With
All in One
,
Bebel Gilberto
made her home at
Verve
, which is not just an auspicious label for music but also the home of some of the best Brazilian records of all time -- by
Antonio Carlos Jobim
Astrud Gilberto
(who is no relation, although she was married to
Bebel
's father before
's birth),
Stan Getz
, and, of course, her father,
Joao Gilberto
. It's obvious
Gilberto
is well aware of this: the cover is reminiscent of an
album and she sings a version of
"Bim Bom,"
which was written by her father and is known popularly for
Astrud
's version (what's more, it features the piano work of Brazilian royalty
Dan Jobim
). Still, it's clear
knows where to draw the line, and
is defined more by her songs and her collaborators than the weight of Brazilian musical history she must carry. Throughout, her varied cast brings out the strengths of her songs. Multi-percussionist
Carlinhos Brown
gets the most instrument credits (his kit bag must weigh a ton), and his string of percussion instruments brings a rich texture to every song he graces. (He also co-wrote the best new songs,
"Nossa Senhora"
and
"Ela [On My Way]."
) Also appearing is superstar producer
Mark Ronson
for the single
"The Real Thing,"
a song whose history hits a sweet spot here --
Stevie Wonder
originally wrote it in the late '70s for
Sergio Mendes & Brasil '77
.
Ronson
takes the song back to
Wonder
's
Motown
roots, also quoting from
Saint Etienne
's vibrant update of classic soul production.
sounds most confident elsewhere, however, especially on her own songs and when she's singing in Portuguese. (
Didi Gutman
from
Brazilian Girls
also helps out, as does
the Dust Brothers
'
John King
.) Despite the large cast,
is a remarkably unified record; no one makes a larger impact here than
herself, while she and executive producer
Didie Cunha
create a record that's modern in execution but classic in its feel. ~ John Bush