
Reviewed: Sergio Mendes' Encanto
By Alfredo Flores Posted: June 4, 2008 Washington City Paper
Photo credit Randee St. Nicholas
Encanto
Sergio Mendes
Concord
On Nov. 21, 1962, pianist Sergio Mendes helped introduce bossa nova to the United States, playing Carnegie Hall with an all-star lineup of fellow Brazilians like João Gilberto, Antonio Carlos Jobim, and Carlos Lyra. The infectious mix of samba, pop, and jazz soon became a staple in bachelor pads and on the stereos of jazz aficionados, and as its popularity in America grew, Mendes settled in Los Angeles. There, he furthered the genre with his band Brasil '66 and collaborated with Cannonball Adderley and Herbie Mann. But the genre's popularity fizzled out in the '80s, and by 2002, Mendes had gone a decade without recording an album when the Black Eyed Peas' will.i.am requested a meeting. Their collaboration, 2006's Timeless, revamped the genre with the help of guests Stevie Wonder, Jill Scott, and Justin Timberlake. His new album, Encanto, is another collaboration with will.i.am, but it has a more traditional feel—unlike Timeless, which alienated older Mendes fans thanks to will.i.am's hype-man work on half the tracks. It's clear that Mendes wanted to get back to his roots: The new album was mostly recorded in Bahia, Brazil, and Mendes' hometown of Rio de Janeiro, and it includes a duet with original Brasil '66 vocalist Lani Hall on the soft-jazz love song "Dreamer," which also features Mendes on vocals, Rhodes electric piano, and acoustic piano. Will.i.am, for his part, restrains himself to just three of the album's 12 tracks. But his sharp drum programming and rapping boost a remake of a Mendes staple, Burt Bacharach and Hal David's "The Look of Love," as do Fergie's vocals and Paul Jackson Jr.'s acoustic and electric guitar, with Mendes controlling the temp

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