Maria Luiza Jobim flourishes in the exquisite lightness of 'Rosa no Céu', an album of songs written with Marcelo Camelo

Cover of the album 'Rosa no Céu', by Maria Luiza Jobim
Art by Maria Ana Moura Santos from a photo by Marina Guimarães
♫ ALBUM REVIEW
Title: Rosa no Céu
Artist: Maria Luiza Jobim
Quote: ★ ★ ★ ★
♬ Forget that singer and songwriter with no identity from his first solo album, "Casa Branca" (2019), designed and constructed with musical production by Alexandre Kassin. Seven years and an album halfway through, "Azul" (2023), an album with a Carioca tone arranged and produced by Alberto Continentino, Maria Luiza Jobim reappears and grows in the lightness of her third solo album, "Rosa no Céu".
Talking about lightness becomes paradoxical when everyone knows that, whether we like it or not, Maria Luiza carries the weight of the surname Jobim for simply being the daughter of one of the greatest composers in the world, a genius, owner of a songbook with a planetary reach.
Yes, the monstrous shadow of Antonio Carlos Jobim (1927 - 1994) looms in a song full of bossa like "Sofá Vermelho", a partnership between Maria Luiza and Marcelo Camelo, architect of the released album on June 2 with a cover that displays art created by Maria Ana Moura Santos based on a photo of the singer taken by Marina Guimarães.
However, Maria Luiza is already starting to make a name for herself and, yes, Marcelo Camelo is the current producer in the 39-year-old artist's solo discography. And the Brazil-Portugal connection did Maria Luiza Jobim a lot of good, as shown in the album recorded at the Mar de Ouro studio, in Lisbon.
"Rosa no Céu" is an album of (good) songs. And it is worth noting that the most attractive of the seven new songs, "Go go go", only features Maria Luiza Jobim's signature in the composition, which delegitimizes any statement that the artist flourishes on the album "Rosa no Céu" because of the happy partnership with Camelo.
In any case, the influence of Marcelo Camelo and Mallu Magalhães on the blossoming of Maria Luiza Jobim in "Rosa no Céu" is clear. Just listen to the arrangement of "We are young", a song written by Camelo and Mallu, to identify the contribution to the album by the Brazilian couple living in Lisbon (the track refers to recordings from the most mature phase of Mallu's discography).
Camelo and Mallu are Maria Luiza's partners in "Portugal", a song composed in English. The beauty of "Boca a Boca" - a song adorned with strings in an arrangement that reiterates the refined (but never elaborate) architecture - and the fluency of the samba "Sinais" underline the success of Camelo's partnership with Maria Luzia and the harmony of the album in which the singing, compositions and arrangements are in tune with elegance and grace.
The only track outside the original track, the French song "La Javanaise" (Serge Gainsbourgm, 1963) - rewound by Maria Luzia in a feat with Chico Chico - maintains the atmosphere of the album, but without enchanting those who already know the approaches to the song by Rita Lee (1947 - 2023) and the duo Agridoce in soft records from 1990 and 2017, respectively.
At the end of Maria Luiza's album, the title song "Rosa no Céu" comes in a sumptuous string arrangement by Jaques Morelenbaum, a cellist who was part of Nova Banda, formed by Tom Jobim in the 1980s. It is as if, when recording with Jaques, Maria Luiza supported the weight of being a Jobim and, at the same time, allowed herself to be light so that she could finally blossom - ten years after the band's first album. Opala, the duo that revealed the artist in the Rio indie scene - in this seductive "Rosa no Céu".
Maria Luiza Jobim releases her third solo album, 'Rosa no Céu', produced by Marcelo Camelo
Marina Guimarães / Disclosure

Source: G1

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