The best known songs of Antonio Carlos “Tom” Jobim are sensitive, sensual and romantic. They ease into one’s heart and mind with slightly swinging hips, a whisper, and a sigh. When performed in their native tongue, the actual sounds of the language are evocative.

Annie Kozuch, who sings both in English and Portuguese, opens Mostly Jobim with two bright, brassy, extremely up-tempo renditions of songs whose performances bring to mind the perky Nellie Forbush of Rodgers and Hammerstein’s South Pacific. “I need your love or I will die” (from “Áqua de Beber”; original lyric: Vinicius de Moraes/English lyric: Norman Gimbel) is enacted with an inexplicable, cheerful grin. Looking out into, but never directly at the audience, Kozuch neither seduces nor even connects. Most of the rest of the show follows suit. Arrangements are heavy-handed, patter seems forced and, for the first time in my experience, the vocalist leaves the stage mid-set, while her group treads water with a jazzed-up piece from her “Polish background” by Frederic Chopin. You heard right.

“Mas Que Nada” (Jorge Ben), a carnaval number, is joyful and infectious and versions of both “Felicidade” and “Chega de Saudade” (both de Moraes), effectively communicate Jobim’s lyrical credo, “sadness has no end, but happiness does.” These are exceptions.

Guitar solos by the splendid Sean Harkness exhibit an understanding of the music not otherwise embraced. Frank Ponzio was on piano with Samuel Torres on percussion.

For Annie Kozuch, Jobim was an unfortunate choice. With other material, the lively, attractive performer might be more successful.

Alix Cohen
Cabaret Scenes
August 15, 2011
www.cabaretscenes.org