Fado Tradicional

Café music that’s unique to Portugal and parts of the cape Verde’s. This is so soulful with Marizas hauntingly melancholy vocal style. Her voice is so grossing that you can picture her being in a small cafe in Lisbon.

Mariza's latest cd exemplifies her magnificent tone and control and clearly reveals the traditional Fado style. I also appreciate the English translations. The music pulls you in and the lyrics...oh the lyrics! I am a lifelong fan!

A must hear, have and enjoy! What do you want me to add, superfluous. The woman sings the Fado with her entire being and she is becoming even better with time. It is one for your collection: [...]

GONZALEZ, Ruben. Chanchullo. Nonesuch. 2000. $16.52. RG, p; others incl. Ibrahim Ferrer, Cheikh Lo, voc. BUENA VISTA SOCIAL CLUB. Buena Vista Social Club at Carnegie Hall. Nonesuch. 2 CDs. 2008. $18.38. Ibrahim Ferrer, Omara Portuondo, Compay Segundo, voc; Ruben Gonzalez, p; Barbarito Torres, laud; Ry Cooder, guit; others. MARIZA. Fado Tradicional. EMI Import. 2011. $18.99. M, voc; 2 guit, 1 b guit accompaniment. ALAGNA, Roberto. Pasion. Deutsche Gramophon. 2011. $14.84. RA, voc; Lila Downs, voc; others. A double dose (actually triple because one album has two CDs) of Cuban musicians, an album of traditional Portuguese fado music, and a surprisingly effective homage to popular music sung in Spanish, from Mexican mariachi to Argentinian tango. Not a bad assemblage of Latin popular music in a variety of styles and rhythms, all admirably performed. First the Cubans. Master pianist (and showman! watch him play on the music documentary, Buena Vista Social Club) Ruben Gonzalez was eighty-one when this album was recorded but you wouldn't know it from his playing, which is supple and graceful and always, always driven by an impeccable sense of rhythm and drama, which allowed him to up the temperature even on the slowest and most stately numbers. His band, which had played with him for ages, matches him all the way through. This is very good, accessible, lovely music, and the up tunes will get your blood flowing faster. Two years earlier, Gonzalez, then a mere seventy-nine, was one of the stars of the multi-star concert of the wonderful group of musicians who made the movie, Buena Vista Social Club, such a treat. Here are Ibrahim Ferrer, "Cuba's Nat `King' Cole," his feminine counterpart Omara Portuondo, Compay Segundo (he is allowed a solo lead spot on one of the tunes), laud virtuoso Barbarito Torres (the laud is kind of a lute), and others, including American Ry Cooder on slide guitar. (Listen to Cooder's backing lines on Ferrer and Portuondo's Silencio.) Two of my favorite songs from the movie are reprised, the wonderful Chan Chan and Ferrer and Portuondo's duet on the ravishingly beautiful love ballad Silencio (in a quite different version than in the movie). All- I mean ALL- of the musicians are first rate. They all seem to have ego in wanting to perform well on their own songs but their egos don't clash when helping each other out on other performer's numbers. Above all, they all seem so happy. It makes for an infectious album of joyous music. An album like this is irreplaceable. Some of these performers are gone now -Segundo and Gonzalez in 2003, Ferrer in 2005--and the others are getting older and older. (Omara Portuondo is 82 now.) We lost thirty years of listening to these wonderful artists music because of the blockade. Thank goodness we have the opportunity to make up for it now. Then there's Mariza. The music on this album is, as the album title says, more traditional than in some of her other albums, where she has used more modern instrumentation, rhythms and song styles. (Transparente [2005] for example, with its marvelous "Meu Fado Meu.") The backup is more traditional also -an acoustic trio of two guitars and a bass guitar. As always, Mariza has what singers of my age call "pipes." Her voice is strong and plangent (not "plangent" in the sense of loud and echoing; "plangent" as in melancholy, conveying emotion). She bends notes freely and well and her grace note passages are models of popular singing. Perhaps the most memorable of the songs is "Ai, Esta Pena de Mim," which is sung partly unaccompanied. She is joined for the final song by a rather histrionic male singer whom I could clearly have done without. Excluding the final song, how do I feel about the album? It's good but best in small bites. The problem is the lack of variety. Song by song, this is strong stuff but listened to in one dose, it's a bit much. Roberto Alagna is an operatic tenor. Again, very good pipes, and because he sings opera, a florid, highly dramatic style. Usually, that would be the Kiss of Death for me, whose middle name could be Anti-Florid. But I like the album quite a bit. Many of these songs are hyper-dramatic to start with, and Alagna's sympathy for them is catching. The selections are wide ranging in style and mood, from tango to mariachi-like. I especially enjoyed "Historia de un Amor," sung in duet with the astonishing Mexican singer, Lila Downs. This is a very good album.

I have all her albums so I forgot specifically how this one differs. Some of them are more "produced" with more of an orchestral treatment. Whatever. Mariza is always great.

Another seemingly effortless performance from Mariza, consolidating her reputation as one of the best singers in the world. The result: another brilliant album!

Very good CD More than expected. Dealer very reliable. I am very pleased

Mariza is the Prima Donna of Fado. I can listen to her all day!

