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Vinicius de Moreaes, Baden Powell, Pierre Barouh & Stacy Kent « SAMBA SARAVAH »  (PIERRE BAROUH) escrito em domingo 26 agosto 2007 05:14

baden powell, pierre barouh, vinicius de moraes


A  cantora Americana de Jazz, Stacy  Kent está lancando  em setembro seu CD  novo no Bluenote. O CD inclui a versão francesa de Pierre Barouh da canção “ Samba da benção » de Vinicius et Baden.

Esta versão foi feita pelo Cantor, compositor e diretor de cinema francês Pierre Barouh durante os anos sessenta, e era parte do filme « Um Homem, uma Mulher »(Claude Lelouch),palma de ouro no festival de Cannes em 1966.

                          cd Stacey Kent

Premier Album de Stacey Kent avec le Label Blue Note

« Breakfast On The Morning Tram » sera produit par son mari, le saxophoniste britannique Jim Tolimson, dont le dernier album, “The Lyric” (avec Stacey), a été primé meilleur album de 2006 aux Jazz Awards de la BBC.

“Blue Note est le label qui me correspond le mieux, dit Stacey. C’est celui dont je rêvais lorsque j’étais enfant. En signant avec Blue Note, je ressens ce que Steffi Graf a dû ressentir la première fois qu’elle est entrée sur un court de Tennis, pour affronter Martina Navratilova. J’ai toujours eu un profond respect pour ce label et ses artistes : tant de personnalités et de façons différentes de s’exprimer à travers la musique, avec une telle intégrité et une telle âme ! Faire partie de cette famille et de cette histoire est un rêve devenu réalité.”

Stacey est très imprégnée par le répertoire romantique dans lequel elle puise depuis le début de sa carrière, mais elle aime aussi la country et la musique folk de son Amérique d’origine. Stacey puise l’inspiration dans les montagnes du Colorado où, avec Jim, elle passe une partie de l’année à jouer de la guitare, à chanter et recharger ses batteries. Ainsi, la magnifique “Landslide”, écrite par Stevie Nicks de Fleetwood Mac au Colorado, figure au menu du disque.

L’amour de Stacey pour le cinéma est évident et se ressent dans son répertoire. Elle reprend dans cette album “Samba Saravah”, extraite de la bande originale du film “Un Homme et Une Femme” de Claude Lelouch.

Même lorsqu’elle interprète les chansons tristes et douces-amères de son répertoire, un optimiste indéniable transparaît dans la voix de Stacey. “What A Wonderful World”, “So Many Stars” et “Never Let Me Go” sont des véhicules idéaux pour apprécier le mélange délicat de désespoir et de détermination que propose Stacey. Elle est également connue pour le côté léger et joyeux d’une partie de son répertoire, notamment en concert, représentée par “Hard Hearted Hannah”.

Ayant vécu et étudié à Paris comme son grand-père avant elle, Stacey a baigné dans la musique et la littérature française dès son plus jeune âge. Evidemment, chacun de ses retours en France en tant qu’artiste résonne d’une manière particulière. Son album de 2003, “The Boy Next Door”, qui incluait deux titres en français, a été certifié or en France. Ce disque propose quelques-unes de ses chansons favorites dans la langue de ce pays, signées Serge Gainsbourg.
STACEY KENT
“Breakfast on the Morning Tram”
Sortie française: 10 Septembre 2007
STACY2
1. The Ice Hotel (Jim Tomlinson/Kazuo Ishiguro) 5.28
2. Landslide (Stevie Nicks) 3.48
3. Ces Petits Riens (Serge Gainsbourg) 3.21
4. I Wish I Could Go Travelling Again (Jim Tomlinson/Kazuo Ishiguro) 4.07
5. So Many Stars (Sergio Mendes/M & A Bergman) 4.00
6. Samba Saravah (B Powell/P Barouh / V deMoraes) 3.50
7. Breakfast on the Morning Tram (J Tomlinson/K Ishiguro) 5.54
8. Never Let Me Go (Jay Livingston/Ray Evans) 4.39
9. So Romantic (J Tomlinson/K Ishiguro) 5.00
10. Hard Hearted Hannah (Bob Bigelow/Charles Bates/Jack Yellen & Milton Ager) 4.49
11. La Saison des Pluies (Serge Gainsbourg) 2.48
12. What a Wonderful World (G Douglas/G D Weiss/B Thiele) 4.26

Stacey Kent, voix
Graham Harvey, piano & Fender Rhodes;
John Parricelli, guitares;
Dave Chamberlain, contrebasse;
Matt Skelton, batterie & percussions;
Jim Tomlinson, ténor, alto & soprano sax, flûte.

