FREVO EM MACEIO PDF
Song information for Frevo Em Maceio – Anita Wardell on AllMusic. Something completely different for a change This is one of the pieces Oscar Stagnaro recently showed me and it’s so much fun to play that I. Check out Frevo Em Maceio by Anita Wardell on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on
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It was a terrific idea to attempt the number in a jazz idiom and the result is a triumph.
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Elsewhere the uplifting update on eclectic multi-instrumentalist and genius Hermeto Pascoal is another example of Wardell taking on difficult pieces and turning them into something new, though here the Brazilian tradition is very much respected with a gentle and lyrical guitar solo by Guillermo Hill. Commencing at a rapid tempo, the maceoi then slows down to mid-tempo with a exquisite soulful e, from the singer.
She sounded great then and she still does. For album information, click here.
With a career dating back to the s, she has enjoyed more than two decades of success. For fans of the great American songbook, ‘Surrey with the fringe on top’ will prove a revelatory experience and unquestionably an album highlight. There are moments here, on well-known standards such as You’re My Thrill and Without a Song, that could be harmonic and rhythmic minefields, but she sings them all with an airy grace.
BASS G – Frevo em Maceió (Hermeto Pascoal) – Live at #freedomsJazz16
British born, but part educated in Australia where she studied jazz and improvised music at the University of Adeleide, Anita Wardell has been influenced by the innovatory work of Eddie Jefferson performing with Jefferson’s late career sidekick Richie Cole and Mark Murphy and this grounding reveals itself in the ease with which the singer performs on ballads as well as be-bop excursions.
Guitarist Guillermo Hill and hand drummer Adriano Adewale then join her and Robin Aspland’s piano trio for two Brazilian songs, one by Hermeto Pascoal, the genius whose Portuguese tongue-twisters few other UK vocalists attempt.
The title track was originally a Pat Metheny instrumental original with lyrics added by Wardell and the number now takes on both a decidedly blues as well as gospel tinge. The repertoire is varied and challenging amceio this makes for an entertaining and informative listen.
What the critics said Anita Wardell belongs to the classic tradition of vocalese singing.
But only a tin ear could fail to appreciate her musicality and subtlety in this department — by maceii means the only skill on show on this exciting record. Anita Wardell is a case in point. Anita Wardell belongs to the classic tradition of vocalese singing. She has earned an international reputation for the scat-singing which has become her trademark, as well as the sensitivity with ffevo she handles ballads and standards, discovering fresh nuances in familiar lines with the lightness and flexibility of her touch.
An unobtrusively classy vocal album.
Her voice with it’s ultra-late vibrato, is warmer than ever on a new album ranging from brilliant scatting on Without a Song to tender balladry on You’re my Thrill and self-penned new lyrics to themes by Pat Metheny and Bobby Hutcherson. And when it comes to scat singing, for which she is famous, if this breakneck version of Frevo Em Maceio doesn’t put a spark into your day, nothing will.
Her mutual understanding withRobin Aspland, that most lucid and inventive of pianists, is a constant delight.
Frevo em Maceió – Hermeto pascoal Chords – Chordify
The thing about Anita Wardell is that she makes tricky stuff sound not just easy but natural. For the first, she plays it laid back before shifting up a couple of gears and the contrast between the macdio is a joy to behold.
Anita Wardell, the Australia-raised vocalist who appeared on the UK scene in the s, makes albums that deploy familiar vocal-jazzmethods and plenty of well-travelled standard songs, but also demonstrate a real care for her art. Website designed and maintained by H: Freevo every Jamie Cullum there are a dozen highly talented British jazz singers who beaver away on the circuit to the delight of the cognoscenti, making critically acclaimed albums and commanding the respect of their peers without the benefit of a profile that might bring a wider audience to hear them.
Stevie Wonder’s ‘Superwoman’ was an intricate, maceo undeniably beautiful song in its original format, but here Wardell tackles the number in two distinctive parts.
Pascoal’s Frevo Em Maceio is a vehicle for Wardell’s boppish agility, skipping flutelike over the mercurial melody, and she quietly caresses the meanings out of Stevie Wonder’s Superwoman with an expertise that never betrays a hint of artifice.
She is one of the most innovative performers on the scene, but she could probably stroll through the Soho heartland of London jazz unrecognised.