Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2020
Жанр: modern fado, world fusion
Издатель (лейбл): Glitterbeat Records
Продолжительность: 00:45:38
Наличие сканов в содержимом раздачи: Буклет PDF
Источник (релизер): qobuz
Треклист:
01. Medo 02:39
02. Cuidei Que Tinha Morrido 04:49
03. A Mulher que já foi tua 03:50
04. Destino 03:08
05. Gaviota 03:58
06. Quando Eu Era Pequenina 03:21
07. Maldição 04:20
08. Foi Deus 03:38
09. Barco Negro 05:10
10. Os meus olhos são dois círios 04:02
11. Ave Maria Fadista 05:30
12. Voz Amália De Nós 01:13
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/88,2
Формат: PCM
Количество каналов: 2.0
Доп. информация: https://linaralrefree.bandcamp.com/
Лог проверки качества
foobar2000 1.1.15 / Dynamic Range Meter 1.1.1
log date: 2020-01-17 20:13:35
--------------------------------------------------------------------------------
Analyzed: Lina_Raül Refree / Lina_Raül Refree
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR10 -0.25 dB -12.15 dB 2:40 01-Medo
DR10 -0.20 dB -13.26 dB 4:50 02-Cuidei que tinha morrido
DR13 -0.20 dB -16.26 dB 3:50 03-A Mulher que já foi tua
DR8 -0.60 dB -11.24 dB 3:08 04-Destino
DR7 -0.25 dB -12.96 dB 3:59 05-Gaivota
DR11 -0.25 dB -14.29 dB 3:22 06-Quando eu era pequenina
DR9 -1.26 dB -13.28 dB 4:21 07-Maldição
DR11 -0.25 dB -14.87 dB 3:39 08-Foi Deus
DR11 -0.20 dB -16.87 dB 5:11 09-Barco negro
DR9 -0.25 dB -10.98 dB 4:02 10-Os meus olhos são dois círios
DR11 -0.40 dB -16.48 dB 5:31 11-Ave Maria Fadista
DR11 -0.20 dB -14.69 dB 1:14 12-Voz Amália de nós
--------------------------------------------------------------------------------
Number of tracks: 12
Official DR value: DR10
Samplerate: 88200 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2613 kbps
Codec: FLAC
================================================================================
Об исполнителях (рус.) | About Artists (ru)
Лина Родригеш и Рауль Рефри: мини-революция фадуИсточник: арт-дайджест «Солонеба»
Как известно, португальский музыкальный жанр фаду (порт. fado – буквально означает «фатум», «судьба») имеет давнюю историю и свои традиции исполнения – под аккомпанемент португальской или классической гитары, иногда басовой гитары. За последнее столетие это эмоционально-надрывное направление португальской музыки стало каноническим, во многом вследствии популяризации жанра «королевой фаду» Амалией Родригеш.
Благодаря ярым защитникам наследия фаду Карлушу ду Карму и Руи Виейре Нэри в 2011 году была подана заявка на внесение этого португальского жанра в Список шедевров устного и нематериального культурного наследия человечества ЮНЕСКО. Вероятно, именно из-за канонизации жанра, как старшее поколение фадишт (Алфреду Марсенейру, Армандинью, Мартинью д’Ассунсан, Карлуш ду Карму, Эрсилия Кошта, Берта Кардозу, Эрминия Силва, Мария-Тереза де Норонья, Лусилия ду Карму, Карлуш Рамуш и Фернанду Фаринья), так и более молодые фадишты (Мариза, Дулсе Понтеш, Криштина Бранку, Мизия, Мафальда Арно, Карминьо, Ана Моура, Алдина Дуарте, Жизела Жоао, Камане, Рикардо Рибейро и др.), как правило, придерживались классической манеры исполнения и традиционных аранжировок. Те немногие, можно сказать, единичные исключения (Жозе Афонсу, комбинировавший фаду с рок-музыкой, джазовые эксперименты виртуоза португальской гитары Карлоса Паредеса и контрабасиста Чарли Хейдена, позже – пианистов Бернардо Сассетти, а также Жулио Резенде) лишь подтверждают правило.
