Gabriela Anders got her big break singing a duet with soft jazz giant Michael Franks, and like that new age patriarch, Anders wraps laid-back vocals around even more tranquil rhythms. It's all very calming and proficient and breezy. Wanting, her debut album, mixes bits of her Argentine heritage with late-'70s California jazz, so Brazilian music coasts along with soft and hazy saxophone fills and tapping percussion leads. It all can be very pretty, as the opening "Fire of Love" represents Anders at her most relaxed and relaxing.
Bossa Nova is often thought of as a dying genre. Like bebop, some see it as a past stage of evolution. Anders successfully challenges this with her debut album on some classic Jobim tunes among others. While the first Bossa recordings in the 60s gave a sense of innocence with non-virtuoso vocalists such as Jobim and Gilberto, Anders gives the genre a new sensual side that fits in well as an evolution of the genre as a whole. She remains faithful to the melodies, and her prominent vocals are able to be heard through the modern arrangement with a much more uptempo rhythm.
Argentinian-born singer Gabriela Anders' music is exotic and sultry, with the funky infusion of a sensual, tropical beat. Gabriela Anders continues a journey of musical excellence and introspection with her new release, "Eclectica", a collection of Brazilian, R&B and jazz- influenced songs, now including two additional tracks, "Far away" and "Love so right". "Eclectica": a sultry, exotic sound with irresistible grooves, punctuated by intensely soulful vocals. Anders' voice seduces, and her impassioned ideas and desires are enthralling.
The nearly uninterrupted string of strong, successful albums produced by cellist Gautier Capuçon (and indeed his violinist brother, Renaud) demonstrates that the CD debut Face à Face was not just a fluke produced by child prodigies. Rather, Face à Face was a springboard for what has proven to be an enduring career and ever-improving musicianship. On this latest album without his brother, Gautier collaborates with pianist Gabriela Montero on the cello sonatas of Rachmaninov and Prokofiev. Fans of Capuçon's playing will recall that he had previously released a recording of the Rachmaninov sonata with pianist Lilya Zilberstein on the EMI label in 2003. While it may seem questionable to make duplicate recordings when he has recorded so little of the cello repertoire, it offers listeners an opportunity to see how his playing continues to mature even over a short span of five years. While some of the tempos are a little different than the 2003 recording, the most notable difference is that of sound, which has developed impressively with the help of his magnificent 1701 Gofriller cello. His command of sound is most obvious in the solo opening of the Prokofiev sonata.