JAZZ SPOTLIGHT

JOE HENDERSON

“Double Rainbow: The Music of Antonio Carlos Jobim”

Verve

* * * 1/2

“One of the ideas in this album,” explained Joe Henderson, “was to get some of Jobim’s more obscure tunes--the beautiful and deserving tunes that maybe people hadn’t heard.”

The album does that and a lot more. In addition to such less familiar items as “Ligia,” “Photograph” and “Passarim,” Henderson--working with two distinct groups--examines tunes that have already become important entries in the Great American Songbook: “Felicidade” (from the soundtrack of “Black Orpheus”); “Once I Loved”; “Triste” and “No More Blues” (“Chega de Saudade”), the song that kicked off the bossa nova era in the late ‘50s.

Originally planned as a creative encounter between Henderson and Jobim, in which half the album would be recorded in Rio with Jobim on piano, the project was transformed into a tribute when Jobim died in December. The results equal--and often transcend--the Stan Getz bossa nova recordings of the early ‘60s.

What is described as the “Braz” segment of the album, with pianist Eliane Elias, guitarist Oscar Castro-Neves, bassist Nico Assumpcao and drummer Paulo Braga, floats with a samba-based buoyancy that allows Henderson to play with an irresistible sense of lyricism. His solos on “Dreamer” and “Ligia” are models of melodic variation in which he progresses from subtle counter-themes to bold, multi-noted harmonic ornamentation.

The “Jazz” segment, with pianist Herbie Hancock, bassist Christian McBride and drummer Jack DeJohnette, has every bit as much Brazilian feeling and jazz--testimony to the worldwide impact Jobim’s music has had over the years. It also has superb soloing from Hancock (especially on “Portrait in Black and White” and “Photograph”) and a surging rhythmic foundation from McBride and DeJohnette. Henderson’s work continues to be exemplary on everything he plays, characteristically building solos that pull the listener into an almost experiential involvement with the music.

“I’m really glad,” added Henderson, “that I had a chance to meet Tom Jobim and thank him for what he did with the bossa nova.” One suspects that Jobim would be equally gratified by what Henderson has done with the bossa nova on this superlative recording.

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