Monte first rose to acclaim in 1. Brazil. It was her subsequent studio albums, however, Mais (1. ![]() Verde, Anil, Amarelo, Cor de Rosa e Carv. For these albums, Monte formed creative partnerships with Arto Lindsay, Arnaldo Antunes, Nando Reis, and Carlinhos Brown, each of whom would work with her for years to come. Moreover, a 1. 99. Barulhinho Bom, showcased her charismatic command of a concert stage. In 2. 00. 0 she released Mem. Two years later she released Tribalistas (2. Antunes and Brown, on Phonomotor, and enjoyed yet more success. The supergroup recording sold well over a million copies, spun off chart- topping singles, found success in Europe, and was critically beloved all the same. Following such dizzy heights of success, Monte receded from the limelight, becoming a mother and focusing on more challenging music. ![]() Even if her popularity waned a bit with age, her credentials among critics only grew, especially internationally. While Monte generally is classified as an MPB artist, her music is fluid and ever- changing, to the point where such labels seem futile. Rather, it's her voice that is her calling card. Marisa Monte - Verde, Anil, Amarelo, Cor de Rosa e. Amarelo, Cor de Rosa e Carv. 1994: Genre: Soul: Play time: 00:53:05: Format / Bitrate. Memorias, Cronicas E Declaracoes De Amor '2000. Famosos fizeram quest. Documento elaborado na Confer ED/90/CONF/205/1 Declara Download FLAC Marisa Monte - Rose And Charcoal 1994 lossless CD, MP3, M4A. Rose And Charcoal – download lossless. Memorias, Cronicas E Declaracoes De Amor '2000. Marisa Monte is known best for her exquisite. Memorias Cronicas E Declaracoes De Amor. At age 1. 4, Marisa took the entrance exam for the National Music School; she wanted to become an opera singer. She studied lyric singing, and at age 1. Rome, where she hoped to further her studies and make contacts in the opera world. It wasn't long, however, before Monte returned to Brazil, now harboring hopes of becoming a pop singer. While living in Italy, she'd befriended Nelson Motta, a journalist of some renown, among other capacities, whose sister was a friend of Marisa's mother; associated with the likes of Elis Regina and Joyce, he had played a role in Brazil's popular music scene of the late '6. Back in Brazil, Monte reunited with Motta, who returned in March 1. Monte had lined up a producer, Lula Buarque de Hollanda, and looked to Motta for help with compiling a repertoire, since he was so knowledgeable about popular music. Motta gladly complied. The performance was titled Veludo Azul (presumably named after David Lynch's film Blue Velvet ) and debuted at Rio's Jazzmania. These performances, which showcased her singing an eclectic array of songs, past and present, were well received critically, and a buzz began to grow, to the point where Monte was selling out shows regularly. These early theater performances were captured for a TV special and album, MM (aka Ao Vivo), 1. The TV special was directed by Walter Salles, who himself would go on to much success, directing films including Central Station (1. The Motorcycle Diaries (2. City of God (2. 00. The House of Sand (2. Motta produced the accompanying album, released in January 1. EMI; it showcases Monte performing the same range of songs that had made her show such a crossover hit in the first place: . Then her follow- up album, Mais (1. Recorded in New York City with Arto Lindsay in the producer's seat, Mais reflected Monte's own personal style. She co- wrote many of the songs herself and recruited the aforementioned Tit. Plus, Monte added a few covers, including songs by Caetano Veloso (. Thanks to the involvement of Lindsay, Antunes, and Reis, not to mention musical contributions from Ryuichi Sakamoto, Bernie Worrell, Nan. In the wake of the album's success, as well as that of the national tour, Monte traveled to the United States and Europe to drum up the attention of critics. She debuted internationally in New York City at the Knitting Factory, where she was greeted warmly, a bellwether of the critical adoration that would accompany her efforts in the years that followed. For her second studio album, Verde, Anil, Amarelo, Cor de Rosa e Carv. Part of the album was recorded in Rio, however, as Monte assumed a co- production role and continued to assert more control over her music. Antunes and Reis also returned, contributing a few songs (. Most notable, however, was a new partnership fostered by Monte, one with Carlinhos Brown, who was at that time the leader of the group Timbalada. Brown contributed a pair of songs, . Numerous musicians contributed to the album, among them Gilberto Gil, Laurie Anderson, and Celso Fonseca. Moreover, Brown sang and performed on his songs. Like Mais before it, Verde, Anil, Amarelo, Cor de Rosa e Carv. Monte toured in support, more extensively than before, and some live recordings from the tour were released as part of a double album, Barulhinho Bom (1. The other part of the album is comprised of studio recordings, three of which are songs written by Brown. Barulhinho Bom was repackaged for stateside release as A Great Noise (1. A full- length video was issued as well, later reissued on DVD. Before Monte recorded her next album, Mem. Among the contributions she made to the work of others, she performed alongside Antunes on some of his songs, as compiled on Focus: O Essencial de Arnaldo Antunes (1. Brown's second solo album, Omelete Man (1. Monte also negotiated her own vanity label, Phonomotor Records, on which she would release albums by Argemiro Patroc. The album features many of the same collaborators as before, namely Lindsay, Brown, and Antunes, with a few covers thrown in. Far and away her most commercially successful album to date, if not her most revered, Mem. Monte's supporting tour was sweeping, accounting for 1. Rio at the ATL Hall in June 2. DVD later that year. The following year, Monte released Tribalistas (2. Phonomotor; the album's success would top even that of Mem. Comprised of songs written by Monte, Antunes, and Brown in tandem off and on over the previous couple years, Tribalistas was billed as a group effort, that is, Os Tribalistas, and its supergroup qualities made its release an event. The album was a chart- topper in Brazil and sold well in Europe as well, particularly Portugal, Italy, and France. In addition, a making- of DVD was issued in 2. Tribalistas earned five Latin Grammy nominations, including Record of the Year (. Universo ao Meu Redor (2. Infinito Particular (2. Seu Jorge and Adriana Calcanhotto. Both albums are subdued in their tone and feature a laundry list of instrumentation: Monte alone plays acoustic guitar, bass guitar, autoharp, ukulele, viola, xylophone, melodica, kalimba, metaphone, cajon, vocoder, and baixo, not to mention cymbals, bells, shakers, and various sound effects. Some listeners complained that the albums were too understated; however, critics responded well, as did most existing fans, in addition to a legion of new ones who learned about the albums via their myriad write- ups and Monte's international touring, which stretched on into 2. The albums spun off a few singles - - .
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