For several factors, Paula Faour invites comparisons towards the well-known Eliane Elias. Like Elias, Faour is really a Brazilian jazz instrumentalist who takes on the acoustic piano and electrical keyboards — and she certainly shares Elias’ solid appreciation of Expenses Evans’ lyricism. Faour, like Elias, offers performed both Brazilian and American tunes and has mixed post-bop pianism with Brazilian rhythms. But Faour is usually more youthful than Elias; she was created in the past due ’70s, whereas Elias was created in 1960. And unlike Elias (who relocated to america and wedded trumpeter Randy Brecker), Faour still lives in Brazil. Therefore despite a number of the parallels between Faour and Elias, Faour is usually her personal person. The lyrical, melodic Faour provides a number of affects to her acoustic piano and electrical keyboards — some Brazilian, some American. She’s been greatly suffering from the Brazilian samba tempo and by Brazilian performers like Eumir Deodato, Sergio Mendes, Azymuth, and Antonio Carlos Jobim, but she’s a lot of American affects aswell — not merely Bill Evans, but additionally Keith Jarrett, Herbie Hancock, and Chick Corea (who’s no stranger to Brazilian jazz and caused Flora Purim and Airto Moreira in his 1st Go back to Forever lineup back the first ’70s). Faour is commonly drawn to the greater clean-sounding bop and post-bop pianists, and her very own pianism definitely gets the type of crystalline sound one affiliates with Evans and several of individuals he inspired (such as for example Fred Hersch, Alan Broadbent, Lynne Arriale, and Olga Konkova). Delivered in Brazil on July 17, 1977, Faour is at her early twenties when, in 1998, she fulfilled Arnaldo DeSouteiro, a well-known, extremely jazz-friendly manufacturer in Brazil (where he provides often been referred to as a South American exact carbon copy of Creed Taylor or Tommy LiPuma). DeSouteiro initial heard her executing in a concert that included Hermeto Pascoal and accordionist/guitarist Sivuca, who shortly employed her as a normal person in his music group. Impressed with Faour’s playing, DeSouteiro suggested her to his wife, Ithamara Koorax (a well-known vocalist in Brazil), and veteran drummer Dom Um Romão (who instructions the type of respect in Brazilian music that Tito Puente, Mongo Santamaria, and Ray Barretto possess enjoyed within the Afro-Cuban field). In 1999, Romão employed Faour to try out with his music group, and she finished up touring thoroughly using the popular drummer and playing on some of his albums. The first 2000s discovered Faour showing up on albums from the Brazil All-Stars and Pingarilho. Through the summer time of 2002, DeSouteiro joined a Rio de Janeiro studio room with Faour and created her 1st album like a leader, Great Bossa Struttin’, for his personal label, Jazz Train station Records; mainly an acoustic trio day, the album utilizes Romão on drums and Brazilian jazz veteran Manuel Gusmão on acoustic bass.