ISSUE #42 MMUSICMAG.COM

move precipitated by the 2013 death of her longtime Brazilian guitar collaborator, Oscar Castro-Neves. “When Oscar passed away, I knew I was going to make a Brazilian record, and I couldn’t fi nd a person in the U.S. who would play like Oscar. I thought, ‘I’ll go to Brazil and try something there.’ Once there I became inspired and started writing arrangements. I got together with some beautiful musicians and it felt amazing, so I said, ‘I’m recording here.’” Co-produced by Elias, bassist Marc Johnson (her husband) and Steve Rodby, Made in Brazil features a dozen tracks— several Elias originals and others penned by such Brazilian greats as Antonio Carlos Jobim, Ary Barroso and Roberto Menescal. “You wouldn’t believe how different it was Griffi n Goldsmith, Taylor Goldsmith, Wylie Gelber, Tay Strathairn to play this music in that environment—in my hometown, with our weather and our language and the people and the vibe,” says Elias. “It felt like home. It was different from recording in New York.” Although today she’s heralded for Philippe Salomon her vocals, when Elias fi rst arrived in New York, she was strictly a piano player. “I never wanted to put the voice in front because in my mind I am a pianist fi rst,” she says. “I made a record called Eliane Elias Sings ELIANE ELIAS Jobim, but I was fi ghting with the engineer saying, ‘I don’t want the voice loud.’ But You can go home again—and fi nd inspiration for it did very well, so I made another album, a new album and that did well, too. I started enjoying it so much. Now it’s integral. Together, it’s my WHEN PIANIST AND VOCALIST ELIANE A decade or so later she had attained heart. It’s all me.” Elias was an 11-year-old prodigy in São that goal, and during the 30 years since, One thing Elias refuses to do is repeat Paulo, Brazil—already composing and Elias has released more than two dozen herself. “All my records are different, and arranging her own music—she was invited to albums exploring many aspects of jazz and that keeps me motivated to do new things,” perform on a local TV program. “They asked native Brazilian music. But it wasn’t until her she says. “I’m never bored. I’m always me what I’d like to do,” she recalls, “and I said, newest release, Made in Brazil, that Elias looking forward to the next project.” ‘Move to New York and be a jazz musician.’” returned to her home country to record, a –Jeff Tamarkin

October with a Grammy win and smash singles under his belt, open—as did listening to peers, especially in the R&B world, where he seems to have a handle on self-determination. Something, he collaboration is paramount. Wildheart includes guest performers says, comes from listening to his inner voice, especially during the Lenny Kravitz and Kurupt, and guest producers like hit-maker songwriting process. It’s a mindset that hasn’t changed since he Benny Blanco (Rihanna, Maroon 5), former Tony! Toni! Toné! made his 2010 debut album, All I Want Is You, which introduced his member Raphael Saadiq, and newcomer Cashmere Cat. Although blend of creamy, spicy soul and hard, edgy hip-hop—and spawned collaborations are key, writing solo offers a certain magic. the hits “Sure Thing,” “Quickie,” and the title track. “I’m a lot more comfortable—and I’m better at getting out of my “The process for me is to be ready for when the creativity own way and letting the subconscious write the song—in solitude,” comes. It’s like surfi ng: You swim out and you wait, and every wave he says. “But when I was younger, trying to become a professional is different,” he explains. “You never know what it’s going to become, artist, I wrote a lot—and there was a lot of horrible crap you will never but the bestM thingMUSIC is to just & be MUSICIANS out there. And that’s what the creative hear, corny stuff,” he says, laughing. “But a lot of it was writing with

ISSUEDaniel Sannwald #42 MAGAZINE process has always been once I started writing music for myself. other people, and through that I learned how to write in different You’ve just got to show up and trust it.” circumstances, in different studios, in different vibes—which plays Growing up on a diet of pop and soul, everything from David into the creative process. Vibe goes a long way, man.” Bowie to Smokey Robinson, primed his ears and kept his mind –Linda Laban

19 MARCH/APRIL 2011 M MUSIC & MUSICIANS MAGAZINE

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