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| Elis & Tom | |
|---|---|
| Name | Elis & Tom |
| Type | studio |
| Artist | Elis Regina and Antônio Carlos Jobim |
| Released | 1974 |
| Recorded | February–March 1974 |
| Studio | MGM Studios, Los Angeles |
| Genre | MPB, bossa nova, samba |
| Length | 39:20 |
| Label | Philips |
| Producer | Aloísio de Oliveira, Ray Gilbert |
Elis & Tom
Elis Regina and Antônio Carlos Jobim reunited for a 1974 studio album recorded with musicians and arrangers from Rio de Janeiro, Los Angeles, and New York, producing a landmark Brazilian popular music collaboration that bridged Bossa nova, MPB, Samba (Brazilian genre), and international pop. The project involved figures from Brazilian and American music scenes including arrangers, session musicians, and executives associated with labels and studios in São Paulo, Rio de Janeiro, and Los Angeles.
The sessions followed previous intersections among artists linked to Bossa nova pioneers such as João Gilberto, Stan Getz, and Tom Jobim alongside vocalists like Elis Regina and contemporaries including Gal Costa, Caetano Veloso, and Gilberto Gil. Producers and executives from labels including Philips Records (Brazil), RCA Victor, and administrators with ties to Warner Bros. Records coordinated studio bookings at MGM Studios (Los Angeles), involving engineers experienced with sessions for artists like Frank Sinatra, Diana Krall, and Antonio Carlos Jobim. Arrangements were influenced by orchestrators and conductors in the circles of Claus Ogerman, Nelson Riddle, and Brazilian arrangers such as Eumir Deodato and Roberto Menescal, while session players had pedigrees that connected to recordings by Caetano Veloso and international collaborations like Getz/Gilberto. Scheduling conflicts, political climates in Brazil, and touring commitments shaped the timetable for studio dates in February–March 1974.
Song choices drew from the songbooks of Antônio Carlos Jobim, Vinícius de Moraes, João Gilberto, and lyricists associated with Bossa nova and MPB movements, featuring compositions credited to figures such as Tom Jobim, Vinícius de Moraes, Carlos Lyra, and Ruy Guerra. Selections included canonical tunes that had appeared on seminal records like Getz/Gilberto, earlier Jobim solo albums, and performances by singers such as Elis Regina and contemporaries like Nara Leão and Maria Bethânia. The repertoire balanced ballads, sambas, and mid-tempo pieces reflecting Jobim's harmonic language—modal shifts, extended chords, and melodic contours found in works associated with Antonio Carlos Jobim and collaborators like Ray Gilbert—and vocal interpretations informed by Regina's phrasing, dynamics, and microtiming similar to approaches used by Carmen Miranda in earlier Brazilian-American exchanges.
The album was released by Philips Records (Brazil) in 1974 and circulated through distributors and pressing plants with networks reaching Rio de Janeiro, São Paulo, New York City, and Los Angeles. Promotional efforts involved radio play on Brazilian stations that featured programs spotlighting MPB and Bossa nova, reviews in periodicals that covered artists like Elis Regina, appearances coordinated with television shows produced by networks such as Rede Globo and interviews published in magazines that had run profiles on figures like Tom Jobim, Caetano Veloso, and Gilberto Gil. International promotion leveraged contacts in hubs like London, Paris, and New York City, where critics familiar with prior collaborations including Getz/Gilberto and solo Jobim releases compared production values and artistic significance.
Contemporary critical reception referenced the album alongside landmark recordings by Tom Jobim, Elis Regina, and other influential Brazilian releases from the 1960s and 1970s such as records by Jorge Ben, Milton Nascimento, and Chico Buarque. Reviews in newspapers and music journals drew parallels to the work of arrangers and producers like Claus Ogerman and to the internationalization of Bossa nova achieved by partnerships with artists including Stan Getz and João Gilberto. Over subsequent decades the album has been cited in discussions of canonical MPB recordings, retrospectives on Jobim's catalog, and career surveys of Regina, appearing in curated lists by institutions and critics who also reference archives related to Museu da Imagem e do Som (São Paulo), musicologists studying Brazilian popular music, and compilations assembled by labels such as EMI and Universal Music Group. Performers influenced by the record include Eliane Elias, Caetano Veloso, Marisa Monte, and instrumentalists in the lineage of Antonio Carlos Jobim.
1. "Águas de Março" (Antônio Carlos Jobim) 2. "Desafinado" (Antônio Carlos Jobim, Newton Mendonça) 3. "Garota de Ipanema" (Antônio Carlos Jobim, Vinícius de Moraes) 4. "Queixas do Corpo" (Antônio Carlos Jobim, Vinícius de Moraes) 5. "Valsa de Eurídice" (Antônio Carlos Jobim, Vinícius de Moraes) 6. "A Paz" (Antônio Carlos Jobim, Vinícius de Moraes) 7. "Fotografia" (Antônio Carlos Jobim, Vinícius de Moraes) 8. "Olha Maria" (Antônio Carlos Jobim) 9. "Modinha" (Antônio Carlos Jobim, Vinícius de Moraes) 10. "Se Todos Fossem Iguais a Você" (Antônio Carlos Jobim, Vinícius de Moraes)
(Note: songwriting credits reflect Jobim and regular collaborators such as Vinícius de Moraes and Newton Mendonça; specific track lists vary among pressings and reissues.)
Principal vocalists: Elis Regina (lead) and Antônio Carlos Jobim (lead, piano, arrangements). Supporting musicians included session players from Brazilian and American circles: guitarists in the tradition of João Gilberto and Roberto Menescal, bassists associated with sessions for Tom Jobim and Milton Nascimento, drummers who had worked with artists like Gal Costa and Jorge Ben, and horn and string players arranged in styles linked to Claus Ogerman and Eumir Deodato. Production credits list producers connected to Brazilian and U.S. labels including Aloísio de Oliveira and production coordinators with ties to Philips Records (Brazil). Engineering personnel had experience in studios servicing artists such as Frank Sinatra and Ella Fitzgerald, while mixing and mastering followed practices used on cross-cultural projects like Getz/Gilberto.
The album has been reissued by major labels including Philips Records (Brazil), PolyGram, Universal Music Group, and specialty reissue imprints that handle archival Brazilian catalogs. Reissues have included remasters, alternate takes, and bonus tracks paralleling archival releases for artists such as Tom Jobim, Elis Regina, João Gilberto, and Caetano Veloso. Alternate versions circulated in various markets feature different sequencing or bilingual packaging aimed at audiences in Japan, France, United Kingdom, and United States, and collectors reference editions indexed in discographies curated by institutions like Discogs and specialty Brazilian music bibliographies.
Category:1974 albums Category:Antônio Carlos Jobim albums Category:Elis Regina albums