, on Rhodes, Yamaha and Hammond organs, clavinet, and synthesizers. Small wonder that on Got to Be Real, Koorax sounds completely at home in different types of material, from Azymuth ("Toque de Cuica") to Herbie Hancock
and stars from elsewhere in the jazz constellation. While Koorax was primarily introduced to international audiences through Serenade in Blue, licensed by Milestone Records for release in 2000, previous albums such as Ithamara Koorax Sings the Luiz Bonfa Songbook (King, 1996) were hits in her homeland and other countries.
Koorax and Azymuth soaked in the liquid warmth of Ivan Lins' title track for her Love Dance: The Ballad Album (Milestone, 2003) follow-up. On Autumn in New York (Jazz Station Records, 2005), she dedicated her stunning performance of "I Fall in Love Too Easily" to one of its most famous interpreters, Miles Davis
But like the enigmatic, exotic landscapes of her native Brazil, to many music fans Ithamara Koorax remains undiscovered beauty. Arranged and produced by Arnaldo DeSouteiro, Got to Be Real begins with several languid and lush interpretations of pop classics from the 1960s and '70s before moving into Brazilian and jazz colors. "Ithamara has been singing these songs for many, many years, and this trio has been touring with her since 2005, not only in Brazil, but also in Europe and Asia," explains DeSouteiro. "We've been doing little modifications all the time, experimenting with different tempos and details until we felt they were finished and ready to record." (Sadly, Mr. Bertrami passed away in July 2012.)
Most Koorax albums contain a moment when her throat opens and unleashes an impossible but perfectly rendered note. On Got to Be Real, it's her impossibly high and long sustained note that closes the first chorus of its title track, expertly rearranged into a simmering and luxurious Sade
quiet storm. Wrapping "Going Out of My Head" in Koorax's passionate and colorful voice turns it into something much more than the original hit by Little Anthony & The Imperials, plaintive as a teenager in love.
"Toque de Cuica" lights up a Real Brazilian jazz manifesto, thundering with echoes of the groundbreaking vocal/percussion work by Brazil's Flora Purim
while Koorax's voice, sharp as a whip, thrashes its melody forward. Rendered as a duet between Koorax's breathless voice and Bertrami's Fender Rhodes, "Can't Take My Eyes Off of You" illuminates the creative intimacy between these two musicians, as vocalist and keyboardist seem to each effortlessly know where the other will be.
What would Koorax say to jazz fans who think there's too much pop on Got to Be Real? "I didn't count if I was singing two or three or five 'pop' songs. I always choose songs that I like to sing and that I feel I can add something personal to," Koorax explains. "I don't care if they are jazz tunes, Great American Songbook standards, bossa anthems, pop hits, R & B songs, I really don't care. Brazilian Butterfly was an album of traditional Brazilian folk songs and got rave reviews in the jazz community as well as in the electronica and dance-music areas."
Jazz historian Ira Gitler once wrote about Ithamara Koorax: "Her range and technique are remarkable, but you don't necessarily take time out to marvel at her technique until later on because you are too absorbed in her musical message. Her powerful singing speaks for itself with celestial elegance."
All About Jazz: You've done a lot of different types of albums, but even so, Got to Be Real is still a departure and a very different album for you. Does Got to Be Real sound different from your previous albums to you?
Ithamara Koorax: Each and every album in my 15-CD discography sounds different to me. I never tried or wanted to repeat myself. I always tried to, at first, please me and then please the listener. One of the best things written about me came from Fred Bouchard, when reviewing Brazilian Butterfly for DownBeat: "Koorax is delightfully unpredictable in her music." That was a big compliment for me.
And now that the business of recorded music has been ruinedI mean, now you don't have to feel the pressure from record companies because they are gone, they are past, and now 99 percent of the jazz artists produce and manufacture their own products without any interferenceI feel more free than ever.
My first US album, Serenade in Blue, released in 2000 by Milestone, a very prestigious label with whom I was proud to be associated till 2003, was subtitled My Favorite Songs when released in Asia, Europe and Brazil. But, actually, all my albums should be subtitled My Favorite Songs because the songs I choose are always my favorite ones, at least during the period I was recording the album, or they belong to my big list of favorite songs, since I have a repertoire of 200-plus songs that I love to sing in my live performances. The songs from Got To Be Real, for example, have been in my heart for many, many years. I have been singing some of them since the beginning of my professional career in Brazil 22 years ago.
Others go even back to my childhood, because I used to dance to songs like "Never Can Say Goodbye," "Got To Be Real" and "Can't Take My Eyes Off of You" when I was in my teens, in parties at my school. It was a long and very pleasant process to find my personal way to sing them but at the same time let them keep their identity. I haven't destroyed the songs, they remain songs of love and happiness, but you don't need to shout about love and happiness. You can whisper words of love. They become more sensual to me. The song's impact is not diminishedit's even stronger. You don't need to scream, "I love you." There are other ways to say "I love you." Oh, that could be a good subtitle to this new CDOther Ways To Say I Love You!
Some of my previous CDs were recorded during long periods of time, especially Red River (King, 1995), Serenade in Blue, Love Dance and Brazilian Butterfly. It took me two to three years to complete each of them because I had to deal with the schedules of people like Antonio Carlos Jobim, Luiz Bonfa, John McLaughlin, Larry Coryell, Claus Ogerman, Jay Berliner
and so on, to the point that Love Dance was recorded in five different countries: Brazil, USA, England, Germany and Monaco! But I'm glad I kept the spontaneity in all of them in terms of my vocal interpretations, because I rarely overdub. I hate to overdub vocals. On Got To Be Real, Autumn in New York, Bim Bom, O Grande Amor and many other albums, I recorded live in the studio, alongside the musicians. Percussion parts and some synth solos were overdubbed on Got To Be Real but not my voice.
This new CD is also my first one with my road trio, the group that toured all over the world with me from 2005 to 2011. These wonderful guys were supposed to make the Got To Be Real tour, of course, but my keyboardist for the past 22 years, Jose Roberto Bertrami, passed away last July 8. I'm still devastated by this terrible loss, and I'm auditioning some new guys to replace him. But it will be very difficult because he was a true geniusBrazil's best keyboardist ever, the founder of Azymuth, Brazil's top jazz group ever. He also recorded with Sarah Vaughan
, Airto, Flora Purim. And we were very close, real friends. He played in most of my albums and concerts, so you can imagine how I'm feeling. Bassist Jorge Pescara has played with me since 2001, and drummer Haroldo Jobim joined the trio in 2005 when Dom Um Romao