Why did you choose the title
“Suspiro” for this album?
It is named after a song on the
album, written by brilliant Brazilian composers and musicians Domenico
Lancellotti and Bruno di Lullo. “Suspiro” means a long, deep breath; a sigh of
relief. It’s profound, heartfelt, gentle and delicate. I think it’s a beautiful
word that conveys the overall vibe of the record. I also love how the track
“Suspiro” turned out.
Where did you record this album?
We recorded at Mauro Refosco and Jake Owen’s Superlegal Studio in Brooklyn, last Spring.
You decided to go back to your Bossa Nova roots and you did some covers too—tell us more about how that happened.
I had just returned to New York from a residency in Japan where I was completely immersed in Jazz and Bossa Nova. The idea was to make a modern classy record that explored the soundtrack of my beachside upbringing and love for American Jazz. We gathered a comprehensive mix of songs—some originals by contemporary Brazilian songwriters, some non-obvious standards by João Donato, Cy Coleman and Peggy Lee, and some that I wrote with my partner Jake Owen. It’s not a throwback record but it pays tribute to the Bossa Nova sound of the 60s with a modern touch.
You have put together an amazing team of producers and guests on this album-can you talk about some of them and why you chose them?
It all started when I ran into Stéphane San Juan in New York, an old friend, who had just relocated from Rio. He’s an incredibly talented multi-cultural French producer, drummer and composer and was in the middle of recording a Jazz trio project at Jake’s studio. I came to him with this idea of doing a Bossa jazz album and invited him to produce it with Jake. We had Vitor Gonçalves (piano) and Eduardo Belo (bass) join Jake (guitar) and Stéphane (drums) and recorded everything live, in the spirit of the classic recordings. I was honored to have trumpeter Michael Leonhart be part of these sessions as well.