Subsequent week, in case you are in New York, you should have a uncommon alternative to see and listen to a real bossa nova legend from Rio de Janeiro. After a three-year hiatus because of the pandemic, Marcos Valle is performing once more at Birdland, from September 13 to 17. Marcos is the composer of So Good (Summer time Samba), The Face I Love, Crickets Sing For Anamaria, If You Went Away, The Reply, Chup Chup I Obtained Away, She Advised Me She Advised Me and so many different fantastic bossa nova requirements. His return to New York is the work of producer Pat Philips, who has been producing BossaBrasil at Gianni Valenti’s Birdland for many years. [Photo above of Marcos Valle coutesy of Marcos Valle]
I’ve identified Marcos and his spouse, Patricia (each above), for 11 years, after I first interviewed him for JazzWax (begin right here). He additionally was the topic of my «Home Name» column in The Wall Avenue Journal in 2014 (go right here). Catching a gig by Marcos and his band is past rewarding. Your total soul comes alive by means of the magnificence of his songs, his voice and preparations. Subsequent week, Marcos will probably be joined by singer Paula Morelenbaum. They are going to be accompanied by Jesse Sadoc on trumpet, Itaiguara Brandao on bass, Renato “Massa” Calmon on drums, and Patricia Alvi on vocals and percussion. For tickets and knowledge, go right here or name: 212-581 3080. A particular shout-out to the occasion’s sponsor, the Row Resort.
Final week, I caught up with Marcos in Rio for a chat about what he is been as much as since I noticed him final in 2019. However first, let’s get within the temper. Here is Anamaria Valle and Marcos singing The Face I Love in 1968, organized by Eumir Deodato…
And here is Astrud Gilberto singing Marcos’s hit So Good, with organist Walter Wanderley, in 1966…
On to the interview…
JazzWax: I understand how a lot you tour annually. How did you cope in the course of the pandemic?
Marcos Valle: To start with of the outbreak in 2020, it was so unusual. All the things modified a lot. We needed to adapt our professions to our new lives indoors. To start with, I didn’t know precisely what to do. However, after some time, there began to be stay interviews on the pc and streaming performances. At first, it was all so newbie, so the sound wasn’t nice. But it surely was nonetheless good. Little by little, the sound tailored to the brand new format and improved.
JW: Why was it nonetheless good?
MV: It was good as a result of it was a method for me to be concerned, to be in contact with followers, with my public. It was good for audiences as a result of they may hear us within the security of their dwelling. And since we have been capable of play for them whereas within the security of our houses. The massive disadvantage, after all, was that I couldn’t hear the viewers’s response and so they couldn’t see how a lot we appreciated their applause and shouts. After some time, streaming additionally turned a technique to make some cash when sponsors started paying artists to carry out. However even with out the cash, the human connection that’s so vital for music, even when solely by streaming, turned crucial.
JW: Did you compose in the course of the lockdown?
MV: I wrote many, many songs. I wrote and recorded with Liniker. She’s a Brazilian singer-songwriter and former bandleader for the Brazilian R&B band Liniker e os Caramelows. The music we collaborated on is known as Vida, launched two months in the past. Right here, pay attention…
I additionally wrote and recorded with Ivan Lins and Joyce Moreno, a music entitled Casa Que Period Minha, or Home That Was Mine. It was launched round six months in the past and produced for Brazil’s Deck Information. Right here, pay attention…
With Joyce, I additionally wrote Nas Voltas do Tempo, which I recorded with Henrique Portugal, a member of Skank. It will likely be launched quickly.
JW: Wow, what else?
MV: Oh, man, I additionally wrote 10 songs with lyricist Nando Reis for an album we’ll file collectively quickly and can launch subsequent 12 months. And by myself, I’ve written eight songs for my subsequent album for Far Out Recordings. I recorded at dwelling some issues with Tom Misch in Europe. I used to be capable of file my voice and Fender Rhodes whereas he recorded guitar in Europe. Right here, pay attention…
Little by little I turned accustomed to being at dwelling, but in addition being productive with the brand new actuality and expertise at hand. Nonetheless, I missed the stay interplay with audiences. Now I’m again performing stay worldwide and it feels so nice. After Birdland subsequent week, I’m touring in Europe earlier than returning to Brazil to tour. All the things is occurring once more. I really feel nice about it.
