Per Amore

構成数 : 1枚
合計収録時間 : 00:51:12
Personnel: Gennaro Petrone, Graham Preskett (bandolim); Skaila Kanga (harp); Mark Berrow, David Woodcock, Maciej Rakowski, Rolf Wilson, Pauline Lowbury, Wilfred Gibson, Iain King, Howard Ball, Peter Manning, Jonathan Strange, Stephen Hague, Roger Garland, Patrick Kiernan, David Ogden, Johnathan Rees (violin); Katie Wilkinson Khoroshunin, Norris Bosworth, Robert Smissen, George Robertson , Ivo Jan van der Werff, Marizio Fiordiliso, Stephen Tees, Marco Pereira, Brian Hawkins, Andrew Parker (viola); Roger Smith , Caroline Dearnley, David Daniels , John Heley, Paul Kegg, Martin Loveday, Anthony Pleeth (cello); Jonathan Snowden (flute); Eddie Hession (accordion); Robert Hill , Nicholas Bucknail (clarinet); Richard Morgan (oboe); Hugh Seenan, Frank Lloyd (trumpet); Adriano Pennino (piano, keyboards, programming); Joao Carlos, Jether Garotti (piano); Mike Brittain (double bass); Michael Baird (drums); Frank Ricotti (percussion). Audio Mixer: Marcelo Saboia. Recording information: Air Lyndhurst Studios, Londres; Blue Studio, Rio De Janeiro, Brazil; Estudio MOSH, Sao Paulo, Brazil; Studio Splash, Napoles. Directors: Zizi Possi; Graham Preskett. Photographer: Ronaldo Aguiar. Unknown Contributor Roles: Geraldo Alves Pinto; Rino Zurzolo; Reggie Hamilton. Arrangers: Dori Caymmi ; Tonia Davall; Adriano Pennino; Graham Preskett. The singer Zizi Possi lent her sensitive voice to innocuous pop hits in the '80s, but in 1991 she took a radical turn in her career after the acoustic Sobre Todas as Coisas. Since then, she has pursued a sincere trajectory in the best MPB tradition. This album, erroneously taken as a diversion maneuver in relation to Brazilian music, is a sensitive (if somewhat exaggerated) rendition of Neapolitan songs in a very Brazilian execution which in nothing detracts from MPB -- an umbrella designation that has allowed the industry to label even rock music with English lyrics (Gal Costa, Vimana, etc). Even the style of her over-interpretation, reminiscent of Bel Canto (in spite of her being a self-taught, and to some extent, limited singer), was heavily applauded in Brazil until bossa nova. By the way, "Senza Fine" is interpreted in bossa rhythm. The album, a tribute to her Italian parents, is dedicated to older classics but also features the 1970 song "Ho Capito Que Ti Amo." The excesses here are the programmed computers in "Scapricciatiello Mio" (Albano/Vento) and "Torero" (Carosone/Hoffman/Manning/Salerno). ~ Alvaro Neder
録音 : ステレオ (Studio)