SERENADE IN BLUE
Ithamara Koorax / Azymuth / Dom Um Romão / Cristina Braga (2001)
Crítica
Cotação: 
There was a clear purpose when Serenade in Blue was originally released last year: to project Ithamara Koorax's career in the U.S. From the choice of repertoire to the tone of the arrangements, everything was meticulously though out to introduce the singer as the latest talent of Brazilian jazz. Therefore, everything adds up to an extremely tasteful album, with great musicians, a repertoire filled with classic songs and a crafted singer. But it seems that Ithamara’s musical heart has been left aside, and all that was left were the brains.
The jazz-funk swing that conducts the arrangement of Un Homme Et Une Femme takes over most of the album. There’s also an easy listening taste to it, especially on the title track, enhanced by the discreet keyboards of J.R. Bertrami. One of the highlights is the subtlety of the arrangement of Moon River, preserving the beauty of the song and emphasizing the excellency of the interpreter. The same happens on The Shadow of Your Smile, though it sounds less thrilling. Another proof of the singer’s confidence is her ability to dry up the over-the-top sentimentalism of Dio Come Ti Amo.
In the "Brazil for export" part of the album, Bonita - a Tom Jobim for Americans - takes on a smooth version. The drum machine on Aquarela do Brasil would give the song (with an arrangement by Eumir Deodato) a lounge appeal, if it weren’t for Ithamara’s interpretation. On the following track, Aranjuez, Deodato forges a latin rhythm'n'blues. An overtly cool interpretation could have wrecked the peculiar punch of Jorge Ben’s Mas que Nada, but Ithamara pulls it off again.
(Marco Antonio Barbosa)
The jazz-funk swing that conducts the arrangement of Un Homme Et Une Femme takes over most of the album. There’s also an easy listening taste to it, especially on the title track, enhanced by the discreet keyboards of J.R. Bertrami. One of the highlights is the subtlety of the arrangement of Moon River, preserving the beauty of the song and emphasizing the excellency of the interpreter. The same happens on The Shadow of Your Smile, though it sounds less thrilling. Another proof of the singer’s confidence is her ability to dry up the over-the-top sentimentalism of Dio Come Ti Amo.
In the "Brazil for export" part of the album, Bonita - a Tom Jobim for Americans - takes on a smooth version. The drum machine on Aquarela do Brasil would give the song (with an arrangement by Eumir Deodato) a lounge appeal, if it weren’t for Ithamara’s interpretation. On the following track, Aranjuez, Deodato forges a latin rhythm'n'blues. An overtly cool interpretation could have wrecked the peculiar punch of Jorge Ben’s Mas que Nada, but Ithamara pulls it off again.
(Marco Antonio Barbosa)
Tracks
MetaMusica