Sergio Mendes - Timeless (2006)

One of the biggest crossover Brazilian pop artists of his
generation, Sergio Mendes helped define the sound of Latin pop and
dance music in the 20th century. For most of the second half of the
'60s, Mendes was the top-selling Brazilian artist in the United
States, charting huge hit singles like "Mas Que Nada" and LPs like
Herb Alpert Presents Sergio Mendes & Brasil '66 that regularly made
the Top Five.

His records with his group Brasil '66 regularly straddled the
domestic pop and international markets in America, getting played
heavily on AM radio stations, both rock and easy listening, and he
gave his label, A&M, something to offer light jazz listeners beyond
the work of the company's co-founder, Herb Alpert.

It's easy to think that since Santana made his big comeback using a
lot of contemporary pop stars it would become the formula for the
artists of yore to edge their way back into the limelight. Mendes,
the best-selling Brazilian recording artist of all time, hasn't made
a platter in eight years. He plays piano on a Black Eyed Peas track
- "Sexy" from Elephunk - and the jam's a smash. Will.i.am of the
Peas decides to hook up for a full-on collaboration with Mendes,
because he's a huge fan.

Being the hotshot producer of the moment, will.i.am recruited
everyone from Q-Tip, Justin Timberlake, and John Legend to Jill
Scott, Black Thought (the Roots), and Stevie Wonder (just to name a
few) to sign on. Recorded in both Brazil and the House of Blues in
Encino, the set revisits many Mendes and Brazilian songbook classics
and reworks them in the modern beat-driven idiom. Needless to say,
the end result is entertaining, if mixed. Let it be said that a cut
like "Mas Que Nada" should never have been covered, let alone
redone.

But it is here with Black Eyed Peas and some backing vocals with, of
course, Mendes playing that trademark piano riff. OK, "That Heat" is
a reworking of "Slow Hot Wind," the Henry Mancini tune Mendes
covered and is supposedly the first track will.i.am ever sampled at
the ripe old age of 14. Here Erykah Badu croons in a sultry humid
way as will.i.am goes down deep with the rap. Mendes' piano is what
keeps the thing from falling completely apart. Better is the Baden
Powell-Vinicius de Moraes medley of "Berimbau/Consolacao".

Mendes' Rhodes offers the vamp that the elegant chorus singers -
Gracinha Leporace, Debi Nova, and Kleber Jorge - and Mendes groove
to. Will.i.am lays down some rather organic-sounding electronic
percussion that sounds like palmas, and Wonder blows his harmonica
over the entire proceeding as Jorge's guitar strides alongside
Mendes' piano. This may be the best cut on the set. There is a fine
case to be made for the humor in "The Frog," written by Jo縊 Donato,
and originally covered by Mendes.

Q-Tip lays down a charming rhyme and Mendes' Wurlitzer work is
killer. The cover of "Let Me" is stiff and Jill Scott, as fine a
singer as she is, doesn't cut it here, and neither does the rhythm
track. The smoother than smooth "Please Baby Don't," written and
sung by John Legend, works because of Legend's understanding of
Brazilian rhythm and Mendes' piano groove that carries the voice.
"Samba da Bencao," with Marcelo D2 and guitars by the Maogani
Quartet, is engaging; Mendes' acoustic piano solo is beautiful, as
are the horn charts. The title track with India.Arie is simply
beautiful.

Aire, with backing vocals by Nova and Leporace and a slinky guitar
part by Jorge, makes the tune simply float as Mendes decorates it
with Rhodes and synth. Timeless is a mixed bag, but it's not because
of Mendes. His own playing and arranging is utterly elegant. As a
producer, will.i.am means well and in general does a fine job -
though he is, as would be expected, a tad overzealous in working
with one of his idols.

Timeless may not actually achieve that status, but for the moment
it's a fine effort that doesn't reek of cloying commercial
manipulation and feels like a true collaboration.