RANDY BRECKER & ELIANE ELIAS – Amanda (1986) FLAC (tracks+.cue), lossless

Considering the talents of trumpeter Randy Brecker and his wife, pianist Eliane Elias, one would expect their 1985 collaboration to be quite worthwhile. However this out-of-print LP is a disappointment for they perform generally weak material, emphasize electronics and utilize rather dull rhythms. Brecker's tone is distorted on many of the numbers and even the presence of altoist Sadao Watanabe, tenor saxophonist Michael Brecker, bassist Mark Egan and drummer Danny Gottlieb on some selections does not save this effort. Scott Yanow

Tracklist :

1. Splash (5:22)

2. Para Nada (For Nothing) (7:09)

3. Pandamandium (6:25)

4. Samba De Bamba (8:16)

5. Amandamada (4:46)

6. Guaruja (8:51)

Credits :

Eliane Elias-piano, keyboards, flute, lead and background vocals

Randy Brecker-trumpet, electric trumpet

Michael Brecker-tenor saxophone, alto flute, background vocals

Dave Weckl-drums

Danny Gottlieb-drums

Will Lee-bass, background vocals

Manolo Badrena-percussions

Mark Egan-bass

Jeff Minorov-guitars

Sadao Watanabe-alto saxophone

Cyro Baptista-percussions

Chris Parker-drums

Barry Finnerty-guitar, background vocals

ELIANE ELIAS – Illusions (1987) FLAC (tracks+.cue), lossless

Eliane Elias' debut as a leader (she had been a member of Steps Ahead) finds her abandoning the electric keyboards in favor of acoustic piano. On seven songs she is joined by bassist Eddie Gomez and either Al Foster or Steve Gadd on drums; the remaining two selections feature her accompanied by bassist Stanley Clarke and drummer Lenny White. With harmonica great Toots Thielemans making guest appearances on two numbers, Elias was at the time easily the least-known of the players on her own CD. However the pianist was already far along toward developing her own sound as she shows on four originals, two obscurities, Herbie Hancock's "Chan's Song," Blossom Dearie's "Sweet Georgia Fame" and the standard "Falling in Love with Love." A fine start to a significant solo career. Scott Yanow
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ELIANE ELIAS – Cross Currents (1988) FLAC (tracks+.cue), lossless

Pianist Eliane Elias' second of two Denon CDs recorded before she hooked up with Blue Note is a lesser-known but worthy session. Elias is mostly featured in a trio with bassist Eddie Gomez and drummer Jack DeJohnette performing originals, a pair of Charles Mingus compositions ("Peggy's Blue Skylight" and "East Coastin'"), "Beautiful Love," "When You Wish Upon a Star" and Bud Powell's "Hallucinations." Elias was quickly developing into a strong modern mainstream pianist. The concluding number ("Coming and Going") was written by her grandmother in 1927 at age 12 and features Elias with Gomez, drummer Peter Erskine, guitarist Barry Finnerty, percussionist Cafe and nine singers (including a few family members). Well worth searching for. Scott Yanow
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ELIANE ELIAS – So Far So Close (1989) FLAC (tracks+.cue), lossless

Eliane Elias' debut for Blue Note is a bit of a disappointment. Having established her credentials as a fine acoustic pianist, she switched back to her less personal synthesizer work and contributed some rather mundane wordless vocals. The music (which includes some solos from tenor saxophonist Michael Brecker and Randy Brecker on flugelhorn) is not terrible, but it lacks a sense of adventure and sounds as if potential radio airplay was its main goal. Scott Yanow
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ELIANE ELIAS – Eliane Elias Plays Jobim (1990) FLAC (image+.cue), lossless

This is not an album for those die-hard bossa fans. These popular Jobim tunes all were revisited by Elias with the goal of bridging the gap between Brazilian music and jazz; that goal was achieved. She affirms herself in this complex idiom, resulting in an album that can be enjoyed by any jazz connoisseur.

