“I need to listen to my songs on the piano again. It’s been 3 albums and 5 years since I started this new path. In November 2014 I made my first solo concerts at Casa da Música and CCB, still without a recorded album. I now want to hear how the silence has changed, how the vision of my own music has changed, how my soul has changed. How much time is left for each song, each gesture, each reaction, each applause. Feel it. Realize it and let me go.“
O Método – press release
Rodrigo Leão says this tour “has my classical and electronic influences more present and explores them deeper. Also, for the first time in my tours, I play the piano a lot more instead of the synthesizer.”
On stage, Rodrigo (piano and synthesizer) will be accompanied by a small ensemble of long-term collaborators: Ângela Silva (vocals, synthesizer and metallophone), Viviena Tupikova (violin and vocals), Carlos Tony Gomes (cello) and João Eleutério (guitar, bass, synthesizer, percussion and Indian harmonium).
“Also for the first time in my concerts, Ângela Silva will use her voice in less conventional ways, like just another instrument” as Rodrigo explains. This is because several of the songs in O Método do not have traditional lyrics as such but feature vocal illustrations in an invented, made-up language.
In every city of the tour, Rodrigo is inviting a local youth chorus on stage to perform the choral parts that, on the record, were sung by the Associação Musical dos Amigos das Crianças Choir.
The strongly visual production will have video work from Gonçalo Santos, illustrations by Rodrigo Leão, and lighting by Miguel Ramos and Nuno Salsinha.
The quieter, simpler arrangements of O Método will also mean a new look for the older material that will be performed live. The set lists will feature material from Rodrigo’s 25-year career but carefully chosen and re-arranged to fit the production’s new approach. As Rodrigo says, “The concert will feel very cohesive, very unified, even though we’ll be performing material from the last 25 years. This will be much helped by the new arrangements we’ve been writing over the year with my co-producers Federico Albanese, João Eleutério and Pedro Oliveira”.
The Portuguese guitarist, who is part of a famous international band Incógnito, presents “Miles Away”, his latest album inspired by his travels and where the musician mixes jazz and ambient music in well-balanced doses.
“I returned to Portugal in 2017 where I have lived since. It is the country where I feel most inspired to compose, where I like to select life and where I feel most secure and happy. Nowadays I continue to play with Incognito all over the world, but I am living in Portugal ”, says Francisco, who is focused and focused on drawing his own future now. “When I return home from all these concerts, I have always worked hard in my solo career and have tried to grow with it”. This work involves developing your artistic vision and deepening your relationship with an instrument that may sound surprising in the right hands. This surprise has been a constant when Francisco Sales presents a solo, showing a particular, adventurous and highly hypnotic way of playing the guitar. This originality has already earned him invitations to open concerts for people like Rodrigo Leão, Avishai Cohen or Diana Krall.
Considered by critics as “the proper voice of the Portuguese jazz trumpet” Laurent Filipe takes advantage of the pretext of paying homage to the musical spirit of one of the “giants” of Jazz, the trumpeter / vocalist Chet Baker. This trio, with characteristics identical to one of Chet Baker’s latest formations, presents a repertoire consisting of some of Chet’s favorite vocal and instrumental standards and also original themes by Laurent Filipe. With a very intimate language, the trio does not cease to surprise the public for its rhythmic versatility, great level of “dynamics” and developed dialogue. The Trio toured the stages of the biggest national festivals to Asia, having been unanimously acclaimed by critics.
Laurent Filipe: Trumpet and Voice
Bruno Santos: Guitar
Massimo Cavalli: Double Bass
Lina knows her time has come. She is her own singer, her own artist; she makes hers the traditional Fado melodies every self-respecting Fado singer knows by heart, while singing contemporary material from someone like pop songwriter Carolina Deslandes, and both have a place in her recordings. Her soul may carry the old memories, the old lessons, but her voice is of our days, and translates all the nuances of love as it is loved today. Whether in a Fado house, in a major concert hall, in Portugal or abroad, Lina is always the same: a true artist who sings what she feels and feels what she sings.