W: What is going to you be enjoying at Birdland?
MV: It’s at all times a pleasure to have Paula Morelenbaum on stage with me. She’s an excellent singer and interpreter of bossa nova and my music. We’ll be performing a mixture of my new songs and songs of the previous. Paula will probably be singing songs from her repertoire as nicely. And songs by the masters, like Antonio Carlos Jobim. We’re going to deliver the true bossa nova feeling to the stage. [Photo above of Paula Morelenbaum]
JW: Are younger individuals in Rio discovering bossa nova by means of their dad and mom’ information?
MV: Sure, the pandemic had that impact. The youthful technology grew nearer to their dad and mom at dwelling by means of their music from the Sixties and ’70s. The bossa nova revival caught on in Europe and Japan years in the past. However now it’s very robust right here in Brazil. At my reveals right here, I see a many extra younger individuals within the viewers.
JW: What’s the music scene there like now?
MV: Many festivals are taking place once more in Brazil that entice worldwide musicians. Many of those live shows are outdoor. And lots of new teams and musicians listed here are asking me to put in writing and file with them. Busy is nice.
JW: The place did you carry out first when the pandemic eased?
MV: Australia. I used to be there with Azymouth, the jazz-funk trio that began in 1973. We performed collectively at seven totally different occasions. So lovely. However at first, we have been apprehensive. We hadn’t carried out stay for a very long time. We have been excited however insecure. Some artists I do know truly canceled reveals as a result of they’ve psychological issues about performing and the anxiousness was an excessive amount of after being off stage for thus lengthy. As quickly as we began to carry out in entrance of big competition crowds, wow, what an emotional feeling it was for all of us on stage. We have been so glad. After we returned to Brazil, we have been drained from the lengthy flight however we have been stuffed with vitality and happiness. We could not wait to tour. [Poster detail above featuring Marcos Valle and Azymouth]
JW: What’s the best factor that occurred to you since I noticed you final?
MV: I need to inform you a really humorous factor that occurred. Once I was in Los Angeles not too long ago, I went to a really stylish space known as La Brea. In Rio, I don’t have the persistence to purchase garments, even when Patricia asks me to do it. Once I journey, I’ve time between gigs to wind store in the course of the day. In La Brea there have been many shops with trendy males’s clothes outlets. I purchased 4 or 5 jackets for the stage. One in every of them was so lovely after I noticed it.
JW: What did it appear like?
MV: It was form of cream, not white, with a cloud sample. So we purchased it. Again in Brazil, I attempted it on once more. Within the shiny gentle, I observed that the patterns wasn’t clouds however bare our bodies touching different our bodies, like a love scene. I stated, “Patricia, it is a lovely jacket however it’s utterly totally different from what we noticed within the retailer.» Then I used it for a present on the Blue Observe in São Paulo. The band was observing it. I stated, “Look, don’t be distracted in the course of the present.” The imagery is not straightforward to see, so I am positive the viewers did not see it was a intercourse scene. But it surely turned a joke with the band. They stored insisting I put on it once more on stage.
JW: Do you ever tire of enjoying So Good?
MV: By no means. All of my performances embody So Good, as a result of I do know audiences expect it. What I attempt to do is hold it attention-grabbing with totally different preparations. Typically I alter the introduction or the important thing, you already know? I attempt to provoke myself. I most likely have 200 totally different preparations of the music. The band is aware of I do that. The ask me, «Marcos, what’s going to be the association of So Good tonight?» Typically I mix one association of the music with one other [laughs]. It’s my signature music so I’m glad to carry out it. The viewers, I see, could be very glad that I’m altering the association as a result of it makes the acquainted extra thrilling and totally different. So Good is one music I can always remember to carry out.
Bonus: Here is the total album of Marcos’s Nova Bossa Nova, from 1998 and reissued by Far Out Recordings in 2016…