Telebossa – Telebossa 9.0

                Rarely do I stumble across a group as enjoyable and unusual as Telebossa. A mixture of electronics, bossa nova, and chamber music, it is a real treat. Chico Mello and Nicholas Bussmann infuse a great deal of heart into these seven songs. I haven’t heard anything this inspired for quite some time.

                Bossa Nova is considered a rather ‘conservative’ genre musically-speaking. Usually the greats like Antonio Carlos Jobim, Joao Gilberto, Stan Getz, etc. are mentioned, referred to, and not expanded upon much. Having such a refreshing approach to a style I already adore is fantastic, and they succeed on expanding the palette of sounds without ruining what makes bossa nova enjoyable. 

                “Feltro No Ferro” begins things off slowly: with a treated piano before flowering into a full song. Nicholas Bussmann is responsible for these subtle electronics and cello. Chico Mello provides the vocals and guitar. Few others join them, excluding some restrained drums. You’re basically left with these basic elements for the duration of the album.

                Only occasionally are you reminded of the fragile state of these few elements. Chico’s voice gets heavily stretched on “Eu Sonhei Que Tu Estavas Tao Linda” with all other sound removed. For a moment you’re left at the edge of your seat as you’re completely uncertain as to where they’re headed. After this things take a darker turn musically and you again hear the stretched out vocals but this time with accompaniment.  

                The grooves feel warm, tactile, and alive. Somehow they are able to play off chamber and electronic music’s precision with the relaxed nature of bossa nova. “Amoroso” exemplifies this patient approach. It takes its time in building up to a fully satisfying whole. 

                During the entire duration of the album, you’re reminded something is always a little off with the recording. Pops appear in the mix for rhythm. Vocals are stretched, treated and slightly mangled. Bossa Nova needed these changes. Don’t think of Telebossa of a revolution of bossa nova, think of it as a much needed evolution of a usually staid genre. This is a beautiful album.

Antonio Carlos Jobim – Wave 8.6

Bossa Nova ranks among one of my least understood loves. At least with most of the music around, there’s at least an audience who relates to why I like this or that, for ironic or un-ironic purposes. With Bossa Nova though, I actually enjoy some of the artists. Yes, I know how much of it comes across as very cheesy, but that makes my job harder. When I tell people that I genuinely enjoy some Bossa Nova they assume I’m talking from such a far level of irony that they can’t possibly imagine what’s going through my mind.

Originally I listened to this in a purely ironic way. But somehow, the mellow music infiltrated my soul. After a while, I stopped playing it only when I wanted to play Halo with people and have something funny in the background as I shot gunned people in the face. Instead, I realize how good of an album this actually is.

That hip Brazilian coolness is on fully display here. Beginning with the one of the most understated openings ever “Wave” it segues perfectly into “The Red Blouse”. For a while, The Red Blouse was my happy song. I’d play it and its quiet cheerfulness entered my head. Surprisingly energetic for Bossa Nova, with some of Antonio’s excellent guitar playing on full display. Due to its length, it gives off a hypnotic quality with the slight variations.

Violins play throughout the whole affair, often as something coming from afar. Yes, I can see how this could turn off some people, since it could be seen as mere waiting room music, but it is waiting room music with a soul. If I had this playing on a lite FM radio station as my teeth were cleaned, I could think of worse things.  The worst things being Billy Joel, Dave Matthews Band, and anything else played at lame parties.

In fact, there’s only one vocal track on here, and it is Brazilian singing. For whatever reason, I enjoy it. Hopefully at some point Bossa Nova gets some sort of resurgence in popularity. Then I can play my favorite song on here “Antigua” and have people recognize it, instead of looking at me like I’m half-crazy.

Actually, if I had to suggest a starting point for someone getting introduced to Bossa Nova, it would be a toss-up between this album and Stan Getz’s better known “Getz/Gilberto”.