical roots lie. Think Debussy and Ravel. Consider that among his masters and mentors were, among others, Villa Lobos and Radames Gnatalli. And that he began eking out a (rather meager) living, in the early Fities, as an *arranger*. There was always in Jobim's work a rich sense of composition, in the broadest sense, which shines through in this album, together with Matita Pere arguably the most accomplished Jobim / Claus Ogerman collaborations (and we're forever indebted to Creed Taylor for first bringing the two together). In the original LP (as in Matita Pere), side one comprised "regular" songs, while on side two Jobim gave free vent to his "symphonic" persona - and both enchanted and enthralled the listener to a point where flipping the record was a Hobson's choice of sorts. With the CD, you are spared the choice, and are allowed to experience how the last chords in Angela segue seamlessly into the opening bars of Saudade do Brazil (the English spelling of Brasil a deliberate irony). Still, try putting this CD on shuffle mode; no matter in what order the tracks play, it's one continuous flow of, again, music beautiful. And, give him his due: only Tom could write elogiacally (shame on the producers of the reissue for overimposing Jobim's headshot on the gorgeous photo of a jereba on full glide) about the Cathartidae...

My all time favorite Jobim recording. So beautiful, sophisticated, and romantic.
The first four selections have Jobim on vocals, with orchestra arranged and con-
ducted by the brilliant Claus Ogerman. The first tune, "Boto" (Porpoise) includes
vocalist Miucha in a duet with Jobim, and at over 6 minutes in length, is the long-
est vocal track on the cd. "Angela", the last vocal track, is one of the most in-
credibly romantic and beautiful things Jobim ever wrote. It's a tune not heard
very often, although Brazilian pianist/vocalist Eliane Elias did a sublime version
on her cd "Plays Jobim". The other two vocal tracks, "Ligia" and "Correnteza" (The
Stream), are gorgeous as well. "Correnteza", co-written with Luiz Bonfa, can also
be heard with vocalist Miucha on Japanese songbird Lisa Ono's fabulous cd interpre-
tations of Jobim called "Ipanema - The Music of Antonio Carlos Jobim". The rhythm
section for the first four selections (only) includes Jobim on Fender Rhodes piano,
Ron Carter on bass, Joao Palma on drums, and Ray Armando on percussion. The last
four selections on "Urubu" showcase Jobim the composer in a strictly orchestral
setting with large orchestra, including a choir of gentle voices perfectly matched
with it. This is some of the most serious and mesmerizing writing one will EVER
hear from Jobim, and can even be interpreted as symphonic works in their depth and
complexity - a genuine work of art. Jobim's son, Paulo, contributes one composition
here, "Valse" that is very gentle and beautiful. Claus Ogerman, again, conducts
the orchestra through the intricate charts Jobim composed, and he also produced the
entire album. From 1976, when it was originally released, this is utter brilliance
and breathtakingly beautiful. I have probably listened to "Urubu" a few hundred
times, since I first heard it, and it never fails to amaze me. There apparently
were some disagreements and difficulties in the creation of "Urubu" with Jobim
and Ogerman. In the original liner notes to the album, Jobim thanks legendary pro-
ducer Tommy LiPuma (Warner Bros.) for helping to work things out. Jobim also noted,
"When Claus left New York for Munchen(Germany), I felt like fleeing to Rio. And we
both knew that. So I didn't. Winter, as you well know, is grey, dreary, cold, and
long in New York, especially in a hotel room with the threat of one's wife suing
for divorce for not coming home in due time. Chiefly when you love her. But alone-
ness is not loneliness. And Claus came back and the record was made." How great
for us all! This was Jobim's tribute record to legendary Brazilian composer Hector
Villa-Lobos and it's a masterpiece - one of the most beautiful albums ever made by
ANYONE. Pure perfection. 500 billion stars.