Badi Assad Albums (7)
What The Critics Say
One of the most versatile and artistically daring singers and musicians to emerge from Brazil in recent decades, Badi Assad has always kept her admirers on their toes, never giving them a hint of what to expect next. Wonderland, its title inspired by Lewis Carroll's legendary Alice In Wonderland, is no different in that respect: it's full of surprises, both in its luxuriant, floral arrangements and production and its singular conceptual focus on songs that ask why so much in our world has gone just plain wrong, when it would be so simple to flip it over and make it all right. To get her point across, Assad has chosen a number of cover songs taking on uneasy subjects ranging from violence to prejudice to the sometimes futile search for an identity that wears well, among them Eurythmics' "Sweet Dreams," Tori Amos' "Black Dove," Vangelis' "One More Kiss, Dear," Asian Dub Foundation's "1000 Mirrors," and pieces by fellow Brazilians such as Lenine, Antonio Carlos Jobim, and others. Assad also contributed material, and in choosing cellist Jacques Morelenbaum, one of the country's most visionary record-makers of the day, to produce, she ensured that her ideas would be taken to fruition with a maximum of creative juices flowing on all sides. Morelenbaum and Assad work closely together to complement the singer's alternately graceful and robust, ever sensual, remarkably flexible jazz-like phrasing with equally bright, sonically rich accompaniments. Bringing in a number of different arrangers, a roomful of both traditional (Brazilian and non-Brazilian) and uncommon instruments (earthenware pitcher, anyone? How about coconuts?), and a couple of guests (Seu Jorge sings on Zé Roberto's "Vacilao"), Badi Assad -- who sings in both Portuguese and English here -- has succeeded in making a poignant statement without resorting to proselytizing. Although it's stacked with layers of sometimes harsh realities, Wonderland is ultimately, in purely musical terms, a hopeful, sunny, simply wonderful record. ~ Jeff Tamarkin, All Music Guide
What The Critics Say
Badi Assad (bah-JEE ah-SAHJ) is very chameleon-like in her protean, changing character. On the fun, energetic opener "Rhythms of the World" Assad gives us worldbeat, acoustic guitar pieces with jazzy, almost scat-like vocals. Things are peaceful and serene for the instrumental (acoustic guitar, flute and percussion) "Butterfly." Lee Ritenour appears on guitar synthesizer for "Waves," while Assad, the multi-instrumentalist, syncopates a guitar pattern with her right hand and simultaneously performs a marimba solo with her left hand. For this piece, Assad provides breathy vocalizations and Portuguese vocals that recall Astrud Gilberto and some light bossa nova. The simple arrangements of guitar and vocals on her own "Ai Que Saudade d'Oce" and "Naked" are the most moving pieces here. Her delicate, expressive vocals and flamenco-tinged, acoustic guitar phrases are simply beautiful. Assad is sibling to the world music acoustic guitar pair Duo Assad. A fascinating showcase for her extraordinary ability is the rendition of George Harrison's "While My Guitar Gently Weeps." Finding new sadness and beauty in the piece, she performs an arrangement that includes bass and exotic percussion, including subtle chimes. Her elegant, lilting lyric and exquisite guitar work make for a truly winning combination on this peerless Brazilian album. [A Japanese version of Chameleon adds a bonus track.] ~ Thomas Schulte, All Music Guide
What The Critics Say
Entirely instrumental, Echoes of Brazil finds Badi Assad making the acoustic guitar her sole focus and paying tribute to some of Brazil's many heroes of the instrument. This splendid CD may not be the last word on Brazilian guitarists (who have played a crucial role in samba, choro, bossa nova, tropicalismo and Brazilian classical), but Assad does a fine job of reminding us what some of them contributed. It would have been impossible to tell the entire story on a single CD, and she makes no pretense of her tribute being all-inclusive. Assad, whose only accompaniment is acoustic bassist David Finck, salutes everyone from Garoto and Laurindo Almeida to Egberto Gismonti, Baden Powell and Luiz Bonfá. Much to her credit, she doesn't become a slavish imitator of any of them, and consistently demonstrates that she is a distinctive and impressive representative of the guitar herself. ~ Alex Henderson, All Music Guide
What The Critics Say
While Badi Assad isn't a jazz singer per se, the singer/acoustic guitarist clearly thrives on improvisation and spontaneity. This is no doubt one of the main reasons she ended up on the jazz-oriented Chesky Records. When Rhythms was recorded at St. Peter's Episcopal Church in New York, Chesky treated the project much as it would treat a jazz recording -- the tape was rolling, and Assad was encouraged to simply let loose and blow. No overdubbing took place, and this very honest and straightforward approach makes for a riveting listen on songs by Chico César, Marco Pereira and other Brazilian composers. Although the vast majority of her influences are Brazilian, Assad's Lebanese heritage is a definite advantage on the magnificent and varied Rhythms. ~ Alex Henderson, All Music Guide
What The Critics Say
This young, dazzlingly virtuosic Brazilian guitarist performs entirely solo on this album, even though sometimes she seems to be doing the work of three or more musicians simultaneously. Borrowing sonic ideas from the innovative Brazilian group Uakti, she simulates various percussion instruments and sings and scats in clear, vibrant Portuguese while playing rapid-fire, technically impeccable acoustic guitar. On several tracks she also chooses only to play guitar, in a rhythmically complex or a delicate manner. The material she plays ranges all over her nation's spectrum, including the music of her brother Sergio (half of the famous Assad classical guitar duo), Edu Lobo, Chico Buarque de Hollanda, Heitor Villa-Lobos, and Egberto Gismonti, as well as non-Brazilian Ralph Towner. The combination of classical technique, a Brazilian jazz sensibility, and the unique touches of percussion and voice is exquisitely captured by Chesky's audiophile equipment. ~ Richard S. Ginell, All Music Guide
