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.
Sergio 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
João 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.