In review--Morna Posthumous
Mãe Carinhosa
Lusafrica
(Reviews of artists who
passed away are the hardest to write, especially posthumous recording
reviews. I want every word to count and
every word to honor the performer. I put
so much pressure on myself that I end up procrastinating instead of writing the
review. Not only that, but it’s hard to
write anything objective when music journalists and researchers are also fans
of the musicians we review and we’re only human).
After the Cape Verdean vocalist Cesaria Evora died in 2011,
her producer Jose da Silva felt reluctant to release a posthumous album, but
according to the press notes that accompanied my media copy of Mãe Carinhosa, he was moved by tribute
albums produced by other artists and he wondered what to do with unreleased
tracks from Evora’s previous albums. I
think that Evora’s fans and colleagues will embrace this posthumous CD which
possesses Evora’s warm and effervescent spirit.
It’s almost like she never left us and her voice lingers a bit longer
among the living.
Many people love Evora because she represents the common
person who through hard work and a fortunate turn of events, ended up as a
world music superstar. Other people love
Evora because of her signature vocals that when combined with the lively
rhythms of Cape Verde, accordion, violins, and guitar causes happiness to stir
even in a depressed person’s heart.
Known for singing morna, Cape Verde’s answer to the blues, Evora's voice cures the blues.
And even the posthumous Mãe
Carinhosa radiates a joyful vibration that will have more people dancing
than crying. I wonder if posthumous
albums bring the artist immortality or just leave us with the impression of “I
was here”or in this case, "she was here."
The opener Sentimento
is an alternative track to the titular song of Evora’s last studio album (or
the last of her albums I reviewed). The
title track of this CD sounds equally lively.
Whereas, Dor Di Sodade moves
at a slower moody pace and while Evora sings with longing, it’s still not as
aching as American blues, Portuguese fado or Spanish flamenco. Of course, having an English translation of
the lyrics could change my mind and my mood.
And even if it did, I would bounce back to a joyful place listening to
the danceable Quem Tem Odio or Cmê Catchôrr. However, the album ends on a melancholic tone
with Nôs Cabo Verde which we could
dedicate to Cesaria Evora, the Barefoot Diva of Cape Verde. We still miss her even if we enjoy one last
musical glimpse with this fabulous collection of songs.
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