With the passage of time has gone on to become one of the most obscure, vague and enigmatic of the revolution of the Bossa Nova, but in those glorious years was one of the vocalists most often requested. No doubt he lived the moment: this is shown by his three solo albums, ranging from 1959 (year of launch with the "well-disc debut of Joao Gilberto) and 1964, the year of silence took possession of his voice today. Amid all this, and to throw more wood to such a mysterious dossier was published in 1970 also recorded another album in the name of Ana Lucia, but according to all analysts agree, has nothing to do with who was part of the first and most honored artists batch of 'saudade'. It was a visionary artist, or two, until proven otherwise " which can only stick if it is not describing his vocal skills underpinned by a roster of composers órdago those who had a good fit.
"Ana Lucia" (Chantecler, 1959)
In this first lp happy are looming collision between tradition (the classic samba "Cheiro de saudade" , initially overwhelming, or "Cor de sin" ) and that this came to give him. This already takes hold of the second and more sweeping Jobim Songbook ( "Why tinh be" and "Esquecendo você" ). Jazz appropriates "Destinations" and the air of French music seems to hover in "No no meu Coração" and "Tema do adeus" where Ana Lúcia makes clear his versatile vocal abilities, beyond the useful lightness that is already beginning to assume this kind of bills. "Chicote" or "A Outra Face" take over the samba-canção, via boleros. The strings stretch and the dreamy tone of a thriving, and still only composer-Johnny Alf "O tempo eo vento" is one of the great strengths of this first contact. Choirs and vintage
cover of an album that, curiously, has not stuck in time and sounds as amazing as the first day.
"O House EA Ana Lúcia Voice" (Phillips, 1961)
After a torrid cover suggests environments and impossible (in contrast to the modesty of a photo of her first album), opens This followed with a "Quem foi" sentimental chord with the turbulence of the sheet. Since then "Drinking water" is the song most recognizable and ultimately the most claims, while "Brincadeira of love " advanced resources of Astrud Gilberto, but with more substance and temperature than this. Any part is more intimate and naked as the impressive "Maria dos olhos big" or "Canção for Ninar meu bem" society Moraes-Powell. Back to wisely choose a dazzling Johnny Alf bossa ( "Ilusão à toa" ), a figure who, thanks to this bailout, I had the opportunity to resize and re-sound in my subconscious.
"Canta Triste" (GER, 1964)
The title and cover, which hint winters indoors predispose us to an especially thoughtful and mature collection which is considered by many as his most accomplished album. But make no mistake: the tone and palette of stylistic possibilities will be very similar to the previous two deliveries. After participating in the first-and-landing legendary New York of the 'troupe bossanova' (along with other swords as Carlos Lyra, Luiz Bonfá or Agostinho dos Santos), this is the official farewell of this sober and unfortunately unnoticed singer. To look so convincing concept relevance melancholy, shall be asserted in different compositions of the diplomat-poet Vinicius de Moraes, spine of this production, whether accompanied by Jobim ( "Andam dizendo" ), Badem Powell ( "Amei both" ) or alone ( "Waltz of Eurydice" ), besides rescuing the classic with great success ( "and what is not?) " Acalanto "Dorival Caymmi teacher. Another major asset is the "Carinhoso" that popularized years ago the great Orlando Silva. Not to mention the perfume 'chanson' of "Meu Bem All" . Reclarmos And if we did not have enough, the "I went by Diz aí" and "Balanço do Mar" to degrease halfway.
"Caminhos" (Ebrau, 1970)
The other Ana Lúcia. Apparently Brazilian television presenter of the time they recorded this disc only has led to the usual misunderstandings with the first. The "Caminhos" is closer to the sound ye-ye, pop, sixties. However, it opens with the album's title track, a piece dim twilight that nothing will make the rest of the recording. Start after a subtle groove with "Anúncio" , composition the equally enigmatic and 'guadianesco' Arthur Verocai recently recovered after twenty years of silence, groove to crystallize into an old colleague Verocai, neither more nor less than Ivan Lins, in "Clarão da Lua Cheia" . In the chapter on foreign adaptations, there is bait the "L'anamour" Gainsbourg, as well as "Petite Fée" of Barrière. More will be lopsided to bossa "Ah eu pudesse is" . also attack the "Wight Is Wight" Sandie Shaw had popularized a year earlier. Lighter
apparently Ana Lúcia the period 'bossa nova', but equally valid theories reserved conspicuous that connect to the first, if only for a mutual fondness towards France and towards a strategy that includes fine part of the most famous Brazilian authors in history. Real unsolved mysteries.
