| 1. In My Little White Top |
| 2. Nao adianta |
| 3. One |
| 4. Voce Nao Entendeu Nada |
| 5. Viola meu bem |
| 6. O verde e maravilha |
| 7. Feminina |
| 8. Bachelorette |
| 9. Seu delegado |
| 10. Estrangeiro em mim |
| 11. Bom dia tristeza |
| 12. The being between |
| 13. Valse d'Amelie |
| 14. Asa branca |
Editorial Reviews
Amazon.com
The talent of Badi Assad (pronounced Bah-Jee Ah-Sahj) seems to know no bounds. The Brazilian has won guitar awards as a prodigy and as an acknowledged master, yet she's got an almost Bobby McFerrin-like versatility to her voice and musical heritage that covers the breadth of Brazilian musical styles. On Verde she shows off a little of everything: reaching from nearly unrecognizable covers of current pop songs by Bjork ("Bachlorette") and U2 ("One") to new renditions of Brazilian classics like "Bom Dia Tristeza." Her Brazilian sensuality comes out on the bossa nova "In My Little White Top," and she displays the dramatic flair of a flamenco singer on "Voce Nao Entendeu Nada." Whichever direction she goes, she brings a trickster-like joyfulness that comes when musical mastery is child¹s play Each wrinkle of her musical personality is simply another facet of her inner core. Indeed one imagines that this woman not only dreams in color, but also with a Technicolor soundtrack. -- Tad Hendrickson
Well, it's like a tradition... every two years there is a new Cesaria album and she is on a tour almost every year. And that really is something... "Rogamar" (www.rogamar.com) is her tenth album and if you are a fan of Cesaria you will find some songs very similar to older Cesaria songs... like you heard them somewhere before.
But if you aren't a fan of Cesaria (what are you waiting for?!:), this album is a good way to start likeing her. But maybe not the best. (in my opinion Sao Vicente or Cafe Atlantico are her best albums; but also check out the Anthology).
My favorite songs on the album are:
Africa Nossa - definietly the best song on the album. Very nice melody and great duo with a Senegal singer Ismaël Lô. Probably to become one of her classics. First single from the album.
Sombras Di Distino - beautiful ballad, very similiar to Cesaria's older ballads.
Um Pincelada - very nice song... again ballad but very beautiful song. Nice melody. Second single from the album.
Avenida Marginal - up tempo song. Great rythm.
Rogamar - nice song. Very nice melody.
Rosie - mid tempo song. Well I find this song a little bit different that other Cesaria songs. But I like it!
Mas Um Sonho - nice up tempo song. Feel good (Carnaval) song!
Travessa De Peixeira, Saiona D'Vinte Ano - also good songs.
Well, it seems that Cesaria just can't do wrong... very good album, great songs (Africa Nossa, Sombras Di Distino, Um Pincelada), nice melodies, many emotions and one, great unique voice. Cesaria. One and only.
My album rating (overall): 4.5/5
This very enjoyable album is both exotic and easy to listen to. It has introduced me to a number of talented artists whom I otherwise might have missed.
D'Gary&Jihe from Madagascar as well as Quito Rymer from Tortola aren't quite so good.Interesting sidenote-Rymer's "Mix up world" is one of the themes for Putumayo's World Music Hour.Oh well.
This is still a good album."South Pacific Islands" is EVEN BETTER."Islands" has held up for a good 9 yrs since its release.No wonder it's still in print.How many pop albums last that long???
Spend forty-five minutes in places like Hawaii, Madagascar, Cuba, Puerto Rico, and Tahiti. Great stuff to dance to, just relax and feel it pulse through your veins. This music makes you feel awesome-makes you younger just listening to it.
Just imagine yourself relaxing on an island, no one but you and maybe your lover. You can dance in the sand, relax and listen to the ocean. Feel the culture in this wonderful music and let the sun warm your body. Nothing like it.
This album was well worth the wait and I'm happy to see that she's getting support from her record company.
But while the 29-year-old Lura's 2005 debut "Di Korpu ku Alma" seemed to establish her as Evora's natural successor, a number of younger pretenders have since emerged, notably Sara Tavares and Mayra Andrade. Both are barely into their twenties and pushing a similarly tasteful, if slightly anodyne variant on Evora's classic, sultry Cape Verde sound.
Lura's principal counter-weapon is her voice, its dark, distinctively African timbre preventing her music from descending into mere prettiness.
Yet while the slower numbers on this accomplished second album have a stately languor almost worthy of Evora herself, the smoothness of the sound doesn't suit the more up-tempo pieces.
Their relentless brightness leaves listeners longing for a more earthy production.
Countertenors remained in the niche of sacred vocal music, in part because women were banned from singing in church services. However, they were not prominently featured in the rise of opera. Handel would occasionally write a part specifically for a countertenor, but the castrati were vastly more popular. As a result, the countertenor voice was found only in cathedral choirs and the occasional early music ensemble for a few centuries.
The most visible icon of the countertenor revival was Alfred Deller, an English singer and champion of authentic early music performance. Deller initially called himself an "alto", but his collaborator Michael Tippett recommended the archaic term "countertenor" to describe his voice. In the 1950s and 60s, his group, the Deller Consort, increased audiences' awareness of (and appreciation for) renaissance and Baroque music. Benjamin Britten wrote the role of Oberon in his setting of A Midsummer Night's Dream for him. Deller was the first modern countertenor to achieve such celebrity, but he would not be the last. Russell Oberlin was Deller's American counterpart, and another early music pioneer. Oberlin's success was entirely unprecedented in a country that had seen little exposure to anything before Bach, and it paved the way for the next generation of countertenors.
Today, countertenors are much in demand in many forms of classical music. In opera, many roles originally written for castrati are now sung by countertenors, as are some trouser roles. Modern composers write countertenor parts, both in choral works and opera. Men's choral groups such as Chanticleer and the King's Singers employ them to great effect in a variety of genres, including early music, gospel, and even folk songs.
A few countertenors have a range comparable to a female soprano. They are usually called sopranists, and often sing higher castrato arias. As there are not many of them, Jaroussky is the latest countertenor and should the word "gifted" for him suits his special talent, this CD deserves a 4 star.
Philippe Jaroussky is yet another fine countertenor who is rather recent on the scene. With the growing popularity of musicians courageous and gifted enough to become successful in the countertenor repertoire (just pause for a moment and think of the significant number a star quality countertenors on the stages today), the numerous pieces for this range of voice continue to appear. Vivaldi's cantatas are refined, beautifully embellished, demanding consummate artistry of not only the high hurdles for the voice but also for the accompanying forces. Jaroussky seems to have endless breath, singing the long extended lines with total ease. His embellishments alter with each da capo as to the period born! This is a voice a great power and warmth and one that feels married to the texts.