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Lina_ Raül Refree – THE PROJECT
Two incredible musicians generating an intense , moving and very special musical relationship.
During a Fado night, the voices are authentic: no external amplification, no adornments, no filters. Just nerve, talent, soul, passion.
Raül Refree understands passion well, he produced “Los Angeles”, the album that revealed to the world the phenomenon Rosalía, and he had no doubt when he heard Lina singing at Clube de Fado one of the most renowned Fado venues, home to many great singers and great musicians carefully nurtured by Mário Pacheco, guitarist to the stars, including the eternal Amália. There in a solemn, authentic moment, Raül Refree was blown away by Lina´s voice.
The idea of getting together in the studio was immediate. Shortly after, they met at a special recording studio, outside Lisbon.
There, surrounded by vintage synthesizers, Moogs and Arps, Oberheims and Rolands, but also with a piano nearby, Raül framed Lina’s voice in analog clouds; Fado’s traditional guitars only in our imagination, but the strength of this truthful voice all there, all the time.
Lina proved herself more than a match.
A close student of Amália’s work, she selected some timeless classics from the Diva’s repertoire, to be used as a basis to communicate. As if this project was born out of a search for the haunting, the haunted essence.
Raül and Lina agreed they ought to explore Amália’s repertoire, removing the instrumental dogmas of fado, while maintaining the profundity of the soul.
In this project the arrangements are extraordinary!
Raül Refree’s long career as a challenging pop producer working with dozens of artists, from Sílvia Perez Cruz to El Niño de Elche or Lee Ranaldo, not to mention Rosálía, is an artist of extraordinary intuition.
Lina, a voice matured by the nights in Fado venues, her own devotion to Amália and all the great voices she has heard, felt, and studied, is a truly special artist. She sounds as if she is part of the history, listening to the divas’ voices echoing in the side streets of her imagination. She is true, she is profoundly moving
In songs such as “Barco Negro” or “Foi Deus”, “Ave Maria Fadista”, “Medo” or “Gaivota”, each of them a monument in the history of Fado, Lina becomes a complete, truthful, talented artist whose voice haunts us all. Her performances are, above all, human, moving, ripping the words out of the heart rather than shaping them with the technique she knows. And her delivery shines a new light on Fado through the arrangements prepared by Raül Refree. Without any tricks or any filters, but with artistry, giving Fado a unique electronic approach underlining its universal condition.
Fado is an immaterial heritage of humanity, a culture that helps identify a country people talk about, a culture that has brought many artists to Lisbon. Artists who search for an immaculate territory in Fado, a moment of authenticity in a musical universe often dazzled by artifice.
That is exactly what brought Raül Refree to Lisbon: that search for what is new and timeless, for what makes you shudder, for what the world needs to listen to, even if sometimes you need to break the rules.
Because that is how you end up making history.
The record was released worldwide by Glitterbeat records on January 2020 and enthusiastically acclaimed by European media. The project has also been distinguished with several awards and nominations.
The duo did their debut live in July 2019 at Festivals La Mar de Músicas and Sinsal with the applause of both audience and media. A concert staged by António Pires with an amazing light design, by Tela Negra, to underline all the drama within. After several postponed concerts, the duo have managed to pursue its intensive tour to be continued around Europe, in 2021.
24 Mila Baci may seem like a lot, but the intensity of the encounter between The Legendary Tigerman, one of the most respected national artists, with Maria de Medeiros, actress and singer who is a true icon, really needs to be measured like that, with many thousands of kisses.
The first encounter of this true tiger man with Maria de Medeiros took place a decade ago, in the much celebrated Femina, an album that placed the guitarist on the most attentive alternative radars in the world. At the time Nancy Sinatra’s classic, “These Boots Were Made For Walking”, was the motto, the special formula that resulted from the obvious chemistry between them: a high-voltage guitar and a true torch singer in sensual boiling.
