“Fado” is the Portuguese version of American Blues, or like it’s cousin, Brazilian “Saudade.” One of the best modern day deliverers of this wonderfully anguished material is Ana Moura. To produce her sixth studio album, she wisely chose Larry Klein, who has a gift for bringing out the best in female vocalists like Joni Mitchell, Madeleine Peyroux and Luciana Souza, to name just a few.
Unlike the Brazilian Souza, Moura’s voice is of a more willowy sound; think of the difference between British and American singers, and you get a basic idea. Here, she teams up with Angelo Freier on Portuguese guitar, Pedro Soares on fado viola, Dean Parks on regular guitar and Vinnie Colaiuta on drums.
You can tell the Klein has influenced this album, as even with luscious traditional Iberian material such as the lilting and sensuously paced “Moura Encantada” and celebratory “Dia De Folga” you get some extra electronics and keyboards to create a more accessible and modern sound. Intriguing electronics mix with folk strums during a haunting “Ai Eu” and dramatically picked guitar notes with oozing keyboards set up an aria of “Tens Os Olhos De Deus.” Even if you don’t speak Portuguese, you don’t need a translator to get the gist of her point, which is reflected in the sole time Moura sings in English. Her delivery of Nina Simone’s, while intriguing with her warbled vulnerability, doesn’t work as well as her exoticism is removed.
Still, that’s a minor caveat, with anguished bohemia delivered in a smoky room on “Nao Quero Nem Saber” and the closing title track making you feel like you’ll soon be walk out on the misty street at 3 am.
Universal Music Classics