On this record, Elias responds successfully to all the challenges that come with interpreting a legendary artist like Jobim. Enriching Jobim's harmonies through her own musical wisdom, already in the album's first track ("Waters of March"/"Água de Beber"), she escapes from the trap of a conventional soothing rendition. Together with the talents of percussionist Naná Vasconcelos, she instills there a true Brazilian samba spirit, with its restless, somewhat aggressive quality. "Sabiá," usually recalled under Jobim's dense orchestration, receives a delicate ad-lib treatment that metamorphoses into a ballad. "Desafinado," one of the best known Jobim tunes in America, may be the biggest surprise, with itsunstable jazz rhythm joined by creative re-harmonization. "Angela," a haunting, mysterious melody, is properly explored as a calm ballad. "Zíngaro," or "Retrato Em Preto E Branco," is faithful to its Brazilian sentiment in which a ballad feel menaces to take charge but is soon substituted by a typically Brazilian melancholy. "Samba de Uma Nota Só," in a funky interpretation, is not recognizable until they come to the bridge. Then a samba feel takes place, with hot solos and cuíca interventions with the jazzy drumming of deJohnette's enriching the overall pancultural result. The album closes with Elias singing "Don't Ever Go Away" with her heartfelt tone backed by a piano that betrays the classical music tradition inherent to the formation of the Brazilian sensitivity. Alvaro Neder
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ELIANE ELIAS – A Long Story (1991) FLAC (tracks+.cue), lossless

Eliane Elias is a very talented acoustic pianist whose style at times hints at Herbie Hancock and Chick Corea, but sounds quite individual. Unfortunately, this set is extremely lightweight. Most numbers have Elias doubling on synthesizers, with over half of the selections also including her wordless vocals; her voice is average at best. The tunes are moderately pop-ish without being memorable and Elias' piano playing is secondary to the weak melodies (all but "Let Me Go" are her originals) and so-so grooves. Eliane Elias is capable of so much better. Fortunately, there are many better Elias recordings available than this misfire. Scott Yanow
Tracklist + Credits :

ELIANE ELIAS – Fantasia (1992) FLAC (tracks+.cue), lossless

Eliane Elias continues exploring Brazilian music on this latest release, doing both classics such as "The Girl From Ipanema" and a Milton Nasciemento medley, plus several Ivan Lins tunes. She uses alternating bassists and drummers, with Eddie Gomez, Marc Johnson, Jack DeJohnette, and Peter Erskine dividing time, plus Nana Vasconcelos on percussion, with Lins helping out on vocals. Ron Wynn

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ELIANE ELIAS – Paulistana (1993) FLAC (tracks+.cue), lossless

Eliane Elias continues to revist and update her Brazilian heritage on this Blue Note CD. The music ranges from South American folk songs and such standards as "Brazil" and "Black Orpheus" to newer originals. Elias mostly sticks to acoustic piano and is primarily heard in a trio format with occasional percussion added. She hints strongly at Keith Jarrett and Bill Evans in spots but by this time had largely formed her own personal style out of her earlier influences. A few vocals (including a collaboration with Ivan Lins) weaken some of the tracks for Elias's singing is on a much lower level than her more individual playing. Still, even with its minor flaws, Paulistana is recommended. Scott Yanow
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ELIANE ELIAS – Solos & Duets (1995) FLAC (image+.cue), lossless

 This release is a change of pace for Eliane Elias. Instead of interpreting Brazilian songs, fusion, or modern bop, Elias shows off her classical technique on a set of acoustic solos plus six duets with Herbie Hancock. She really digs into the standards (sometimes sounding a little like Keith Jarrett) and creates some fairly free and unexpected ideas while putting the accent on lyricism. Some of the music is introspective, and there are wandering sections, but the net results are logical and enjoyable. As for the duets, Elias and Hancock mostly stay out of each other's way, which is an accomplishment when one considers that the four-part "Messages" is a series of free improvisations. There are playful spots (particularly on the adventurous ten-minute rendition of "The Way You Look Tonight") and, since Elias knows Hancock's style well (and was clearly thrilled to have him on the date), their collaborations work quite well. A successful outing. Scott Yanow
Tracklist + Credits :
 

