Music From Man Of La Mancha Eliane Elias
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- 1To Each His Dulcinea05:49
- 3What Does He Want Of Me06:43
- 4The Barber’s Song05:07
- 5It’s All The Same07:15
- 6I'm Only Thinking Of Him05:02
- 7Man Of La Mancha (I, Don Quixote)07:37
- 8The Impossible Dream05:45
- 9A Little Gossip04:31
Info for Music From Man Of La Mancha
Music From Man of La Mancha is a 1964 musical with a book by Dale Wasserman, lyrics by Joe Darion, and music by Mitch Leigh. It is adapted from Wasserman's non-musical 1959 teleplay I, Don Quixote, which was in turn inspired by Miguel de Cervantes and his 17th-century masterpiece Don Quixote.
The original 1965 Broadway production ran for 2,328 performances and won five Tony Awards, including Best Musical. The musical has been revived four times on Broadway, becoming one of the most enduring works of musical theatre. The principal song, "The Impossible Dream", became a standard.
Eliane previously recorded these tracks at the request of the original composer, Mitch Leigh, Guest artists are talented and GRAMMY Award-winning jazz artists Marc Johnson (bass), Satoshi Takeshi (drums), Manolo Badrena (percussion), Eddie Gomez (bass), Jack DeJohnette (drums).
"Pianist Eliane Elias follows her Latin Grammy win for 2017's magnificent Dance of Time with this set of tunes from the iconic musical Man of La Mancha. During the mid-'90s, Elias was approached by Mitch Leigh, the Tony-winning composer of her musical; he'd followed her career and greatly admired her work. Accompanied by Neil Warner, arranger for the original musical, he commissioned the pianist to rearrange songs from the show. Elias was given complete freedom to choose which songs she wished to record. She hired two rhythm sections: One featured drummer Jack DeJohnette and bassist Eddie Gomez; the other bassist Marc Johnson, drummer Satoshi Takeishi, and master percussionist Manolo Badrena (who plays with both groups). Elias and her sidemen recorded nine songs live in studio. Unfortunately, the completed album was shelved due to contractual issues and seemed doomed to obscurity. Leigh passed in 2014 and never saw its release. Concord rescued the album and added it to their catalog some 23 years after recording.
Listening now -- with Elias widely recognized as a jazz master -- is nothing short of revelatory. Each track has been thoroughly re-visioned, utilizing different rhythms, re-harmonizations, tempi, new intros, outros, interludes, and more. The songs here sound assured and disciplined, and are played with kinetic energy and empathy. Check the contrast between rhythm sections on the set's first two tracks, "To Each His Dulcinea," with Johnson, Takeishi, and Badrena, and "Dulcinea," with DeJohnette and Gomez. The former has a partido alto rhythm illuminated by rolling hand drums, lush Errol Garner-esque chord statements, and a popping bassline. The latter bears hints of "The Impossible Dream" within its intro. Elias combines a tender, bluesy swing with Bill Evans-style harmonics, all underscored by Gomez's gorgeous solo. The samba returns in "The Barber Song" and places Badrena alongside Gomez and DeJohnette. The samba piano intro is highlighted by Brazilian percussion instruments in interplay with the drum kit. Gomez doesn't so much hold things to the ground as push them further apart and together again. Elias' ranging solo employs an elegant use of Art Tatum's arpeggios and Herbie Hancock's rhythmic chording. "Man of La Mancha (I, Don Quixote)" is introduced by Gomez and DeJohnette playing in Capoeira rhythm, but it changes gears quickly with a piano interlude that introduces the melody even as Elias' left hand insistently interacts with the rhythm section. While a frevo rhythm drives album-closer "A Little Gossip," it is the track before, "The Impossible Dream," with Johnson, Takeishi, and Badrena, that nearly eclipses it. Fleet pacing aside, Elias' piano is recontextualized almost like that of a vocalist in the first half, and a post-bop soloist in the latter with a deft, swinging, Brazilian rhythmic approach from her left hand. Elias' governance on Music from Man of La Mancha is eclipsed only by her playing and arranging. Her intimate understanding of the tunes is balanced by imagination and taste. Thankfully, Concord is allowing jazz enthusiasts an opportunity to hear this fine recording at last." (Thom Jurek, AMG)
Eliane Elias, piano, vocals
Marc Johnson, bass
Satoshi Takeshi, drums
Manolo Badrena, percussion
Eddie Gomez, bass
Jack DeJohnette, drums
is known for her distinctive and immediately recognizable musical style which blends her Brazilian roots and her sensuous, alluring voice with her virtuosic instrumental jazz, classical and compositional skills.
