I find myself frequently turning to Brazilian performers whose strong musicianship, storied traditions and vocal artistry stir the soul. Among those I listen to most is Maria Rita, who has released three impeccable albums in the last several years.
The daughter of acclaimed singer Ellis Regina and pianist/arranger César Camargo Mariano, Maria Rita began singing professionally at the urging of singer Milton Nascimento, a friend of her mother. Her self-titled album on Warner Music, released in 2003, was a soulful and intimate collection of songs that delivered the ambience of a small nightclub.
Backed by Marco da Costa on drums, Tiago Costa on keyboards and others in a small ensemble, gracefully shows off her voice on a variety of Brazlian tunes, among them Nascimento's A Festa, a bright Brazilian take on La Bamba, and Meninnha do Portáo, on which Costa's organ provides a mellow foundation for the singer's vivacious vocals.
In concert, Maria Rita is alluring, energetic and playful &mdash a must-see. But if you can't see her on stage, check out her albums. She has a great voice. |♫|
So What Groove is now on Facebook, where its users will be able to find the latest posts on music and culture at their fingertips. Check out the page here. |♫|
A friend of mine is wondering where there is any Miami-area radio station remotely worth checking out. Tired of talk radio and bored with the typical pop and Latin stations, he’s searching for something good.
I have just the ticket: WDNA 88.9 FM, my favorite station and the best place to go for serious jazz. The station, which unfortunately is one of the best-kept secrets in South Florida also has hours of real music.
Tune in to 88 Jazz Place with Frank Consola weekday mornings, The Latin Jazz Quarter weekday afternoons &mdash hosted by percussionist Sammy Figueroa on Fridays &mdash Fusion Latina on weeknights. On Saturday, I like the Reggae Ride with Flagga, Howard Duperly. And on Sunday, Café Brazil with Gene de Sousa.
Add nationally syndicated jazz shows, Afropop and BBC news and you’ve got a great radio station that plays largely uninterrupted music without a lot of useless talk. When the hosts do talk, they offer an informed take music and culture &mdash not the mindless ramblings, bad jokes, hoaxes and pitches of commercial radio.
Jazz fans also know they can turn to WLRN 91.3 FM, Miami’s NPR station, for Evenin’ Jazz with Len Pace weeknights from 9:30 to midnight. The music on his show also swings. |♫|
It must be hard for a pop singer to sell music these days.
Competition is fierce with fickle fans jumping from one sensation to the next. And with so many now used to buying individual tunes &mdash or downloading music for free &mdash even well known performers likely want to push the boundaries sometimes.
So it comes as no surprise that some would resort to a tried and true formula: sex. After all, it works. Just look at Madonna and Britney Spears, whose skimpy outfits and sexualized dance moves helped push them to the top.
Not to be outdone, Colombian sensation Shakira is out with a new video for her new album La Loba (She Wolf), in a one-legged suit with a side cut-out, dancing and wreathing seductively and showing some of her assets. She also appears in a bodysuit that makes her appear nude. Trapped in a cage, she sings of a frustrated domesticated woman, a she wolf in the closet who wants out. “My body is craving, so feed the hungry.”
The video closes with Shakira modestly dressed in a white nightgown, closing her eyes with a satisfied look on her face as she slips into bed next to her sleeping man. Its clear the fantasy is over.
Some might think it artful, but for me the video borders on soft porn.
The Shakira of today is far cry from the sweet and shy singer who burst onto the scene more than a dozen years ago. Since then the sexy performer has become famous for her mix of varying rhythms, her originality &mdash and sensual songs. There’s nothing wrong with that.
But does she know how much to push the boundaries of good taste? From the look of her latest video, Shakira might want to decide if she wants to be a sexpot or songstress.
If you listen to a lot of jazz saxophonists as I do, you can’t help but notice that unmistakable search for the precision, improvisational prowess and lyricism of John Coltrane.
Over the years, I’ve heard a lot of jazz saxophonists who tried to sound like Coltrane, the most remarkable phenomenon to ever touch the instrument. That’s understandable, given his rich tone and remarkable compositions, from the complexity of Giant Steps and the haunting sound of Naima to the spirituality of A Love Supreme.
One new jazz voice who reminds me of Coltrane but who brings his own unique voice to jazz is Puerto Rican saxophonist and composer Miguel Zenón, whose latest album, Awake, released last year on Marsalis Music, is a rich suite that sounds better every day.
The album’s 10 tracks, which he wrote over three years, begin with Awakening Prelude, a tune that employs a string quartet as the foundation for the saxophone. It is a gentle prelude to a journey of emotions and rhythm.
The groove quickly picks up with the following track, Cameron, on which Zenón builds on an opening phrase, with pianist Luis Perdomo, bassist Hans Glawischnig and drummer Henry Cole running with him.
On The Missing Piece, Zenón uses his alto to first establish a soft, almost hushed mood before shifting to urgent pleas as Cole delivers splashes of cymbals. Ulysses in Motion and its flowing and multidimensional style reflects the influence of producer Branford Marsalis.
Zenón returns to his theme with Awakening Interlude at the album’s midpoint in an explosive take that includes three additional horns. With Santo, he takes the listener on a flowing lyrical ride that features Glawischnig on a bass solo. For Lamamilla, his wife Elga’s nickname, the quartet is joined by strings as Perdomo caresses the keys of a Fender Rhodes.
The musicians switch gears again on The Third Dimension, a vigorous and funky groove that shows how the composer has mastered tempo, rhythm and melody. Perdomo delivers a lively solo as Cole counters nicely on drums with rapid precision.
To close the album, Zenón returns unaccompanied with Awakening Postlude and mixes long and short phrases, much as a good writer would. He's an invigorating, creative and visionary artist. Coltrane would be proud.
Zenón has just released a new album, Esta Plena, which celebrates Puerto Rico's plena rhythm. More on that to come. |♫|
