CARLOS DO CARMO & MARIA JOÃO PIRES

Edição original em CD Universal Portugal 06025372204

(PORTUGAL 2012, Novembro 29)

The TONY BENNETT Duets (Volumes 1-2-3)

Original released on CD RPM/Columbia 82876.80979.2

(US 2006, September 26)

Original released on CD Columbia 88697.66253.2

(US 2011, September 20)

Original released on CD RPM/Columbia 887654.11852.3

(US 2012, Octobrer 22)

NORAH JONES: "...Little Broken Hearts"

 

Original released on CD Blue Note 509997.31548.2.2 

(EUROPE 2012, May 1)

Exorcizing the ghost of a failed relationship via the time-honored tradition of the breakup album, Norah Jones luxuriates in beautiful misery on "...Little Broken Hearts". Liberated by the separation but not quite ready to let it go, Jones achieves a curious subdued tension here, dressing unadorned confessionals in softly stylized studio noir created with the assistance of producer Danger Mouse, who collaborated with her the year before on the collective Rome. Seeming opposites - the classicist meets the futurist - Jones and Danger Mouse are well matched, as both artists are not as set in their ways as their individual reputations would suggest. Jones began to drift away from the jazzy sophistication of "Come Away with Me" when she released the quietly adventurous "Not Too Late" way back in 2007, the year after Danger Mouse broke into the mainstream via Gnarls Barkley. In the ensuing half decade, the singer/songwriter continued to dabble in different sounds and styles while the producer streamlined his electronic eccentricities, leaving them to meet at the crossroads of "...Little Broken Hearts", where he wrings out the pathos in her songs. The songs themselves hold little mystery - all motivations are laid bare, there are no twists in the melodies or detours hidden within the structure - so all the mystique derives from a production that amplifies the themes. Occasionally, Danger Mouse piles on his signature murk a little too thickly, weighing down such spare sad songs as "She's 22" and "Miriam," yet his aural tapestries often lend the tunes a lilting melancholy they require and add dimension to the album's poppier moments ("Happy Pills," "Say Goodbye"). Conversely, by placing so much emphasis on the stylish ever-shifting surfaces of its production, "...Little Broken Hearts" never quite sinks in emotionally. Norah Jones may be pouring her heart out but it's been given an elegantly detailed sculpture that camouflages her pain. Listen closely and its evident, but it takes effort to ignore the alluring haze and hear the songs that lie beneath. (Stephen Erlewine in AllMusic)

CHANTAL CHAMBERLAND # 5

Original released on CD evosound EVSA 187

(HONG KONG 2012, March 23)

CHANTAL CHAMBERLAND: "Autobiography"

Original released on CD evosound EVSA 335

(HONG KONG 2016, February 5)

Every music genre is characterized by a unique style and specific instrumentation. For French Canadian jazz vocalist and guitarist Chantal Chamberland her sensuous, smoky voice is her trademark instrument. With some of Chamberland’s personal musical influences as her canvas, this Quebec born chanteuse delivers knockout performances that are as unforgettable as the singer herself. With 7 contemporary jazz releases, Chantal’s star shines brightly on an international stage. While always avoiding vocal gymnastics, Chamberland moves from quiet and intimate to sultry, sensual and soulful with seamless ease. From multiple appearances at the Montreal International Jazz Festival to headline concerts from Hong Kong to Cartagena, Chantal’s success internationally is not only a testament to her personal evolution but cements her role as one of the finest female interpreters of jazz today.

