Noel por Ione

Ione Papas pays a more-than-deserved tribute to the great samba composer Noel Rosa. Not a hard-swinging samba vocalist, Papas' interpretation is nevertheless honest and competent, refusing to be put above Noel Rosa's creations. In vocal terms, the only very small but important detail is the poor note emission of "violão" in "saudade do violão e da palhoça" ("São Coisas Nossas"). But there's plenty to talk about in the positive side. Avoiding Noel Rosa's most known repertory that is excessively repeated, it's no surprise that this album brings fox-trot in Dixieland arrangements ("Você Só...Mente," written with Noel Rosa's brother Hélio Rosa). The re-creation of "No Baile da Flor-de-Lis," with its saxophone in an almost sambolero feel, though, lacks the swing suggested by the composition, which depicts a genuine gafieira ball. "Triste Cuíca," on the other hand, benefits from the modern intro, opening the way for a true samba rendition. "Quando o Samba Acabou," one of the few classics included here, has its beautiful melodic line pointed out with its melancholic simplicity, in contrast with the baroque saxophone (sometimes reminiscent of Kenny G's). Another audacious but this time completely justifiable re-creation is "Minha Viola," proposing the caipira (redneck) mood suggested by the corrupt Portuguese used in the lyrics, which is witness of a period where Brazilian popular music was deeply turned upcountryward. "Na Bahia" goes in the same direction, with a maracatu arrangement that is unthinkable in Noel Rosa's work being on the other hand wholly faithful to the samba's spirit. "Choro" is a wonderful instrumental...choro. "Coração," the samba that confirms that Brazil profited of Noel Rosa's abandoning medical school, in this rendition bypasses the ironic original intentions in a delicate and longing delivery. The album represents a different and bold attempt to re-create Noel Rosa's work — and is entirely successful at that.