ELIANE ELIAS – The Three Americas (1997) FLAC (tracks+.cue), lossless

Two sides of Eliane Elias are on display on this CD. She is heard as an effective soft-toned singer of bossa nova and (particularly on the last few numbers) as a strong post-bop jazz pianist. The bossas (which often feature guitarist Oscar Castro-Neves and flutist Dave Valentin) are enjoyable, if a bit lightweight, and "Chorango" (which has Gil Goldstein on accordion and violinist Mark Feldman) is a modern tango. But it is as a pianist that Elias is most significant, and fortunately, there are enough instrumentals on this release to make it worth picking up by jazz listeners. Scott Yanow
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ELIANE ELIAS | BOB BROOKMEYER & THE DANISH RADIO JAZZ ORCHESTRA – Impulsive! : Play The Music Of Eliane Elias (1997) FLAC (tracks+.cue), lossless

The curious blend of pianist Eliane Elias with conductor and arranger Bob Brookmeyer leading the Danish Radio Jazz Orchestra makes for a surprising mix. Brookmeyer, long established as one of the top jazz writers and a phenomenal valve trombonist to boot, was not familiar with the recordings of the Brazilian keyboardist, but he was clearly up to the challenge of scoring her music. Brookmeyer gives "Just Kiddin'" a big and bold post-bop treatment, with an underlying funky rhythm and a bit of electronics thrown in for fun. Elias and Brookmeyer share the solo spotlight in the breezy setting of her ballad "So in Love." Far more low-key is "Moments," with sparse piano lines backed by Brookmeyer's rich scoring for the brass and a fine solo by flugelhornist Henrik Bolberg Pedersen. The exotic, high-energy setting of "The Time Is Now" is a more modern bossa nova, showcasing Elias and Brookmeyer, along with bassist Thomas Ovesen and drummer Jonas Johansen. "One Side of You" is a haunting ballad made more so by Brookmeyer's brilliant arrangement. This session may throw a bit of a curve to longtime fans of either Eliane Elias or Bob Brookmeyer, but this successful CD is very much an ear opener. Ken Dryden
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ELIANE ELIAS – Eliane Elias Sings Jobim (1998) FLAC (tracks+.cue), lossless

Eliane Elias has considerable chops as an acoustic pianist, although as a singer, she is definitely limited and doesn't have a great range by any means. No one's going to mistake Elias' singing for that of Flora Purim, Astrud Gilberto, Gal Costa or Tânia Maria. But while her voice is paper-thin, Elias sings with enough feeling and sincerity to make Sings Jobim a decent, if conventional, Brazilian jazz offering. Her second tribute to Antonio Carlos Jobim (the first was 1989's all-instrumental Eliane Elias Plays Jobim), this CD finds her staying away from instrumentals and embracing familiar, oft-recorded bossa nova standards like "The Girl from Ipanema," "So Danco Samba," "One Note Samba" and "Desafinado." Elias' singing (most of it in Portuguese) is the focal point, although she gets in a few nice piano solos. Unfortunately, Elias plays it safe and doesn't offer a lot of surprises. Given the many great but lesser-known songs that Jobim wrote, one wishes Elias had been less conservative and more adventurous in her choice of material. Although pleasant enough, this isn't one of her essential releases. Alex Henderson  

Tracklist + Credits :

ELIANE ELIAS – Brazilian Classics (2003) FLAC (tracks+.cue), lossless

Featuring tracks culled from eight of her albums, beginning fittingly enough with 1989's Eliane Elias Plays Jobim, Blue Note has compiled a strong collection of pianist Eliane Elias' Brazilian jazz cuts on Brazilian Classics. Elias' classically influenced touch is evident here on such standards as Antonio Carlos Jobim's "Chega de Saudade" and "One Note Samba," as well as her medley of Milton Nascimento works off her 1992 Fantasia release. While it would have been nice for Blue Note to include some rarities or alternate takes, as it stands Brazilian Classics works as a fitting representation of Elias' take on her home country's unique sound. Matt Collar
Tracklist + Credits :

 

