Ryuichi Meets Jobim with the Morelenbaums at CASA (2001)

The following is an English translation of an essay-style article in which Ryuichi Sakamoto reflects on a week spent at the home of Carlos Jobim, hosted by his family, alongside the Morelenbaum couple. During their stay, they held sessions to play Jobim's pieces, which fruited the album "CASA" (2001). Since the article is quite lengthy, I plan to update it gradually over the next few days. Final proofreading will be done once the entire translation is complete, so please excuse any minor errors in the meantime.

―――

About ten years ago, Ryuichi Sakamoto first shared with me his profound admiration for Antonio Carlos Jobim's music. At the time, he was working on the recording of Caetano Veloso’s “Circuladô,” produced by his long-time collaborator Art Lindsay, who had been working with him since the 1980s, as well as Maria Bethânia’s “Mais.” These recording sessions provided him with opportunities to deepen his relationships with Brazilian artists. When we met, our conversation naturally began with these topics, and I still vividly recall the moment he spoke, with a serious expression, almost in a whisper, words that have stayed with me ever since:

“There has always been one composer I’ve especially respected and admired: Antonio Carlos Jobim. I would love to meet him someday. It may sound like a dream, but if I ever had the chance to collaborate with him, that would be incredible.”

Sadly, that dream remained unfulfilled, as Jobim passed away in December of the previous year. However, his deep affection for Jobim, which had been growing since his childhood discovery of Jobim’s music, blossomed in a beautiful and meaningful way. In January of this year, he collaborated with the trio "Morelenbaum/Sakamoto" (M2S)—featuring Jaques (cello) and Paula (vocals) Morelenbaum—to record "CASA," a collection of Jobim’s works. The recording took place in Rio de Janeiro, in a home-studio setup, with the trio performing in Jobim's own house. Sakamoto played Jobim’s cherished piano, while the Molelenbaums sang and performed alongside him.

This dream-like project was born from the enduring friendship between Sakamoto and the Morelenbaums, nurtured over nearly a decade, and their shared love for Jobim's music. Here, Sakamoto reflects on his first meeting with Jaques Morelenbaum, which set the stage for their collaboration.

"About nine years ago, I attended a Caetano Veloso concert in New York. The moment I saw Jaques playing the cello on stage, I was utterly astonished. I thought, 'Can such a talented cellist really exist?' His foundation is classical music, but his freedom and improvisational style in Caetano’s music were breathtaking. I felt there was no other cellist in the world like him and knew I had to work with him someday. After the concert, I rushed backstage and asked Caetano to introduce me to him. To my surprise, Jaques was already familiar with my work, especially my film scores. As we talked, we found we shared so much in common—we both started with classical music, then developed a love for The Beatles, and later explored popular music. It felt as though we were long-lost brothers."

Their first collaboration came in 1993 during a concert, and Jaques later contributed to Sakamoto’s 1995 album “Smoochy,” with Paula providing backing vocals. Over time, the three formed a chamber music trio and released the album “1996,” embarking on a global tour and cementing their partnership. Today, Jaques is an indispensable collaborator.

"Jaques understands my music instantly. Even when it's not written down on sheet music, he listens and plays it freely right away. He’s not just an extraordinary cellist but also a musician with a remarkable ability to grasp and express music."

At the time of their meeting, Jaques and Paula were members of Banda Nova, Jobim’s regular ensemble. Naturally, their conversations must have often turned to Jobim. In 1996, the year of Jobim’s passing, Sakamoto made a trip to Brazil to participate in a festival in Rio and São Paulo, where one day Jacques produced the event, and Sakamoto also performed. This experience appears to have planted the seeds that later blossomed into "CASA."

"During my visit to Rio, Jaques and Paula arranged for me to meet Ana, Jobim’s widow, who graciously invited us to their home. There, I saw Jobim’s piano. Though it felt audacious, I asked Ana if I could play it. There were two pianos in the room, each with sheet music on them—one had Chopin’s Preludes, the other Debussy’s works. These are two of my favorite composers, and it struck me how deeply Jobim must have loved them as well.

It was evening, and as I played, the sounds of birds and the wind, along with distant chirps, came through the open windows. I thought how wonderful it would be to record in such an environment. Jobim’s music often draws from nature, and this setting seemed excellent. Around that time, we began discussing an album dedicated to Jobim’s music. Paula was the driving force to realize the idea. She regularly sang Jobim's songs in the Quartet Jobim Morelenbaum, but aside from that, she urged me and Jaques repeatedly to have a session performing Jobim together. She said we should make it happen. However, both Jaques and I were so busy that we couldn't find the time for this session, and she kept asking Jaques and me, "Why aren't we doing it?" Thanks to her persistence, we finally got the green light on the project during my summer tour in Europe. The credit for the success of this project goes to her.

Thus, "CASA" was born. In July of last year, after the trio’s European tour, a secret session was held in a London hotel lobby. Jaques recalled, "Jobim often spoke of a utopia filled with birds. Now, it feels like he has become one of those birds." Remarkably, during the recording of "As Praias Desertas," a bird’s call coincided perfectly with the final piano note, an uncanny moment that gave everyone chills.

The album combines an intimate, home-recording atmosphere with poetic depth, reflecting the trio’s profound love for Jobim. It offers a glimpse of Sakamoto’s pure, unadorned approach to the piano and his reinterpretation of Jobim’s work.

"During recording, we had many passionate discussions. Jaques, deeply committed to preserving Jobim’s legacy, often pointed out how Jobim might have played a certain part differently. For instance, I approached 'Sabiá' impressionistically, transforming its bossa nova roots. While this was challenging for Jaques, Paula, and perhaps Jobim fans, they ultimately embraced my interpretation."

Beyond "CASA," Sakamoto reflects on the rich cultural soil of Rio that nurtured Jobim’s genius. "Jobim’s music blends intellect and sensuality, shaped by Rio’s unique environment—a place of warmth, nature, and profound creativity."

Looking ahead, Sakamoto envisions "CASA" as more than a tribute to Jobim—it’s a bridge to the next century, a testament to the enduring spirit of his music. This is a casa, a home without locked doors, welcoming anyone who shares its essence.

Let me share the story of an event that led to the creation of "CASA." In July of last year, following Ryuichi's European tour (with Jaques joining him), a secret session was held in the lobby of a London hotel. This session later resulted in the live album In the Lobby, which features Jobim's "O Farol de Amor." Paula, who had accompanied the tour and was celebrating her birthday that day, sings with Ryuichi and Jackis providing backing. Halfway through, the sweet lead vocals of Dora, the 4-year-old daughter of the Morelenbaum couple, can be heard. This intimate, homey session, built on the bonds of friendship and family, can be seen as the precursor to the spirit of "CASA."

Although "CASA" is a collection of Jobim's works, it features very few of the standard bossa nova tracks. While these pieces may not be widely known, they include works that capture Jobim's deep connection with nature and his affinity for chamber music. Each piece is extraordinarily beautiful, and at times, they convey a sorrow so profound that it seems to cut through the heart like a knife. The selection was mostly curated by Paula, and the two instrumentally recorded tracks are rare compositions Jobim wrote in 1985 for the TV drama "Time and Wind." These pieces were included at the request of Jobim's eldest son, Paulo.

Now, let's have Ryuichi tell us about the recording session at Jobim's house (Casa).

To be continued!