1968 (foto de Evandro Teixeira)
1975, com Toquinho
1975, varanda do Antonio's, Leblon, RJ (foto de Pedro de Moraes)
1976, com Dulce Pinto Bressane, Lizzie Bravo, Novelli Barros E Silva e Mauricio Maestro na gravação de Egberto Gismonti para o 'Baião do Acordar'
1977, Morro da Urca
CLICK TO SEE THE QUOTES
VINÍCIUS DE MORAES
Quote from Tom Jobim
Joyce, you're a real ace! For me, you're one of the best singers of all time! Uncanny! You can do anything you want with your marvelous voice, you have bossa, tuning, improvisation, rhythm, musicality, femininity, courage, total command of the ball, you understand both the words and the sounds, you know the timbre and the meaning and master it all with the greatest propriety, with the greatest madness, with the greatest economy, with the greatest prodigality, concise, precise. You are controlled folly! At this very moment, your delicious voice invades this workshop and takes by storm the heart of this old laborer. From your throat spouts this fine honey that doesn't cloy, this gold, this generous river that inundates the portholes of this old condemned ship, this jailed athlete, this disillusioned troubadour, this impassioned Pierrot.*
You are the light that bathed the dark old garage where a boy discovered an old out-of-tune piano and dreamed the colors of Joyce's eyes.
You must be a very tender woman.
I'm waiting for you on the soft ground of the forest, on the island Brasil** perhaps...
A kiss from Tom
P.S. My dear Maestro Gilson Peranzzetta, once again you've broken the rules!
You destroyed! Formidable! Bravíssimo!
P.S. II As if it weren't enough, Joyce is a great composer and plays all that guitar! ´What an uncanny little woman!
Quote from Vinícius de Moraes
I could talk here of Joyce the brunette, a neat kid from Copacabana, with green eyes, a somewhat sad smile, and the mouth of a sullen girl. A modern and considerate girl with the little face of a new moon in an afternoon sky, all curved. An up-front person, as they like to say now, and practically falling over with bossa.
But I prefer to talk of another Joyce, who has nothing to do with the one who will graduate this year from PUC's journalism school and who, one night two years ago, came to me just like that, at a show at the Arena theatre in which I participated, and said: "Hey, man, I want to do an interview with you." And she did.
I prefer to talk of a Joyce who at the age of eleven had a crush on Tom and pasted up his pictures, and who had been listening to "Urubu Malandro" uninterruptedly from the age of three; the one who had known Menescal since she was a tike and who every now and then recorded jingles with him just for a lark; one who before she had turned twenty had already made dozens of good sambas, both music and lyrics, who sings with a beautiful and attuned voice, accompanying herself on guitar with great harmonic sense and exemplary rhythm; one who reached the finals of the Second International Song Festival and who is now teaming up with my excellent and great Macalé: another one who, when he "explodes," will be heard in Indochina.
This Joyce, when she picks up the guitar and sings (and she could easily have made a career for herself just by singing) says simple and beautiful things, as in her "Cantiga de Procura":
I want to find a friend
Who'll talk of life with me
I want a faded afternoon
So that he can find me hidden
Like any sweetheart
Who waits adorned at the door
Who keeps in her bosom
The same borne sadness
It's of this Joyce that I like to talk, for this is the Joyce who will give people a reason to talk: the Joyce who is all musicality, who appreciates the meaning of words to a high degree and knows the mystery of their marriage to musical notes.
The Joyce who is here in this LP with her first anxieties, messages, and frustrations in love and who enters modern Brazilian popular song with the right foot. And besides, with those green eyes and all that grace… Darn, it's not fair...
Quote from Ruy Castro
"A THING OF BEAUTY IS A JOYCE FOREVER"
Artists spend their lives in the pursuit of mastering their instruments. Joyce has certainly mastered hers-and contrary to what one might think, it's not just her voice and guitar.
Joyce's instrument is the woman she is. A string instrument, each of whose chords is extended to exact tension: sensivity, courage, competence, humor, and the indispensabel talent. Coherence is the middle string-Joyce was not the only born a woman but chose to be one. Everything that she has sung, composed, and lived has been marked by this stance, wich she was the first to assume in Brazilian music, and in the first person.
As singer, guitarist, composer, lyricist, writer (author of a delicious book, Fotografei Você na Minha Rolleyflex), and human being, her material is the feminine universe-wich by definition is of great interest to the best men.
Joyce is not an artist who sits on a cloud, talking abstractions. She's a woman who talks in universal terms "with respect and debauchery,"as she would say. And so universal that, without ceasing to be utterly Brazilian and carioca (with corresponding knack, flair and savoir-faire), she won her market in Japan, Europe, and the United States.
Daughter and granddaughter of the Bossa Nova, Joyce appears to have lived trough all the Golden Ages of razilian Music. Her music echoes the salons of the Belle Époque, the dives of the morros, the cabarets of Lapa, the gafieiras of Praça Tiradentes, the sands of Copacabana and Ipanema, the festivals of Maracanãzinho, and-literally-her long road trough life-the road that also leads to the future. She is a woman walking trough a men's world, with a guitar over her shoulder and with five senses grounded in beauty.
Quote from Claus Ogerman
"Brazilian composer, guitarist and singer Joyce is a young lady who can only be described
as a genius."
Quote from João Donato
Joyce is the greatest Brazilian singer, and her guitar playing
matches my piano perfectly.
Quote from Caetano Veloso
I met Joyce in 1967, when I lived in the old Solar da Fossa [apartment hotel in Rio]. She visited me with her boyfriend, and we talked. When I came out of prison [in 1969], she came to Bahia to see me, and this visit showed me, through its sincere and discreet tone, the meaning of true solidarity. She was a pretty and sweet girl. Her musical capacity surprised me when, years later, she reemerged playing guitar like the best (in the land of João Gilberto, Dori [Caymmi], [Gilberto] Gil, and João Bosco, this is not a bagatelle), her singing precisely tuned, writing songs with original harmonic and melodic imagination. Every time I hear the song that she composed as a tribute to Elis [Regina], I consider that the tribute has reciprocal merit: Elis is the most musician-like singer who reached stardom in Brazil, and Joyce is the best musician among the women singers who came after.
O Globo, 30 January2011
"She's wonderful singing bossa-nova."
Caetano Veloso, Jornal do Brasil, may 1998.
"An artist blessed with all qualities."
Latina Magazine, Japan,1985.
"One of the most influential Brazilian composers of the past 20 years."
Le Monde, France, 1988.
Musician magazine, USA, 1990.
"A free-spirited Brazilian artist (...) In the music of Joyce, melodic grace, rhythmic propulsion and buoyant humor are inseparable."
The New York Times, USA, 1992.
"A woman and a guitar in perfect harmony."
Acid Jazz Magazine, UK, 1994.
"One of the most impressive singer-songwriters from Brazil."
DownBeat Magazine, USA, march 1998.
"Long life to the career of this complete artist, whose music has the flavor of a unique wine."
International Magazine, november 1998.
"Any idiot can be complex, but simplicity takes real genius. Joyce is definitely in the latter case."
Q Magazine, UK, 1998.
"If she weren't the most complete of her generation of female vocalists, and inherently the most jazz savvy, she would still be one of Brazil's best songwriters."
Jazziz Magazine, USA, january 2002.
ESSA MULHER (Joyce and Ana Terra) - Live at Projeto Pixinguinha
PROGRAMA CANTOS DO RIO with Carlos Lyra
ANDRÉA (Dori Caymmi) 1969 - from tv novel "Véu de Noiva"
OLHOS FEITICEIROS (Conjunto Sambacana) 1964 - First Joyce recorded