ELIANE ELIAS – Everything I Love (2000) FLAC (tracks+.cue), lossless

Eliane Elias is such a fine hard bop/post-bop pianist that it is a pity that she occasionally feels compelled to vocalize; her singing voice is small, quiet, and unimpressive. However, other than her brief vocals on "The Beat of My Heart," "I Fall in Love Too Easily," and "Blah Blah Blah," this is a strong trio set. Elias interacts with either the bass-drum team of Marc Johnson and Jack DeJohnette or Christian McBride and Carl Allen, with guitarist Rodney Jones just popping up briefly on one song. Elias' playing is often introspective, but always very expressive and she swings hard on the faster pieces. She is one of the underrated greats of the jazz piano. Scott Yanow
Tracklist + Credits : 

 

ELIANE ELIAS – Kissed by Nature (2002) FLAC (tracks+.cue), lossless

For a long time, Eliane Elias seemed like a fixture at Blue Note. The Brazilian singer/pianist started recording for that well-known jazz label in the late '80s, and she was still on Blue Note when the 21st century arrived. But in 2002, Elias did the unexpected and moved to RCA; Kissed by Nature is her first RCA release. For the most part, this is a vocal album, although Elias does get in some likable solos -- and this time, she emphasizes relaxed, laid-back Brazilian pop-jazz. Kissed by Nature is essentially Brazilian easy listening, although it isn't bloodless elevator Muzak; even at her most commercial, Elias probably has too much substance and integrity for the average smooth jazz/NAC station. One thing she doesn't have is a great voice. While Elias is an excellent pianist, her voice is undeniably thin -- as a vocalist, she doesn't have a fantastic range by any means. But despite Elias' obvious limitations as a singer, her vocals (some in English, some in Portuguese, and some wordless) are pleasant enough on caressing pop-jazz originals like "A Volta," "Balancê," and the title track. No one will accuse Elias' singing of being in a class with the five-star performances of Gal Costa or Ithamara Koorax, but she does bring warmth and sincerity to her singing -- and those things count for something. Most of the material on Kissed by Nature was written or co-written by Elias; the exception is a medley of songs by Brazilian superstar Djavan, and that medley is arguably the album's standout track (which isn't to say that Elias' own writing isn't respectable). Kissed by Nature won't go down in history as one of Elias' essential releases, but it's a decent effort that's worth hearing if you need a dose of Brazilian mood music. Alex Henderson  
Tracklist + Credits :

ELIANE ELIAS – Dreamer (2004) FLAC (tracks+.cue), lossless

 Eliane Elias' second record for Bluebird is, like the previous Kissed by Nature, a vocal date intended for crossover audiences. Elias connects with her Brazilian pop heritage by choosing to sing, early on, a pair of Astrud Gilberto pieces, "Call Me" and "So Nice (Summer Samba)," both of which fortuitously suit the short range of her voice. Still, she speaks far more with a half-minute of piano soloing than she does with several minutes of vocal interpretation, and sounds far more comfortable taking an extra verse of the latter in Portuguese. Unlike the Gilberto tracks, Elias succeeds on two Antonio Carlos Jobim compositions, "Photograph" and the title song, her voice ironically betraying her in the same seductive fashion that Jobim himself made a hallmark. Her solos, though beautiful and contemplative, are short and usually hug the shore. As an overall musician, Elias has sure instincts when playing or singing, and compensates for her lack of vocal strength by rarely lingering on her notes. John Bush  
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ELIANE ELIAS – Around the City (2006) FLAC (image+.cue), lossless

