Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Album of the Day 8/2/10

Every day, we count down the 1000 best albums of all time all the way to #1. Monday’s album is #911:

Sylvia Rexach – 20 Canciones Inolvidables

Sylvia Rexach was sort of the Puerto Rican Edith Piaf, a doomed bolero songwriter who drank herself to death at 39 in 1961. The sadness in her voice is visceral: fifty years later, she still has a cult following among latin music fans. Much of what’s here is just voice and acoustic guitar (she was a fluent player, also adept at piano and saxophone) with hits from the fifties including Alma Adentro (Soul Inside), Di Corazon (Tell Me, Sweetheart), Olas y Arenas (Waves and Sand) and Nave Sin Rumbo (Rudderless Ship). Unlike Piaf, Rexach’s lyrics (she was also a highly regarded poet) employ simple, metaphorically charged imagery; the resignation in her vocals can be chilling. She partied hard, and it doesn’t seem that anyone was particularly surprised that she died so young. Original copies of her singles (she released many, including her biggest early hits, Alma Adentro and Di Corazon, before any of them were put on album) are collectors items. This collection has some filler (a couple of pointless instrumental versions), and obviously the sonics don’t come close to the warmth of the original vinyl. But all that stuff has been out of print for decades, at least stateside. It’s floating around the web if you feel like downloading it.

Advertisements

August 2, 2010 Posted by | latin music, lists, Music, music, concert, world music | , , , , , , , , , , , , , , , , , | Leave a comment

CD Review: Marta Topferova – Trova

Czech-born, New York-based chanteuse/songwriter Marta Topferova has carved herself out a niche as a first-class avatar of latin music. Her new cd Trova (a Cuban style, though she explores considerably more terrain here) is quite a change from the pensive melancholy that runs throughout much of her previous work. It’s a mix of oldschool latin styles with a Caribbean tinge, like something out of San Juan, 1955, recorded with her band at an old farmhouse outside Prague fresh off a European tour. The album features Topferova on guitar and cuatro along with big band leader Pedro Giraudo on bass, Aaron Halva on tres and accordion, Roland Satterwhite on violin and Neil Ochoa on percussion. It’s got a quiet joy that simmers and bubbles over once in awhile for extra flavor. Frequently, the star of the show here is Satterwhite (formerly with Jenifer Jackson and also Howard Fishman), whose imaginative, casually intense phrasing adds an unexpectedly biting edge to some of the quieter material. As is typical throughout the cd, its unexpected moments are subtle but compelling, as in the case of the infectious opening bomba, Juligan, a nocturnal street scene whose central character, a bum, turns out to be something completely different. And yet the same.

She follows that with an effervescent, percussion-driven dance tune, a stately, delicately pensive tango and a symbolically charged midtempo number rich with chordal jangle and gorgeous acoustic textures. Largo el Camino (The Long Road) winds along on a catchy, swaying four-bar hook and a couple of nice introspective tres solos, the latter closing the song on an optimistic note.

Descarga de la Esperanza (The Hope Jam) is hypnotic, like the Dead gone latin and acoustic. Madrugada (Dawn) is a pretty, sad waltz with a buoyant Satterwhite solo, one of those kind of songs that, thirty years ago, would have had record executives scheming over the prospect of a crossover international hit. Topferova saves her grittiest vocal for the tricky Argentinean changes of Entre a Mi Pago Sin Golpear (Come On Over and Don’t Knock), Satterwhite’s jovial fiddle adding contrast.

The cd winds up with the vividly lyrical La Amapola, inspired by a poppy native to Czech Republic, showcasing Topferova’s seemingly effortless ability to shift between styles; the dusky las Luciernagas (Fireflies) and an old bolero cover usually sung by a male vocalist. Topferova puts her own spin on it, a woman in an arranged marriage displaying quiet defiance. This album has the same kind of rustic quality that spurred the Bachata Roja Legends’ surprise crossover success and could just as easily resonate with anglo as well as latin audiences. Not bad for Czech expat for whom Spanish was a second language. She’s at Barbes on Jan 22 at 10.

January 3, 2010 Posted by | Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , | 1 Comment