“Como e porque”
Released 1969 on Philips
1 Aquarela Do Brasil/Nega Do Cabelo Duro (Barroso, Nasser, Soares) 3:02
2 O Sonho (Gismonti) 2:20
3 Vera Cruz (Borges, Nascimento) 2:34
4 Casa Forte (Lobo) 2:47
5 Canto de Ossanha (DeMoraes, Powell) 3:25
6 Giro (Adolfo, Gaspar) 2:16
7 O Barquinho (Boscoli, Menescal) 2:06
8 Andança (Caymmi, Souto, Tapajós) 3:14
9 Récit de Cassard [Do Filme “Les Parapluies de Cherbourg”] (Demy, Legrand) 2:52
10 Samba da Pergunta (Pingarilho, Vasconcellos) 1:32
11 Memórias de Marta Saré (Guarnieri, Lobo) 3:17
Along with her record from 1968, this is my favorite of her 1960s records. Arrangements by Roberto Menescal make this album unique in her discography. Menescal also contributes the most famous tuned he penned with friend Ronaldo Boscoli — “O Barquinho”, a tune written for Nara Leão, but stolen by Maysa when she stole Boscoli from her… Elis doesn’t surpass Maysa’s smoky rendition, but it’s still a delight for the ears.
Look at the eclectic songwriting credits on this one and you get an idea of how wonderful this record is — Ary Barroso, a young Egberto Gismonti, Lô Borgest/Milton Nascimento before they were household names, Edu Lobo, Baden Powell & vinicius, Antonio Adolfo (one of Brazil’s best kept secrets), Dori Caymmi. The two compositions here by Edu Lobo, who had quickly become Elis’ favored composer of this era, are among his best work: the wordless-but-vocalized Casa Forte, and the propulsive Memórias de Marta Saré. The latter closes the album and leaves you wanting more, a characterstic this album shares with its predeccesor from 68 but which all but her best records from the 70’s, in their usually-more downbeat melancholic moods, tend to lack.