Eliane Elias has moved further and further into mainstream pop in recent years, and Around the City continues that course. Having begun as a member of the jazz ensemble Steps Ahead, she ventured tentatively into solo recordings in the late '80s, maintaining her solid commitment to jazz while never failing to bridge her adventurous tendencies with the Brazilian traditions that were her birthright. On recent albums she's been redefining herself, shifting from a role as a strictly instrumental musician to building a rep as a vocalist who (singing in both English and Portuguese) accompanies herself on piano and occasionally lets loose with a startling, stunning solo. Jazz and Brazil still figure largely into the makeup of her music ("Slide Show," "Chiclete Com Banana"), but sometimes just barely. Elias radically reinterprets Bob Marley's "Jammin'" as a nearly unrecognizable dance tune here, but she reclaims Beck's "Tropicalia" for Brazil -- a natural for Elias to cover, her take is faithful to the original's structure and brings to it a samba touch that Beck could only approximate. Her cover of Tito Puente's (by way of Santana) "Oye Como Va," on the other hand, sticks to the blueprint. Elias is writing more these days, too, to mixed results. "We're So Good," co-penned with co-producer Lester Mendez and songwriter Lauren Christy, sits firmly in Norah Jones territory, waiting for radio to discover it, while the album's two closing numbers, "Another Day" and "Segredos (Secrets), Pt. 2," both written by Elias solo, exude a melancholy bluesiness that confirms her growing talent as a cabaret-style singer/songwriter while leaving the listener with another hint that this artist is undergoing a continuing transformation. Jeff Tamarkin  
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ELIANE ELIAS – Something for You : Eliane Elias Sings & Plays Bill Evans (2009) APE (image+.cue), lossless

Eliane Elias' return to the Blue Note label after a decade working elsewhere is a triumph. This salute to the late pianist Bill Evans, one of her favorite players, explores a number of songs he recorded, including both standards and originals. Evans' bassist from his final trio, Marc Johnson, is not only a long-time collaborator with Elias but also her husband; drummer Joey Baron rounds out the band. While Elias is influenced by Evans' playing style, his arrangements are only a launching pad for her approach to each tune; never does she sound like an obvious Evans clone. Her lush take of "My Foolish Heart" features Johnson on the late Scott LaFaro's bass (the talented Evans sideman who died in a 1961 car wreck just ten days after recording the landmark sets with the pianist at the Village Vanguard). "Evanesque" is a newly discovered work that came from a cassette given to Johnson by Evans, so Elias adjusted the work by incorporating new material with his conception. The freewheeling take of "Solar" is a masterful group improvisation upon the Miles Davis theme. Elias' moving ballad "After All" is a sincere tribute to Evans. She has also built confidence in her singing over time; always gifted with a tender, sensuous voice, Elias glides gently over Johnson's walking introduction to "A Sleepin' Bee" and offers an equally delicate "Walt for Debby." She wrote words to Evans' previously unknown "Here Is Something for You," which was also discovered on the cassette given to Johnson. It is heard in two versions, a solo version with voice and piano where Elias mostly closely mirrors Evans' playing, then the original rehearsal by Evans, which segues into an excerpt of Elias' new version. The Japanese version of this delightful CD features an added track, "Re: Person I Knew." Ken Dryden  
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ELIANE ELIAS – Bossa Nova Stories (2009) WV (image+.cue), lossless

Eliane Elias returns to the music of her native Brazil with this collection of bossa nova favorites, though there are a few American standards and pop songs recast as bossa novas as well. The pianist has grown in confidence as a vocalist over the course of several CDs, developing a sexy yet never overdone style that beautifully complements the music. With her husband Marc Johnson (who has also been her longtime bassist of choice), drummer Paulo Braga, either Oscar Castro-Neves or Ricardo Vogt on acoustic guitar, and a pair of guests, Elias proves herself as a talented singing pianist, effortlessly switching between English and Portuguese lyrics. Some of the tracks add string orchestrations, yet they never overwhelm the arrangements. Highlights include the easygoing rendition of "The More I See You," the relaxed and sensual treatment of "Estate (Summer)" (which adds Toots Thielemans on harmonica), "I'm Not Alone (Who Loves You?)" (which includes composer Ivan Lins in a vocal duet with Elias), and a surprisingly effective setting of Stevie Wonder's "Superwoman" (with Thielemans making another guest appearance). Eliane Elias remains one of the top bossa nova interpreters, in addition to her skills in many other jazz styles. Ken Dryden  
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ELIANE ELIAS – Eliane Elias Plays Live (2010) FLAC (tracks+.cue), lossless

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