Skip to main content

Pianist Julio Resende and Fado Jazz explores revolution and free expression

Music maintains its ability to connect people and performers across genres and the latest album from pianist and composer Júlio Resende - Sons of Revolution - really brings to life the concept of Fado Jazz.


Fado music is fundamental to the Portugese culture and this melding with jazz brings a beautiful, lyrical quality in this very free musical expression.

Sons of Revolution is dedicated to the Carnation Revolution of 1974, which brought freedom to Portuguese People and shaped their culture and society as it is today. A little-known part of European history, this event brought about democracy with the peaceful overthrow of dictator Salazar and marked the end of colonial wars in Mozambique and Angola.


"Without the revolution, I wouldn't even exist," says Júlio Resende. "My father is from Angola, he emigrated to Portugal after the revolution, and met my mother. The freedom to express myself is one of the dearest things to me, and jazz is the music that enables that the most – without any borders or restrictions."


Resende brings together Alexandre Frazão (bass), André Rosinha (drums), and Bruno Chaveiro (guitarra portuguesa) as well as a guest appearance from 2017 Eurovision winner Salvador Sobral on the ballad A Casa Dela / Her House.


Albums with a concept behind them can lose sight of the musicality, but this is absolutely not the case with Resende’s blend of Fado and jazz in Sons of Revolution. These 11 tracks are gorgeous, folk-like tunes that take the free musical expression for which both Resende and ACT records have become synonymous.


Labels:

Comments

Post a Comment

Popular posts from this blog

Big Wade - 'Piano Man' out now

Big Wade and Black Swan Theory collectively blends funk, soul, jazz and everything that fills the cracks between those genres: his new album -  Piano Man - on all major streaming platforms ahead of the Piano Man Tour 2024 , which has dates across the US. Piano Man  brings a selection of original and covers, including a stunning version of Autumn Leaves , which reinvents the song as the funky, electronic Autumn . Big Wade's voice takes the song's melody and improvises around and around, with backing vocals and a deliberately sparse arrangement underpinning the song. Similarly, on Children of the Ghetto , the lead and backing vocals blend in with the soulful musicians of Black Swan Theory. Electronics are used with dexterity, often expanding the vocal lines, as in the ethereal and ghostly opening of Don't Let Me Go . However, the tools never dominate - simply adding depth and layers to the funk. Never more than when Big Wade enters a new world in Interludes , including vocals...
Post a Comment
Read more

Playtime: 'Morse Code Through The Lights'

Every once in a while, an album drops into your inbox and isn't going anywhere. Morse Code Through The Lights is just such an album. Incontrovertibly controversial, this won't be everyone's cup of tea, but this one has absolutely, instantly, made it onto my list of top albums of 2024. Drummer Tom Bancroft and his band Playtime, which began in Edinburgh as Adventures in New Music ten years ago as a weekly session, have produced something delightfully experimental and brilliantly creative. Four of Scotland's most-established jazz musicians - Martin Kershaw (sax), Graeme Stephen (guitar), Mario Caribe (bass) and Tom Bancroft (drums) - tried out new music and new ideas together. Once lockdown struck in 2020, they decided to explore the possibilities of improvising music together online, partly for something to do, and partly because it was something they could do for their audience. Most of us discovered - or thought we had - that improvising online was difficult or impossi...
Post a Comment
Read more

36 years ago today, my alto sax was stolen

Actually, it wasn't so much stolen as taken in error.    But at the time, we thought it had been removed from backstage at Amsterdam's De Meervaart venue, where I was on stage with The Style Council.     Luckily, the gig was being broadcast on radio and the support act were listening as they drove away. They soon realised the mistake and returned my sax and all was well.     It was the last gig of a great tour - Paul Weller's first European shows since breaking up The Jam.     Another benefit of the radio broadcast is the recording that exists of that show. A good friend of mine - Iain Munn, author of the definitive history of The Style Council, Mr Cool's Dream - gave me a copy several years ago.     Still a good story, after all these years.
Post a Comment
Read more