リオ・ボッサ

日本首席的巴西新音乐天后，1996年经典作品，一首首轻松无压力的漂浮曲风，宛如置身于巴西国度 小野丽莎生于巴西，15岁开始抱著吉他自弹自唱，早在1989年就发行首张专辑。以毫不矫作的自然唱腔、旋律感十足的吉他弹奏、再加上歌唱时瞬间散开的笑容，让巴西新音乐(Bossa Nova)在日本全国快速扩散开来。于是小野丽沙被喻为~巴西新音乐(Bossa Nova)女神！与多位爵士、森巴巨匠及大师合作，表演场所横跨纽约及巴西，世界级的好评夸赞声从不间断！此专辑《Rio Bossa》是小野丽沙与大师Antonio Adolfo于1996年共同携手制作的作品，收录〈华丽婀娜〉、〈清新安详〉、〈日本樱花〉等13首丽莎最爱的音乐作品集。聆听一首首轻松无压力的漂浮曲风，宛如置身于巴西国度，随手打开收音机一般，传来阵阵巴西轻音乐，不可思议的异国浪漫情调！ This recording is a bit of a change of pace for the Japanese bossa singer, in that here Ono digs deeply into the talent of bossa nova gospel, both old and new, rather than relying on her own very worthy songwriting skills. Some of the songwriters present include Tom Jobim, Eumir Deodato, Baden Powell and Vinícius de Moraes, Claudio Nucci, Caetano Veloso, and others. Produced by Brazilian legend Antonio Adolfo, Ono surrounds herself with a gorgeous host of tunes, including Dorival Caymmi's "Festa de Rua," which opens the album with shimmering acoustic guitars and layers of lilting hand percussion by Sidinho, all of which seem to propel Ono's voice outside the song, as if to observe what is being sung by osmosis. Adolfo's arrangements traditionally bring the instrumentation to par with a singer's voice, and these are no exception. But his work also places the vocalist in a safety zone, a place from which to express the poetic quality in most bossa tunes and certainly in all of the good ones. Here Veloso's "Dom de Iludir" is treated like a rare gem by Adolfo's pianism. Ono's voice slides out from between it and the percussion instruments as a guitar trails after her. The breezy lightness in the cut stands at odds with the heartbreak that comes though in her delivery. Elsewhere, such as on Deodato's "Baiaozinho," Ono's voice becomes a percussive element in and of itself as she delivers the narrative in the body of the song. Adolfo floats her singing into the tempo, as if a counterbalance to the already percussive guitaristry of Nelson Faria. The effect is chilling and arrests the listener as she or he comes to grip with singing not as a solo activity or even a vocal one, but an instrumental one. This is one of Ono's finest moments in a career already marked with distinction.