Providing brilliant collaboration is the Ensemble Artaserse and period instruments. The variety of color is awe-inspiring and the technique of these unique musicians is impeccable. In their solo portions they produce a richly elegant - yes, Venetian sound. And in tandem with Jaroussky the complete effect is one of single purpose, line, and harmony.
This is a new CD to treasure and the sampling is generous. For this reviewer this is a new repertoire to explore and it would be difficult to imagine forces better suited to these treasures than those on this CD. Highly recommended. Grady Harp, April 05
Among the many albums for which I read reviews tonight was one for "A Medieval Banquet" by the Newberry Consort. The title & group rang a bell so I checked my collection and found that it was originally called *Il Solazzo" (as others have already noted among these reviews). I bought it in early 1995 but never wrote any comments in the attached booklet, which is unusual for me.
I have now played the CD twice and understand why I made no comments: it was simply not thrilling. I am no musicologist -- just someone who loves early music because it makes my soul sing. This CD is "nice," but my soul goes ho-hum when I hear it. (The one exception is the #9 selection with rebec, vielle & lute -- and no voices.)
The instrumentals have a certain charm but they generally feel more Renaissance than medieval to me. The vocals leave me completely cold. In some of the reviews I read tonight I came across the concept of "operatic" applied to some of this early music. I had no idea what the authors meant since there was no opera at such an early period. But in playing this CD, I understood -- there is indeed a bloated, elaborate vocal quality that really does feel "operatic." It seems entirely unsuited to "Music for a Medieval Banquet."
If your soul wants to sing, this proably isn't the CD for you. Try the Waverly Consort's "Christmas" along with a glass of fine wine
Good CD.......2004-04-30One of the reasons why I bought this recording is the interesting choice of pieces, which range from the often-recorded instrumental dances to the less-known sung tracks.
When I played it, the first thing that struck me of this CD is the thinness of the sound in the dances. Although the performance is spotless, it lacks the body that other medieval-dance groups add to their sound - notably the older but still great Studio der Fruehen Musik. Is this an unfair statement? Perhaps - but these dances have been recorded so many times that it is only natural to compare versions.
Also, the use of percussion instruments would have been a nice touch, besides being perfectly historical. Then, a more varied instrumental arrangement may have been a good addition, especially in the longer numbers such as Chominciamento di gioia.
The other point that puzzled me is that in the first track (La Badessa), the singer sounds as if she is playing a losing game of catch-up with the instruments, which results in a mediocre performance of that particular piece. It is a pity, because the song is very catchy and the singer's voice is stylistically spot on.
Having said all this, the selections of songs and dances is first-choice, the performance is good and well researched and the CD remains one of the most played in my household.
Recently I bought Cesaria Evora under the recommendation of a cuban Doctor;I hoped to find some of the rythm I used to swing on in my head.
It did not happen for me!
For the past few months I've been listening to Cesaria's music more than anyone elses! I can relate so much to the lyrics of her music and the style being that I'm from the Caribbean. I feel as if I've also lived the Capeverdian experience! I would like to visit someday! Viva Cesaria a reina da morna!
The program encompasses some Brazilian songs along with many songs from Evora's native Cape Verde. The latter is a lovely fusion of Cuban, African, and Portuguese influences along with something extremely moving and unique that this listener can't quite explain, but one will immediately identify it once familiar with it. The selections nicely move from mournful to joyous, thereby eliminating any "sameness" that's so common with "native music" recordings. They also showcase Evora's marvelous talent to convey a wide range of feelings with a few simple musical gestures. Interestingly, the fact that the recording was made in Paris somehow contributed as well -- the music does carry a vague "chansonette" feel. The supporting musicians are brilliant, they're all literally on the same page with Evora with every expression.
The booklet includes the lyrics and you'll be pleasantly surprised by the poetry. It's all of the highest caliber. B. Leza's wonderful verse has to gain wider exposure.
Do not delay getting this album, for it will bring you over an hour of pure unadulterated musical bliss.
P.S. I do like three Red House Painters songs.
Album of the Year, 2003
With his early '90s band, the Red House Painters, San Francisco's Mark Kozelek struck a chord of disquiet and bohemian poignancy that made that band the darling of the scribbling-poems-to-the-pretty-barista-who-will-never-know-my-name set. With lovely, unadorned melodies and Kozelek's angst-ridden tributes to disillusionment, the Red House Painters influenced a score of later bands who lacked his rich melodic imagination and incisive lyrics -- Low is a good example -- resulting in Kozelek himself being typecast as the maestro of "mopecore." Then he did something unforgivable in the minds of some of his fans: he evolved.
Without rehashing the epic travails and record-biz nightmares that caused RHP's fine album "Old Ramon" to be delayed in release for years after it was finished, the good news is that "Ghosts of the Great Highway" not only continues the evolutionary path Kozelek took on later RHP work like "Songs for a Blue Guitar" and his solo album "Rock and Roll Singer," it's a masterpiece on its own terms, and the most magnificent rock album of 2003.
If you thought they didn't make albums like Neil Young's "Everybody Knows This is Nowhere" anymore, cue up "Ghosts of the Great Highway," and marvel over the fact that Kozelek and company are able to cross-pollinate folk, country, punk, and psychedelic influences without sounding the least bit retro, stealing the purifying flame of Crazy Horse meltdowns like "Cortez the Killer" while sounding like no one but themselves. If you're a Nick Drake fan warming your hands over the ashes of "Pink Moon," consider the fact that at least one song on this album, "Duk Koo Kim," is as beautiful and otherwordly as anything in Drake's oeuvre (particularly the acoustic version, released on a limited edition EP last year), and consider the possibility that Kozelek is as unfairly ignored and marginalized in our time as Drake was in his.
"Glenn Tipton," "Duk Koo Kim," "Carry Me Ohio" and "Gentle Moon" are all instant classics, full of heart, understated grace, and authentic yearning, while avoiding the art-school sentimentality of Kozelek's early work. "Duk Koo Kim" is especially worthy of note, reinvented here as a 14-minute folk-punk-psychedelic apocalypse, with backwards guitars, Portuguese guitars, and bells swirling around Kozelek's aching voice. (I can't praise this track enough, other than to say that if I was a very bright teenager with a set of headphones and a bong, I'd probably decide to become a musician after hearing this song alone.) It's one of the most terrifying love songs ever written, as emotionally naked as the songs on Joni Mitchell's "Blue." (Like several of the songs on this album, "Duk Koo Kim" is the tale of a hero who died young -- in this case, a Korean boxer killed in the ring.) The only misstep on the record is Kozelek's formula-grunge treatment of his gorgeous tune "Lily and Parrots," which appeared as a hidden acoustic track on his "White Christmas Live."
