CLAPTON & WINWOOD Together Alive

Original released on CD Reprise 9362.49798.8

(US 2009, May 19)

Classical Romance

Original released on CD Red Note RNCCD007

(EU, 2009)

NORAH JONES - "The Fall"

Original released on CD Blue Note EMI C370

(US 2009, November 16)

With "The Fall", Norah Jones completes the transition away from her smooth cabaret beginnings and toward a mellowly arty, modern singer/songwriter. Jones began this shift on 2007's "Not Too Late", an album that gently rejected her tendencies for lulling, tasteful crooning, but "The Fall" is a stronger, more cohesive work, maintaining an elegantly dreamy state that's faithful to the crooner of Come Away with Me while feeling decidedly less classicist. Some of this could be attributed to Jones' choice of producer, Jacquire King, best-known for his work with Modest Mouse and Kings of Leon, but King hardly pushes Norah in a rock direction; "The Fall" does bear some mild echoes of Fiona Apple or Aimee Mann in ballad mode, but its arrangements never call attention to themselves, the way that some Jon Brion productions do. Instead, the focus is always on Jones' voice and songs, which are once again all originals, sometimes composed in conjunction with collaborators including her longtime colleagues Jesse Harris, Ryan Adams, and Will Sheff of Okkervil River. In addition to King's pedigree, the latter two co-writers suggest a slight indie bent to Jones' direction, which isn't an inaccurate impression - there's certainly a late-night N.Y.C. vibe to these songs - but it's easy to overstate the artiness of "The Fall", especially when compared to "Not Too Late", which wore its ragged ambitions proudly. Here, Jones ties up loose ends, unafraid to sound smooth or sultry, letting in just enough dissonance and discord to give this dimension, creating a subtle but rather extraordinary low-key record that functions as a piece of mood music but lingers longer, thanks to its finely crafted songs. (Thomas Erlewine in AllMusic)

LUZ CASAL: "La Pasión"

Original released on CD Blue Note 5099968512620

(ESPAÑA, October 2009)

The youth who began her career as Luz (later also as Luz Casal) with Rock/Reggae/Punk influences has grown into an accomplished singer who is well-known in her native Spain. "La Pasión" is dedicated to the classic Bolero genre. Luz reinterprets classic songs from the 40s, 50s and 60s. The production opts for acoustic arrangements and orchestrations. It refrains from any attempt at transient electronic effects or the addition of songs obviously intended to climb the charts. The album doesn't sound like a poor imitation of past glories. Instead, "La Pasión" is a timeless production that distinguishes itself with elegant restraint. Indeed, the way Luz sings these songs she makes them sound unconsumed and fresh. Luz sings with passion, and drama, and a depth that suggests personal experience. "La Pasión" celebrates the beauty of Latin music, and an album Luz deserves to feel proud of. It has become Luz's bestselling album to date. (in RateYourMusic)

LA BIEN QUERIDA

Original released on CD Elefant ER-1142

(ESPAÑA 2009, March 16)

Un  grupo de pequeñas joyas que deslumbran desde el primer momento y que se reafirman a cada escucha, se une por derecho propio el debut de La Bien Querida. De la que ignoraba absolutamente todo, hasta que he sabido que bajo ese nombre se esconde Ana Fernández-Villaverde, autora de todas las canciones de este tratado truffautiano/rohmeriano de la vida cotidiana, del amor y el desamor aprés- midi. Y lo prefiero así, me importa un bledo lo que he leído acerca de debates sobre unas demos y maquetas, la polémica del acierto o desacierto de los arreglos de David Rodríguez (me apunto claramente a la primera opción), y demás parafernalia exclusiva para fans y amantes de lo último, de lo rabiosamente cool. Por edad, dignidad y gobierno, no me corresponde la engorrosa tarea de indagar acerca de la idiosincrasia, los gustos, las intenciones o los objetivos de músicos, escritores o cineastas (suponiendo que esta  última categoría aún exista en España, tras la jubilación obligada de Luís García Berlanga, y la hibernación - espero que contra su voluntad - de Víctor Erice, para eterna vergüenza de los llamados productores). En arte, aplico aquello de que por sus obras los conoceréis, como dice la Biblia. Y a ese mandato me atengo, y me sobra y me basta. Y oiga, lo que yo oigo, es la sorpresa inicial de "Ya no", que anuncia una cosa y hace otra, acompañando con destreza e imaginación, los vaivenes sentimentales de la narración; y los aires morunos de las cuerdas en "El zoo absoluto" y la espléndida "De momento abril" (cortesía de Mohamed Soulimane); y el preciosismo de ese trabalenguas que es "Bendita", con un encantador clarinete; y también ese arranque en la preciosa "Corpus Christi", que recuerda la fiesta serratiana, y que finalmente va a desembocar en una sencilla y maravillosa melodía de guitarras acústicas. Resulta deliciosamente ingenuo el planteamiento de "Cuando lo intentas", así como misteriosa la estructura de "A.D.N", envuelta en unos sugerentes vientos. Por no hablar de los inesperados metales que surgen al final de la magnifica "Santa Fe".¿ Es ambient el comienzo de "Los estados generales", antes de la aparición de las flautas y una guitarra sesentera? Y broche de oro con "Golpe de estado", conducida por una sensacional guitarra rítmica y una perfecta batería, con un aire al delicioso pop escocés de Belle & Sebastian o Camera Obscura. 