Enregistré, mixé et masterisé aux Studios Curtis Schwartz, Angleterre, en mars et avril 2007 par Curtis Schwartz
Produit par Jim Tomlinson pour Token Productions
Arrangé par Jim Tomlinson & Stacey Kent

STACEY 3

What happens when established artists grow out of their old skin? Put this disc into your music player and find out. Breakfast On The Morning Tram is the musical equivalent of a growth spurt. With the important assistance of Kazuo Ishiguro—one of our finest novelists, who can now also call himself a serious lyricist—Stacey Kent and her permanent sidekick/producer/music director, Jim Tomlinson, have moved to a new place. The disc in your hands, Stacey’s first f or Blue Note, marks the spot.
One easy way to describe the change is to note what is not on this record: no Gershwin or Porter, no Rogers or Berlin, no Carmichael or Ellington. The Great American Songbook that has been the source of most Stacey Kent material since her recording career began a decade ago, is represented here only by three songs out of a dozen. Yet all the songs on this album are cousins of the great Songbook songs—they all “seem to inhabit the same musical world,” as Jim Tomlinson put it to me. They all tell stories, usually wistfully, something Stacey loves to do; they all make you think about love and loving; they all (if my experience is any indicator) stick in your head after just a few listenings. Most important, they all help Stacey show off her very best stuff. No Stacey Kent fan will be shocked by this record—they are much more likely to be delighted by it. She has never sounded better.

Four of the tracks offer compelling evidence that
Jim Tomlinson
can write songs, something he has never done before. Producing their own material has been on Stacey’s and Jim’s agenda for some time now. Their friend Ishiguro offered to try his hand at writing lyrics, which in this collaboration came first. While skiing in Colorado, Jim, with Stacey’s help and encouragement, wrote four memorable tunes to the words Ishiguro had written. I have no idea whether these songs have the staying power of the classics, but to my ear every one of them is entirely original, lovely and surprising. Ishiguro’s lyrics are intriguing: a little mysterious, sometimes a little weird (a love affair at a hotel made of ice?), but unfailingly intriguing.  Three of the four involve traveling and all involve romantic mysteries. All have a contemporary flavor; no one is going to think these lyrics were written in the 1930s. Yet they don’t sound like anything else I’ve heard in the 21st Century, either.

Stacey sings three songs here in French, two lesser-known love songs by the late
Serge Gainsbourg and a famous samba from the 1966 French film A Man and a Woman, written by the Brazilians Baden Powell and Vinicius de Moraes , with a French lyric by Pierre Barouh . If you’re old enough to remember the movie, you’ll recognize the song at once. Stacey majored in modern European languages in college, and has the gift for pronouncing a foreign tongue that sometimes accompanies a perfect musical ear, so I defy her French fans to call this an American accent. It’s French. Another Brazilian represented here is Sergio Mendes, whose So Many Stars, with lyrics by Marilyn & Alan Bergman, sounds like a Songbook tune but is probably too young (1968) and has too mixed
a parentage to qualify as one.
Stacey sings one Fleetwood Mac song from the 1970s written by Stevie Nicks, Landslide, and makes it her own. And then there are three from the Songbook: Hard Hearted Hannah, Never Let Me Go and What  A Wonderful World. On the latter, Stacey quietly enters a world previously inhabited by Louis Armstrong. By my lights her versio
n is as powerful as Satchmo’s.
But there is more on this album than songs. Stacey has a new band, and it is remarkable. A Stacey Kent concert has always been a jam session; in performance, her musicians have always had more space and time than on her records, and the interaction between musicians and singer have always reminded me of a great quintet or sextet at work. There is more of that jazz on this record than on any previous one, I think, and the new players are splendid. There is a lot of music here to take in. An added treat is the guitar work of John Parricelli, who contributes memorably here on six different guitars. “With the new band, a new world of possibilities has opened up and invited us to go exploring,” Stacey told me. So t
hey went, to wonderful effect.
The last word should be Stacey’s: “I wanted to reveal more of myself on this album, in a way that I hadn’t fully before.”  Did she succeed? I think so. Now you decide.

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Vinicius de Moreaes, Baden Powell, Pierre Barouh & Stacy Kent « SAMBA SARAVAH »


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