Song information for Frevo Em Maceio – Anita Wardell on AllMusic. Something completely different for a change This is one of the pieces Oscar Stagnaro recently showed me and it’s so much fun to play that I. Check out Frevo Em Maceio by Anita Wardell on Amazon Music. Stream ad-free or purchase CD’s and MP3s now on
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But only a tin ear could fail to appreciate her frdvo and subtlety in this department — by no means the only skill on show on this exciting record. She sounded great then and she still does. The thing about Anita Wardell is that she makes tricky stuff sound not just easy but natural.
Frevo em Maceió
For every Jamie Cullum there are a dozen highly talented British jazz singers who beaver away on the circuit to the delight of the cognoscenti, making critically acclaimed albums and commanding the respect of their peers without the benefit of a profile that might bring a wider audience to hear them.
There are moments here, on well-known standards such as You’re My Thrill and Without a Song, that could be harmonic and rhythmic minefields, freov she sings them all with an airy grace.
The title track was originally a Pat Metheny instrumental original with lyrics added by Wardell and the number now takes on both a decidedly blues as well as gospel tinge. It was a terrific idea to attempt the number in a jazz idiom and the result is a triumph. What the critics said Anita Wardell belongs to the classic tradition of vocalese singing. For fans of the great American songbook, ‘Surrey with the fringe on top’ will prove a revelatory experience and unquestionably an album highlight.
Frevo Em Maceio by Anita Wardell – Pandora
Guitarist Guillermo Hill and hand drummer Adriano Adewale then join her and Robin Aspland’s piano trio for two Brazilian songs, one by Hermeto Pascoal, the genius whose Portuguese tongue-twisters few other UK vocalists attempt. Anita Wardell belongs to the classic tradition of vocalese singing. With a career dating back to the macelo, she has enjoyed more than two decades of success.
Website designed and maintained by H: Anita Wardell, frrvo Australia-raised vocalist who appeared on the UK scene in the s, makes albums that deploy familiar vocal-jazzmethods and plenty of well-travelled standard songs, but also demonstrate a real care for her art.
En when it comes to scat singing, for which she is famous, if this breakneck version of Frevo Em Maceio doesn’t put a spark into your day, nothing will.
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She has earned an international reputation for the scat-singing which has become her trademark, as well as the sensitivity with which she handles ballads and standards, discovering fresh nuances in familiar lines with the lightness and flexibility of her touch. An unobtrusively classy vocal album.
Stevie Wonder’s ‘Superwoman’ was an intricate, yet undeniably beautiful song in its original format, but here Wardell tackles the number in two distinctive parts. She is one of the most innovative performers on the scene, but she could probably stroll through the Soho heartland of London jazz unrecognised. For album information, click here. The repertoire is varied and challenging and this makes for an entertaining and informative listen.
Her voice with it’s ultra-late vibrato, is warmer than ever on a new album ranging from brilliant scatting on Without a Song to tender balladry on You’re my Thrill and self-penned new lyrics to themes by Pat Metheny and Bobby Hutcherson.
Elsewhere the uplifting update on eclectic multi-instrumentalist and genius Hermeto Pascoal is another example of Wardell taking on difficult pieces and turning them into something new, though here the Brazilian tradition is very much respected with a gentle and lyrical guitar solo by Guillermo Hill.
Anita Wardell is a case in point. British born, but part educated in Australia where she studied jazz and improvised music at the University of Adeleide, Anita Wardell has been influenced by the innovatory work of Eddie Jefferson performing with Jefferson’s late career sidekick Richie Cole and Mark Murphy and this grounding reveals itself in the ease with which the singer performs on ballads as well as be-bop excursions. Pascoal’s Frevo Em Maceio is a vehicle for Wardell’s boppish agility, skipping flutelike over the mercurial melody, and she quietly caresses the meanings out of Stevie Wonder’s Superwoman with an expertise that never betrays a hint of artifice.
Her mutual understanding withRobin Aspland, that most lucid and inventive of pianists, is a constant delight.
For the first, she plays it laid back before shifting up a couple of gears and the contrast between the two is a joy to behold. Commencing at a rapid tempo, the piece then slows down to mid-tempo with a exquisite soulful delivery from the singer.