Berimbaum

1	Tomara 4:03
2	Consolação 3:56
3	Berimbau 4:30
4	Canto de Ossanha 4:37
5	Insensatez 3:54
6	Medo de Amar (Vire Essa Folha Do Livro) 4:15
7	Brigas Nunca Mais 3:24
8	Você E Eu 3:31
9	Seule 3:40
10	Desalento 4:37
11	Primavera 3:56
12	O Nosso Amor 3:18

Barnes & Noble

Those familiar with vocalist Paula Morelenbaum from her work with her cellist husband, Jaques, and Tom Jobim, or from the Morelenbaums' more recent trio work with Ryuichi Sakamoto, might be taken aback by Berimbaum. The accomplished Brazilian singer delivers exquisite readings (no surprise) of songs by Vinicius de Moraes (again, no shock there), set to of-the-minute electronic bossa nova tracks by Celso Fonseca, Bossacucanova, and other loungetastic talents (surprise!). That Morelenbaum has shined in barely adorned settings seems to discourage no one from taking a glitzier approach, and truth be told, this is some pretty sophisticated electronica. Even when the requisite fuzzy spoken-word break pops up, on "Consolação," it's de Moraes himself, reading from his poetry. The intent seems to replicate the retro-cool success of Bebel Gilberto, and at that, Berimbaum succeeds handily. In fact, fans of Tanto Tempo may find more to like here than on Bebel's less beat-ridden follow-up. Whether Morelenbaum (or Gilberto) really benefits from the hyperactive arrangements is a matter of taste -- she's recorded a devastating "Insensatez," for example, on the live album A Day in New York, with her husband and Sakamoto, minus the wah-wahs and sub-sonic bass. But with a glut of tropical lounge recordings out there trading on the exquisite voices and songs of Brazil, it's easy to recommend one from an artist who knows the terrain -- and doesn't need a drum machine to prove it. Mark Schwartz

All Music Guide

A veteran of the Brazilian samba scene, Morelenbaum has an impeccable pedigree in the music. But for this album, she's chosen as a common thread songs by the great Vinicius DeMoraes, whether as sole or co-composer. It makes for a great theme, with so much quality work to choose from. What makes this so fascinating are the arrangements used to frame the pieces, like the light Brazilian funk used on "Tomara" and "Berimbau," for example, which both float, lighter than air, over truly imaginative drum programming and instrumental performances. Morelenbaum's glorious voice sets the standard throughout, breathy but gloriously melodic (she also deserves great credit for her production work here). Even brass sounds feather-light, gliding by the songs. And yet it retains a real groove, a toe-tapping funk that's irresistible and does full justice to the songs themselves. Even a bossa ballad like "Insensetaz" is given quirky little touches, like the irresistible cello line by Morelenbaum's husband, Jacques. It's an album of details and quirks in the melodies and rhythms, gentle and lulling, but still constantly pushing forward, and rewarding no matter how many times you listen to it. Chris Nickson