Marisa dos Reis Nunes, heute in ganz Portugal und vielen Teilen der Welt schlicht unter dem Namen Mariza bekannt, wurde 1973 in Mozambique geboren. Sie ist Tochter eines Portugiesen, ihre Mutter stammt aus Mozambique, insofern trägt sich die Geschichte des portugiesischen Kolonialismus in sich. Mit drei Jahren kam sie nach Portugal, wo sie aufwuchs wie die dortige Generation. Früh wurde sie entdeckt als passionierte Sängerin, ihre ersten Erfahrungen machte sie mit Jazz und Soul. Erst auf einem Konzert in Kanada entdeckte sie die Wirkung des Fado auf sich. Seitdem ist sie ihm verfallen. Fado, abgeleitet aus dem Lateinischen Fatum, ist die künstlerische Entsprechung Portugals auf alles, was mit Schicksal bezeichnet wird. Zum Tragen kommen im Fado, der deutliche Zeichen arabischer Tonfolgen aufweist und in der typischen Besetzung, wie beim benachbarten spanischen Flamenco, aus Gitarre und Gesang besteht, die Gefühle um Saudade, d.h. alles, was den Weltschmerz betrifft. Daher wurde der Fado auch immer wieder mit dem Blues verglichen, was sicherlich aufgrund der thematischen Analogien wie der musikalischen Melancholie nicht von der Hand zu weisen ist. Mariza eroberte Portugal im Sturm. Ihr gelang es, vor allem auch junges Publikum für diese Musikform zu begeistern, die zwar immer noch in den Bars und Kneipen von Lissabon und Coimbra lebt, aber nicht den Sprung in die neuen Distributions- und Konsumformen der Musikindustrie geschafft hat. Mit Fado Curvo, Transparente und Terra brachte sie im Laufe des letzten Jahrzehnts Alben heraus, die den Bogen von der alten Botschaft zur neuen Befindlichkeit vermochten zu spannen. Das Concerto Em Lisboa im Jahre 2006 verschaffte ihr endgültig den Durchbruch. Heute wird ihr Name bereits in gleichem Atemzug mit der historischen Ikone des Fado, Amalia Rodrigez, genannt. Mariza gilt als die heutige, zeitgenössische Stimme des Fado. Ihr neuestes Album, Fado Tradicional, ist folglich das, was sie sich aufgrund ihrer Position leisten kann. Sie darf es wagen, die alten Weisen des Fado anzustimmen, ohne Blasphemie zu betreiben. Denn, ähnlich wie im Blues, es gelten strenge Gesetze, was die Inszenierung anbetrifft und das Publikum ist in großen Teilen wertkonservativ. So gehen die insgesamt 11 Titel durch das Kompendium des traditionellen Fado wie eine pädagogische Führung. Der Auftakt beginnt mit Fado Vianinha, einer Hommage an die Melancholie schlechthin. Promete, Jura, das zweite Stück, beschreibt den Lauf der Welt, der sich nicht von der Banalität des Individuums beeinflussen lässt. As Meninas Dos Meus Olhos verweist auf die Nonchalance, die dem Individuum zur Verfügung steht, um durch den Alltag zu kommen. Mais Uma Lua wiederum verweist auf den Gestus der Unausweichlichkeit des Schicksals. Die Stücke, die nicht nur unterschiedliche Themen des Fado aufgreifen, sind aus den verschiedenen Hochburgen des Fado entlehnt und geben somit eine beeindruckende Kartographie dieses Genres. Boa Noite Solidao zum Beispiel demonstriert, wie weit es der Fado gebracht hat, denn dieses Stück könnte nächtens an einem brasilianischen Strand spielen, und Desalma hat Qualitäten, den der benachbarte Flamenco bietet. Wer sich dem Fado nähern will, oder sich einmal der ganzen Gemütslage dieses Genres auszusetzen bereit ist, ohne sich wie in einem muffigen Archiv zu fühlen, der sollte sich in die Arme Marizas begeben, wen sie den Fado Tradicional intoniert.

Very good!

Si vous aimez le fado🎵🎶

ヴォーカル曲が好きでいろいろと聞いてきましたが、つい最近までポルトガル歌謡のFadoを知る機会がありませんでした。たまたま現地の酒場で聞く機会があって、ブラボー！と叫んでしまい、帰国時にリスボン空港でそそくさと買ったのがMarizaとAna Mouraでした。もっと聞きたくなりAmazonで検索して見つけました、とてもいいアルバムです。

A return to basics after the increasingly lavish productions of her recent releases. I do like the experiments Mariza has been making but have to say this return to a simpler style really shows what a stunning singer she is. The CD is relatively short - 10 tracks over 35 minutes. But actually that is just perfect. The recording quality is amazing and the instrumentation is simple and uncluttered; 2 acoustic guitars (Portugese and Fado, whatever that is?) and acoustic bass. This really allows Mariza's voice to shine as it twists and spirals above the instruments. Despite the generally melancholic nature of fado, these songs are actually quite fast paced, especially the guitars, which does allow the vocal to float, soar and reach to places not usually heard in western music. Mariza really does silence those critics who have said she is just style and marketing over substance. Just listen to those amazing rolling Rs on Dona RRRRRRRosa. There's also a wonderful highlight (on I think it was - Al, Esta Pena De Min) where Mariza's vocal begins the track unaccompanied. The space around her vocal and the phrasing is astonishing, and makes me listen with extra care to the other tracks to truly appreciate how she masters timing and phrasing. A guitar finally joins in with little bursts, 3 or 4 times, before the other players also join to fill out the sound. So, the CD is short but so perfect and so beautiful, that any more would be too much. Perfect, perfect, perfect.