WELCOME TO KAREN SOUZA HOTEL

Original released on CD MusicBrokers MBB 9997

(MEXICO, 2012)

There is a 19th Century short story by author Frank Stockton entitled, "The Lady, or the Tiger?" The hook of that work is the teaser leave-you-hanging ending: is there a Lady or the man-eating Tiger behind the door that is selected and "opened." With "Hotel Souza", her second CD, Buenos Aires-based vocalist Karen Souza leaves little to the imagination. This hotel has musical rooms of exquisite talent, beauty, elegance and intimacy. Displaying sensuality without a cloying phoniness, Souza delivers eleven beautifully-performed and impeccably-arranged songs, backed here by some of L.A.'s "usual suspects." The result is a marvelously entertaining tour d'hote. Souza's voice is one of elegant restraint and sensuousness. Hers is not an overpowering vocal presence, but rather, a very inviting one. She seduces deliciously with gentleness and whisper-to-the mic sultriness. That feeling is pervasive across an interesting selection of ballads, bossas (Antonio Carlos Jobim's "Dindi"), softer swing ("Delectable You," "Full Moon") and soft-rock grooves ("Night Demon"). 

She hits a soulful home run with a dark blue rendition of Marvin Gaye's classic, "I Heard It Through the Grapevine," recorded here with members of Gaye's original band. The Joel McNeely arrangements are slick and frame Souza well without over-dominating her. That savvy set-up allows Souza's lyric and tonal skills to dominate. Her diction, phrasing, dynamic nuance and intonation are exceptional. In addition to her song-styling chops, the compositions Souza co- authored here — eight of them, demonstrate that she has a flair for the melodic and poetic. The ensemble and brief solo outings across the board are First Class and without studio sterility. The famous Michelin Travel Guide may rate the world's hotels and attractions and not musical fare. Perhaps if they did, "Hotel Souza" would score extremely well. Select any musical door here and a Lady of exuberant talent and taste awaits. (Nicholas F. Mondello, April 2013)

KATIE MELUA: "The Ultimate Collection"

Original released on CD Digipak BMG 538433672

(EU 2018, October 5)

"A Night Like This" By CARO EMERALD

KAAS Chante PIAF

Original released on CD Richard Walter 509990177072 8

(FRANCE 2012, November 5)

This is the recording studio version of the concert Patricia Kaas gave at Carnegie Hall in tribute to the 50th anniversary of Edith Piaf's passing. She is backed by the Royal Philharmonic Orchestra, a small studio band - accordion, bass, guitar, Theremin, keyboards - and even a chorus under the direction of Abel Korzeniowski, who also arranged the material and produced the album. The live performance, while a commercial success, had its share of critics, including Piaf purists, who were quick to note that Kaas doesn't possess the vocal range of her subject. Kaas fans found the size and power of the orchestra too daunting for her to overcome. Both of these arguments are likely to follow this studio production, but ultimately, both are in error. The cinematic quality provided by the orchestra and her band adds a haunting drama to these proceedings that points toward Kaas' smoky, sometimes even raspy, lower register. She doesn't attempt to imitate Piaf, but to pay homage to her enduring legacy and celebrate her influence. Kaas never betrays herself as a modern vocalist in the process. Instead, by interpreting these songs in her own way, she makes plain that Piaf's music is not only a root source of inspiration, but a breathing, evolving, entity that defies the limits of time and offers instruction for French chanson as it continues to evolve. Check the shifting moods and textures in "Mon Ménage à Moi," the slow, smoldering sensuality and tragedy at the heart of her reading of "Mon Dieu," and the raw need expressed in "La Belle Histoire D'Amour," introduced and punctuated heavy brass, and alternately colored by a slow, strolling electric bass, piano, bells, and even a bass drum. The nod to Astor Piazzolla's nuevo tango in the accordion's introduction to "Non, Je Ne Regrette Rien" is a nice touch (Piaf loved tango, as does Kaas) is offset by pastoral strings in the backdrop, vamping on a series of three chords before the singer enters with the orchestra. The song unfolds as a reverie before becoming an anthemic celebration of life and love no matter its ultimate cost. It's unlikely that Kaas Chante Piaf will please "pure" fans of either woman; but then, it's not supposed to. In offering such a unique, sensitive, perhaps even iconoclastic interpretation of Piaf, Kaas underscores her own reputation as one of the great musical artists of our era. (Thom Jurek in AllMusic)