Век 21-й, однако, вносит свои коррективы даже в такие, казалось бы, незыблемые жанры, как фламенко, танго, а теперь и фаду. Ярким тому подтверждением может служить тандем фадишты Лины Родригеш и мультиинструменталиста Рауля Рефри (известного по сотрудничеству с каталонской певицей Сильвией Перес Крус, а также с испанской фламенко-исполнительницей Розалией). Свой альбом дуэт Лины и Рауля незатейливо назвали Lina_Raül Refree. Для фаду этот проект стал такой себе мини-революцией: большинство треков (включая классические песни из репертуара Амалии Родригеш) не содержат гитарного аккомпанемента, вместо этого Рефри исполняет простые, пульсирующие мелодии на различных клавишных инструментах (от рояля, фисгармонии и органа Вурлитцера до различных винтажных синтезаторов, включая Минимуг, Хаммонд Б-3, Родес-пиано и Клавинет Хонера). Минималистично-монохромное оформление диска (включая буклет) гармонично дополняет минималистично-медитативное содержимое. Новаторский подход Рауля Рефри и Лины Родригеш к переосмыслению и апгрейту португальской классики, безусловно, привлечет в ряды ценителей фаду молодое поколение мелогурманов. http://soloneba.com/raul-refree-lina-rodrigues/
Об исполнителях (англ.) | About Artists (en)
Lina Rodrigues & Raül Refree«Lina_Raül Refree» Delivers a 21st Century Spin on Fado
The history of the Portuguese music known as fado dates back to at least the early 1800s—and probably, much earlier. It traditionally features two or three-stringed instruments—a steel-stringed guitar, a Portuguese guitar (which looks more like a lute), and either a four-stringed bass guitar or an upright bass accompanying a vocalist. In Lisbon, women sing; in Coimbra, men perform.
Lina Rodrigues grew up in the north of Portugal, studying theater and opera in Oporto. “I started to sing fado in my adolescence,” she says. It was an art she learned from her father and honed in fado houses, intimate venues where the music is performed acoustically and unamplified. “Those places are the only schools that we have, and we learn from the elders: the singers and musicians. There isn’t proper schooling for fado; it is something that comes from within—a kind of DNA.”
Inspired by the legendary fado singer Amália Rodrigues (no relation), Lina began performing in clubs and theaters, and recorded two albums under the stage name Carolina in 2014 and 2017. But on her third album, in creative partnership with producer Raül Refree, she takes a traditional form in an entirely new direction.
Refree, a Spanish producer who’s worked with rapper Mala Rodríguez, ex-Sonic Youth guitarist Lee Ranaldo, and post-flamenco sensation Rosalía, among others, travelled to Lisbon’s Clube de Fado—where Lina’s been performing regularly for 13 years—just to hear her, and was immediately excited by the possibilities her voice suggested.
“Traditional music has been transmitted through generations, because it has such a strong emotional power that makes us all feel very touched by it,” he says. “The way I express myself in music has a lot to do with how old recordings of traditional music are played, how those musicians who sometimes were not professionals were playing their instruments. There’s a dirty and savage approach to music that I feel is very close to mine.”
The two entered Atlântico Blue studios in Paço de Arcos, Portugal, with no real plan. The album they produced, simply titled Lina_Raül Refree, is like no fado recording ever made. For one thing, most of the tracks don’t feature guitar. Instead, Refree performs the simple, pulsing melodies on an array of keyboards: a grand piano; various synthesizers, including a Minimoog, a Pro One, and a Jupiter; a Hammond B-3; a harmonium from the early 20th century; a clavinet; a Wurlitzer organ; and a Fender Rhodes electric piano. “My idea was to play guitar, but suddenly it was not working,” he says. “It was something I can’t explain, it did not have the emotion I was looking for. But then I started to play piano and Rhodes, and emotions exploded and multiplied. At that moment, I understood the future path.”
