Born on the 19th March 1960 in São Paulo, Brazil, Elias started learning to play the piano at the age of seven, and was transcribing solo portions of her parents’ jazz records by the age of twelve.
After studying for six years (and teaching by the age of fifteen) at Brazil’s prestigious Free Centre of Music Apprenticeship, she continued her classical education with Amilton Godoy and Amaral Vieria. She was also the protégé of Vinicius de Moraes, lyricist and songwriting partner of Antonio Carlos Jobim, a huge influence on Elias' work, and master of the Brazilian bossa nova movement. By the time she was seventeen years old she was touring with the best bossa nova composers and interpreters, composing her own pieces and performing at jazz clubs regularly.
Elias then moved to New York and studied privately with Olegna Fuschi at the Julliard School of Music, eventually joining jazz supergroup Steps Ahead (whose members included Eddie Gomez, Michael Brecker, Peter Erskine, and Mike Mainieri).
Her first live instrumental recording, Eliane Elias Plays Live, was recorded in Amsterdam on the 31st May 2002, and digitally released in the USA in 2010.
Elias lives in New York City with her husband, bassist Marc Johnson.
* Official site
The classical tradition meets the spontaneity of jazz through the virtuosic playing of Brazil-born and New York-based pianist Eliane Elias. A former member of jazz ensemble Steps Ahead, Elias has continued to explore two distinct musical streams through her solo recordings and her performances since the mid-'80s. In 1993, she became one of the few artists to release jazz and classical albums simultaneously. In a review of a concert in her homeland, Brazil magazine praised Elias for "her dazzling right-hand runs, executed often at frightening speeds. Her command of the keyboard was total. Her harmonic sensibility caused a sense of wonderment."
Elias may have inherited at least some of her musical talents from her mother, Lucy, a classical pianist who often played jazz records in the family home. After studying for six years at the Free Center of Music Apprenticeship in São Paulo, she continued to study classical technique with Amilton Godoy and Amaral Vieira. By her teens, Elias was composing her own pieces and performing in jazz clubs. While touring in Europe in 1981, she met jazz bassist Eddie Gomez and was encouraged to travel to New York. Arriving in the Big Apple the following year, she studied privately with Olegna Fuschi at the Juilliard School of Music. Elias' professional career received a boost when she was invited to join Steps Ahead, a jazz "supergroup" featuring Michael Brecker, Peter Erskine, Mike Manieri, and Eddie Gomez. She recorded one album with the group -- Steps Ahead -- in 1983. Shortly after leaving Steps Ahead, Elias began collaborating with trumpet player Randy Brecker, whom she subsequently married but later divorced. Their sole duo album, released in 1985, was named after their daughter Amanda. The following year, Elias launched her career as a bandleader. Since then, she's alternated tours with two different trios, one featuring drummer Jack DeJohnette and bassist Gomez and the other featuring drummer Erskine and her current husband, bassist Marc Johnson. Elias has also performed with a third trio, featuring Johnson on bass and Satoshi Takeishi on drums.
She signed with Blue Note in 1989, and released her debut for the label, So Far So Close, the same year with a slew of guests. While most of her recordings have been instrumental, Elias introduced her soft but coarse vocals on her 1990 album Eliane Elias Plays Jobim, and has employed vocals on occasion ever since. Her 1995 album Solos and Duets featured a brilliantly executed duet with Herbie Hancock. In addition to working periodically with Toots Thielemans' Brasil Project, Elias has served as musical director for Gilberto Gil's group. While she continued to record for the rest of the '90s, it was 2000's Impulsive! that proved one of the largest surprises in her career as she collaborated with conductor and arranger Bob Brookmeyer leading the Danish Radio Jazz Orchestra. In 2002 she left Blue Note for RCA's Bluebird label, where she debuted with Kissed by Nature, a primarily vocal album, and followed it up with the lovely Dreamer in 2004. Elias released Around the City in 2006, a collection of primarily vocal tracks that moved ever further into pop territory, covering music by Santana, Bob Marley, and even Beck. It was her final album for Bluebird.
