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Eliane Elias: Love Stories (Concord Jazz)

A review of the Brazilian artist's 27th album

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Eliane Elias, Love Stories
The cover of Love Stories by Eliane Elias

Taking in the recent loss of João Gilberto, trying to put his pervasive influence and incalculable contributions into perspective, seems just a little bit easier listening to Eliane Elias’s Love Stories. The São Paulo-reared pianist, vocalist, and composer includes only one song associated with the bossa nova patriarch, Roberto Menescal and Ronaldo Bôscoli’s “O Barquinho,” but her 27th album is an extended riff on the sumptuously becalmed orchestral bossa sound forged by arranger Claus Ogerman on 1967’s epochal Francis Albert Sinatra & Antônio Carlos Jobim and Gilberto’s 1977 masterpiece Amoroso. Working most mostly in English, Elias seems to sigh rather than sing.

Intimate and sweeping, Love Stories offers a vivifying reminder of the still unplumbed depths of this particular well, and demonstrates how a master of quietude can transform just about any song into a bossa nova vehicle. Opening with Frances Lai’s “A Man and a Woman,” the eponymous theme from Claude Lelouch’s award-winning 1966 film, the album gently gathers force like a tide running back to the surf. There’s not a weak track on the album, though “Come Fly With Me” feels overly familiar even with Elias’s subtle reharmonizations and supple phrasing. Most impressive are her originals. “The Simplest Things” is a list song that feels like a kissing cousin to the best of the Bacharach/David catalog. With its sharply observed details, “The View” is an erotic idyll that puts flesh on the sensuous bossa pulse.

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Andrew Gilbert

Andrew Gilbert is a Berkeley-based freelancer who has written about arts and culture since 1989 for numerous publications, including the San Francisco Chronicle, San Jose Mercury News, Boston Globe, Los Angeles Times, East Bay Express, Berkeleyside, and KQED’s California Report. Born and raised in Los Angeles, he experienced a series of mind-blowing epiphanies listening to jazz masters at Kuumbwa Jazz Center in the late 1980s, performances he remembers more vividly than the gigs he saw last month.