— Ann Powers (NPR)
Rio's Max Hatt and Edda Glass have "an incomparable spook” (Nashville Scene) and a "unique sound" (Larry Groce, NPR), comprised of Glass's unmistakable voice and Hatt's lyrical guitar. Their award-winning original compositions and wistful interpretations of Jazz and Brazilian Bossa Nova have taken them coast-to-coast from New York City's Lincoln Center to NPR Mountain Stage, the Sundance Film Fest, and in 2017, DC's Kennedy Center.
"Bossa Nova has these infectious rhythms, this street energy," says Glass, “yet it was originally sung for a few friends in tiny Rio de Janeiro apartments. The melodies are as exacting and sophisticated as Debussy, yet they sound as easy and natural as humans whispering to one another." Praised for her "impeccable vocal command" (PopMatters) and compared to a gamut of singers from Astrud Gilberto to Billie Holliday, Glass's voice is ultimately "one of a kind...you cannot confuse her with another artist" (New York Theatre Guide).
Hatt's equally distinctive guitar work combines the harmonic innovations of jazz with the melodic resonance of folk, creating music that's "subtly poignant, elegantly funky, and haunting without trying to be" (Nels Cline, Wilco). Hatt grew up in the Chicago-land area, studied jazz guitar in the David Baker program at Indiana University, and has taken classes with Pat Metheny, Julian Lage, and Lee Retinour. "We live in a hyped up world," he says on MT-PBS, when asked about his understated style. "We’re over stimulated, measured out in sound bites and ringtones. It’s the information age and we’re swallowed up by this stuff. But is there any real communication going on, is there any intimacy? That’s kind of what we’re about."