She returned to Blue Note for 2007's Something for You: Elaine Elias Sings & Plays Bill Evans, fronting a trio with Johnson (who played with Evans) and drummer Joey Baron. In 2009, she issued what many have argued is her finest recording, Bossa Nova Stories, fully engaging her Brazilian heritage in bossa and samba and illustrating her singular jazz instincts as a pianist. In 2010, Savoy Records issued Timeless Eliane Elias, a compilation of tracks culled from her mid-'80s recordings Illusions and Cross Currents. In late 2010, Elias signed with Concord; in the late spring of 2011 she released Light My Fire, her debut set on the label. A year later, Elias paired with bassist Marc Johnson for the instrumental ECM date, Swept Away. In 2013, Elias paid homage to trumpeter/vocalist Chet Baker with I Thought About You: A Tribute to Chet Baker. ~ Craig Harris & Thom Jurek, Rovi
You're Getting To Be A Habit With Me
Eliane Elias Lyrics
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Seems to act just like a drug
You're getting to be a habit with me
Let me stay in your arms
I'm addicted to your charms
You're getting to be a habit with me
I used to think your love was something that I could take or leave alone
I need you for my own
Oh, I can't break away
I must have you every day
As regularly as coffee or tea
You've got me in your clutches
And I can't get free
You're getting to be a habit with me
Every kiss, every hug
Seems to act just like a drug
You're getting to be a habit with me
Let me stay in your arms
I'm addicted to your charms
You're getting to be a habit with me
I used to think your love was something that I could take or leave alone
But now I couldn't do without my supply
I need you for my own
No, I can't break away
I must have you every day
As regularly as coffee or tea
You've got me in your clutches
And I can't get free
You're getting to be a habit with me
Every kiss, every hug
Seems to act just like a drug
You're getting to be a habit with me
Let me stay in your arms
I'm addicted to your charms
You're getting to be a habit with me
I used to think your love was something that I could take or leave alone
But now I couldn't do without my supply
I need you for my own
No, I can't break away
I must have you every day
As regularly as coffee or tea
You've got me in your clutches
And I can't get free
You're getting to be a habit with me
The lyrics of "You're Getting To Be A Habit With Me" by Eliane Elias reveal a deep emotional attachment and dependency on someone. The singer compares the effect of every kiss and hug to that of a drug, indicating that the presence and affection of this person has become like a powerful addiction. The repetition of the phrase "You're getting to be a habit with me" further emphasizes this sense of reliance and familiarity that has developed within the relationship.
The singer reflects on how they used to perceive love as something they could take or leave, suggesting a more casual attitude in the past. However, as time passed, their feelings grew stronger and now they cannot imagine living without the other person. This transformation from indifference to desperation highlights the intensity of their emotions and the depth of their connection.
The analogy of needing this person as regularly as coffee or tea underscores the essential role they play in the singer's life. Just as one craves their daily dose of caffeine, the singer craves the presence and love of their partner on a constant basis. The imagery of being in someone's clutches evokes a sense of being trapped or ensnared by their love, unable to break free from the hold that this person has over them.
Overall, the lyrics convey a profound sense of longing, attachment, and emotional entanglement. The singer expresses their inability to resist the allure of this person, acknowledging that they have become a fundamental and necessary part of their existence. Despite the intensity of their emotions and the feeling of being trapped, there is a sense of acceptance and surrender to the power of love and the deep connection that has been forged between them.
Line by Line Meaning
Every kiss, every hug
Each gesture of affection feels addictive and intoxicating
Seems to act just like a drug
These displays of love have a powerful hold over me
You're getting to be a habit with me
Your presence in my life has become a comfortable routine
Let me stay in your arms
I find solace and security in your embrace
I'm addicted to your charms
I am captivated by your irresistible qualities
You're getting to be a habit with me
Your constant presence is becoming indispensable to me
I used to think your love was something that I could take or leave alone
I thought I could live without your love, but now I realize I can't
But now I couldn't do without my supply
Now I can't imagine my life without you by my side
I need you for my own
I crave your presence and affection exclusively for myself
Oh, I can't break away
I am unable to detach myself from you
I must have you every day
I require your presence in my life constantly
As regularly as coffee or tea
Just like my daily dose of coffee or tea, I need you regularly
You've got me in your clutches
You have a strong grip on my heart and emotions
And I can't get free
I am unable to break away from your hold on me
You're getting to be a habit with me
Your presence in my life has become a necessary and comforting habit
Lyrics © Roba Music Verlag GMBH, BMG Rights Management, Universal Music Publishing Group, Songtrust Ave, Peermusic Publishing, Warner Chappell Music, Inc.
Written by: HARRY WARREN, AL DUBIN
Lyrics Licensed & Provided by LyricFind
Jazziz Café
🎶 Harry Warren y Al Dubin compusieron "You're Getting to Be a Habit with Me" en 1932 para la película musical "La calle 42", hoy un standard que Eliane Elias interpreta así en su álbum ganador del Latin GRAMMYs de 2017, "Dance of Time", como 'Mejor Álbum de Jazz Latino'
💃 La cantante y pianista paulista, ya había recibido un GRAMMYs en la misma categoría por su anterior trabajo, "Made in Brazil", ambos editados por Concord Jazz y grabados en Brazil donde hacia treinta años que no grababa. Algo que ha sido recompensado con sus dos Grammys conseguidos hasta la fecha, aunque ha sido nominada en cuatro ocasiones más.
#latinjazz #latingrammywinner
Colin Hotham
You're getting to be a habit with me Eliane! Love your music...…..
ROMAN PERFILOV
!!!
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3 yorum olması çok şaşırtıyo beni
Jacqueline Paul
Meaning .?