TUDO BONITO

If it hadn’t been disturbed by the 1964 coup, bossa nova would probably have followed the trends suggested in this disc that does not try for connections with electronica like, say, Bebel Gilberto’s album. In spite of singer/composer/instrumentalist Joyce not having taken part in the movement while it was peaking, her musical routes derive from a more swing-driven bossa, as practiced by João Donato, her partner in this CD, who is present in 7 out of the 12 tracks. Another sound support in this recording is Paulo Moura (saxophone/clarinet), who’s used to traveling through different genres and has also drank from the bossa well – ever since he played with Sergio Mendes’ sextet back in the 60s. Tudo Bonito (All Pretty) rescues a bit of those days’ sensation, but also features new songs that indicate continuing expectations. Even when a standard comes up, such as Só Tinha Que Ser Você, the repertoire avoids obvious approaches by swinging along with João Donato’s Fender electric piano (a must among 70s sounds lovers). Among a few covers – for example, the afro-samba Yemanjá, by Baden Powell and Vinicius de Moraes – Joyce’s skills as a songwriter emerge. In one track written with João Donato (Prossiga), two with deceased clothes designer Silvia Sangirardi (Galã Tantã and Lamarca na Gafieira) and another with Paulo César Pinheiro (Anos Trinta), she surfaces as a post-bossa nova samba musician, tuned in with the dissonant ideas of the movement.(Tárik de Souza)