Made in Brazil, scheduled for release on March 31, 2015 on Concord Jazz, marks a musical homecoming for Elias. In her three-decade long career as a solo artist, Made in Brazil results from the first time she’s recorded a disc in her native Brazil since moving to the United States in 1981.
Elias wears many hats on this project as producer, composer, lyricist, arranger, pianist and vocalist. Along with co-producers, Steve Rodby and Marc Johnson, her bass playing musical partner, Elias ventured ‘home’ and recruited a splendid cast of Brazilian musicians that include electric bassist Marcelo Mariano; guitarists Marcus Teixeira and Roberto Menescal; drummers Edu Ribeiro and Rafael Barata; and percussionists Mauro Refosco and Marivaldo dos Santos.
Elias peppered the sessions with delightful special guest performances from Mark Kibble and the multi-GRAMMY® Award winning Gospel vocal group Take 6, her singer/songwriter-daughter Amanda Brecker, one of Brazil’s most celebrated R&B stars, Ed Motta, and renowned bossa nova composer Roberto Menescal. Elias also invited Rob Mathes to handle orchestral arrangements on seven of the 12 tracks, which were recorded in London at the legendary Abbey Road studios.
Made in Brazil contains six Elias originals plus two Ary Barroso standards, two Roberto Menescal chestnuts, and two Antônio Carlos Jobim world-renowned gems. Elias, who did all the arrangements for the basic tracks, said that she purposely wanted Made in Brazil to incorporate three generations of Brazilian composers. Brazil is a part of Elias’ DNA and musically she demonstrates the tradition of where she comes from, as well as where she is today.
The five time GRAMMY® Award nominee, four time Gold Disc Award recipient and three time winner of Best Vocal Album in Japan, #1 artist in sales and radio in France, with all recordings reaching top five on Billboard Magazine, jazz radio charts on iTunes internationally and Amazon.com to name a few accolades, Elias has taken her place in the pantheon of music giants.
Born in Sao Paulo, Brazil, Elias’ musical talents began to show at an early age. She started studying piano at age seven and at age twelve was transcribing solos from the great jazz masters. By the time she was fifteen, she was teaching piano and improvisation at one of Brazil’s most prestigious schools of music. Her performing career began in Brazil at age seventeen, working with Brazilian singer/songwriter Toquinho and the great poet Vinicius de Moraes, who was also Antonio Carlos Jobim’s co-writer/lyricist. In 1981, she headed for New York and in 1982 landed a spot in the acclaimed group Steps Ahead.
Her first album release was a collaboration with Randy Brecker in 1984 entitled Amanda. Shortly thereafter her solo career began, spanning over twenty albums to date. In her work Elias has documented dozens of her own compositions, her outstanding piano playing and arranging, and beautiful vocal interpretations. In 1988 she was voted Best New Talent in Jazziz magazine’s Critics Poll.
Together with Herbie Hancock, she was nominated for a GRAMMY® in the Best Jazz Solo Performance category for her 1995 release, Solos and Duets. This recording was hailed by Musician magazine as “a landmark in piano duo history.” In the 1997 DownBeat Readers Poll, her recording The Three Americas was voted Best Jazz Album. Elias was also named in five other categories: Beyond Musician, Best Composer, Jazz Pianist, Female Vocalist and Musician of the Year. Considered one of the great interpreters of Jobim’s music, Elias has recorded two albums solely dedicated to the works of the composer, Plays Jobim and Sings Jobim. Her 1998 release Eliane Elias Sings Jobim won Best Vocal Album in Japan, was the number one record on Japan’s charts for over three months and was awarded Best Brazilian Album in the Jazziz Critics Poll.
Moreover, as a testament to the quality of her writing, the renowned Danish Radio Big Band has performed and recorded Elias’ compositions, arranged and conducted by the legendary Bob Brookmeyer. The CD recording of this project is called Impulsive and was released on Stunt Records. It received a GRAMMY® nomination for Best Large Jazz Ensemble Album in 2001. The same year, Calle 54, the highly acclaimed documentary film by Oscar-winning Spanish director Fernando Trueba, featured Elias’ performance of “Samba Triste” and also received a GRAMMY® nomination for Best Latin Jazz Album.