FRANÇOISE HARDY: "L'Amour Fou"

Original released on CD Virgin Music 5099997278726

(FRANCE 2012, November 5)

 

"Madeline" By PETER CINCOTTI

RAPHAEL Y MANUEL ALEJANDRO

 Original released on CD  Sony 886919 90802 2

(ESPAÑA, April 2012)   

Quizás éste sea uno de los discos de Raphael que más expectación ha creado, después del paréntesis de más 28 años - de éxito continuo - pero sin grabar junto a su compositor fetiche o, su “otro sastre”, como el propio Manuel Alejandro se ha definido. Este trabajo, que ambos han querido dedicar a la memoria de Paco Gordillo, el tercer pilar de esta terna de grandes amigos y destacados colaboradores, renueva una brillante relación creativa, surgida desde el inicio de sus respectivas carreras. «Jamás habrás tenido un intérprete que sienta tanta pasión por un tema tuyo», dice Raphael en el video que acompaña la edición española de "El Reencuentro". Y Alejandro  confirma: «El cantante con quien más cómodo me siento, es él». De ahí que en mayo de 2012 el artista eligiera el emblemático Teatro de La Zarzuela para celebrar el acontecimiento y el estreno de este álbum que reúne doce nuevas canciones con letra, música y arreglos de Alejandro. Una producción, diferente a sus otros “trajes” a la medida del artista, por los arreglos y acompañamiento elegido, pero con el inconfundible sello de ambos genios.

PAUL SIMON IN CONCERT AT HYDE PARK

Original released on 2CD/1 DVD Sony/Legacy 88985404822

(US 2017, June 9)

There are plenty of Paul Simon DVDs — not including ones with Garfunkel — already available that document different stages in the singer-songwriter’s extensive, 45 year solo career. But this one, recorded shortly after his less expansive but still impressive "Live in New York City" (with the same band), gets the nod for the most explosive, exciting and moving performance of the lot. It’s also arguably the best shot and recorded one with striking Blu-ray resolution, uncompressed PCM surround sound and multi-camera angles providing a stage eye view of one superb, memorable concert recorded at the titular location on July 15, 2012. Even with the overindulgent editing that’s occasionally a little too caffeinated, this is an extraordinary document. The circumstances of this particular night where Simon played to what looks like tens of thousands of London fans outdoors with special guests helps make it exceptional. Invitees include not just Jimmy Cliff, who turns in energetic versions of — surprise! —“The Harder They Come,” “Many Rivers to Cross” and “Vietnam,” and sticks around to join Simon for a stirring “Mother and Child Reunion,” but also the original touring version of the Graceland Band. While three of those remain in his outstanding backing unit, it’s a treat to see the great guitarist Ray Phiri, trumpeter Hugh Masekela and especially vocalist Ladysmith Black Mambazo take the stage to run through all but one track from that career high release.

Only one track from Simon’s then most recent disc, 2011’s "So Beautiful or So What" (“Dazzling Blue”), and two Simon & Garfunkel tunes make the cut. But both a solo acoustic “Sound of Silence” and “The Boxer,” featuring Jerry Douglas on unplugged slide, are riveting. Other highlights include an imaginative mash-up of “Hearts and Bones,” with Elvis’/Junior Parker’s “Mystery Train” and Chet Atkins’ “Wheels,” a creative combination that explores some of Simon’s deep Americana roots. With a back catalog as rich as Simon’s it’s impossible to include even some of his biggest hits. Still, the omission of “Bridge Over Troubled Water” is noteworthy in its absence and “The Cool Cool River” would have been a logical choice to perform on this night. But that’s splitting hairs on what is by any standard a rousing two and a half hour tour de force. Why it has taken five years to appear is unclear, but now that it’s here, it is the new standard for Simon shows. This is the single most economical way to show youngsters who may not be aware of Paul Simon’s genius, both the breadth of his catalog and his ability to mesmerize a massive audience through sheer talent, understated showmanship and great songwriting.   (in americansongwriter)