At his best, Kozelek writes and sings like an oracle, and plays feedback-drenched electric guitar with as much intensity as his punk and heavy metal heroes while never descending into mere chaos and noise. If you're a music critic or record reviewer (I happen to be an editor of Wired magazine, and have no connection to Kozelek), entertain the notion that instead of hyping the latest skinny-tie buzz band that no one will care about in 3 years, you might consider running a piece on Kozelek and this album. If you're a music fan who enjoys Wilco, Iron and Wine, and other forward-looking traditionally-influenced bands, give this a listen. It's far beyond what almost everyone is doing these days.
"Ghosts" disc two, 2007
Hearing these bonus tracks (two brilliant, one fine, and two only mediocre), I suggest that what Kozelek should have done was to release "Ghosts" originally with the instrumental "Arrival" inserted somewhere in the running order, and finishing with either version of "Somewhere." Kozelek's reinvention of West Side Story's yearning love song is profound, heart-wrenching, and gorgeous. (The yearning is even more poignant knowing that the song's composers, Stephen Sondheim and Leonard Bernstein, were gay and bisexual respectively, but the feelings expressed are universal.) "Somewhere" would have been an emotionally devastating capper to a magnificent album; at least we have it now. I prefer the slightly punchier second take, which employs the same Portuguese guitar-like instrument as "Duk Koo Kim" on the original album, but the string arrangement on the first version is also lovely. The straightforward folky reading of "Salvador Sanchez" is fine; the other two bonus tracks are merely competent. In my dreams, Kozelek would also have supplemented this bonus disc with the astounding double-tracked acoustic version of "Duk Koo Kim" that appeared only on a vinyl EP -- it's one of the true masterpieces of his career, and is now in danger of being a "lost" track available only to connoisseurs. But enough second-guessing. This is a great album, now made slightly greater.
For the past few months I've been listening to Cesaria's music more than anyone elses! I can relate so much to the lyrics of her music and the style being that I'm from the Caribbean. I feel as if I've also lived the Capeverdian experience! I would like to visit someday! Viva Cesaria a reina da morna!
The talent of Badi Assad (pronounced Bah-Jee Ah-Sahj) seems to know no bounds. The Brazilian has won guitar awards as a prodigy and as an acknowledged master, yet she's got an almost Bobby McFerrin-like versatility to her voice and musical heritage that covers the breadth of Brazilian musical styles. On Verde she shows off a little of everything: reaching from nearly unrecognizable covers of current pop songs by Bjork ("Bachlorette") and U2 ("One") to new renditions of Brazilian classics like "Bom Dia Tristeza." Her Brazilian sensuality comes out on the bossa nova "In My Little White Top," and she displays the dramatic flair of a flamenco singer on "Voce Nao Entendeu Nada." Whichever direction she goes, she brings a trickster-like joyfulness that comes when musical mastery is child¹s play Each wrinkle of her musical personality is simply another facet of her inner core. Indeed one imagines that this woman not only dreams in color, but also with a Technicolor soundtrack. -- Tad Hendrickson
Verde,Badi Assad,Deutsche Grammophon,Brazil,Brazilian Jazz,Finger-Picked Guitar,Jazz,Pop,World Music
Average customer rating: 
|
Cafe Atlantico
Césaria Évora Manufacturer: RCA Victor ProductGroup: Music Binding: Audio CD  Cape Verde
| Africa
| International
| Styles
| Music
General
| Africa
| International
| Styles
| Music
General
| International
| Styles
| Music
General
| South & Central America
| International
| Styles
| Music
Similar Items:
ASIN: B00000JMG1 Release Date: 1999-05-06 |
Tracks:
- Flor Di Nha Esperanca
- Vaquinha Mansa
- Amor Di Mundo
- Paraiso Di Atlantico
- Sorte
- Carnaval De Sao Vicente
- Desilusao Dum Amdjer
- Nho Antone Escaderode
- Beijo De Longe
- Roma Criola
- Perseguida
- Maria Elena
- Cabo Verde Manda Mantenha
- Terezinha
Amazon.com's Best of 1999
After having covered the sensual nightclub material of Miss Perfumado and Cesaria Evora, Evora left us wondering where she could possibly go next. She returned with Café Atlantico, blowing us away with her luscious voice and widened repertoire of Brazilian- and Cuban-influenced music. With touches of string accompaniment, Evora's music dances with light energy and woos with the classic morna sound, leaving us to ponder what amazing music she'll master on her next album. --Karen K. HuggAmazon.com
Unlike Mar Azul or earlier releases Miss Perfumado and Cesaria Evora, which were largely collections of the Portuguese-influenced song form called morna, Café Atlantico finds Evora singing Cuban and Brazilian traditionals. Evora's voice is as smooth as ever, but it's a little odd to hear her croon to a bolero or danzon. Still, the connection fits snugly as this release is a tribute to Evora's hometown of Mindelo, a port on the Cape Verdean island of São Vicente where sailors from Portugal, Argentina, Brazil, and the Caribbean cross-pollinated the music of Cape Verde. On Café Atlantico Evora croons with her usual beauty, poise, and melancholia. Thankfully, instrumental accompaniment again includes the piano and acoustic guitar and bass, but with the flavorful addition of light (and only occasional) orchestral accompaniment, which highlights the creamy richness of this lovely Latin music. Café Atlantico takes a tasteful, innovative step in broadening Evora's repertoire, and its plaintive grace and relaxed romanticism emphasizes what the world has now come to realize: Cesaria Evora is the greatest living singer of our time. --Karen KarleskiCustomer Reviews:
Amongst the best.......2007-02-26
African influenced music.......2005-12-30
What a swing!.......2004-04-17
If you like Samba and a melodious African air, this is for you. Evora's voice is deep and sensous. A new listening experience.
