Nu-Bossa Elixir’s by Future350, Stephen Johnson with Vanessa Falabella

A Music Review by Dawoud Kringle

Artist: Future350 Feat. Vanessa Falabella
Titel: Nu-Bossa Elixir’s. Stephen R Johnson with Vanessa Falabella
Label: Movita Records
Genre: Nu Bossa

Stephen Johnson (guitarist, vocalist, Polydor recording artist, head of the MFM Hudson Valley Chapter, founder of Edge, Vienna, Victorian Parents, Son of John, Island of Men, ‘luckymission’ (Green) and Future350) has just released a new album called Nu-Bossa Elixir’s, a collaboration with MFM member Brazilian vocalist Venessa Falabella.

Falabella was voted Best Brazilian Singer in the United States by the Brazilian Press Awards 2016. A singer-songwriter of unique talent, Falabella has a broad musical range and repertoire. She toured the world both as a solo singer and with The Platters and Cyro Baptista’s Vira Loucos, and recorded with Gato Barbieri, Philippe Saisse, Sadao Watanabe, Jason Miles, Will Lee, Eumir Deodato, and others. She has four solo albums to her credit.

Falabella and Johnson started their project during the lockdown/pandemic. She was his tutor in Portuguese singing. Her partner (MFM member) Richard Miller was tutoring him in Brazilian guitar. The Nu Bossa project’s mission is to honor the inspirational work of the Bossa Nova and Samba Greats of Brazil.

On this recording, Johnson played guitars, hand percussion, keyboard programming, and vocals. Falabella contributed vocals & whistling. Other musicians on the recording are Michael Colletti (upright bass), Steven Decker (drums:), Rubem Farias Mattisson (bass), Melvin Greenwich (cello), Donny Kaas and Pablo Shine (conga), and Peter Wetzler (MFM member on accordion & piano).

The album opens with “Face to Face,” an original by Johnson and Falabella. A lively groove draws the listener in while the chorus is sung/chanted. The lyrics were reminiscent of the optimistic, positive messages found in many examples of 70s-era jazz and fusion. Mattisson’s bass exuded a wonderful melodicism that provided depth and color.

“Antes qu seja tarde (Before it Gets Late)” was next. The positive message vibe was revived in another variation within the Bossa framework. A break in the middle of the song brought Falabella to the forefront. She invokes a classic Brazilian sweetness to the song and brings out the best in the composition. The instrumental arrangement, especially the percussion, is marvelous.

This was followed by “Lugar Comum (Common Place),“ a piece composed by João Donato & Gilberto Gil. The intro has a moment of an almost Gospel flavor before the Bossa vibe eases to the forefront. The vocal arrangements are truly imaginative and (for want of a better adjective) delicious. Falabella shined on this track.

“Promessa (Promise),” the third track, opened with an arrangement strangely recalling the orchestral works of Charles Mingus, before settling into a Jobim feel. This is one of those pieces that creates a relaxed and sensual mood in a gathering, or intimate setting. The composition, keyboard, and vocal arrangements are excellent.

Johnson’s guitar work emerged with understated sublimity on “Viajei (Journey)” It blended nicely with the other instruments and vocals.

Antônio Carlos Jobim‘s “Aquas de Marco” featured some wonderful surprises in the vocal arrangements. The ending was a startling display of angular dissonance that altered the mood of the piece, like the plot twist in a good movie.

The entire album is a masterful display of the beauty and eloquence of Bossa. At the same time, it deftly conjures imaginative and subtle innovations that contribute to the traditions of Bossa Nova, Tropicalia, and Musica Popular Brasileira. The music is colorful and expressive and effortlessly creates alluring moods. Johnson and Flabella have created a masterpiece.

Previous CD review:

CD Review: Future350 Nu Bossa…Nu Bossa Nova from Kingston (NY)