MARIA MENDES - Close To Me
Justin Time JTR 8621-2
Maria Mendes: vocals, percussion and compositions; John Beasley: keyboards, orchestrations, percussion and conductor; Karel Boehlee: piano; Jasper Somsen: acoustic bass; Jasper van Hulten: drums and percussion;
Metropole Orkest: chamber music line up on tracks nº 1, 5, 6 and 10
Vincent Houdijk: vibraphone on track nº 9
Recorded January 30, 31, February 1, 2 and April 17 2019
Described as "one of the most promising singers on the European jazz scene", for this her third album the Netherlands based vocalist has teamed up with American pianist and producer for her most ambitious recording to date. From the opening notes of 'Há Uma Música Do Povo' it is immediately apparent that this is no ordinary run of the mill album, but instead something rather special.
Where her earlier two albums, Innocentia and Along The Road contained handful of standards along with songs in Portuguese, Close To Me is comprised entirely of songs sung in Portuguese, and with a much larger ensemble featuring the Metropole Orkest on four titles. Drawing influence from her native Portugal, and in particular the fado, a song form from the region which originated in the 1820 and renowned for its profound and expressive melancholy. Whether a music that look to juxtapose fado and jazz would work is not really relevant here, what is much more important is how the music has been transformed and the issue of genre simply disappears as one listens and becomes enthralled by the beautiful melodies, and the superb arrangements created by Mendes and John Beasley.
Mendes sings with a crystal clear voice, the subtle nuances of her voice and the poignancy of the words (a translation is not required for the meaning to come through) and the delicate arrangements by Beasley offer the perfect setting for the vocalist. on hearing one of the best known Fado songs, 'Barco Negro' performed by Mariza, Mendes recalls, "The emotions I felt after hearing Mariza were incredible. It was a life-changing moment. The words, melody, her interpretation... all I could do was surrender. Soon it was my turn to sing that song and present my own interpretation in concert." If that initial encounter with Mariza and her reading of the 'Barco Negro' as a teeneager, Maria has come along way and her rendition of the song presented hear is one of the album highlights. Her voice is strong and confident, she is totally in control of the song, the lyrics and the arrangement, and has the courage to make the classic Fado sound absolutely contemporary and of the moment.
She has the honour of having a song written especially for her by Hermeto Pascoal in the lively 'Hermetos Fado For Maria' that shakes up the pace a little and features a fine keyboard solo from Beasley. The American pianist also grabs the attention with his spectacular orchestral score for 'Asas Fechadas' that captures Mendes in an electrifying performance. By contrast, the album is brought to a close with a beautiful 'E Se Não For Fado' in a much paired down instrumentation that never diminishes the mood and feeling invoked in the other compositions.
With Close To Me, Maria Mendes has successfully managed to produce an album that may be perceived as bringing two disparate genre together, and in doing so may well introduce many to the music of her homeland, and the delights of the Fado, and to my mind this is a win win for all.
Reviewed by Nick Lea
Justin Time JTR 8621-2
Maria Mendes: vocals, percussion and compositions; John Beasley: keyboards, orchestrations, percussion and conductor; Karel Boehlee: piano; Jasper Somsen: acoustic bass; Jasper van Hulten: drums and percussion;
Metropole Orkest: chamber music line up on tracks nº 1, 5, 6 and 10
Vincent Houdijk: vibraphone on track nº 9
Recorded January 30, 31, February 1, 2 and April 17 2019
Described as "one of the most promising singers on the European jazz scene", for this her third album the Netherlands based vocalist has teamed up with American pianist and producer for her most ambitious recording to date. From the opening notes of 'Há Uma Música Do Povo' it is immediately apparent that this is no ordinary run of the mill album, but instead something rather special.
Where her earlier two albums, Innocentia and Along The Road contained handful of standards along with songs in Portuguese, Close To Me is comprised entirely of songs sung in Portuguese, and with a much larger ensemble featuring the Metropole Orkest on four titles. Drawing influence from her native Portugal, and in particular the fado, a song form from the region which originated in the 1820 and renowned for its profound and expressive melancholy. Whether a music that look to juxtapose fado and jazz would work is not really relevant here, what is much more important is how the music has been transformed and the issue of genre simply disappears as one listens and becomes enthralled by the beautiful melodies, and the superb arrangements created by Mendes and John Beasley.
Mendes sings with a crystal clear voice, the subtle nuances of her voice and the poignancy of the words (a translation is not required for the meaning to come through) and the delicate arrangements by Beasley offer the perfect setting for the vocalist. on hearing one of the best known Fado songs, 'Barco Negro' performed by Mariza, Mendes recalls, "The emotions I felt after hearing Mariza were incredible. It was a life-changing moment. The words, melody, her interpretation... all I could do was surrender. Soon it was my turn to sing that song and present my own interpretation in concert." If that initial encounter with Mariza and her reading of the 'Barco Negro' as a teeneager, Maria has come along way and her rendition of the song presented hear is one of the album highlights. Her voice is strong and confident, she is totally in control of the song, the lyrics and the arrangement, and has the courage to make the classic Fado sound absolutely contemporary and of the moment.
She has the honour of having a song written especially for her by Hermeto Pascoal in the lively 'Hermetos Fado For Maria' that shakes up the pace a little and features a fine keyboard solo from Beasley. The American pianist also grabs the attention with his spectacular orchestral score for 'Asas Fechadas' that captures Mendes in an electrifying performance. By contrast, the album is brought to a close with a beautiful 'E Se Não For Fado' in a much paired down instrumentation that never diminishes the mood and feeling invoked in the other compositions.
With Close To Me, Maria Mendes has successfully managed to produce an album that may be perceived as bringing two disparate genre together, and in doing so may well introduce many to the music of her homeland, and the delights of the Fado, and to my mind this is a win win for all.
Reviewed by Nick Lea
