01. Dear Dee Vee 
02. Confusion 
03. She’s Outrageous 
04. Bom Bom Bom Tchi Tchi Tchi 
05. Happiness                play
06. Amei Demais 
07. Ta Tudo Certo 
08. I Can Do It 
09. Minha Mae                play
10. Happiness 2 
11. Granada 
12. Granada Vignette

Personnel: 
Tania Maria (vocals, piano, electric piano, keyboards, synthesizer, background vocals); 
The Band (vocals); 
Mitch Stein (guitar, mandolin); 
Dan Carillo (guitar); 
Zé Luis (flute, soprano saxophone, tenor saxophone); 
John Purcell (soprano saxophone, alto saxophone); 
John Pena (electric bass); 
Walfredo Reyes (drums, timbales); 
Ricky Sebastian, Buddy Williams (drums); 
Jorge Silva (pandeiro, tambourine, percussion); 
Don Alias, Reynaldo Fernandez, Frank Colon, Claudio Silva (percussion).

Tania Maria sticks to Brazilian pop music on her concise but unremarkable program. The entire focus is on her vocals and there is little or no improvising over the repetitious vamps. The closer one listens to the admittedly danceable music, the more tedious it sounds. ---Scott Yanow, Rovi

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A1   	Tatiana 	4:33 	
A2   	Passarella 	3:58 	
A3   	Pecados Meus 	4:53 	
A4   	Rua 17B 	3:55 	
A5   	Zé 	3:52 	                           play
B1   	Eu Fui A Europa 	4:16 	
B2   	Retrato Em Branco E Preto 	4:58 	
B3   	Para Chick 	6:00 	
B4   	Ideias E Ideais 	3:52 	           play

Credits:
Arranged By - Janos Geszti , Tania Maria
Bass - Zezito (tracks: 1, 2, 3, 5, 6, 9)
Cello - Hubert Varron (tracks: 7)
Double Bass - J.F. Jenny-Clark (tracks: 4, 7, 8)
Drums - Aldo Romano (tracks: 4, 7, 8) , Passarinho (tracks: 1, 2, 3, 5, 9)
Drums, Percussion - L.C. Fuina (tracks: 2, 5, 6, 9)
Percussion - Clovis Lobâo (tracks: 4)
Saxophone [Tenor], Flute - Alain Hatot (tracks: 1, 3, 9)
Trumpet, Flugelhorn - Alfred Housepian (tracks: 1, 3, 9)
Vocals, Piano - Tania Maria

Tania Maria's debut is a mix of hushed bossa numbers and up-tempo, jazz-inflected sambas that show off the prowess of her nine-piece band. "Zé," which belongs to the latter category, is an original tune that begins with Maria's slightly over-the-top scatting and builds into a kickin' samba jam; on "Para Chick," a Tom Jobim instrumental, the group is at its most improvisational, with Maria herself (on piano) dishing out some fine solos; and on the tempo-shifting "Ideias E Ideias," Maria manages to sound like Astrud Gilberto and Ella Fitzgerald within the span of a few chord changes. Though it's heavy on the standard bossa/samba fare, it's also a uniformly solid album and a fine introduction to Maria's catalog. ~ Christian Hoard

Remastered and packaged in a Digipak with original cover and a booklet that's richly illustrated with liner notes in English and French. Universal. 2005.

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01 – Chorinho Brasilero
02 – Intimidade
03 – Canto
04 – Samba Do Gato
05 – Florzinha
06 – Vou Te Amar
07 – Ca c’est bon
08 – Ze Marmita
09 – Carlos Song
10 – Thanks Mr G

Tania Maria might be the best Brazilian musical artist working outside her own country. This jazz pianist and singer had to move to France to win acclaim, and is now pretty well-known by jazz aficionados worldwide—but very few other people. While she might not have the cache of other Brazilian musicians who started out in rock or Tropicalia or regional styles, she certainly can still bring the heat at age 64. This set, recorded with her trio a few years ago, should easily admit her to the pantheon of “Brazilians who are actually known and paid attention to in other countries,” if such a phenomenon can still occur anymore. Whether she’s turning a samba into a rumba, like in leadoff track “Chorinho Brasilero”, or chewing all the scenery on power ballads such as “Zé Marmita”, Tania Maria knows how to be exactly who she is: a great (but not technically overwhelming) pianist, and an affecting (but strangely-voiced) singer with a surprisingly low vocal range.