The LP’s first single, “Cuidei Que Tinha Morrido,” sets the tone. Refree’s electric piano drizzles out the melody, patient and repetitive, as Rodrigues murmurs the lyrics. Additional synths float in behind her, like mist rising from the ground, and her voice becomes more impassioned, then drops away again. The effect is like the combination of Beth Gibbons’ wail and Geoff Barrow’s crawling post-soul on Portishead’s “Roads.” With no drum track to anchor or drive the music, it instead floats in a cloud of saudade (a Portuguese word describing a feeling of all-encompassing loss and sorrow).
The pair worked closely together, sculpting the songs over the course of three sessions beginning in spring 2018. “I trusted totally Raül’s vision,” Rodrigues says. “Working with him gives me a freedom to sing at ease, the space I require, not worrying about the traditional elements of fado.”
The choice of studio, and the use of old school analog effects, were crucial to the project. Despite its intimacy (listen to it on headphones, and its impact is heart-crushing), this was not music that could be created in a bedroom, on a laptop. “For her voice, I wanted to have many different textures. At the same time, I wanted to hear it inside a space…they have a fantastic symphonic room [at Atlântico Blue] that sounds awesome, and that’s why I always recorded the room as the main reverb when she was singing. But you can hear on the record [everything] from very dry voices to others that are very affected with tape delays or plate reverbs.”
All but one of the tracks on Lina_Raül Refree are strongly associated with Amália Rodrigues, who died in 1999. “I started listening to Amália at home with my grandmother’s vinyl records, and my father was always singing her songs, but there was a special and extremely moving period that touched me especially and brought me a special awareness to the major importance of her work and role in fado,” Rodrigues says. “That was the time of her death, when her music could be heard everywhere.”
“Lately I have the feeling that it doesn’t make any sense to work on albums if they don’t have a concept,” Refree says. “We are living in a moment where you can release songs as singles—it’s easy and fast. We are going back to that period where songs were more important than records. That’s why I always try to find a concept if I am working on an album; that’s what I asked Lina, and she came up with this idea that we both loved.”
The album’s final track, “Voz Amália de Nós,” is the only one the legendary singer never recorded or performed. It comes from António Variações, an avant-garde Portuguese musician who died in 1984. It’s also the only piece on the album to feature acoustic guitar, bringing the music back to its traditional roots as the lyrics pay tribute to fado’s queen, and the way her voice lives in the hearts of the Portuguese people. Lina_Raül Refree brings traditional songs into a new context, but the pure emotion embodied in the lyrics and the vocals keeps them grounded in the eternal spirit of fado. https://daily.bandcamp.com/features/lina-raul-refree-fado-interview
Об альбоме (англ.) | About Album (en)
Info for Lina_Raül RefereeFado rewired and recast. Raül Refree - one of Europe's most innovative producers (Rosalía, Sonic Youth’s Lee Ranaldo) - meets Lina, a Portuguese singer renowned for her haunting interpretations of Amalia's classic repertoire. Analog synths and hushed sonics.
Making history by breaking the rules.
Shedding the skin. A fresh beginning. That’s what singer Lina and producer/multi-instrumentalist Raül Refree have given Portuguese fado on Lina_Raül Refree. They’ve sloughed off the old trappings and exacting traditions of the country’s national music and given it into a perfect fit for the 21st century. Gone are the chiming guitars that were the music’s instrumental trademark and in their place comes piano and analogue synths. Together, they’ve reinvented the music that holds a nation’s soul, and done it while keeping the rich beauty of the melodies and the aching poetry of the words that are such a vital part of the tradition.
“I wanted to do something different with fado,” Lina explains. She already had a deep background in the music; her family has sung it for two generations and she took it up when she was 15, studied opera and turned to the stage, where she portrayed fado’s great queen, Amália Rodrigues, before being invited to become a regular at Lisbon’s iconic Clube de Fado. She’d amassed an enviable pedigree. But it was time for more. And she knew exactly who to call.
“I invited Raül to produce my album.”
