14 Mayıs 2010 Cuma

Carminho – Fado

Carminho – Fado
MP3 192 Kbps | 51 Mb | 2009


01. Escrevi Teu Nome No Vento (Fado Carriche)
02. A Bia Da Mouraria
03. Meu Amor Marinheiro
04. Palavras Dada
05. Espelho Quebrado
07. O Tejo Corre No Tejo
08. A Voz
09. Voltar A Ser
10. Carta A Lisboa
11. Carta A Leslie Burke
12. Uma Vida Noutra Vida
13 Nunca E Silencio Vao
14 Senhora Da Nazare

About Carminho

Carminho is one of the strongest names of the new generation of Fado. She clearly is intimately familiar with what it means to sing fado. Traditionalists might balk at what a Mariza or, certainly, a Mísia does with the music.  Not this, it is perfect fado, whether zippy, as in Marcha De Alfama or Voltar A Ser, resigned to the vagaries of life, as in O Tejo Corre No Tejo or A Voz, or melancholy, as in Carta A Leslie Burk or Senhora De Nazare.
What I find particularly attractive about her, however, is not that she sings fado very well, which is true of many fine fadistas, but the quality of her voice. I am tempted to call it husky, although rich might be a better characterization. Her voice is similar in quality to, in a jazz context, Nina Simone’s or, more recently, Lizz Wright’s with hints of Billie Holiday, all of whom I would love to hear taking a crack at fado. That being unlikely (impossible), I look forward to hearing a lot more from Carminho.

My name is Carminho, I’m 25 years old, I’m a fado singer and I’ve just released my first CD.
I was born in Lisbon into a family with fado traditions, my mother, Teresa Siqueira, is a fado singer and my father doesn’t sing but says that “who listens to fado is also a fadista”.
Although I left Lisbon at a young age and moved to the Algarve, fado was always present, my parents frequently organized gatherings with other fado lovers and we were always listening to the classical singers: Lucília do Carmo, Fernando Mauricio, Amália Rodrigues…
Back to Lisbon, I premiered at twelve years old at the Lisbon Coliseum, and from there on I started to sing regularly in a fado house in Alfama where I learned, naturally from my mother, but also from Beatriz da Conceição – who taught me a great deal – Fernanda Maria, Alcindo Carvalho, Paquito, Fontes Rocha, living memories of Fado’s true essence. Sitting at the Fado houses I listened carefully to thousands of histories of Fado and its singers… the tricks and funny moments, all was a part of my growth. But the best part was when the lights were dimmed and there they were, giving me the truest lesson of all.
Three years ago I finished my course but still in college I realized that my future was to sing fado, because it was also what I was living daily. After travelling around the world for one year, during which I did humanitarian work in India, Cambodja, Peru and Timor, I was able to see myself differently and confirm that my true vocation was fado. I came back home and started singing in fado houses again, and making appearances in special events and projects, such as Carlos Saura’s award winning film “Fados”. I was also honored with the Amália Rodrigues’ Foundation award for “Best Female Newcomer”.
For many years some considered me “fado’s great newcomer”, for all of them – and for all others that had so many kind words to say about me – I thank you from the bottom of my heart, but I also want to tell them that with expectation came great responsibility, and that is why I waited until now to make my debut record. So far I didn’t felt secure enough to stand by a recorded registration, I felt like with a college test: the theory was solid but I still wasn’t ready for the oral exam.
This record could only be called “Fado”. It couldn’t, and I say it humbly, have any other name, out of respect of my roots, Fado and myself. This record represents me: my past (the Fados I’ve always sang), my present (the growth of my Fado through the years) and my future (where I will be guided even more by my sensibility).
For this work I had the pleasure of working with Diogo Clemente – producer who also plays guitar in the record, friend and adviser that was there with me from the repertoire choice until the end – and some of Fado’s best musicians: Ricardo Rocha, José Manuel Neto, Bernardo Couto and Ângelo Freire, all Portuguese guitar players, and Marino de Freitas in bass guitar, besides renowned double bass player Carlos Barretto in “Espelho Quebrado”. I feel proud that we have such talented musicians in Portugal and honored that they played with me.
I hope you enjoy “Fado”.

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