Delicious Rhythms.......2003-11-09
Her best.......2003-08-14
Average customer rating: 
|
The Very Best of Cesaria Evora
Césaria Évora , and Cesaria Evora Manufacturer: RCA Victor ProductGroup: Music Binding: Audio CD Cape Verde
| Africa
| International
| Styles
| Music
General
| International
| Styles
| Music
General
| South & Central America
| International
| Styles
| Music
Similar Items:
ASIN: B00006F2N7 Release Date: 2002-09-24 |
Tracks:
- Sodade (Remix)
- Fala Pa Fala (Remix)
- Carnaval De Sao Vicente
- Crepescular Solidao
- Cize
- Petit Pays
- Tchintchirote
- Angola
- Vida Tem Um So Vida
- Bondade E Maldade
- Sangue De Beirona
- Flor Di Nha Esperanca
- Lua Nha Testemunha
- Esperanca Irisada
- Nho Antone Escaderode
- Fidjo Maguado (Remix)
- Embarcacao (with Kayah)
Customer Reviews:
Great to listen to........2007-03-19
Superb! A MUST Have for Collectors!.......2006-11-10
Be careful!.......2005-08-30
Amazing.......2005-07-27
!SENTIMIENTO PURO!.......2005-05-17
Average customer rating:
|
Rogamar
Césaria Évora Manufacturer: RCA Victor ProductGroup: Music Binding: Audio CD Cape Verde
| Africa
| International
| Styles
| Music
Brazil
| South & Central America
| International
| Styles
| Music
General
| International
| Styles
| Music
Similar Items:
ASIN: B000EBGEZA Release Date: 2006-03-07 |
Tracks:
- Sombras Di Distino
- Um Pincelada
- Avenida Marginal
- Africa Nossa
- Tiche
- Sao Toma Equador
- Rogamar
- Amor E Mar
- Modje Trofel
- Rosie
- Travessa De Peixeira
- Mas Um Sonho
- Mar Nah Confidente
- Saiona D'Vinte Ano
- Vaga Lenta
Customer Reviews:
disappointing.......2007-04-10
Rogamar.......2006-03-27
Africa minha, Africa nossa.......2006-03-26
Well, it's like a tradition... every two years there is a new Cesaria album and she is on a tour almost every year. And that really is something... "Rogamar" (www.rogamar.com) is her tenth album and if you are a fan of Cesaria you will find some songs very similar to older Cesaria songs... like you heard them somewhere before.
But if you aren't a fan of Cesaria (what are you waiting for?!:), this album is a good way to start likeing her. But maybe not the best. (in my opinion Sao Vicente or Cafe Atlantico are her best albums; but also check out the Anthology).
My favorite songs on the album are:
Africa Nossa - definietly the best song on the album. Very nice melody and great duo with a Senegal singer Ismaël Lô. Probably to become one of her classics. First single from the album.
Sombras Di Distino - beautiful ballad, very similiar to Cesaria's older ballads.
Um Pincelada - very nice song... again ballad but very beautiful song. Nice melody. Second single from the album.
Avenida Marginal - up tempo song. Great rythm.
Rogamar - nice song. Very nice melody.
Rosie - mid tempo song. Well I find this song a little bit different that other Cesaria songs. But I like it!
Mas Um Sonho - nice up tempo song. Feel good (Carnaval) song!
Travessa De Peixeira, Saiona D'Vinte Ano - also good songs.
Well, it seems that Cesaria just can't do wrong... very good album, great songs (Africa Nossa, Sombras Di Distino, Um Pincelada), nice melodies, many emotions and one, great unique voice. Cesaria. One and only.
My album rating (overall): 4.5/5
Average customer rating:
|
Islands
Various Artists Manufacturer: Putumayo World Music ProductGroup: Music Binding: Audio CD Cape Verde
| Africa
| International
| Styles
| Music
Madagascar
| Africa
| International
| Styles
| Music
Cuba
| Caribbean & Cuba
| International
| Styles
| Music
General
| Caribbean & Cuba
| International
| Styles
| Music
Puerto Rico
| Caribbean & Cuba
| International
| Styles
| Music
General
| International
| Styles
| Music
Tahiti
| Pacific Islands
| International
| Styles
| Music
Caribbean & Cuba
| Compilations
| International
| Styles
| Music
General
| Compilations
| International
| Styles
| Music
General
| Pop
| Styles
| Music
General
| International
| Indie Music
| Stores
| Music
Caribbean & Cuba
| International
| Indie Music
| Stores
| Music
International
| Putumayo World Music Store
| Amazon.com Label Stores
| Stores
| Music
Latin Music
| Putumayo World Music Store
| Amazon.com Label Stores
| Stores
| Music
Similar Items:
ASIN: B000003EK1 Release Date: 1997-02-04 |
Tracks:
- Danca Ma Mi Criola - Tito Paris
- Me Ki Sa Oule - Kali
- Bomba Te Traigo Yo - Jose Gonzales Y Banda Criolla
- Falso Testemunho - Maria Alice
- Veinte Anos - Los Traditionales De Carlos Puebla
- Mbo Hahita Avao - D'Gary & Jihe
- Sonegaly - Tarika
- E Iti Taurua - Bobby & Angelo
- Olinda Road - Hapa
- Mix Up World - Quito Rymer
Amazon.com
Why is it that island cultures so often create the most magical, deeply individual sounds? Is it because they are usually miles away from corrupting outside influences? Perhaps it is due to the fact that they are forced to create music from their own inner resources. The powerful voices of Jamaican reggae, Cuban rumba, and Puerto Rican salsa have been joined on the world stage by Cape Verdean morna and Hawaiian slack-key guitar, and the hits just keep on coming. The tunes on this set are not terribly revealing about their place of origin, but plenty of likable grooves turn up, primarily dance-oriented party fodder. It's like a casual tourist's piña colada-fueled vacation fantasy: a very pretty and colorful interlude that doesn't have much to do with real life in either place. It's perfect for lazy summer days and nights, ethnic banquets, and tropical-themed celebrations. --Christina RodenCustomer Reviews:
Contemporary Island Music.......2007-02-25
This very enjoyable album is both exotic and easy to listen to. It has introduced me to a number of talented artists whom I otherwise might have missed.
Very good,not great,but still fun.......2006-06-16
D'Gary&Jihe from Madagascar as well as Quito Rymer from Tortola aren't quite so good.Interesting sidenote-Rymer's "Mix up world" is one of the themes for Putumayo's World Music Hour.Oh well.
This is still a good album."South Pacific Islands" is EVEN BETTER."Islands" has held up for a good 9 yrs since its release.No wonder it's still in print.How many pop albums last that long???
One of the best in this series.......2005-09-24
Incomplete.......2005-07-28
Islands--Go Ahead, Dance!.......2004-12-11
Spend forty-five minutes in places like Hawaii, Madagascar, Cuba, Puerto Rico, and Tahiti. Great stuff to dance to, just relax and feel it pulse through your veins. This music makes you feel awesome-makes you younger just listening to it.
