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During a recent interview, we asked vocalist Bebel Gilberto what she wanted her audience to come away with after a performance.
With characteristic flair, she responded, "Love and passion, of course."
Those romantic sentiments prevail throughout Gilberto's new recording, All in One, which she will be supporting in concert tonight at the 9:30 Club. Her first release on the Verve label, the album was recorded in Jamaica, Brazil, and New York, with her new husband at the sound board. The songs continue the pop-infused Brazilian stylings for which Gilberto is known, but she also delves into Caribbean rhythms, dance tracks, and covers of Bob Marley and Stevie Wonder.
"I had some new songs I was singing on this new phase of my life," Gilberto said. "The whole creative process can be painful. This time, it was all sunny."
Gilberto's music is rooted in bossa nova, a form that is, quite literally, in her blood. Her father is the great João Gilberto, the man credited with creating the bossa nova beat and establishing the genre in the 1950s. Her mother, Miúcha, is also a celebrated singer in Brazil. To this foundation, Gilberto adds electric guitars, drums, and loops. For All in One, she also worked with a number of producers, including the Dust Brothers' John King, Didi Gutman of the Brazilian Girls, and Mark Ronson, who produced breakthrough recordings for Amy Winehouse and Lily Allen. Daniel Jobim, grandson of Antonio Carlos Jobim, who penned "The Girl from Ipanema" and numerous other bossa nova classics, collaborated on several of the more traditional sounding tracks.
"I'm stepping into a different world that I'd never stepped into before," said the Grammy nominee. "I want to accomplish everything I have not done before."
Gilberto is featured regularly with Thievery Corporation, so we couldn't help but ask whether their might be some surprise guests at tonight's show. While there were no definite plans at the time of the interview, Gilberto did acknowledge that she would welcome the opportunity to have musicians from Thievery sit in with her band. Regardless, she noted that she was looking forward to returning to where she had one of her most memorable performances.
"I was on a triple bill with Manu Chao and Thievery. That was really special," recalled Gilberto. "With my whole history with Rob [Garza] and Eric [Hilton], I saw the beginning of Eighteenth Street Lounge, I couldn't be more happy to play in D.C."
Bebel Gilberto performs tonight at the 9:30 Club, located at 815 V Street, NW. 6 p.m. doors. $35
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Welcome to Borracho, honey!
Nice enough music, but she also pulled one of the rudest concert stunts I've ever witnessed. A few years ago she started a 9:30 Club show well over an hour late, even though there was no opening band, and she was already in the club. Some people had shown up when they opened the doors around 8:00, and despite an official start time of 9:30 she didn't end up going on until nearly 11. The worst part wasn't so much the lateness, but the fact that she didn't even acknowledge it or hint at an apology.
Aah… I remember that night well. Front row, my date for the evening; a shapely redhead leaning her ample bosom into my chest, as we waited for the grand dame of no shows to show. And, then around eleven, Bebel walks on from one side of the stage, her band the other. Looking nervously out at the audience, she squeaked that she couldn’t coordinate her entrance with the band because they were on opposite sides of the stage; an answer that still rings disingenuous to this day. The band played; going through their motions, but, unable to find the groove that makes Thievery or Bajofondo concerts such fun. I burned my Bebel records in protest, but, the evening wasn’t a total waste, as my red-headed friend gain attest.
Yes, totally, I forgot about that ridiculous excuse!
My own theory was that she was just too busy getting blazed with the Thievery Corp. guys to pay attention to the clock . . .
Saw Bebel tonight! Too bad that the soundboard problems mucked around with her entire set, even into the encore. She apologized onstage early on, which should have been clear enough direction to the soundboard guy, but he never got it together. The bass feedback overwhelmed her lovely voice. So disappointing. With no opening act, you'd have thought they would have had all day to figure out those kind of kinks.