Brazilian jazz directly from singer and composer Maria Farinha. She shines equally on fast-phrasing twisting melodies and romantic ballads. Her sensual embracing voice executes the technically difficult Brazilian Jazz with emotion and style.

10 MP3 Songs
JAZZ: Latin Jazz, LATIN: Brazilian Jazz



Details:
"KISS OF LOVE"
JAZZ + MAGAZINE REVIEW
Vinicius Mesquita

What could be considered very complex for some, Maria Farinha makes it seem easy. As most people know, it is not so simple to mix jazz with the three fundamental elements of the Brazilian musical core â samba, bossa nova and MPB â without losing touch or sinking into traps that lead us to paths exhaustively exploited by so many musicians for over 40 years. Equipped with a dense and captivating tone of voice and by an uncommon good sense, the Brazilian singer, composer, arranger has found the perfect way to keep originality on her side. Having leaned over a jar with more than 120 thousand keys, she found the only one capable of opening her box of surprises. Farinha has recorded a record that will make many interpreters cry out: âwhy didnât I do this before?!â

In her new album, âKiss of Love,â Maria Farinha reinvigorated the same recipe used in Endless Samba, her previous record released in 2002. Farinha creates new spaces for her own compositions and for classics of Brazilian and North American jazz. Perhaps it is her extreme curiosity and non-acquiescence that led Farinha to exploit all the paths at hand. She performs beautifully sambas such as âAmanhã Ninguém Sabe" by Chico Buarque, and âEu Vim da Bahiaâ by Gilberto Gil. Farinha captures with superb depth both modern bossa nova such as âFuji Samba, by Roberto Menescal, as well as the poetical âCandeiasâ by Edu Lobo. Farinhaâs eclecticism is so great that she composes a spanish bolero, âNuestra Cancionâ, featuring singer Gilson Neri and a well punctuated flugelhorn played by Daniel DâAlcântara.

In the albumâs leading track, her own âÉ Samba, Meuâ (Itâs Samba, Dude), Farinha brings a ravishing introduction to some of the powerful instrumentalists that have joined her in this project. Playing the bass, Thiago do Espírito Santo, son of the multi-instruments player Arismar; in the percussion, Luis Rabello; on the drums, Alex Buck, one of the most accomplished of his generation. In the horns, three masters: once again Daniel DâAlcântara, now playing the Trumpet, Vitor Alcântara with Sax Tenor, and the impressing Nailor Azevedo, playing sax alto, who is also the leader of the band Mantiqueira. However, it is the piano, subtly played by Silvia Góes, that created the perfect bond of this samba-jazz composed and arranged by Farinha.

In âDançarina do Ocidenteâ, another of Farinhaâs compositions, the secret lies within the synchrony between the grooves of keyboard player João Cristal and the percussion divided by âDa Luaâ, Cláudio Baeta and Luis Rabello. âBeijo de Amorâ (Kiss of Love), her fourth composition, brings once again to the surface the piano so well played by Silvia Góes. The piano complements with perfection the dynamics of the melody performed by Farinha. The connection between the two is so beautiful and intense that it leads us to the magical harmony of the classical duets, such as the remarkable presentations between the pianist André Previn and the singer Doris Day, and that of the bandleader Stan Kenton with the interpreter June Christie. Similar connection is conspicuous in âLittle Tears â Razões de Viverâ, by Eumir Deodato and Paulo Valle.

âYou and the Night and Musicâ, written by Howard Diet and Arthur Schwartz, a Broadway hit in the 1930âs through the voice of Libby Holman, defines Farinhaâs high class. She does not lose her composure when exploring the North-American song-book. If the American media considered Endless Samba a new âmasterpieceâ of Brazilian jazz four years ago, there will not be words impressive enough to describe Kiss of Love.

visit: www.mariaffarinha.com, and enjoy more of Maria Farinha's music