Y no, no obviaré que me molesta bastante el total alaskamiento de "9.6" ¡qué le vamos a hacer! Y me reservo para el final, la confesión de mi total enamoramiento de la soberbia "7 medidas de seguridad", con ese encantador y aflamencado llamamiento a la Virgen de la Cueva, que despierta en mí resonancias de mi, ay, ya lejana infancia, con el punto exacto de cocción naif en la letra y al dente en la música. A diferencia del western, el territorio escogido por La Bien Querida es el del corazón; y a semejanza, también es vasto y peligroso. Y adorable y engorroso. Y luminoso y triste. Y transitable y arduo. Es un territorio en el que se bordea constantemente el ridículo y la cursilería. Al fin y al cabo, ya sabemos con Fernando Pessoa, que todas las cartas de amor son ridículas, que no serían cartas de amor si no fueran ridículas, pero que al final sólo las personas que no han escrito nunca cartas de amor son ridículas. Y cartas de amor, expresivas de distintos estados de ánimo, y variadas perspectivas para enfrentarse a las incertidumbres de la vida, es lo que yo encuentro en estas canciones dulces y amargas, levemente optimistas y sinceramente confusas. Me recuerdan a una nouvelle vague, pasada por la implacable y desolada turmix de Jean Eustache y Maurice Pialat. He escuchado éste álbum ya bastantes veces, y siempre descubro nuevos detalles en los variados arreglos y otros matices en las letras. Pero, por encima de todo, me reconforta, me convulsiona, me alegra, me agita, me entristece, me lleva a otros parajes, a la vez, cercanos y extraños. ¿Acaso no es eso el eterno y querido pop? (Dorotea in RateYourMusic)

Três Cantos Ao Vivo

Edição original em CD EMI Valentim de Carvalho 50999.6.07053.2.7

(PORTUGAL, Dezembro de 2009)

    

FEVER RAY Debut Album

Original released on CD Rabid J039

(SWEDEN 2009, March 18)

At first, it's a little difficult to determine where the Knife ends and Fever Ray begins. On paper, it's clear --the Knife is the project of Karin Dreijer and their brother Olof, while Fever Ray is Karin with co-producers Christoffer Berg, Van Rivers, and the Subliminal Kid - but the differences aren't as distinct when listening to "Fever Ray" the first few times. Initially, the album's dark, frosty atmosphere feels like a continuation of the Knife's brilliant "Silent Shout", and the oddly bouncy rhythms on songs like "Triangle Walks" and "Coconut" recall the duo's tropical-yet-frozen Nordic/Caribbean fusion. Eventually, though, Fever Ray reveals itself as far darker and more intimate than anything by the Knife. The Knife's spooky impulses are usually tempered by vivid pop instincts that Fever Ray replaces with a consistently eerie mood, particularly on "Concrete Walls," which feels like an even grimmer cousin of Silent Shout's "From Off to On." However, "Fever Ray"'s mix of confessional lyrics and chilly, blatantly synthetic, and often harsh sounds makes this album as successful an electronic singer/songwriter album as Björk's "Homogenic". These are some of the most alluring and disturbing songs Dreijer has been involved in making. The excellent album opener, "If I Had a Heart," explores possibly inhuman need with a churning, almost subliminal synth and murky bass driving Dreijer's pitch-shifted vocals (which sound more like a different part of their psyche than a different character in the song); when Dreijer's untreated voice comes in, keening 'Will I ever ever reach the floor?' they sound even more frail and desperate by comparison. The rest of "Fever Ray" follows suit, offering fragile portraits and sketches that walk the fine line between intimate and insular. Dreijer further expands on the storytelling skills they developed on "Silent Shout": the characters in their songs feel even more resonant and unique, especially on "When I Grow Up," which is as fascinatingly fragmented as a child's train of thought, skipping from sentiments like "I'm very good with plants" to 'I've never liked that sad look by someone who wants to be loved by you.' Dreijer also has an eye for unusual details, as on "Seven"'s 'November smoke/And your toes go numb.' It all comes together on the haunting "Now's the Only Time I Know," where the low end of Dreijer's voice sounds especially vulnerable and the lyrics fill in just enough to be tantalizing. At times, "Fever Ray" threatens to become a little too mysterious, but it never sounds less than intriguing, from the layers of claps and castanets that make up the beat on "I'm Not Done" to "Keep the Streets Empty for Me"'s almost imperceptible guitars. With almost tangible textures and a striking mood of isolation and singularity, "Fever Ray" is a truly strange but riveting album. (Heather Phares in AllMusic)

