Edda Glass Sings Bossa Nova with Guitarist Max Hatt

Edda Glass and guitarist Max Hatt bring their “elegantly funky” sensibility to the tropical urban folk music that took AM radio by storm in the 1960s—and whose influence continues to run deep worldwide.

“You cannot confuse her with another artist,” writes the New York Theatre Guide, while NPR Music’s Ann Powers tags Glass's unmistakable voice as “beautiful…#chills.”

Glass brings fresh, unaffected intimacy to Brazilian classics like “The Girl from Ipanema” and “Manhã de Carnaval,” while also highlighting the power of international cross-pollination in pieces such as the Toots Thielemans / Ivan Lins collaboration “Bluesette.” Known for her original work with the duo Max Hatt / Edda Glass—heard on NPR and PBS, and presented at venues including Lincoln Center and the Kennedy Center—Glass now returns to bossa nova, her original muse.

“These shows give me the opportunity to pay homage,” Glass says. “These are the songs that have taught me—and continue to teach me—how to sing, how to interpret, how to find those deeper regions of a song: ‘The Girl from Ipanema,’ ‘Corcovado,’ ‘Manhã de Carnaval,’ as written and performed by Antonio Carlos Jobim, João Gilberto, Baden Powell, Nara Leão, Rosa Passos. The language itself has given me enormous pleasure, especially when written by an actual poet like Vinicius de Moraes. I swear Brazilian Portuguese will teach you more about resonance and intonation than any warm-up or exercise, and better still, show you how conversation is music and music is conversation. Then there are the international musicians who have taken this music so deeply to heart—Pat Metheny, Toots Thielemans, Paul Desmond, Stan Getz. All of these artists have gripped me so intensely at times, for all their laid-back style. Above all, they teach me how to listen, how to be fully present. We all begin by ‘just listening,’ but on stage, that’s the holiest of holies—when playing becomes listening, and listening becomes playing.”

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