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Reviewers: Tony Augarde [Editor], Don Mather, Sam Webster, Jonathan Woolf, Glyn Pursglove



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TILL BRONNER

Rio

Universal 060251780680

 

 


 


 
 
 
1.   Mistérios
2.   O Que Será?
3.   Só Danço Samba
4.   Once I Loved
5.   Evening
6.   Ela é Carioca
7.   High Night
8.   Café Com Pao
9.   Ligia
10. Sim ou Nao
11. A Ra
12. Bonita
13. Aquelas Coisas Todas
 
 
 
Till Brönner - Trumpet, vocals
Fabio Torres - Piano
Marcelo Mariano - Bass
Edu Ribeiro - Drums
Annie Lennox - Vocals (track 1)
Milton Nascimento - Vocals (tracks 1, 5)
Marco Pereira - Guitar (tracks 1-4, 6-12)
Larry Goldings - Organ (tracks 1-3, 5)
Marcos Suzano - Percussion (tracks 1, 3, 5, 6, 8, 9, 13)
Vanessa Da Mata - Vocals (track 2)
Marco Lobo - Percussion (tracks 2, 4, 7, 10-12)
Paulinho da Costa - Percussion (tracks 2, 8, 10, 11)
Aimee Mann - Vocals (track 4)
Luciana Souza - Vocals (tracks 5, 11, 13)
Sergio Mendes - Vocals (track 6)
Melody Gardot - Vocals (track 7)
Kurt Elling - Vocals (track 10)
Larry Klein - Vocals (track 11)
 
 

Till Brönner seems to be a man of many parts. He is not only a trumpeter, singer, arranger and record producer - he is also a composer, having written quite a lot of film music. On this album he visits Brazilian music, which essentially means the bossa nova, with compositions by the likes of Antonio Carlos Jobim and Joao Donato. Till Brönner sings on some tracks but he also uses a varied line-up of guest singers, starting with pop star Annie Lennox, who duets with Milton Nascimento on Mystérios. Nascimento's own composition Evening (Tarde) has Milton duetting with Luciana Souza. Sergio Mendes sings with alluring delicacy on Ela é Carioca. Other guest singers include Kurt Elling, Aimee Mann and Melody Gardot.

Till Brönner's breathy, fuzzy trumpet suits the bossa nova style with its understatement and he sings well enough, although a whole album of mainly slowish bossas (as I think I may have said before) can become samey, even soporific. There are two or three animated sambas on this album (especially Aquelas Coisas Todas), but otherwise every number is in gentle bossa nova vein. Another thing which I've probably questioned before is the wisdom of singing songs in Portuguese on an album aimed at an international audience, of which perhaps one per-cent understands the language. English lyrics would make the CD more accessible for listeners.

Nevertheless, it's a pleasant outing - and it reminds us of some of the bewitching melodies created in Brazil. My personal favourites are Só Danço Samba (in which Jobim and Vinicius de Moraes repeatedly suggest dancing the samba) and A Ra (The Frog, with its simple melody composed of one hypnotic phrase moving through various keys).
 

Tony Augarde
 

 

 

 



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