| | Tudo Isto E Fado, Vol. 4 CD
Tudo Isto E Fado, Vol. 4 Music Tudo Isto E Fado, Vol. 4 Songs | 1. | Novo fado alegre |
| 2. | Venham dai raparigas |
| 3. | Nosso senhora do fado |
| 4. | A rir e a brincar |
| 5. | De xaile e lenço |
| 6. | Alfama |
| 7. | Horas certas |
| 8. | Fado das contas |
| 9. | Rapsódia antiga |
| 10. | Sonhando com o fado |
| 11. | Oferece o teu amor |
| 12. | Duvidar |
| 13. | Saudades do meu pais |
| 14. | Nao é amor é saudade |
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Tudo Isto E Fado, Vol. 4 Review
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Purchase Tudo Isto E Fado, Vol. 4 CD To buy, Click on price to add to cart | Jose Lugo Orchestra Guasabara CD (2008) With DVD
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If one thought that the big band flavor of salsa music was dead, GUASABARA is one album that refutes that theory. With a full band assembled in Puerto Rico, tracks like "Mambo Valentin" cross generational lines, bringing ...
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Photographer: Santiago Garfunkel.
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Equal parts Paul McCartney, Liberace, and William Shatner, Juan Gabriel, in late middle age, remains a personalidad. Inocente de Ti finds the icon of desperate Latin housewives attempting to stay current by incorporating Jeff Lynne and the Matrix into his dizzying mix of influences. That he actually sort of pulls it off without falling on his face is a testament to his taste and talent. But Gabriel's hooks and soul are firmly rooted in the 1970s, and in the title track you can literally hear them breaking out from behind a wall of alt-rock guitar -- complete with backup singers and the old reliable repeat-refrain-a-step-higher. Admittedly, this can be as disturbing as it is fascinating, but, of the other four standout tracks, "Como te Quiero Mi Amo" and "Gracias por Todo" are convincing and catchy pop/rock, while "Amor Profundo" and the raucous tropical closing track cast aside all pretense and embrace the gaudy dated kitschy glory that Gabriel embodies when he is on top of his game. If the Latin-lite filler that comprises the other half of the record doesn't rise to the same level of memorable campy fun, it is at least impeccably produced and with personalidad to spare. While it can't be ranked with his best, Inocente de Ti shows that Juan Gabriel is still full of surprises. ~ J. Witzgall
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This is the first release from the guitar duo of Rebecca Shrimpton and Eric Hofbauer. Shrimpton is a bright new voice in jazz, and Hofbauer is from The Blueprint Project (in 2004, he released his solo CD "American Vanity," CNM #3). "At a time when alot o
Jazz fans hoping for something more creative than the mainstream have pretty much given up on vocal jazz, especially when it comes to female singers. But there is hope: on Madman's Moon, Rebecca Shrimpton proves that it is possible to inhabit the standard torch songs without oversexualizing them and to present them in arrangements that don't dumb things down to easy-to-follow chord changes. Shrimpton and guitarist Eric Hofbauer (himself a very peculiar arranger, as his solo CD of cover tunes, American Vanity, testifies) make a tight-knit team. He constantly eschews the obvious paths, piggybacking on different scales, skipping beats, challenging the singer to fully invest herself in the song instead of just following the accompanist. Yet, the focus is mostly on Shrimpton's voice, and for all the right reasons. Precise, flexible, and alluring, her voice raptures, but she doesn't overplay the sensuality note. Too many singers use that card again and again to compensate for a lack of technique or imagination. Shrimpton's sensuality is fully embedded in her vocal technique and in her mastery of the art of singing (highlighted words and phrasings, marvelously controlled leaps, perfect pronunciation). One last point in favor of this duo's debut album: the repertoire. No obvious choices (and no Cole Porter! How rare is that?), except for Gershwin's "I've Got a Crush on You" -- but listen to how they approach it; it's well worth the inclusion. Shrimpton and Hofbauer have opted for neglected songs like the Wodehouse/Hammerstein ballad "Bill," Sam Rivers' "Beatrice" (wonderful wordless ...
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What can you say about a Scandinavian grindcore album that offers 15 songs in 27 minutes, with titles like "A Burning Cross on Your Perfect Lawn" and "Inevitable Environmental Collapse"? You'd suspect the band of being political in nature, and you'd be right; you'd anticipate fast 'n' furious riffing and vocals delivered in the same voice one might use to scream at a particularly hated opposition leader from the middle of a crowd at a protest march, and you'd be right about that, too. So what separates Afgrund from the pack of bands like Nasum, Rotten Sound, and a trillion others who've adopted this formula of downtuned bass, relentless drumming, and hoarse, desperate sloganeering? Well, ...
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