Now it is in a series of songs that clung to the history of cinema, an art that says so much to both artists, that the guitarist-singer who is also an actor and director and the actress-singer who also directs find the new motto to act together the songs by argument for a sweeping story. Like the great films that we never tire of reviewing and that we know all the lines by heart. And the music is varied and chosen with the most refined attention. From Nino Rota to where the imagination carries them …
This concert was applauded by audiences from four cities, during the Misty Fest: Lisbon, Santarém, Ílhavo and Leiria. Now it is ready to debut in other rooms.
“After living for two years that – for the worst reasons – represented an essential learning process of decisive importance, I am still the same albeit different.
In fact, everything has changed. Especially my work, which is me – there are no borders. Here is the soundtrack of that period in which there is heaven and hell, harshness and passion, Fados of bitter longing, songs of heart and bone, black roses, absence, tears and rebirth.
The musics of Pura Vida (soundtrack) are pure music, pure musical notes completely free of rules because I do not need anymore to belong to any genre or tribe after what I have experienced. I cannot nor do I want to render this banal. I do not think Fado is happy or sad, it is Life, Fate. Only a music with this nobility allows us to uses its most symbolic melodies the way painters use primary colours to express everything their
souls need to say.
That is why I say that this album includes fado musics but it is not an album of Fado.
Pura Vida (soundtrack) is full of gaps, rough edges and sometimes a little “silk, velvet and wool”. The Portuguese guitar is Heaven and the electric guitar Hell.
The feeling of tragedy is conveyed in this work through the electric guitar. It is not a question of being “pop or modern”, on the contrary. I dare to say that there is a cinematographic beauty in Fabrizio Romano’s arrangements. It is not an album to anaesthetise the public. It is an album that seeks the “other”, an echo of that fragility and inability that we have all felt. The mystical Rumi said that the wound is the place through which light enters. In this case you are being asked to hear the difference. The beauty, strength and humility that a “calvario” can offer us . The anxiety of a possible path through the words of Miguel Torga, Tiago Torres da Silva and Vasco Graça Moura, among others.
And finally, the wish to live and sing without being afraid to show your scars.”
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Manhã Florida – The Project
Nancy Vieira is one of the most renowned artists currently exploring the immense musical heritage of Cape Verde which, in the specific case of morna, was recently distinguished by UNESCO as Intangible Heritage of Humanity. And on stage, Nancy is one of the great defenders of this heritage and she is used to presenting it all over the world: “I have known morna since I was 6 or 7 years old”, she tells us. “I’ve always sung the classics. And so, on the eve of a concert, I can remember an old theme that then in the show I challenge my musicians to interpret with me.”
On stage, Nancy likes to be backed up by her usual musicians, but she also likes to have guests, sometimes even unexpected surprises: “I like to have with me not only voices that I really like and have worked with over the years, but also some musicians that I admire. I always like to have surprises at concerts”, admits the Cape Verdean artist. Her music, which speaks of voyages and of the sea, of longing and distance, lives on different balances, something that always gives a special dynamic to her concerts, to which she always brings mornas and funanás, coladeiras and more music that spreads across the ocean and the world. The artist, who lives in Portugal, made her debut in 1995, but first came to the fore in 1999, when she appeared on a compilation entitled Música de Intervenção Cabo-Verdiana (Cape Verdean Intervention Music), singing alongside the legendary Ildo Lobo. She then released the albums Segred (Praça Nova, 2004), Lus (Harmonia Mundi/World Village, 2007), Pássaro Cego (Arthouse, 2009), with Manuel Paulo, or Nô Amá (Lusafrica, 2012). And it was already in 2018 that she presented the much applauded Manhã Florida (once again with Lusafrica label). Currently, Nancy is preparing a new work, adding new songs to a repertoire of excellence.