Maracana

Performers Ana Caram

Chesky | August 1, 2008 | Compact Disc

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While holding on tight to her bossa nova base, Caram ranges further afield in this Chesky outing to other strains of Brazilian music, even somewhat outside the country. Caram expands her palette to include a three-piece horn section -- Steve Sacks, Al Hunt (reeds), David Sacks (trombone) -- from whose versatile hands emerge a pocket-sized big band, a soulful flute choir, and other novel combinations. An occasional cello adds a brooding lyrical element, while an Argentine bandoneon sounds a bit cheesy and sentimental, and Caram herself plays an "electric" guitar with nylon strings -- which sounds only slightly more gleaming than an acoustic model. The album's clever title is the name of the title track, Brazil's biggest soccer stadium and an anagram of the singer's own name, though exactly why it reflects Caram's "two sides" as suggested in the packaging remains unclear from the album's contents. While it is a worthwhile experiment, this CD isn't as focused and as attractive as Caram's U.S. debut, Rio After Dark. ~ Richard S. Ginell

Format: Compact Disc

Released Date: August 1, 2008

Genre: Brazilian

Style: Jazz Instrument

Number of Discs: 1

Stereo/Mono: Stereo

Studio/Mixed/Live: Studio

Originally Released: 1993

Label Name: Chesky

UPC: 090368010421

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– More About This Product –

Maracana

Performers Ana Caram

Format: Compact Disc

Released Date: August 1, 2008

Genre: Brazilian

Style: Jazz Instrument

Number of Discs: 1

Stereo/Mono: Stereo

Studio/Mixed/Live: Studio

Originally Released: 1993

Label Name: Chesky

UPC: 090368010421


See artistic credits for this CD
Title Track Time
1.Africando --
2.Maybe --
3.From Flower To Flower --
4.You'll Never Know --
5.Chevalier Servante --
6.The Lie --
7.The Voice Of The Hill --
8.Beauty --
9.I Wish You Love --
10.I Wish You Love --
11.Paper Mache --
12.Maracana --

Editorial Notes

While holding on tight to her bossa nova base, Caram ranges further afield in this Chesky outing to other strains of Brazilian music, even somewhat outside the country. Caram expands her palette to include a three-piece horn section -- Steve Sacks, Al Hunt (reeds), David Sacks (trombone) -- from whose versatile hands emerge a pocket-sized big band, a soulful flute choir, and other novel combinations. An occasional cello adds a brooding lyrical element, while an Argentine bandoneon sounds a bit cheesy and sentimental, and Caram herself plays an "electric" guitar with nylon strings -- which sounds only slightly more gleaming than an acoustic model. The album's clever title is the name of the title track, Brazil's biggest soccer stadium and an anagram of the singer's own name, though exactly why it reflects Caram's "two sides" as suggested in the packaging remains unclear from the album's contents. While it is a worthwhile experiment, this CD isn't as focused and as attractive as Caram's U.S. debut, Rio After Dark. ~ Richard S. Ginell
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