Next week, if you are in New York, you will have a rare opportunity to see and hear a genuine bossa nova legend from Rio de Janeiro. After a three-year hiatus due to the pandemic, Marcos Valle is performing again at Birdland, from September 13 to 17. Marcos is the composer of So Nice (Summer Samba), The Face I Love, Crickets Sing For Anamaria, If You Went Away, The Answer, Chup Chup I Got Away, She Told Me She Told Me and so many other wonderful bossa nova standards. His return to New York is the work of producer Pat Philips, who has been producing BossaBrasil at Gianni Valenti's Birdland for decades.
I have known Marcos and his wife, Patricia (both above), for 11 years, when I first interviewed him for JazzWax (start here). He also was the subject of my “House Call" column in The Wall Street Journal in 2014 (go here). Catching a gig by Marcos and his band is beyond rewarding. Your entire soul comes alive through the elegance of his songs, his voice and arrangements. Next week, Marcos will be joined by singer Paula Morelenbaum. They will be accompanied by Jesse Sadoc on trumpet, Itaiguara Brandao on bass, Renato “Massa” Calmon on drums, and Patricia Alvi on vocals and percussion. For tickets and information, go here or call: 212-581 3080. A special shout-out to the event's sponsor, the Row Hotel.
Last week, I caught up with Marcos in Rio for a chat about what he's been up to since I saw him last in 2019. But first, let's get in the mood. Here's Anamaria Valle and Marcos singing The Face I Love in 1968, arranged by Eumir Deodato...
And here's Astrud Gilberto singing Marcos's hit So Nice, with organist Walter Wanderley, in 1966...
On to the interview...
JazzWax: I know how much you tour each year. How did you cope during the pandemic?
Marcos Valle: In the beginning of the outbreak in 2020, it was so strange. Everything changed so much. We had to adapt our professions to our new lives indoors. In the beginning, I didn’t know exactly what to do. But, after a while, there started to be live interviews on the computer and streaming performances. At first, it was all so amateur, so the sound wasn’t great. But it was still nice. Little by little, the sound adapted to the new format and improved.
JW: Why was it still nice?
MV: It was nice because it was a way for me to be involved, to be in touch with fans, with my public. It was good for audiences because they could hear us in the safety of their home. And because we were able to play for them while in the safety of our homes. The big drawback, of course, was that I couldn’t hear the audience’s reaction and they couldn’t see how much we appreciated their applause and shouts. After a while, streaming also became a way to make some money when sponsors began paying artists to perform. But even without the money, the human connection that is so important for music, even if only by streaming, became very important.
JW: Did you compose during the lockdown?
MV: I wrote many, many songs. I wrote and recorded with Liniker. She’s a Brazilian singer-songwriter and former bandleader for the Brazilian R&B band Liniker e os Caramelows. The song we collaborated on is called Vida, released two months ago. Here, listen...
I also wrote and recorded with Ivan Lins and Joyce Moreno, a song entitled Casa Que Era Minha, or House That Was Mine. It was released around six months ago and produced for Brazil’s Deck Records. Here, listen...
With Joyce, I also wrote Nas Voltas do Tempo, which I recorded with Henrique Portugal, a member of Skank. It will be released soon.
JW: Wow, what else?
MV: Oh, man, I also wrote 10 songs with lyricist Nando Reis for an album we will record together soon and will release next year. And on my own, I have written eight songs for my next album for Far Out Recordings. I recorded at home some things with Tom Misch in Europe. I was able to record my voice and Fender Rhodes while he recorded guitar in Europe. Here, listen...
Little by little I became accustomed to being at home, but also being productive with the new reality and technology at hand. Still, I missed the live interaction with audiences. Now I’m back performing live worldwide and it feels so great. After Birdland next week, I’m touring in Europe before returning to Brazil to tour. Everything is happening again. I feel great about it.
W: What will you be playing at Birdland?
MV: It’s always a joy to have Paula Morelenbaum on stage with me. She’s a very good singer and interpreter of bossa nova and my music. We’ll be performing a mix of my new songs and songs of the past. Paula will be singing songs from her repertoire as well. And songs by the masters, like Antonio Carlos Jobim. We’re going to bring the true bossa nova feeling to the stage. [Photo above of Paula Morelenbaum]
JW: Are young people in Rio discovering bossa nova through their parents’ records?
MV: Yes, the pandemic had that effect. The younger generation grew closer to their parents at home through their music from the 1960s and '70s. The bossa nova revival caught on in Europe and Japan years ago. But now it’s very strong here in Brazil. At my shows here, I see a many more young people in the audience.
JW: What’s the music scene there like now?
