Description
Lorsque Leo Brouwer me demanda si j’avais déjà pensé à « relancer » mon premier album Dança dos tons paru au Brésil en 1989, j’eu l’idée de le proposer à la maison GHA qui accueillit le projet avec enthousiasme, et me suggéra, pour faire le lien entre l’artiste que je suis aujourd’hui et la musicienne que j’étais à l’époque, d’enregistrer quatre nouvelles chansons, voix et guitare respirant ensemble, dans un contexte acoustique naturel, ce que je ne faisais plus depuis longtemps !
Quatorze ans séparent ces chansons des huit pièces extraites du disque gravé – un mois d’août aussi – dans cette même ville de São Paulo où je vivais alors et où je suis revenue vivre il y a peu de temps. Je me revois avec émotion choisir le répertoire, optant pour des compositions de caractère ou d’inspiration populaire écrites par des compositeurs classiques (Leo Brouwer, Roland Dyens, Sérgio Assad) auxquelles l’envie me vint d’ajouter des percussions et des effets sonores. C’est à cette occasion également que, pour la première fois, j’ai timidement fait entendre ma voix.
Lors du concert donné pour la sortie de cet album, aucun des musiciens ayant participé à sa réalisation n’a pu se libérer, pas même mon père dont c’était aussi les débuts en studio …Que faire alors de tous ces sons si profondément imprimés dans ma musique ? Dans un moment d’inspiration soudaine, je décidai d’en faire une imitation vocale, sans me douter que j’étais entrain de créer un style, mon style ! Ces premières tentatives de travail de la voix m’entraînèrent dans des expériences fascinantes qui eurent pour effet de conquérir ma place dans un monde follement compétitif.
Badi Assad
Presse
Badi Assad was born in São Paulo, Brazil and started playing the guitar when she was fourteen, inspired and coached by her father and her two brothers, the world famous Sérgio and Odair Assad. Since then she has become an incredible all-round musician blending her voice into her music with the guitar. It has developed into an absolutely unique style which has eradicated the boundaries between singer and guitar player. This album is partly a remake of Badi Assad’s first album: Dança dos tons”, which first came out in Brazil in 1989. GHA Records was very enthusiastic about it, and inspired Badi to work at and smooth the transition from the musician Bady was at the time to the artist she has become. It resulted in the recording of four exciting new songs, a blend of voice and guitar, recorded with natural acoustics. The program includes well-known pieces such as the Ballada de la doncella enamorada” by Leo Brouwer, Saudade nr.3 by Roland Dyens, and a wonderful composition by Sérgio Assad called Preludio e tocatina which is a beautiful, colourful mixture of the sound of « South America ». By adding rhythm and folkloristic instruments and voice to the pieces of Leo Brouwer and Roland Dyens, they grow even more in depth and make their character even clearer. Very exciting is the mysterious sound world that Badi creates on « La huida de los amantes por el valle de los ecos” by Leo Brouwer! It is a joy to listen to the « world of music » that is called Badi Assad, and her voice and guitar playing are unique.
Nathasja van Rosse – Bridge Guitar Reviews
Badi Assad is a young Brazilian performer whose accolades include top prize in 1987’s International Villa-Lobos Festival and critical recognition from Guitar Player and Acoustic Guitar. This wonderful compilation presents eight tracks from her 1989 debut album, Dança dos tons, together with four solo pieces recorded in 2003. Assad now combines her classical guitar technique with wordless singing, occasional lyrics and mouth percussion. The 1989 recordings focus on Assad’s guitar and include sparse percussion, mandolin and guitar (contributed by other musicians). Although the new tracks are more self-assured and even daring, each piece is spellbinding. Many tracks recall Latin America’s classical music tradition and display a more mature harmonic sense than one usually hears on guitar-based recordings. Assad takes her time developing moods throughout the CD, beginning with four slower, meditative pieces. On the fifth track, « Vrap, » she picks up the pace and increases tension, which she later releases on « Joana Francesca » and several slower, somewhat languorous, pieces. « Saudade No.3 » continues in this vein, beginning with a solo guitar introduction, then segueing into a tango with mandolin and 7-string guitar added.
Assad closes the album with two charming Cuban and Catalan folk pieces. The performances on this CD form a well-paced, captivating whole – I recommend it enthusiastically.
© Patrick Ragains – www.minor7th.com
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