• With the advent of bossa nova, Caterina Valente was perhaps the first European popular artist with the curiosity to actually venture to Brazil. A student of Latin American music, she gained the respect of bossa's protagonists when, on her arrival in April 1961, she proclaimed (in Portuguese) her admiration for the work of Agostinho dos Santos and Maysa and that she believed Brazilian music to be the best in the world. Caterina then gave a tremendously successful show at the Teatro Record in São Paulo and appeared at the Copacabana Palace in Rio before returning home to spread the word. She fashioned a delightful album with Brazilian master-guitarist Luiz Bonfá and went on to record superior interpretations of the bossa classics . • Unlike some other European musicians who may have struggled to disseminate bossa's rhythms or comprehend its nuances, Caterina (possibly the most cosmopolitan musician on the planet) seemed at once to be on the right emotional wavelength. A suitably light touch in performance and a personal interest in Brazilian and Portuguese culture doubtless assisted her in meeting the demands of this gorgeously understated, elegant music. Such imperious Jobim compositions as ‘Corcovado’ and ‘One Note Samba’ (which Caterina had championed), ‘Chega de saudade’, ‘How Insensitive’, ‘Girl from Ipanema’ and ‘Wave’, were now the eternal masterpieces of the genre.
A**K
ENJOY THE BRAZILIAN RHYTHMS FROM FOUR FINE VOCALISTS
The popularity of Bossa nova during the Fifties lead to its amazing popularity during the Sixties when seismic changes in pop music involved groups like The Beatles, Beach Boys etc. who edged out many established vocalists. However, they fought back and one way was to record albums with a Latin beat and particularly in bossa nova style which in Portuguese means “new trend”However, the four ladies in this collection were way ahead with the new beat before many American singers and musicians grabbed their share. My attraction to this collection is my long-time admiration for Caterina Valente who of European descent and an international star, contrasts with the other three (Alaide Costa/Maysa/Dolores Duran), who were unknown to me but are the real Brazilian deal.It has to be admitted that listening to these selections made me realise the “bossa nova” label is loosely given as many ballads permeate their between-tracks placing with the various sambas etc. and overall are just as pleasurable with thoughts of Brazilian sand, sea and sunshine always to the fore when appreciating the vocal renderings of all four vocalists.
J**K
Lost Chance!
In 1959 the soundtrack of the film „Black Orpheus“ made Bossa Nova popular all over the world. Caterina Valente recorded two songs of that masterpiece and became, very early, one of the leading Ladies of Bossa Nova.Unfortunately, a compilation of Valentes most important Bossa Nova recordings was - and is - still missing, up to now. Where are Caterinas brilliant versions of „The boy from Ipanema“, „Desafinado“, „Dindi“, „Canto de Ossanha“, the songs from „Black Orpheus“ and, at least, one track from the legendary album that Valente recorded with Bossa icon Luiz Bonfà?The Valente part of this Bossa Nova compilation is brilliant latin music - but a competent Bossa Nova compilation is still missing.Juergen Burwiek
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