Just imagine yourself relaxing on an island, no one but you and maybe your lover. You can dance in the sand, relax and listen to the ocean. Feel the culture in this wonderful music and let the sun warm your body. Nothing like it.
Average customer rating:
|
M'Bem di Fora
Lura Manufacturer: Four Quarters Ent ProductGroup: Music Binding: Audio CD Cape Verde
| Africa
| International
| Styles
| Music
General
| International
| Styles
| Music
Similar Items:
ASIN: B000N60H3Q Release Date: 2007-03-27 |
Tracks:
- Bida Mariadu
- Ponciana
- Romaria
- No Bem Fala
- As-Agua
- Es Anu Raboitas Ka Di Fiansa
- M'Bem Di Fora
- Mari D'Ascenson
- Galanton
- Pensa Dret
- Festa Di Nha Kumpadri
- Choro
- Fitico Di Funana
Amazon.com
Fans of Cesaria Evora have been kept in short commons for some years by a relative dearth of new material and emerging talent. But Lura, who was born in Portugal of Cape Verdean parents, is clearly a contender for latter's throne. The beautiful young singer describes herself as a country girl and as such, is more interested in rural styles like the funana, bataku and the European, colonial-based mazurka than in the more urban morna, a barroom blues associated with the elder diva. Her songs, many of them self-composed, deal with small-town realities like a mother's advice to her son in hard times, an unplanned pregnancy, uninhibited holiday celebrations and other tales that might well be discussed on a neighbor's door-step. This is not to say that she is a narrow-minded provincial or hide-bound traditionalist; her arrangements are paragons of acoustic elegance, owing as much to R&B, Argentinean tango, post-Tropicalia Brazilian pop and French chanson as hometown firesides. Her voice, a clear mezzo-soprano-to-alto, ranges from girlish to smoky but as her material tends toward upbeat rhythms, it is her sun-drenched, precisely calibrated melodic sense and crackerjack phrasing that anchors each tune. The title track, a frenetic hip-swinger sung as a duet with Zeco di Nha Reinalda, could make a stone dance. --Christina RodenCustomer Reviews:
The best.......2007-08-04
Este cd è maravilhoso!.......2007-07-22
4 stars because I am sure Lura/Toy Vieira will be even better next time.......2007-07-02
Another artistic album.......2007-05-15
This album was well worth the wait and I'm happy to see that she's getting support from her record company.
Accomplished........2007-04-24
But while the 29-year-old Lura's 2005 debut "Di Korpu ku Alma" seemed to establish her as Evora's natural successor, a number of younger pretenders have since emerged, notably Sara Tavares and Mayra Andrade. Both are barely into their twenties and pushing a similarly tasteful, if slightly anodyne variant on Evora's classic, sultry Cape Verde sound.
Lura's principal counter-weapon is her voice, its dark, distinctively African timbre preventing her music from descending into mere prettiness.
Yet while the slower numbers on this accomplished second album have a stately languor almost worthy of Evora herself, the smoothness of the sound doesn't suit the more up-tempo pieces.
Their relentless brightness leaves listeners longing for a more earthy production.
Average customer rating:
|
Vivaldi: Virtuoso Cantatas
Philippe Jaroussky , Unspecified , Antonio Vivaldi , Ensemble Artaserse , and Claire Antonini Manufacturer: Virgin Classics ProductGroup: Music Binding: Audio CD All Works by Vivaldi
| Vivaldi, Antonio
| ( V )
| Featured Composers, A-Z
| Classical
| Styles
| Music
General
| Baroque (c.1600-1750)
| Historical Periods
| Classical
| Styles
| Music
Cello
| Strings
| Instruments
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Chamber Music
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Baroque (c.1600-1750)
| Historical Periods
| Opera & Vocal
| Styles
| Music
Italian
| Languages
| Opera & Vocal
| Styles
| Music
Similar Items:
ASIN: B0006IQM4O Release Date: 2005-04-12 |
Tracks:
- Aria: Alla Caccia Dell'alme E De' Cori
- Recitativo: Ma Sia Crudele O Infida
- Aria: Preso Sei Mio Cor Piagato
- Recitativo: Qual Per Ignoto Calle
- Aria: Quel Passagier Son Io
- Recitativo: Deh, Piu Non Regni Nel Tuo Gentil Petto
- Aria: Qual Dopo Lampi E Turbini
- Piangero Sinche L'onda - Ruggiero
- Prelude After Vivaldi (Theorbo Solo)
- Aria: Care Selve, Amici Prati
- Recitativo: Ben Mal'accorto E Folle All'or Io Fui
- Aria: Placido In Letto Ombroso
- Largo
- Allegro
- Largo
- Allegro
- Recitativo: Perfidissimo Cor! Iniquo Fato!
- Aria: Nel Torbido Mio Petto
- Recitativo: Cosi Dunque Tradisci Chi Contenta
- Aria: Piu Amar Non Spero, No
- Di Verde Ulivo - Vitellia
- Recitativo: Pianti, Sospiri E Dimandar Mercede
- Aria: Lusinga E Del Nocchier
- Recitativo: O Ingannato Nocchiero
- Aria: Cor Ingrato Dispietato
Customer Reviews:
Jaroussky has a gifted voice.......2006-06-21
Countertenors remained in the niche of sacred vocal music, in part because women were banned from singing in church services. However, they were not prominently featured in the rise of opera. Handel would occasionally write a part specifically for a countertenor, but the castrati were vastly more popular. As a result, the countertenor voice was found only in cathedral choirs and the occasional early music ensemble for a few centuries.
The most visible icon of the countertenor revival was Alfred Deller, an English singer and champion of authentic early music performance. Deller initially called himself an "alto", but his collaborator Michael Tippett recommended the archaic term "countertenor" to describe his voice. In the 1950s and 60s, his group, the Deller Consort, increased audiences' awareness of (and appreciation for) renaissance and Baroque music. Benjamin Britten wrote the role of Oberon in his setting of A Midsummer Night's Dream for him. Deller was the first modern countertenor to achieve such celebrity, but he would not be the last. Russell Oberlin was Deller's American counterpart, and another early music pioneer. Oberlin's success was entirely unprecedented in a country that had seen little exposure to anything before Bach, and it paved the way for the next generation of countertenors.
Today, countertenors are much in demand in many forms of classical music. In opera, many roles originally written for castrati are now sung by countertenors, as are some trouser roles. Modern composers write countertenor parts, both in choral works and opera. Men's choral groups such as Chanticleer and the King's Singers employ them to great effect in a variety of genres, including early music, gospel, and even folk songs.