There’s not a lot of subtlety to her approach; she often hammers her way through a solo, and has a tendency to sing along with her trickier piano solos. You can almost hear her lower her head to charge through “Carlos Song”, a sweet bossa nova funk number that might otherwise be mistaken for a love song.

“Ca C’est Bon” is a flat-out samba sprint with a solo that resembles a player piano mechanism gone out of control. The band yells the chorus along with their leader, then starts to yell the whole melody along with her; the whole thing is about as deep as a puddle, but I bet it’s a hell of a lot of fun to yell at a concert, or at Carnival.

This hell-bent for leather approach works perfectly for pieces like “Intimidade”, a forró number that swings like sixty and has hints of a Tom Jobim arrangement. It’s also hilariously appropriate for album closer “Thanks Mr. G”, a samba jazz thing that is so amped-up and hyper that you fear Maria won’t be able to keep up with it for her solo—and yet she nails several passages right on, and has enough to undergird a simultaneous solo by everyone in the damn horn section. Anyone who won’t smile listening to “Thanks Mr. G” is someone you don’t want to associate with.

But the real jam here is “Samba Do Gato”. It’s kind of a samba, but its rhythm is actually more like a New Orleans second-line beat, so you know they’re getting sexy like that. The band curls its talents around this song for a full 11 minutes and 26 seconds, going through several mood shifts along the way. The crucial section is a modulated middle that leads to a joyous piano/scat dual solo, where Maria sings along with her own keyboard inventions, and then unpeels a selection of barrel house riffs that would make Lil Armstrong weep with the seven jealousies.

“Samba Do Gato” would be a career-defining song—if Tania Maria hadn’t already put together such an undefinable career. This record, already issued in Europe last year, is hitting U.S. shores in 2013, so there’s PLENTY of time to compare everything else you hear to this. All I have to say is, “Good luck, everyone else.” ---Matt Cibula, popmatters.com

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01. It's Only Love 5:02
02. Choices 5:05
03. What Will You Give Me For My Love 4:42
04. O Bom E 5:20                      play
05. Chuleta 4:20
06. Please Don't Say 5:32
07. Am I Too Late 3:25
08. Forbidden Colors 5:40             play
09. Brazilian Eyes 5:40

Musicians:
Tania Maria - vocals,keyboards
Mark Egan - bass
Airto Moreira - percussion
Buddy Williams - drums
Steve Thornton - percussion
Ted Lo - synthesizer
Steve Gadd - drums
Anthony Jackson - bass
Dan Carillo - guitar
Dick Oatts - sax
Kim Planfield - drums
Leo Traversa – bass

Tania Maria is a Brazilian artist,singer,composer,bandleader and piano player,singing mostly in Portuguese or English. Her music is mostly vocal, sometimes pop, often jazzy, and unmistakably Brazilian. Whether playing fiery samba,tranquil bossa,Afro-Latin, Pop and Jazz fusion, or any other style, she maintains a style that is uniquely her own. Her vibrant voice, brilliant piano work and outstanding performances have made an artist of increasing international popularity.

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1. Intimidade
2. Chorinho Brasilero
3. E Tao Gostoso Seu Moco
4. Canto
5. Besame Mucho
6. Aye
7. Agua De Beber
8. Evocacao
9. Esta No Ar
10. Batebola

Personnel: 
Tania Maria - vocals, piano, Fender Rhodes electric piano; 
Marc Bertaux, Thirry Fanfant, Eddie Gomez - bass; 
Luiz Augusto Cavani - drums, tamborim; 
Fabien Haimovici - drums; 
Mestre Carneiro, Julio Gonsalves - percussion.