Raül Refree has been widely-praised for his solo work, like the album La Otra Mitad, as well as his ground-breaking productions; he’d collaborated with the flamenco incendiary Rosalía on her Los Angeles album, the disc that first made her name.
“Lina thought that fado needed something similar to what I did with flamenco,” he recalls. “She invited me to hear her sing at the club. The very next day we went to the studio to see if we could develop a good musical relationship. She began to sing and I played.’
Refree began with guitar, but quickly realised that “I felt more comfortable with the piano,” and with that change the mood for the record was set.
“Everything happened very naturally,” Lina continues. “We wanted to make something that wasn’t the same, a record that broke the rules. In the end we made something we both really enjoyed, and that’s important.”
Lina chose the songs, fado classics associated with Amália Rodrigues. It was material she knew and loved deeply.
“I can’t sing something I can’t feel,” she says. “That’s my rule. We didn’t change any of the words or the melodies in the songs. There are no traditional instruments, but the emotion and feeling of each piece is absolute fado.”
Not being a part of the tradition, Refree was unfamiliar with the originals. That helped him and allowed him to come to the music without the weight of history.
“I didn’t want to know them,” he says. “I wanted to see how I reacted to the melodies. Because it was only me playing, sometimes I had to change what I came up with to work with the tune.”
“Raül had a piano and some synths, a lot of instruments unlike anything you normally hear in fado,” Lina says. “As soon as we started working together, things happened. I felt free when I began to sing with him.”
Beginning in May 2018, over the course of three sessions they let the sound take shape. In the world they created, the music embraces and captures the listener via the time-honored songs, the minimalist textures and Lina’s performances - so full of bittersweet hope. Yet there are also some delicious, unexpected moments that add to the majesty, like Lina, multi-tracked, rising out of the mix like a choir on “Barco Negro,” or the fragile, quivering of piano notes that take wing on “Gaivota.”
Throughout, Refree’s arrangements are quietly subtle, the analogue synths and ambience very sparingly used to keep the voice very much at the heart of everything. It’s a perfect balance; the instruments are a frame for Lina as she explores every nuance of sorrow and fleeting joy, feeling every word she sings at the core of her being. Refree deftly gives her the space and the freedom to shine.
“This is quite a naked record,” he agrees. ‘I tried to keep Lina’s energy. When I work with such a good voice, I want to reinforce it, not smother it. I wasn’t trying to think about history in the studio. I was focusing on the present moment. I tried to play what I liked. It worked.”
“The record is different,” Lina notes. “That was all we wanted to do. We’ve updated fado. But we only tried to make music that moves people.”
The album does carry on big surprise. It arrives in the final two minutes of the disc, though, when a simple acoustic guitar falls in behind Lina on the track “Voz Amália De Nós.” It’s the one song on the album that the queen never sang.
“It was written and recorded by an 80s musician, António Variações,’ Refree said. ‘We both liked the song, but he’d done all the music on synths, so we decided to do the opposite.”
After the mood of the previous tracks it arrives like a rush of water, a reminder of the lush, enveloping world of modern fado that Lina and Raül Refree have created on Lina_Raül Refree.
It’s a disc that’s morphed the music, but it’s altered the people who made it, too.
“I didn’t know much fado before this,” Refree notes. ‘Now I feel it’s part of my life. Now I listen to Amália and I understand it more.”
“Over time, fado developed a lot of rules,” Lina observes. “We’ve broken many of those. But we haven’t forgotten the roots of the music.”
What they’ve achieved is to free the music from the shackles of its own, long history. Lina_Raül Refree is fado for today, a sound that goes beyond geography. It sheds the old skin for the new yet still leaves it as Portugal’s soul, it’s great, beautiful cry of emotion.
released January 17, 2020 https://linaralrefree.bandcamp.com/
Состав | Artists
Lina Rodrigues - voice & repertoire selection
Raül Refree - Grand Piano, Harmonium, Fender Rhodes, Moog Minimoog, Roland Jupiter 8, Pro One, Hammond B-3; Hohner Clavinet and guitar
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发表于 2020-9-23 06:03:36
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