Ensemble Showcases Gems From Jobim’s Rich Catalog

The musical legacy of Antonio Carlos Jobim is one of the great musical treasure trovesof the second half of the 20th century. At a time when American and English songwriting (with a few major exceptions) had largely abandoned the intricate harmonies and elegant wordplay of the Porter/Gershwin/Rodgers & Hammerstein era, Jobim (mostly with lyricist Vinicius de Moraes) continued to produce music with the quality and sophistication of art songs.

On Thursday night at the Cal State Northridge Performing Arts Center, Quarteto Jobim-Morelenbaum offered what was essentially a recital presentation of the full range of Jobim’s remarkable musical catalog.

It would be hard to find anyone more qualified to do the job. The ensemble included guitarist Paulo, Jobim’s son, and pianist Daniel, his grandson, with cellist-arranger Jaques Morelenbaum, who worked frequently with Jobim, and his wife, singer Paula Morelenbaum. Drummer Dudka Da Fonseca, who also recorded with Jobim, was an added guest.

Paula Morelenbaum’s voice was light and fleet, perfectly balancing the occasional breathy contributions--so reminiscent of Jobim himself--from Paulo and Daniel Jobim. Jaques Morelenbaum’s cello phrases, at times darkly lyrical, at other times driven by an improvisational swing, added a rich-hued palette of tonal colors. (In the introduction to one number, he simulated the sounds of a berimbao, on another, the squeaky rasp of a cuica friction drum.)

The music was clearly the starring element of the evening, however, and the performers encouraged its prominence by maintaining a low-key presence. As a result, highly familiar items such as “A Felicidade,” “Corcovado,” “Desafinado” and “Meditaca~o” emerged with pure, musically uncluttered clarity. And it was fascinating to hear lesser known numbers such as “Eu E Meu Amor” and “Lamento No Morro”, composed (with “A Felicidade”) for the original “Black Orpheus,” as well as one of Jobim’s most remarkable works, “Aguas De Marco,” and an unaccompanied Morelenbaum cello rendering of the melodically disjunct “Inutil Paisagem.”

Marvelous music, it was a persuasive reminder of Jobim’s extraordinary contribution to 20th century culture.