by John BushWith All in One, Bebel Gilberto made her home at Verve, which is not just an auspicious label for music but also the home of some of the best Brazilian records of all time -- by Antonio Carlos Jobim, Astrud Gilberto (who is no relation, although she was married to Bebel's father before Bebel's birth), Stan Getz, and, of course, her father, João Gilberto. It's obvious Gilberto is well aware of this: the cover is reminiscent of an Astrud Gilberto album and she sings a version of "Bim Bom," which was written by her father and is known popularly for Astrud's version (what's more, it features the piano work of Brazilian royalty Dan Jobim). Still, it's clear Bebel Gilberto knows where to draw the line, and All in One is defined more by her songs and her collaborators than the weight of Brazilian musical history she must carry. Throughout, her varied cast brings out the strengths of her songs. Multi-percussionist Carlinhos Brown gets the most instrument credits (his kit bag must weigh a ton), and his string of percussion instruments brings a rich texture to every song he graces. (He also co-wrote the best new songs, "Nossa Senhora" and "Ela [On My Way].") Also appearing is superstar producer Mark Ronson for the single "The Real Thing," a song whose history hits a sweet spot here -- Stevie Wonder originally wrote it in the late '70s for Sergio Mendes & Brasil '77. Ronson takes the song back to Wonder's Motown roots, also quoting from Saint Etienne's vibrant update of classic soul production. Gilberto sounds most confident elsewhere, however, especially on her own songs and when she's singing in Portuguese. (Didi Gutman from Brazilian Girls also helps out, as does the Dust Brothers' John King.) Despite the large cast, All in One is a remarkably unified record; no one makes a larger impact here than Bebel Gilberto herself, while she and executive producer Didiê Cunha create a record that's modern in execution but classic in its feel.