On the Classical Side, recorded in 1993, demonstrated Elias’ classical skills with a program of Bach, Ravel, and Villa Lobos. In 2002, Elias recorded with opera sensation Denyce Graves. For this recording, The Lost Days, she arranged two Brazilian classical pieces and wrote an original composition especially for Graves entitled “HaabiaTupi.”
In 2002, Elias signed to the RCA Music Group/Bluebird label and released Kissed by Nature, an album consisting of mostly original compositions. Dreamer, her second recording for the label (released in 2004), was a fresh mix of tunes from the American Songbook, Brazilian Bossa Novas, and two new originals, all sung in English and Portuguese and supported by a full orchestra. Dreamer received the Gold Disc Award and was voted Best Vocal Album in Japan in 2004. It reached No. 3 on the pop charts in France and No. 4 on the Billboard charts in the U.S. Elias’ Around the City, released on RCA Victor in August 2006, merges bits of Bossa Nova, with shades of pop, jazz, Latin and even rock & roll. Around the City features Elias’ vocals and songwriting in collaborations with producers Andres Levin and Lester Mendez, as well as fresh takes on pop classics such as Tito Puente’s “Oye Como Va” and Bob Marley’s “Jammin.”
Elias returned to Blue Note/ EMI in 2007 with Something for You, a tribute to the music of the late great Bill Evans. While touching the essence of the pianist/composer, she also brings her own unique gifts to the surface, as a composer, interpreter, outstanding instrumentalist and beguiling vocalist. This release won Best Vocal Album of the Year and the Gold Disc Award in Japan. This is also the third consecutive recording of Elias to receive these awards and her fourth overall. Something for You reached No. 1 on the U.S. Jazz Radio charts, No. 8 on Billboard and No. 2 on the French jazz charts.
2008 marked the fiftieth anniversary of the birth of Bossa Nova. In celebration of this event, Elias recorded Bossa Nova Stories, featuring some of the landmark songs of Brazil with American classic and pop standards, exquisitely performed as only she can, with lush romantic vocals and exciting playing accompanied by a stellar rhythm section and strings recorded at Abbey Road Studios in London.
Destined to become a classic, Bossa Nova Stories achieved the following: No. 1 debut on the French charts (2008), No. 1 Vocal Album from Swing Journal in Japan (May-June 2008), No. 1 iTunes Top Jazz Album (January 2009), No. 2 iTunes Top Latin Album (January 2009), No. 2 debut on Billboard’s Overall and Top Jazz Charts (January 2009). Bossa Nova Stories was also nominated by the Brazilian GRAMMYs (20th Premio da Musica Brasileira, 2009) for Best Foreign Album.
In 2009, EMI Japan released Eliane Elias Plays Live, an all-instrumental trio album with bassist Marc Johnson and drummer Joey Baron of a concert recorded in Amsterdam on May 31, 2002. This performance demonstrates modern jazz trio playing at the highest level and spotlights Elias’s inventiveness and supreme command of the instrument on a collection of jazz standards and one original.
Light My Fire, released May 31, 2011, on Concord Picante, a division of Concord Music Group, featured four compositions written or co-written by Elias herself and also included covers of familiar works by songwriters as diverse as Jim Morrison and the Doors, pop icon Stevie Wonder and jazz saxophonist Paul Desmond. Backing Elias was a crew of twelve high-caliber players, including guitarist/vocalist Gilberto Gil and trumpeter Randy Brecker. On Light My Fire, Elias wore many hats – as singer, pianist, composer, arranger and producer. In September 2011, her song “What about the Heart (Bate Bate)” was nominated for a Latin GRAMMY® in the category of Best Brazilian Song.
On May 28, 2013 Concord Jazz presented Elias’ I Thought About You (A Tribute To Chet Baker), an album that offered her personalized spin on the work of a key American jazz artist while spotlighting her connection to the singer-instrumentalist tradition. It fully demonstrated the range of interests that Elias’ art now boasts, and arrived with a statement of purpose: jazz repertoire can sound totally fresh when delivered with ingenuity and passion.
Long known for her native feel of Brazilian music, I Thought About You truly confirmed Elias’ expertise as an interpreter of American standards. In addition to receiving glowing critical praise, I Thought About You reached #1 album in the U.S. and France in sales on Amazon.com, #2 on iTunes in several countries including the U.S., France and Brazil, #4 on Billboard’s jazz charts and top jazz radio charts.
Demonstrating her unique gifts as a pianist, singer, composer and arranger as well as melding her immense talents in jazz, pop, classical and Brazilian music, she is as Jazziz magazine has called her, “A citizen of the world” and “an artist beyond category.”