A few countertenors have a range comparable to a female soprano. They are usually called sopranists, and often sing higher castrato arias. As there are not many of them, Jaroussky is the latest countertenor and should the word "gifted" for him suits his special talent, this CD deserves a 4 star.
a voice teacher and early music fan.......2006-05-20
Jaroussky is exceptional.......2005-09-07
A pleasant surprise.......2005-05-20
Another Fine Countertenor Lights Up The World!.......2005-04-13
Philippe Jaroussky is yet another fine countertenor who is rather recent on the scene. With the growing popularity of musicians courageous and gifted enough to become successful in the countertenor repertoire (just pause for a moment and think of the significant number a star quality countertenors on the stages today), the numerous pieces for this range of voice continue to appear. Vivaldi's cantatas are refined, beautifully embellished, demanding consummate artistry of not only the high hurdles for the voice but also for the accompanying forces. Jaroussky seems to have endless breath, singing the long extended lines with total ease. His embellishments alter with each da capo as to the period born! This is a voice a great power and warmth and one that feels married to the texts.
Providing brilliant collaboration is the Ensemble Artaserse and period instruments. The variety of color is awe-inspiring and the technique of these unique musicians is impeccable. In their solo portions they produce a richly elegant - yes, Venetian sound. And in tandem with Jaroussky the complete effect is one of single purpose, line, and harmony.
This is a new CD to treasure and the sampling is generous. For this reviewer this is a new repertoire to explore and it would be difficult to imagine forces better suited to these treasures than those on this CD. Highly recommended. Grady Harp, April 05
Average customer rating:
|
Music for a Medieval Banquet
Manufacturer: Hmf Classical Exp. ProductGroup: Music Binding: Audio CD General
| Early Music
| Historical Periods
| Classical
| Styles
| Music
Vocal & Song
| Early Music
| Historical Periods
| Classical
| Styles
| Music
| Requiems
General
| Classical
| Styles
| Music
General
| Opera & Vocal
| Styles
| Music
Madrigals
| Songs & Lieder
| Vocal Non-Opera
| Opera & Vocal
| Styles
| Music
General
| Soundtracks
| Styles
| Music
CDs Under $7
| Classical General
| Classical
| Today's Deals in Music
| Formats
| Music
CDs $7 - $10
| Classical General
| Classical
| Today's Deals in Music
| Formats
| Music
All Bargain Titles
| Classical General
| Classical
| Today's Deals in Music
| Formats
| Music
Classical
| Imports
| Stores
| Music
$6.99 and Under
| Classical Music Blowout
| Stores
| Music
All Classical Music Blowout
| Classical Music Blowout
| Stores
| Music
Opera & Vocal
| Classical Music Blowout
| Stores
| Music
Similar Items:
ASIN: B00005A3WX Release Date: 2001-05-08 |
Customer Reviews:
Not Thrilling.......2007-01-05
Among the many albums for which I read reviews tonight was one for "A Medieval Banquet" by the Newberry Consort. The title & group rang a bell so I checked my collection and found that it was originally called *Il Solazzo" (as others have already noted among these reviews). I bought it in early 1995 but never wrote any comments in the attached booklet, which is unusual for me.
I have now played the CD twice and understand why I made no comments: it was simply not thrilling. I am no musicologist -- just someone who loves early music because it makes my soul sing. This CD is "nice," but my soul goes ho-hum when I hear it. (The one exception is the #9 selection with rebec, vielle & lute -- and no voices.)
The instrumentals have a certain charm but they generally feel more Renaissance than medieval to me. The vocals leave me completely cold. In some of the reviews I read tonight I came across the concept of "operatic" applied to some of this early music. I had no idea what the authors meant since there was no opera at such an early period. But in playing this CD, I understood -- there is indeed a bloated, elaborate vocal quality that really does feel "operatic." It seems entirely unsuited to "Music for a Medieval Banquet."
If your soul wants to sing, this proably isn't the CD for you. Try the Waverly Consort's "Christmas" along with a glass of fine wine
Good CD.......2004-04-30One of the reasons why I bought this recording is the interesting choice of pieces, which range from the often-recorded instrumental dances to the less-known sung tracks.
When I played it, the first thing that struck me of this CD is the thinness of the sound in the dances. Although the performance is spotless, it lacks the body that other medieval-dance groups add to their sound - notably the older but still great Studio der Fruehen Musik. Is this an unfair statement? Perhaps - but these dances have been recorded so many times that it is only natural to compare versions.
Also, the use of percussion instruments would have been a nice touch, besides being perfectly historical. Then, a more varied instrumental arrangement may have been a good addition, especially in the longer numbers such as Chominciamento di gioia.
The other point that puzzled me is that in the first track (La Badessa), the singer sounds as if she is playing a losing game of catch-up with the instruments, which results in a mediocre performance of that particular piece. It is a pity, because the song is very catchy and the singer's voice is stylistically spot on.
Having said all this, the selections of songs and dances is first-choice, the performance is good and well researched and the CD remains one of the most played in my household.
Re-release of Il Solazzo.......2002-10-10
A good, simple bargain, with a sweet reward.......2002-06-11
So much for the performers. As for the producers...
On the downside, it is painfully obvious that they made this album on a shoe-string budget. That can be a good thing in forcing the artists to stick to the music's purity instead of hiring a team of sound engineers to make it "sound" better, but there is absolutely no documentation about the songs, other than their titles and playing times. A sickly-thin album insert has a blurb in English and Italian about polyphony, told in allegorical style, with each paragraph in an alternating language instead of one section in each language. Go figure! Maybe the AltaVista translator they used for free had a one-paragraph limit.
But it also has a variety of styles, both vocal and instrumental, so it gives a nice overall flavor of what life might have sounded like in that little part of the world, during that remarkable little slice of musical history.
