A Day in New York

1	Desafinado / Sakamoto 4:03
2	Bim Bom / Sakamoto 2:13
3	Insensatez / Sakamoto 4:21
4	Coraçao Vagabundo / Sakamoto 4:11
5	Falando de Amor / Sakamoto 3:50
6	Chora Coraçao / Sakamoto 3:30
7	Sabiá / Sakamoto 4:56
8	Tango (Versão Em Português) / Sakamoto 5:36
9	Chega de Saudade / Sakamoto 3:16
10	Samba Do Avião / Sakamoto 4:49
11	Fotografia / Sakamoto 4:33

Barnes & Noble

After the tantalizing lushness of Casa, the collaboration between pianist Ryuichi Sakamoto and Brazilian cellist Jaques Morelenbaum and his wife, Paula, comes another dose of magic, A Day in New York. Where the first album delved into the hidden treasures of composer Antonio Carlos Jobim, the follow-up celebrates the trio themselves. Recorded in a single day following a stand of achingly beautifully shows, there's a looseness in performance and repertoire that's wonderfully offhand. With contributions from guitarist Luiz Brasil and percussionist Marcelo Costa, the trio assail tunes from Tom, but also Caetano Veloso's "Coração Vagabundo" and Sakamoto's own "Tango." Lighter on the Impressionist pianism of Casa, A Day in New York swings with the vim of a nearly telepathic unit, delving deeply into songs whose reservoirs of spirit and meaning are still temptingly full. Three tracks from the first album, "Sabía," "Samba do Avião," and "Fotografia," are reprised -- each stripped down, funkier, and faster than previous. The jam that closes "Samba do Avião" -- with its cheeky Oriental references -- is worth the specially priced admission alone. Mark Schwartz

All Music Guide

A Day in New York, recorded at the end of a U.S. tour the group made in 2002 in support of the Casa release is, simply, Morelenbaum Squared's live set performed -- live -- in a New York studio. The emphasis, of course, is on songs by Antonio Carlos Jobim, although Caetano Veloso, João Gilberto, and even Ryuichi Sakamoto and Paula Morelenbaum get a look in. The music is exquisite, gently understated, and shimmering like a heat mirage. Morelenbaum is a more than capable singer, and often a delight here (as on "Fotografia"), while Sakamoto is the real revelation of the album. He blends in so perfectly it's hard to believe he's not Brazilian; he's deft in rhythmic support, and never pushes too much on his solos. Cellist Jacques Morelenbaum is the veteran, but he keeps a sense of discovery in his playing, and the inclusion of the bowed instrument offers an almost chamber music-feel to this music, bringing another dimension to the sound. The three are the focal points, but kudos too, to the guitarist and drummer, who keep in the background, but offer vital support. It's remarkable just how familiar many of these songs are; not merely the obvious "Desafinado" and "Chega De Saudade," but "Samba De Avião" and "Fotografia." In a way, it's like chancing upon an old friend after many years, and finding a new richness. A joy to the ear. Chris Nickson