Now in her late 50s, Tania Maria Correa Reis continues to bring all the energy and zip to her performances that she did when she recorded her first album in 1971. 26 albums later, she's still Brazil's queen of the funky jazz samba. Her welcome combination of lively rhythms and sultry ballads brings the versatile program on Intimidade into our hearts from several perspectives. We get uplifting melodies, warm harmony, lively rhythms and a personal look at the artist, still in her prime.

Tania Maria tells us that "Intimidade means opening yourself up to others and conveying your passion to them. She proves her ability to do this beyond the shadow of a doubt through her intimate setting and personal approach. Besame Mucho, always a favorite, comes with plenty of bass/vocal interaction. The singer's interpretation of "Água de Beber symbolizes her unique style with an envelope-pushing blend of piano and voice teamwork.

While the session lacks guest artists who could share in the melody-making, we're treated to an intimate performance that relies on vocal, piano, bass, drums and percussion for its effect. Tania Maria continues to bring us traditional Latin music in her personal style, combining poignant lyrical messages with underlying, moving rhythmic currents. ---Jim Santella, allaboutjazz.com

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01  Funky Tamborim (Tania Maria/Correa Reis) 8:11 
02  Quase (Charles Mangione/Jorge Goncalves) 6:43 
03  Granada (Augustin Lara) 7:25 				           play
04  Bom Bom Bom Tchi Tchi Tchi (Tania Maria/Correa Reis) 9:31 
05  Valeu (Tania Maria/Correa Reis) 9:20 
06  E' Carnaval (Tania Maria/Correa Reis/Van Gibbs) 6:51 
07  Florzinha (Sidney Bechet/Tania Maria/Correa Reis) 7:07 
08  Minha Mae and Sangria (Tania Maria/Correa Reis) 6:08

Musicians:
Tania Maria (Piano, Synthesizer and Vocals) 
Luiz Augusto (Drums) 
Carlos Werneck (Bass Guitar) 
Mestre Carneiro (Percussion)

Most albums by Brazilian female vocalists follow the styles of the queens of the music, like Astrud Gilberto or Gal Costa, making records that are either smoothly romantic or rhythmically kinetic. On 2002's Live at the Blue Note, Tânia Maria delivers an impressive set that owes little to either style. Maria's band, the Viva Brazil Quartet, owes at least as much to hard boppers like the early-'60s Miles Davis group as it does to Antonio Carlos Jobim, and Maria's idiosyncratic, highly percussive keyboard style is much more Cecil Taylor than Walter Wanderley. The recording is rather oddly mixed, with Maria's piano and synthesizer in the forefront, her equally distinctive vocals much farther back, and Carlos Werneck's guitar and bass sometimes barely audible, but the performances are uniformly first-rate. Maria sings in both English and Portuguese, sometimes switching mid-song, but at her most transcendent, Maria breaks into wordless flights of sound, as on the exhilarating "Granada" and the whistled choruses of the ballad "Valeu." At these moments, the occasionally herky-jerky rhythms and fractured melodies coalesce into something magical. Live at the Blue Note may be a bit advanced for those who are just looking for some romantic bossa nova music, but it's an excellent starting point for discovering Tania Maria. ---Stewart Mason, AMG

Singing in Portuguese & English, and hop-scotching her way around wordless vocals, Tania Maria takes a ton of built-in, high-voltage energy with her everywhere she goes. From Northern Brazil, she's lived in Europe and the U.S., while gaining popularity for her unique style. Samba and romantic dance blend naturally with her perky piano and syncopated vocal offerings. She's performed all over the world for some 30 years now. This recent performance of Tania Maria and the Viva Brazil Quartet comes after over twenty albums.

It's a live recording, and Tania Maria's voice projection doesn't get its due. Her voice appears to be farther off: at a distance. Nevertheless, this performance finds her in top form, using her voice as an instrument - another member of the band. The wordless vocals she contributes on "Granada" make her a convincing agent. Whistling on "Valeu," the singer takes it to a different level. Tania Maria makes the music come alive. When she sings in unison with her keyboard, we get a bright, resonant sound. Her energy translates into fascinating rhythms and joyful sambas, even when pushed a little farther from the microphone than desired. ---Jim Santella, allaboutjazz.com

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