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Moor Mother
Hip-Hop/Rap - Released May 19, 2023 | Anti - Epitaph
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Salutes Bessie Smith
Amina Claudine Myers
Jazz - Released January 1, 1980 | Leo Records
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Song For Mother E
Amina Claudine Myers
Jazz - Released February 11, 2023 | Leo Records
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Moor Mother
Hip-Hop/Rap - Released July 1, 2022 | Anti - Epitaph
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Bellini: La Sonnambula
Cecilia Bartoli
Classical - Released January 1, 2008 | Decca Music Group Ltd.
This recording of La Sonnambula is notable on a number of fronts. It's the first recording of the opera based on a 2004 critical edition of the score that confirms the leading role was indeed written for a mezzo-soprano, although it has been performed by sopranos for much of its history. (Among the first Aminas were the celebrated mezzos Giuditta Pasta and Maria Malibran.) It's also the first recording using period instruments, in this case Orchestra La Scintilla, based at the Basel Opera and conducted by Alessandro de Marchi in an idiomatic and lively reading. And, as the promotional materials trumpet, it's the first recorded collaboration between superstars Cecilia Bartoli and Juan Diego Flórez. Although less hoopla is made of him, the recording also features a superbly lyrical performance by baritone Ildebrando D'Arcangelo. Flórez has the ideal voice for this repertoire: warmly Latinate, supple, and passionately inflected. It's a revelation to hear a mezzo with Bartoli's range in the role. She handles its upper reaches with solidity, agility, and complete assurance (although several arias in fact transposed down, but with no loss of impact), and the depths to which she descends are astonishing. Her tender and vulnerable Amina is completely convincing. She and Flórez have a nice chemistry, and their interactions are among the highlights of the recording. The performers in the secondary roles, Gemma Bertagnolli, Liliana Nichiteanu, and Peter Kálmán, are all first-rate. The chorus of townspeople, which has an unusually large part in the goings-on, is sung with spirit by the Chorus of the Opernhaus Zürich. The sound is clean and full, but on the loud side, so the volume may require some adjustment. The novelty of this version and the quality of performances make this a recording that should be of strong interest to fans of the bel canto repertoire and would make a fine introduction for listeners new to the opera.© TiVo
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Bellini: La Sonnambula
Dame Joan Sutherland
Classical - Released January 1, 1962 | Decca Music Group Ltd.
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The Circle Of Time
Amina Claudine Myers Trio
Jazz - Released December 28, 1983 | Black Saint
In terms of depth, spirit, originality, and diversity, this is the recording that best brings those vibrant elements of Aminda Claudine Myers' musicianship to ultimate fruition. With bassist Don Pate and drummer Thurman Barker, Myers freely explores jazz, blues, and gospel-tinged creative music in her own inimitable way. All of these six pieces were written by Myers, each showcasing a different side of her joyous persona, making her music deep, listenable, tuneful, and emotional. Starting off with the hot instrumental modal bop number titled "Louisville," the pianist proves to be a capable, refreshing melodicist in this area, with Pate's complimentary lines to the piano and Barker's crackling drums setting the upbeat pace nicely. "Plowed Fields" has a loose structure with equally peaceful and soulful, tender and poignant motifs. Myers sings the line "seeing the plowed fields, made me want to go barefooted, until my mother spoke of soles (souls?) tied to her feet." "Do You Want to Be Saved?" is an anthem for the ages -- organ and piano strains are overdubbed for this hip, steady tempo gospel blues. Inexorable caravan-like processional pacing for "Christine" has a dual line of Myers cascading piano apreggios with a deft chordal four-bar line that is dramatic and dynamic. Pate's avant bowed bass introduces "The Clock," which has several aspects of time musically represented. Creaking bass, meandering piano, free stride, and completely free segments are featured, and are liable to speed or slow at a moment's notice. "The Circle of Time" further illuminates this with the lyric "time moves by slowly, time moves by quickly." Myers adopts a little girlish falsetto over another patiently slower, steady rhythm, injecting ai-yi-yis in a rather Native American inflection on this song that represents Myers at her creative, free-flowing zenith. This recording and Sings Bessie Smith are must-buy items for fans of this brilliant musician, and iconic signposts for where African-American expressionism can be directed.© Michael G. Nastos /TiVo
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Arco Iris
Amina Alaoui
Jazz - Released June 10, 2011 | ECM
Amina Alaoui is a vocalist, pianist, and composer steeped in the history of Andalusian music, the fusion of Arab, Spanish, Persian, and Portuguese styles that evolved in the courts of Moorish Spain in the ninth century. Her intent, stated poetically in the album's liner notes, is to use the fusion of styles that flourished centuries ago as the foundation for a modern music without boundaries. Arco Iris translates as rainbow, a metaphor for the way the musics of the Iberian Peninsula and Northern Africa blend into and color each other. Alaoui, and the five musicians that accompany her, produce a powerful, contemplative sound that stirs deep feeing with its deliberate tempos and intricate instrumental work. Still, the main focus remains Alaoui's soulful, passionate vocals. They take up an immense emotional space, reminding listeners of the limited range of most pop music. The record opens with "Hado" (Fate), a chilling solo performance that shows Alaoui's vocal range and masterful control as she slides up and down the scale adding ornamentations to her vocal lines. "Búscate en Mí" (Seek Yourself Within Me) is a poem by Saint Teresa of Avila set to Alaoui's music. The solemn instrumental work of violinist Saïfalla Ben Abderrazak and oud player Sofiane Negra set the stage for Alaoui's understated vocal. "Fado Al-Mu'tamid" and "Fado Al-Mu'tamid" feature the mandolin of Eduardo Miranda, who adds a Brazilian lilt to his accompaniment that lets Alaoui dig deep into the melancholy of the songs. "Oh Andaluces" (Oh Andalusians) may be the most emotional song on the record, featuring Alaoui's stunningly emotional vocals accompanied only by José Luis Montón's smoldering flamenco guitar. With the exception of "Las Morillas de Jaén" (Moorish Girls of Jaén), a midtempo tune marked by Montón's dramatic flamenco guitar and Idriss Agnel's inventive percussion accents, and the driving Andalusian workout of "Ya Laylo Layl," the tunes here are taken at a measured tempo that serves to accent their emotional weight.© j. poet /TiVo
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Comptines et berceuses de Vanille
Jean-Christophe Hoarau
Children - Released October 21, 2020 | Didier Jeunesse
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Joy
Amina Figarova
Jazz - Released September 23, 2022 | AMFI RECORDS
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1, 2, 3, danse avec moi (Jeux dansés et rondes d'Afrique)
Kossua Ghyamphy
Children - Released October 1, 2012 | ARB Music
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Yalil
Amina
World - Released January 1, 1989 | Universal Music Division Mercury Records
From Turkey to Israel to Algeria, American and European pop has been having a strong influence on Middle Eastern and North African artists. One of the many rewarding examples of this East-meets-West experimentation is Amina's Yalil, which finds the expressive singer combining a Middle Eastern groove with Western pop and dance music. On such intoxicating selections as "Mektoubi," "Le Cercle Rouge" and "Gallouli," the production is decidedly high-tech. Synthesizers, sequencers and drums machines abound, although traditional acoustic Middle Eastern instruments like the ney, the quanoon and the saz (a string instrument prominent in Turkish music) are also employed. Amina is heard in Arabic as well as French and English. This is a CD that admirers of East/West fusion shouldn't miss.© Alex Henderson /TiVo
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Queens of sand
Madcat
House - Released December 6, 2019 | Pont Neuf Records
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