Average customer rating:
|
Voz D'Amor
Cesaria Evora Manufacturer: RCA Victor ProductGroup: Music Binding: Audio CD Cape Verde
| Africa
| International
| Styles
| Music
General
| International
| Styles
| Music
General
| South & Central America
| International
| Styles
| Music
Similar Items:
ASIN: B0000APHOT Release Date: 2003-09-18 |
Tracks:
- Isolada
- Velocidade
- Amdjer De Nos Terra
- Beijo Roubado
- Djarmai Di Meu
- Monte Cara
- Ramboia
- Jardim Prometido
- Nha Coracao Tchora
- Saia Travada
- Pomba
- Mar De Canal
- Milca Ti Lidia
- Voz D'Amor
Amazon.com
Cape Verde is famous for its Afro-Portuguese-inlfluenced music genres: the haunting guitar-based morna and the percussive Cuba- and Brazil-influenced coladeras. Ever since her "discovery" in 1998, vocalist Cesaria Evora, the so-called "Barefoot Diva," has been her country's greatest musical ambassor. This recording features Evora interpreting old and new Cape Verdean and Brazilian songs. Under the expert leadership of her musical director, pianist Fernado Andrade, Evora's rich contralto is beautifully supported by guitars, the ukelele-like cavaquinho, mandolin, strings, clarinet, and percussion. Like Billie Holiday, Evora can inject a lyric with pathos and passion. That rare gift is heard on the mid-tempo "Isoloada" ("Isolated"), an aching song about a beautiful, imprisoned mulatto girl, written by Evora's poet uncle, B. Leza, and the equally heart-wrenching "Amdjer De Nos Terra" ("Woman of Our Land"), which tells of the suffering of Cape Verdean women. The upbeat tracks include the sax-laced, vocal choired, "Pomba" ("The Dove")and Luis Morais's "Velocidade" ("Velocity"). "Jardim Prometido" ("Promised Garden") is a nice take on the American standard "Greenfields" by another Cape Verdean composer, Teofilo Chantre. The title track features Evora in pan-African fellowship with musicians from Cuba, Brazil, and Madagascar, showing that the music of her homeland has something for everyone. --Eugene Holley, Jr.Customer Reviews:
International star.......2007-01-09
Recently I bought Cesaria Evora under the recommendation of a cuban Doctor;I hoped to find some of the rythm I used to swing on in my head.
It did not happen for me!
Cesaria will always be 5 stars!.......2005-07-27
My Goodness Cesaria..........2004-08-06
For the past few months I've been listening to Cesaria's music more than anyone elses! I can relate so much to the lyrics of her music and the style being that I'm from the Caribbean. I feel as if I've also lived the Capeverdian experience! I would like to visit someday! Viva Cesaria a reina da morna!
Voz d'Amor, a deep and hanging album.......2004-01-08
Gorgeous!.......2003-10-17
The program encompasses some Brazilian songs along with many songs from Evora's native Cape Verde. The latter is a lovely fusion of Cuban, African, and Portuguese influences along with something extremely moving and unique that this listener can't quite explain, but one will immediately identify it once familiar with it. The selections nicely move from mournful to joyous, thereby eliminating any "sameness" that's so common with "native music" recordings. They also showcase Evora's marvelous talent to convey a wide range of feelings with a few simple musical gestures. Interestingly, the fact that the recording was made in Paris somehow contributed as well -- the music does carry a vague "chansonette" feel. The supporting musicians are brilliant, they're all literally on the same page with Evora with every expression.
The booklet includes the lyrics and you'll be pleasantly surprised by the poetry. It's all of the highest caliber. B. Leza's wonderful verse has to gain wider exposure.
Do not delay getting this album, for it will bring you over an hour of pure unadulterated musical bliss.
Average customer rating: 
|
Ghosts of the Great Highway
Sun Kil Moon Manufacturer: Caldo Verde ProductGroup: Music Binding: Audio CD General
| Alternative Rock
| Styles
| Music
Indie Rock
| Indie & Lo-Fi
| Alternative Rock
| Styles
| Music
General
| Indie & Lo-Fi
| Alternative Rock
| Styles
| Music
Dream Pop
| Indie & Lo-Fi
| Alternative Rock
| Styles
| Music
Folk Rock
| Rock
| Styles
| Music
General
| Rock
| Styles
| Music
Psychedelic Rock
| Classic Rock
| Styles
| Music
Pop Rock
| Pop
| Styles
| Music
Similar Items:
ASIN: B000LRZ02K Release Date: 2007-02-06 |
Tracks:
- Glenn Tipton
- Carry Me Ohio
- Salvador Sanchez
- Last Tide
- Floating
- Gentle Moon
- Lily and Parrots
- Duk Koo Kim
- SPaloma
- Pancho Villa
Tracks:
- Somewhere [#][*]
- Carry Me Ohio [Alternative Version][#][*]
- Salvador Sanchez [Acoustic][#][*]
- Arrival [#][*]
- Somewhere [Version 2][#][*]
- Gentle Moon [Radio Recording][#][*]
Customer Reviews:
Why do I have to be the bad guy?.......2007-05-19
P.S. I do like three Red House Painters songs.
A Brilliant, Haunting Album (slightly enhanced by the bonus CD).......2007-02-12
Album of the Year, 2003
With his early '90s band, the Red House Painters, San Francisco's Mark Kozelek struck a chord of disquiet and bohemian poignancy that made that band the darling of the scribbling-poems-to-the-pretty-barista-who-will-never-know-my-name set. With lovely, unadorned melodies and Kozelek's angst-ridden tributes to disillusionment, the Red House Painters influenced a score of later bands who lacked his rich melodic imagination and incisive lyrics -- Low is a good example -- resulting in Kozelek himself being typecast as the maestro of "mopecore." Then he did something unforgivable in the minds of some of his fans: he evolved.
Without rehashing the epic travails and record-biz nightmares that caused RHP's fine album "Old Ramon" to be delayed in release for years after it was finished, the good news is that "Ghosts of the Great Highway" not only continues the evolutionary path Kozelek took on later RHP work like "Songs for a Blue Guitar" and his solo album "Rock and Roll Singer," it's a masterpiece on its own terms, and the most magnificent rock album of 2003.
If you thought they didn't make albums like Neil Young's "Everybody Knows This is Nowhere" anymore, cue up "Ghosts of the Great Highway," and marvel over the fact that Kozelek and company are able to cross-pollinate folk, country, punk, and psychedelic influences without sounding the least bit retro, stealing the purifying flame of Crazy Horse meltdowns like "Cortez the Killer" while sounding like no one but themselves. If you're a Nick Drake fan warming your hands over the ashes of "Pink Moon," consider the fact that at least one song on this album, "Duk Koo Kim," is as beautiful and otherwordly as anything in Drake's oeuvre (particularly the acoustic version, released on a limited edition EP last year), and consider the possibility that Kozelek is as unfairly ignored and marginalized in our time as Drake was in his.