MV: Many festivals are happening again in Brazil that attract international musicians. Many of these concerts are outdoors. And many new groups and musicians here are asking me to write and record with them. Busy is good.
JW: Where did you perform first when the pandemic eased?
MV: Australia. I was there with Azymouth, the jazz-funk trio that started in 1973. We played together at seven different events. So beautiful. But at first, we were apprehensive. We hadn't performed live for a long time. We were excited but insecure. Some artists I know actually canceled shows because they have mental problems about performing and the anxiety was too much after being off stage for so long. As soon as we started to perform in front of huge festival crowds, wow, what an emotional feeling it was for all of us on stage. We were so happy. When we returned to Brazil, we were tired from the long flight but we were full of energy and happiness. We couldn't wait to tour.
JW: What’s the coolest thing that happened to you since I saw you last?
MV: I want to tell you a very funny thing that happened. When I was in Los Angeles recently, I went to a very trendy area called La Brea. In Rio, I don’t have the patience to buy clothes, even if Patricia asks me to do it. When I travel, I have time between gigs to wind shop during the day. In La Brea there were many stores with stylish men's clothing shops. I bought four or five jackets for the stage. One of them was so beautiful when I saw it.
JW: What did it look like?
MV: It was kind of cream, not white, with a cloud pattern. So we bought it. Back in Brazil, I tried it on again. In the bright light, I noticed that the patterns wasn't clouds but naked bodies touching other bodies, like a love scene. I said, “Patricia, this is a beautiful jacket but it’s completely different from what we saw in the store." Then I used it for a show at the Blue Note in São Paulo. The band was staring at it. I said, “Look, don’t be distracted during the show.” The imagery isn't easy to see, so I'm sure the audience didn't see it was a sex scene. But it became a joke with the band. They kept insisting I wear it again on stage.
JW: Do you ever tire of playing So Nice?
MV: Never. All of my performances include So Nice, because I know audiences are expecting it. What I try to do is keep it interesting with different arrangements. Sometimes I change the introduction or the key, you know? I try to provoke myself. I probably have 200 different arrangements of the song. The band knows I do this. The ask me, “Marcos, what’s going to be the arrangement of So Nice tonight?" Sometimes I combine one arrangement of the song with another [laughs]. It’s my signature song so I’m happy to perform it. The audience, I see, is very satisfied that I’m changing the arrangement because it makes the familiar more exciting and different. So Nice is one song I can never forget to perform.
Bonus: Here's the full album of Marcos's Nova Bossa Nova, from 1998 and reissued by Far Out Recordings in 2016...
I have known Marcos and his wife, Patricia (both above), for 11 years, when I first interviewed him for JazzWax (start here). He also was the subject of my “House Call" column in The Wall Street Journal in 2014 (go here). Catching a gig by Marcos and his band is beyond rewarding. Your entire soul comes alive through the elegance of his songs, his voice and arrangements. Next week, Marcos will be joined by singer Paula Morelenbaum. They will be accompanied by Jesse Sadoc on trumpet, Itaiguara Brandao on bass, Renato “Massa” Calmon on drums, and Patricia Alvi on vocals and percussion. For tickets and information, go here or call: 212-581 3080. A special shout-out to the event's sponsor, the Row Hotel.
Last week, I caught up with Marcos in Rio for a chat about what he's been up to since I saw him last in 2019. But first, let's get in the mood. Here's Anamaria Valle and Marcos singing The Face I Love in 1968, arranged by Eumir Deodato...
And here's Astrud Gilberto singing Marcos's hit So Nice, with organist Walter Wanderley, in 1966...
On to the interview...
JazzWax: I know how much you tour each year. How did you cope during the pandemic?
Marcos Valle: In the beginning of the outbreak in 2020, it was so strange. Everything changed so much. We had to adapt our professions to our new lives indoors. In the beginning, I didn’t know exactly what to do. But, after a while, there started to be live interviews on the computer and streaming performances. At first, it was all so amateur, so the sound wasn’t great. But it was still nice. Little by little, the sound adapted to the new format and improved.
JW: Why was it still nice?
MV: It was nice because it was a way for me to be involved, to be in touch with fans, with my public. It was good for audiences because they could hear us in the safety of their home. And because we were able to play for them while in the safety of our homes. The big drawback, of course, was that I couldn’t hear the audience’s reaction and they couldn’t see how much we appreciated their applause and shouts. After a while, streaming also became a way to make some money when sponsors began paying artists to perform. But even without the money, the human connection that is so important for music, even if only by streaming, became very important.
JW: Did you compose during the lockdown?