"Pretty Woman" By BRUCE SPRINGSTEEN & JOHN FOGERTY

HARRY CONNICK, Jr.: "Your Songs"

Original released on CD Columbia 88697607812

(EU 2009, September 22)

Much like 2001's "Songs I Heard" and 2004's "Only You", 2009's "Your Songs" finds vocalist/pianist Harry Connick, Jr. coming up with an urbane and passionate set of American popular songs and contemporary pop classics that he both performs and orchestrates. While his previous recordings leaned toward the classicist side - "Only You" featured songs of the '50s and '60s - "Your Songs" features a more eclectic mix of standards and pop songs with Connick's own lush orchestration lending an overall aesthetic of languid romanticism. To this end, Connick turns Billy Joel's "Just the Way You Are" into a kind of Herb Alpert-inspired '60s pop nugget and, conversely, the Beatles' 1964 classic "And I Love Her" gets a kind of '70s Latin lounge feel with classical guitar flourishes. However, Connick isn't only concerned with reworking tunes in unexpected ways; on the contrary, longtime fans of Connick's swinging neo-crooner work will be pleasantly surprised by his straightforward takes on "Just the Way You Look Tonight" and "Some Enchanted Evening." Similarly engaging are his renditions of such rock-oriented tunes the album's Elton John title track, his low-key version of Don McLean's "And I Love You So," and the Carpenters' "(They Long to Be) Close to You." Ultimately, "Your Songs" is a classy and feel-good stroll of an album. (Matt Collar in AllMusic)

CARMINHO: O Album de Estreia

Edição original em CD EMI 50999 966521 2 1

(PORTUGAL 2009, Maio 22)

Maria do Carmo de Carvalho Rebelo de Andrade conhecida como Carminho (Lisboa, 20 de Agosto de 1984), é uma fadista portuguesa. Nasceu numa família de músicos, sendo a sua mãe, Teresa Siqueira, e o seu irmão, Francisco Andrade, também cantores. Apesar de ter começado a cantar desde criança, só aos 22 anos decidiu fazer carreira musical depois de uma longa viagem pelo mundo que demorou 11 meses que a ajudou a tomar essa decisão. Diz que não precisou de coragem e explica simplesmente que é feliz a cantar o fado. Tem passado por várias casas de fado como A Taverna do Embuçado, Petisqueira de Alcântara e Mesa de Frades. Esteve na Suíça, numa quinzena temática portuguesa e com esse grupo, Tertúlia de Fado Tradicional gravou quatro canções (“Toca Pr’á Unha”, “O Vento Agitou O Trigo”, “Fado Pombalinho” e “O Fado da Mouraria”) do CD “Saudades do Fado”, editado em 2003. Participou nos espectáculos da feira do toiro realizados em 2003 e 2004 em Santarém e aquando das cerimónias de adesão de Malta à União Europeia actuou no país a convite da Embaixada Portuguesa. Em 2005 cantou num espectáculo, que teve lugar no Teatro Camões, oferecido pelo presidente da Turquia ao presidente Jorge Sampaio. Ainda em 2005 recebeu o prémio Amália, na categoria de Revelação Feminina.

Em 2006 colaborou nas gravações do disco “O Terço Cantado” que recebeu a bênção apostólica do Papa Bento XVI. As músicas são de Ramon Galarza e as vozes são dos irmãos Carmo Rebelo de Andrade e Francisco Rebelo de Andrade (participante no programa “Operação Triunfo”). Carminho participou no filme “Fados” de Carlos Saura de 2007. O disco com a banda sonora inclui a faixa “Casa de Fados” com a participação de Vicente da Câmara, Maria da Nazaré, Ana Sofia Varela, Carminho, Ricardo Ribeiro e Pedro Moutinho. Em Maio de 2008 participou num concerto de Tiago Bettencourt, também actuou na Casa da Música, na Expo Zaragoza 2008 e foi convidada para o espectáculo comemorativo dos 45 anos de carreira de Carlos do Carmo, no Pavilhão Atlântico. Nesse mesmo ano interpretou “Gritava contra o silêncio”, excerto de um conto de Sophia de Mello Breyner Andersen, no primeiro disco de inéditos de João Gil. Foi apontada pelo site Cotonete como um dos Nomes a seguir no ano de 2009. O disco de estreia, este “Fado”que aqui se disponibiliza, foi produzido por Diogo Clemente. Participa na campanha de 2011 do Pirilampo Mágico gravando o single “Ser Feliz” com Ney Matogrosso. É um dos vários nomes convidados para o disco “Os Fados e as Canções do Alvim” de Fernando Alvim. Colabora também com Pablo Alborán no tema “Perdonáme” que foi um grande sucesso em Espanha e Portugal e em “Lusa” de Pedro Luís.

It Happened Last Saturday, in Hyde Park...

LONG LIVE ROCK AND ROLL !!!