"Glenn Tipton," "Duk Koo Kim," "Carry Me Ohio" and "Gentle Moon" are all instant classics, full of heart, understated grace, and authentic yearning, while avoiding the art-school sentimentality of Kozelek's early work. "Duk Koo Kim" is especially worthy of note, reinvented here as a 14-minute folk-punk-psychedelic apocalypse, with backwards guitars, Portuguese guitars, and bells swirling around Kozelek's aching voice. (I can't praise this track enough, other than to say that if I was a very bright teenager with a set of headphones and a bong, I'd probably decide to become a musician after hearing this song alone.) It's one of the most terrifying love songs ever written, as emotionally naked as the songs on Joni Mitchell's "Blue." (Like several of the songs on this album, "Duk Koo Kim" is the tale of a hero who died young -- in this case, a Korean boxer killed in the ring.) The only misstep on the record is Kozelek's formula-grunge treatment of his gorgeous tune "Lily and Parrots," which appeared as a hidden acoustic track on his "White Christmas Live."
At his best, Kozelek writes and sings like an oracle, and plays feedback-drenched electric guitar with as much intensity as his punk and heavy metal heroes while never descending into mere chaos and noise. If you're a music critic or record reviewer (I happen to be an editor of Wired magazine, and have no connection to Kozelek), entertain the notion that instead of hyping the latest skinny-tie buzz band that no one will care about in 3 years, you might consider running a piece on Kozelek and this album. If you're a music fan who enjoys Wilco, Iron and Wine, and other forward-looking traditionally-influenced bands, give this a listen. It's far beyond what almost everyone is doing these days.
"Ghosts" disc two, 2007
Hearing these bonus tracks (two brilliant, one fine, and two only mediocre), I suggest that what Kozelek should have done was to release "Ghosts" originally with the instrumental "Arrival" inserted somewhere in the running order, and finishing with either version of "Somewhere." Kozelek's reinvention of West Side Story's yearning love song is profound, heart-wrenching, and gorgeous. (The yearning is even more poignant knowing that the song's composers, Stephen Sondheim and Leonard Bernstein, were gay and bisexual respectively, but the feelings expressed are universal.) "Somewhere" would have been an emotionally devastating capper to a magnificent album; at least we have it now. I prefer the slightly punchier second take, which employs the same Portuguese guitar-like instrument as "Duk Koo Kim" on the original album, but the string arrangement on the first version is also lovely. The straightforward folky reading of "Salvador Sanchez" is fine; the other two bonus tracks are merely competent. In my dreams, Kozelek would also have supplemented this bonus disc with the astounding double-tracked acoustic version of "Duk Koo Kim" that appeared only on a vinyl EP -- it's one of the true masterpieces of his career, and is now in danger of being a "lost" track available only to connoisseurs. But enough second-guessing. This is a great album, now made slightly greater.
Woken up from a dream last night, somewhere lost in war..........2007-02-10
Average customer rating:
|
Cabo Verde
Césaria Évora Manufacturer: RCA Victor ProductGroup: Music Binding: Audio CD Cape Verde
| Africa
| International
| Styles
| Music
General
| Africa
| International
| Styles
| Music
General
| International
| Styles
| Music
General
| South & Central America
| International
| Styles
| Music
Similar Items:
ASIN: B000066NWG Release Date: 2002-05-21 |
Tracks:
- Tchintchirote
- Sabine Larga'm
- Partida
- Sangue De Beirona
- Apocalipse
- Mar E Morada De Sodade
- Bo E Di Meu Cretcheu
- Coragem Irmon
- Quem Bo E
- Regresso
- Zebra
- Mae Velha
- Pe Di Boi
- Ess Pais
Amazon.com essential recording
Like Ireland, Cape Verde is a former island colony which has perennially lost its young people to emigration. And like its Irish counterpart, Verdean music is filled with songs of separation and homesickness. Cesaria Evora, the greatest Verdean singer of her generation, includes several of those songs on Cabo Verde, her sixth album overall but only her second release in the U.S.With a population descended from former Portuguese colonialists and former African slaves, Cape Verde closely resembles Brazil and has produced a music with similar rippling syncopation and light, sensual vocals, though the Verdean sound is marked by the breezy lilt characteristic of islands. But when Evora sings mournfully of a "Partida" (departure) that will take her love far away, anyone who has ever experienced such a separation will recognize the mix of pain and affection in her voice. That voice is a very special instrument, for it glides gracefully over the supple beat even as it resounds deeply in Evora's lower range and fills up with warm, enveloping resonance. She is backed by a small, all-acoustic Verdean combo led by the ukulele-like, four-string cavaquinho. American jazz great James Carter plays tenor saxophone on "Coragem Irmon," but Evora has no problem matching his thick, buttery tone. --Geoffrey Himes
Customer Reviews:
Uplifting sounds from Cape Verde.......2004-10-29
Beautiful, Captivating, Lovely...indescribable...oih!.......2004-08-06
For the past few months I've been listening to Cesaria's music more than anyone elses! I can relate so much to the lyrics of her music and the style being that I'm from the Caribbean. I feel as if I've also lived the Capeverdian experience! I would like to visit someday! Viva Cesaria a reina da morna!
An Afro-Portuguese Sound & A Silk-Smooth Voice........2003-07-05
Cabo Verde was colonized by the Portuguese, and the combination of the African and Portuguese cultures makes for some fabulous music - a little similar to sounds from Brazil. The music on this CD is a combination of the 'fado' from Portugal, mixed with the Brazilian ballad-like 'choro,' and soulful 'forros,' along with Cape Verde's own particular island sound. There is no better way to understand this wonderful, nuanced music than to listen to it. And Ms. Evora, herself, plays her voice and makes a music that is very much her own.
The nostalgic "Partida," "Mar e Morada de Soledad," and "Ess Pais," are sung with a sadness and longing that evoke much emotion. Other cuts, like "Tchintchirote," and "Sangue de Beirona" make me want to just get up and dance to the Oh So Sensual Beat! It is Ms. Evora's soft, silky-smooth, engaging voice that is so special. She is backed by strings - the guitar and an instrument called the 'cavaquinho'- but the rhythms are pure island. A terrific CD! You will enjoy it!
What a captivating voice.......2002-06-18
Stories from the sea, stories from Carbo Verde.......2001-08-18
Rock Music:
- Very Best of [Import]
- Whaa!
- Without You
- World Citizen [Import]
- 9 [Import]
- Adriano Celentano - Greatest Hits [Import]
- Afro-Latino
- Afterglow
- All The Best From Italy: 40 Italian Favorites [2-CD SET]
- Ananda Shankar
Recommended Music:
Tchaikovsky: Classical Highlights
Trios For Flute, Cello And Piano
The Third Man: 50th Anniversary Edition (2000 Re-recording of 1949 Film) [Soundtrack] [Import]
The Best of the Original Fleetwood Mac [Import]
The UCSB Middle East Ensemble 1995
Raizes Sertanejas [Limited Edition] [Import]
Pianist Extraordinare/Piano Arrangements of Famous Spirituals