Ms. Andrade (pronounced ahn-DRA-jay) toured the world, collaborated with musicians in Mexico and Europe and appeared at hallowed jazz venues such because the Blue Observe and Birdland in New York, a metropolis the place she took up part-time residence starting within the early Nineteen Nineties. Her inventive moorings, nonetheless, remained firmly in Brazil throughout a six-decade profession of performing and recording greater than 30 albums.
She sang virtually solely in Portuguese and labored with among the nation’s prime musicians, equivalent to pianist and composer César Camargo Mariano and arranger Francis Hime. She by no means strayed too removed from the foundations of Brazil’s ultra-suave bossa nova and percussive rhythms of samba in interpretations of songs equivalent to “O Cantador” and “Carinhoso” — and the worldwide hit “The Lady From Ipanema” that catapulted singer Astrud Gilberto to fame within the Sixties.
Ms. Andrade’s particular contact got here by introducing jazz-influenced vocal phrasing — stops, scales and scat riffs — that have been impressed by innovators equivalent to Fitzgerald, Sarah Vaughan and Carmen McRae.
“Chances are you’ll assume you realize ‘The Lady From Ipanema,’” wrote New York Instances music reviewer Stephen Holden in 2008 after a efficiency at Birdland by Ms. Andrade.
“You haven’t actually absorbed it till you’ve heard Ms. Andrade sing it in Portuguese; disgorge is perhaps a greater phrase than sing,” he continued, “since, like the whole lot else she performs, it appears to properly up from the middle of the earth.”
Ms. Andrade possessed a voice that appeared to hold the soul of smoky golf equipment and late-night jam classes, a husky mezzo-soprano that might pivot from world-weary to sultry. She additionally appeared to assume a long time of smoking gave an added taste.
“If she didn’t smoke, she couldn’t sing,” Brazilian songwriter and jazz musician Ivan Lins informed NPR.
He recalled a 2002 recording session wherein Ms. Andrade was informed she couldn’t smoke within the studio. Her first songs got here out like “a strangled croak,” he mentioned. “She went exterior and smoked two cigarettes.”
“She returned,” he added, “and he or she sang like a chook.” (She gave up smoking years later.)
Ms. Andrade was usually referred to as “the primary girl of Brazilian jazz.” Tony Bennett as soon as celebrated her as “one of many best improvisers on the planet.” Ms. Andrade appeared content material to stay within the musical world she created. “I don’t make music for the lots,” she informed the Brazilian music web site Esquina Musical in 2013.
On the 2008 gig at Birdland, Ms. Andrade shifted into English for a private tackle her artwork.
“I can sing the solar. I can sing the ocean, and the issues of artwork and romance,” she mentioned. “With out romance, there may be nothing to do on this life.”
Leny de Andrade Lima was born on Jan. 26, 1943, in Rio and raised by her mom and stepfather in a neighborhood that was a hub for samba.
Ms. Andrade studied piano and singing as a younger woman and acquired a scholarship to the Brazilian Conservatory of Music. She turned away from classical compositions, nonetheless, after changing into enamored by bossa nova star Dolores Durán.
Ms. Andrade started performing as a youngster at golf equipment on Copacabana, a middle for the rising bossa nova sound. Ms. Andrade later acquired her introduction to jazz as a part of the Sérgio Mendes Trio earlier than he fashioned the internationally standard band Sérgio Mendes and Brasil ’66.
Ms. Andrade mentioned Mendes refused to play samba. She didn’t like jazz on the time. They ended up “mixing the 2,” she mentioned.
Ms. Andrade’s first album, “A Sensação,” (1961) drew from samba traditions. In 1963, her signature mix of jazz and bossa nova started to take form with the album, “A Arte Maior de Leny Andrade,” as a part of a trio that included famend bossa nova drummer, Milton Banana.
She joined a preferred crooner, Pery Ribeiro, to kind the group Gemini V in 1965. She later moved to Mexico, the place she spent seven years and took a deep curiosity within the music of affection and longing generally known as bolero. The ballads turned a staple of her stage repertoire.
She made her New York debut on the Blue Observe in 1983 and later, within the Nineteen Nineties, caught the eye of U.S. music critics and luminaries equivalent to Bennett and Liza Minnelli, each of whom attended a few of her exhibits. Ms. Andrade went on to play main venues together with Jazz at Lincoln Middle in New York and the Hollywood Bowl.
In 2007, Ms. Andrade gained a Latin Grammy Award for “Ao Vivo,” a reside album with the pianist Mariano. Paquito D’Rivera, a Cuban American saxophonist, clarinetist and composer, supplied a tribute to Ms. Andrade with a 1987 composition, “For Leny.”
“She by no means compelled something, or insisted on a sure association,” wrote one among her longtime collaborators, jazz guitarist Roni Ben-Hur, in an essay for the general public radio station WBGO. “‘Let’s see what occurs’ was her modus operandi. With out concern, and doubts.”
Ms. Andrade had no youngsters. Full data on survivors was not instantly out there.
In a single her final performances onstage, Ms. Andrade sang joined with pianist Gilson Peranzzetta in 2019. She sat in a leather-based chair, too weak from her declining well being and the lingering results of falls in earlier years.
“Once I sing,” she mentioned six yr earlier, “I embark on a magic carpet out of right here. I journey to Mars.”
