Joyce has in her baggage an extensive discography and about 400 recordings of her songs by some of the biggest names in Brazilian popular music, such as Gal Costa, Maria Bethânia, Elis Regina, Milton Nascimento, Ney Matogrosso, Edu Lobo, Emílio Santiago, Boca Livre, Mônica Salmaso, Leny Andrade, Nana Caymmi, Zizi Possi, Elizeth Cardoso, Simone and many others. Internationally, she has been recorded by big names like Annie Lennox, Wallace Roney, Omara Portuondo, Black Eyed Peas, David Sanchez, Jon Lucien, Claus Ogerman, Gerry Mulligan, Till Brönner, Flora Purim and others. Her compositions have been used in soundtracks for films (such as Robert Altman's "The Player" and "Legally Blonde"), animations (she participated in the soundtrack of the Japanese anime "Wolf's Rain" in partnership with Japanese composer Yoko Kanno), TV shows and theater performances.
She received 4 Latin Grammy nominations and has so far 34 individual CDs and 2 DVDs, besides compilations and participations. Currently, her work also follows an international path, with world tours every year and recordings of new albums in different countries, without ever losing her Brazilian-feminine identity. She performs annually on the Blue Note circuit in Japan, and in jazz festivals and tours in Europe, the United States, and Canada.
Samba Pra Elis
Joyce Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Luar
Vulcão
No vesgo do seu olhar
Quem vê
Não diz
Quem é
Elis,
Mourão
Pilar
Brasão
Da música popular
Quem viu
Bendiz
A voz
De Elis,
Essa mulher.
É uma santa garganta que Deus fez
E quando ouviu, não quis nem copiar
Raio de luz que passa uma só vez
Mas que deixa um sagrado som no ar
Não tem mais nem pra nós nem pra vocês
Essa voz que o Brasil amou demais
Feito estrela voltou pro céu talvez
Ou foi cantar pros Orixás.
The opening lines of Joyce's song Samba Pra Elis, Clarão, Luar, and Vulcão, set an enchanting mood for the audience. The words evoke awe and respect through a beautiful representation of the essence of Elis Regina's gaze. The lyrics bring out the idea that it is impossible to fathom Elis Regina's depth and mystery, even through her eyes. Joyce has skillfully presented Elis as a woman who possesses a magnetic appeal, leaving those who behold her lost for words, staring in wonderment. The song's mood captures both the magnetism and celebrity of Elis's existence, as well as her enigmatic aura. The lines "Mourão, Pilar, Brasão, Da música Popular" directly implied that Elis Regina was a monument of Brazilian Music. Those who witnessed her performances carry her in their hearts and memories, forever praising her powerful voice and unique singing style. The last verse of the song metaphorically presents Elis Regina as a divine voice, leaving an immortal impression on the world. This ending raises a notion that even in death, her voice continues to enchant and captivate her listeners.
Overall, Samba Pra Elis is an excellent tribute to a legendary artiste. The lyrics capture her essence, personality, and voice, her enigmatic mystique that made her a phenomenon in Brazil and the world. Joyce has summoned the spirit of Elis Regina, infusing it into every word, every line, and even the cadence of the song, creating a monument-like tribute to this great artiste.
Line by Line Meaning
Clarão
Bright light
Luar
Moonlight
Vulcão
Volcano
No vesgo do seu olhar
In the squint of her eye
Quem vê
Who can see
Não diz
Doesn't say
Quem é
Who she is
Elis,
Elis,
Essa mulher.
This woman.
Mourão
Picket fence
Pilar
Pillar
Brasão
Coat of arms
Da música popular
Of popular music
Quem viu
Who saw
Bendiz
Praises
A voz
The voice
De Elis,
Of Elis,
Essa mulher.
This woman.
É uma santa garganta que Deus fez
It's a sacred throat that God made
E quando ouviu, não quis nem copiar
And when he heard it, he didn't even want to copy it
Raio de luz que passa uma só vez
A beam of light that passes only once
Mas que deixa um sagrado som no ar
But leaves a sacred sound in the air
Não tem mais nem pra nós nem pra vocês
It's not for us or for you anymore
Essa voz que o Brasil amou demais
This voice that Brazil loved too much
Feito estrela voltou pro céu talvez
Maybe like a star, it returned to the sky
Ou foi cantar pros Orixás.
Or it went to sing for the orixás.
Contributed by Chloe P. Suggest a correction in the comments below.