Johnny Alf

Listening to this album, it’s easy to understand why Girl from Ipanema’s Tom Jobim nicknamed Johnny Alf “Genialf” (a pun with the word “genius”). More than just the musician who, in the mid-1950s, foreshadowed the contours that shaped Bossa Nova music in the late years of that decade (having directly inspired João Gilberto and Jobim himself), Alf personifies the nobility of Brazilian music in a way few artists have been capable of. Throughout this album, arranged by maestro José Briamonte, Alf proves that music can be gentle and tender without losing depth and sophistication. Alf, a composer and a piano genius, is also an unparalleled singer. With his velvet timbre, Alf shows up with an outstandingly tuned voice and ample vocal reach. As an artist deeply influenced by jazz music, Alf often uses his voice like it was a brass instrument, playing with semitonal intervals and improvisations. The drums are absolutely flawless, particularly in “Céu Alegre” and “Quase Tudo Igual.” “Eu Só Sei” brings an interesting contrast between a lively arrangement and sad lyrics about loneliness. “Eu e a Brisa” stands out for its melody and delicate poetry. Another big highlight is the opening track, “Kaô, Xango.” An early 1960s song that pays tribute to an Afro-Brazilian deity (Xango, the god of justice) using the sound of Bossa Nova, “Kaô, Xango” is a groundbreaking piece of music.