W E D N E S D AY,
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Eliane Elias [ PROFILE ] BY RON NETSKY
When Eliane Elias moved from Brazil to New York City in 1982 she had dreams of breaking into the jazz world as a pianist. “I did not have intentions of becoming a singer,” says Elias. “My whole devotion had been to the piano.” Initially, things went according to plan. She went to all the top clubs and hung out at jam sessions, making a strong impression at the keyboard every time she got the chance. It worked like a dream. “I was immediately accepted by the jazz community and by the critics,” says Elias. “I was signed to Blue Note Records.” But by the time she recorded her first album, the secret was out. This pianist had a voice. Sometimes she would use her voice as an instrument, and sometimes she would sing lyrics. At concerts she would sing a song or two, and the audience would always respond strongly. “Eventually I was asked by a record company to do a special project featuring my voice. I did and it was so well received; everybody liked it. So I had to go out and sing a lot more live.” Thirty years and two-dozen albums later, Elias has released “Light My Fire.” Although there is no shortage of wonderful piano playing on the CD, the focus is clearly on Elias’s sultry voice. Growing up in Brazil, it was almost inevitable
Elias would gravitate toward music. Her mother was a classical pianist, and Elias grew up listening to her practice. Her grandmother played guitar and composed songs. And there was no shortage of Brazilian music. “It was on the streets, the radio, the television – everywhere,” Elias says. But not all of her influences were local. “I was fortunate because my mother had a great collection of jazz records,” says Elias. “I heard so much jazz around the house, probably more than the average American 32 CITY • JAZZ FESTIVAL GUIDE 2012
kid. It was playing all the time.” She began taking classical piano lessons at the age of 7. “When I was 11 years old, I was transcribing music from Art Tatum, from Bud Powell. Then I moved into Bill Evans,” says Elias. “I loved his harmonies, and Herbie [Hancock], I loved his inventiveness. Oscar Peterson – these are very Brazilian-born Eliane Elias grew up in a musical family, hearing jazz strong influences.” recordings at home and surrounded by Brazilian music, which was “on the streets, the radio, the television — everywhere.” PHOTO PROVIDED As for singing: Brazilian music is them a cassette of my music. It didn’t take primarily vocal music, says Elias, and the more than that. The word went around New singers were mostly composers who sang York, and I was invited to join Steps Ahead.” their own songs, like Antonio Carlos Jobim. Although she found herself in one of the “I met Jobim for the first time when top fusion groups in jazz, Elias continued I was 17 years old,” says Elias. “ In fact, taking classical piano lessons. I worked with his co-writer, Vinícius de “It was more for developing technique, the Moraes, for the last three years of his life. He ability to have an idea and have the technique was the greatest poet Brazil ever had.” and the sonority, which is so important. The The last project Jobim was going to beauty of some works to me as a composer play on was saxophonist Joe Henderson’s and arranger has been extremely important. “Double Rainbow” album. When Jobim To do works by Ravel, Debussy, Bela Bartok, became too sick to participate, he chose Elias things that I play for my own pleasure – that to replace him at the piano. has been influential too.” By the time she came to the United States at
the age of 21, her keyboard chops were strong. “When I look back, it’s almost a fairy tale,” says Elias. “It was like a puzzle and I see all the pieces falling into place, because I moved to New York and I didn’t speak much English but I felt very comfortable in the city. I felt that the city was cute and small and safe compared to where I came from. São Paulo is huge.” “I started by going to clubs to hear the names that I was used to hearing on records,” says Elias. “I would introduce myself and give
The decision to focus on vocals has made a
difference in Elias’ current repertoire. “‘Light My Fire’ would not have been a song I would have chosen to perform on my instrumental albums,” says Elias. “When I put together the concept, I knew certain qualities I wanted to bring to music. One was to use the instruments more like sound architecture, where you create colors. Not everybody plays at the same time; elements come and go. I wanted something that would be a little bit more on the cool and sensual side. continues on page 34