I’ve fallen for another South American female vocalist. First, there was Luciana Souza (Brazil), who was quickly followed by Claudia Villella (Brazil), Claudia Acuña (Chile), and Sofia Rei (Argentina). Now, also from Argentina, comes Roxana Amed, with a poetic turn of phrase, a seductive warmth, and a remarkable instrument.
Roxana Amed
Ontology (Sony Music | Latin)
A review
Passion, intelligence, technique, artistry—vocalist/songwriter Roxana Amed comes fully equipped, and she takes you by the hand and leads you into the warmth of her voice, and you go oh so willingly. Coming to the United States from her native Argentina in 2013, Amed has been developing a sound from the collision of her Argentinian roots with the jazz and Latin influences she’s encountered in Miami. Ontology successfully merges those influences into an often captivating collection of 14 originals and covers that she and her excellent colleagues—Martin Bejerano (piano), Mark Small (sax), Tim Jago (guitar), Aaron Lebos (guitar), Edward Perez (acoustic bass), Lowell Ringel (acoustic bass), Carlo De Rosa (acoustic and electric bass), Rodolfo Zúñiga (drums), and Ludwig Afonso (drums)—deliver with authority and generosity.
The opener, “Tumbleweed,” casts the first spell, with its ominous dreaminess and its deep blues. Small brought the music, Amed brought the poetry and the desolation that bursts into flame, and the two intertwine their instruments in an otherworldly dance.
Amed describes “Chacarera para la mano izquierda” as a chacarera written by aliens. The aliens are Bejerano and Amed, and they celebrate desire and ecstasy. We get the first taste of Amed’s scatting, which seems to come to her as naturally as breathing, and she and the band fly fearlessly by the seat of their pants. On “Peaceful,” which introduces a sweet dissonance on the word “quiet,” there’s a dusky quality to Amed’s voice that’s reminiscent of Cassandra Wilson, and she uses Wilson’s lyrics in a well-grooved version of “Blue in Green” (credited to Miles Davis, but that’s a Bill Evans tune if I ever heard one). Amed grafts her own lyrics onto Wayne Shorter’s “Virgo.” Mysterious presences haunt “Last Happy Hour,” and in “Milonga por la ausencia,” we get the full range of Amed’s vocal capabilities in a wordless display of virtuosity as she gambols up and down the scale, bringing Luciana Souza’s nimbleness and clarity to mind. On Alberto Ginastera’s burning “Danza del viejo boyero,” she takes it even farther, turning her voice every which way and inside out in a ravishing display of vocal feeling and dexterity. The most powerful track on the album comes also from Ginastera: “Danza de la moza donosa,” which Amed fits with heartbreaking lyrics about abused innocence. Another Bejerano/Amed collaboration, “Amor” offers up an art song about the transformative power of love, with a nice pop rock edge to it, underscored by a stinging electric guitar.
Ontology provides a full-course musical feast, with richly arranged songs and stellar performances, and you may want to take a short break between courses to aid digestion. However you come to it, be prepared to leave it different and, possibly, improved.
Coda: The album is available online only, via this link. Also, you can find the lyrics in both English and Spanish on her website.
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© 2021 Mel Minter