MV: I wrote many, many songs. I wrote and recorded with Liniker. She’s a Brazilian singer-songwriter and former bandleader for the Brazilian R&B band Liniker e os Caramelows. The song we collaborated on is called Vida, released two months ago. Here, listen...
I also wrote and recorded with Ivan Lins and Joyce Moreno, a song entitled Casa Que Era Minha, or House That Was Mine. It was released around six months ago and produced for Brazil’s Deck Records. Here, listen...
With Joyce, I also wrote Nas Voltas do Tempo, which I recorded with Henrique Portugal, a member of Skank. It will be released soon.
JW: Wow, what else?
MV: Oh, man, I also wrote 10 songs with lyricist Nando Reis for an album we will record together soon and will release next year. And on my own, I have written eight songs for my next album for Far Out Recordings. I recorded at home some things with Tom Misch in Europe. I was able to record my voice and Fender Rhodes while he recorded guitar in Europe. Here, listen...
Little by little I became accustomed to being at home, but also being productive with the new reality and technology at hand. Still, I missed the live interaction with audiences. Now I’m back performing live worldwide and it feels so great. After Birdland next week, I’m touring in Europe before returning to Brazil to tour. Everything is happening again. I feel great about it.
W: What will you be playing at Birdland?
MV: It’s always a joy to have Paula Morelenbaum on stage with me. She’s a very good singer and interpreter of bossa nova and my music. We’ll be performing a mix of my new songs and songs of the past. Paula will be singing songs from her repertoire as well. And songs by the masters, like Antonio Carlos Jobim. We’re going to bring the true bossa nova feeling to the stage. [Photo above of Paula Morelenbaum]
JW: Are young people in Rio discovering bossa nova through their parents’ records?
MV: Yes, the pandemic had that effect. The younger generation grew closer to their parents at home through their music from the 1960s and '70s. The bossa nova revival caught on in Europe and Japan years ago. But now it’s very strong here in Brazil. At my shows here, I see a many more young people in the audience.
JW: What’s the music scene there like now?
MV: Many festivals are happening again in Brazil that attract international musicians. Many of these concerts are outdoors. And many new groups and musicians here are asking me to write and record with them. Busy is good.
JW: Where did you perform first when the pandemic eased?
MV: Australia. I was there with Azymouth, the jazz-funk trio that started in 1973. We played together at seven different events. So beautiful. But at first, we were apprehensive. We hadn't performed live for a long time. We were excited but insecure. Some artists I know actually canceled shows because they have mental problems about performing and the anxiety was too much after being off stage for so long. As soon as we started to perform in front of huge festival crowds, wow, what an emotional feeling it was for all of us on stage. We were so happy. When we returned to Brazil, we were tired from the long flight but we were full of energy and happiness. We couldn't wait to tour.
JW: What’s the coolest thing that happened to you since I saw you last?
MV: I want to tell you a very funny thing that happened. When I was in Los Angeles recently, I went to a very trendy area called La Brea. In Rio, I don’t have the patience to buy clothes, even if Patricia asks me to do it. When I travel, I have time between gigs to wind shop during the day. In La Brea there were many stores with stylish men's clothing shops. I bought four or five jackets for the stage. One of them was so beautiful when I saw it.
JW: What did it look like?
MV: It was kind of cream, not white, with a cloud pattern. So we bought it. Back in Brazil, I tried it on again. In the bright light, I noticed that the patterns wasn't clouds but naked bodies touching other bodies, like a love scene. I said, “Patricia, this is a beautiful jacket but it’s completely different from what we saw in the store." Then I used it for a show at the Blue Note in São Paulo. The band was staring at it. I said, “Look, don’t be distracted during the show.” The imagery isn't easy to see, so I'm sure the audience didn't see it was a sex scene. But it became a joke with the band. They kept insisting I wear it again on stage.
JW: Do you ever tire of playing So Nice?
MV: Never. All of my performances include So Nice, because I know audiences are expecting it. What I try to do is keep it interesting with different arrangements. Sometimes I change the introduction or the key, you know? I try to provoke myself. I probably have 200 different arrangements of the song. The band knows I do this. The ask me, “Marcos, what’s going to be the arrangement of So Nice tonight?" Sometimes I combine one arrangement of the song with another [laughs]. It’s my signature song so I’m happy to perform it. The audience, I see, is very satisfied that I’m changing the arrangement because it makes the familiar more exciting and different. So Nice is one song I can never forget to perform.
Bonus: Here's the full album of Marcos's Nova Bossa Nova, from 1998 and reissued by Far Out Recordings in 2016...
This story appears courtesy of JazzWax by Marc Myers.
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