Ningún producto

A determinar Transporte

0,00 € Impuestos

0,00 € Total

Estos precios se entienden IVA incluído

Confirmar

Producto añadido correctamente a su carrito de la compra

Cantidad

Total

Hay 0 artículos en su carrito. Hay 1 artículo en su carrito.

Total productos: (impuestos inc.)

Total envío: (impuestos inc.) A determinar

Impuestos 0,00 €

Total (impuestos inc.)

Seguir comprando Ir a la caja

Menú

Novedades

Ofertas

Coleção Som da Gente

139,90 € 201,00 €

Todas Ofertas

Populares

Recomendados

Suscripción Newsletter

Recibe noticias y avisos de promociones especiales

Búsqueda Avanzada

buscar reiniciar

Depois do nosso tempo

Sonia Rosa
Discos: MPB

Disponible

Ficha técnica Discos

Sello	Independiente
Estilo	MPB
Año de Edición Original	2006

Más

Sonia Rosa (voz)

Gary Meek (saxo tenor, saxo alto, saxo soprano, clarinete bajo), Sergio Brandão (bajo eléctrico), Mark Walker (batería), Morgan Ames, Shelby Flint y Michael Mishaw (coros)

Participación especial de: Ivan Lins (voz), Oscar Castro Neves (voz, guitarra acústica, arreglos de cuerdas), Romero Lubambo (guitarra acústica), César Camargo Mariano (piano, órgano, teclados, arreglos), Marco Bosco (percusión, producción) y DJ TARO (remixes).

Quinto álbum a su nombre de la cantante Sonia Angelica de Carvalho Rosa (São Paulo, SP, 1949). Poco conocida en Brasil por haber desarrollado casi toda su carrera en Japón, país en el que su primer disco, "A bossa rosa de Sonia" (1967), aún en la pandemia de la bossa nova, tuvo tal éxito, que viajó hasta allí y allí fijó su residencia. Con su voz susurrante, con excelente técnica y apoyada por excelentes músicos, volvió a la senda discográfica 27 años después con este excelente álbum.

"Sonia Rosa had an unlikely musical career. Although she was born in São Paulo, Brazil it wasn’t there where’d she stake her claim to fame. A precocious child, she taught herself Joao Gilberto’s songs when she was just 6 years old. Releasing her first record as a teenager presented her a tough choice. Her debut was a bigger hit in Japan than in Brazil. It’s this bit of history, that Sonia had to moved to Japan, at the young age of 16, to pursue her musical career, that would set her path into this intriguing blend of MPB samba soul, mellow City Pop, and gorgeous modal Jazz-Pop. If Brazil wouldn’t know what to make of her, somehow, the Japanese would draw out something special within her.
It was in Japan that Sonia managed to perform at the only club that specialized in bossanova and Brazilian music, a club owned by the father of future Japanese sambista star Lisa Ono. One night, while performing there, she managed to befriend and convince Japanese Jazz giant Sadao Watanabe to produce and arrange her Japanese debut: Sensitive Sound Of Sonia Rosa. In doing so, helping create an album with the unlikeliest distinction of being the first Japanese recorded and arranged album of Brazilian music – by a Brazilian artist. Soon thereafter, Sonia managed to strike up a professional relationship with another Japanese Jazz master Yuji Ohno.
Before he’d go off to create the soundtrack to the anime Lupin the Third or The Castle of Cagliostro, works he is more widely known for, Yuji Ohno would help Sonia try to modernize her take on bossanova. Caught in between Easy Listening and some of the post-bossanova styles floating around her homeland, 1994’s Spiced With Brazil left her in a middle zone trying to move units while trying to not to go too far out on a limb to remain au courant with prevailing styles. That was not a good zone for Sonia to be in. For four long years, before the release of Samba Amour, Sonia shifted to doing commercial and soundtrack work. She simply wasn’t able to unravel what exactly she wanted to do artistically. After this sabbatical, Yuji (fresh off some embryonic recordings with Sonia in Lupin the Third) pitched to Sonia the idea of creating an album of original Brazilian music.
Using the same members of the You & Explosion Band that backed up his work in Lupin the Third, Yuji and Sonia headed into the studio to create this fascinating masterpiece of Japanese-Brazilian music. Touching on the same vein of inspiration present in the funky mellow of Japanese City Pop at the time, Samba Amour (1979) shifted the ideas already presented (with the aid of a lot of the session players found here as well) in Taeko Ohnuki’s Sunshower and Tatsuro Yamashita’s Spacy towards even more tropical environs. It appears that this time, these sessions fell under the spell of Jorge Ben’s second act: his shift from sambista to samba funk and samba soul artist. (...)" DIego Olivas (fondsound.com, 16.05.2017)