Notable reviews and quotes"Their latest album, “Love
Songs of the Americas”, is an incredibly moving collection of
songs and accompanying musical depth which I found should be a
candidate for recognition and, hopefully, an award." "Love Songs of the Americas is
a collection of classic love stories each bathed in the splendor of
Bermejo's voice and Eugene Friesen's cello (and occasional vocals). Tim
Ray connects the dots on piano with Dan Greenspan establishing the
roots on bass. Lyrics are in English and Spanish and always romantic.
The Berklee World Strings add depth on several selections as well. We
turned up the volume and felt as if we had a primo seat at the opera!" "What an absolutely stark contrast… from Bonnie Barnett’s
spoken-word to some of the most beautiful romantic vocal work I’ve
heard in the last 10 years! As I listen to the opener,
“Pasarero“, I’m totally wrapped up in the emotion conveyed, even though
I understand hardly a word…. stunning, indeed! As Mili switches
to English on “To Say Goodbye“, the fantastic cello intro sets you up
for the sadness of farewells. Eugene’s cello & voice, Tim’s
piano and Dan’s bass are also joined by the Berklee World String
Orchestra (under Eugene’s direction, by the way)… & this
combination is a total winner for Mili! I’m impressed & give
Mili and friends a MOST HIGHLY RECOMMENDED for listeners who demand a
daily dose of romantic vocal jazz energy. " "The formidable Argentine singer Mili Bermejo has history and
trajectory, to the point that she has been considered as one of the
pioneers of Panamerican Jazz . Her talents and knowledge have
strategically placed her as a professor at the respected Berklee
College of Music, and this talent is gloriously manifested in the
emotive and elegant Love Songs of The Americas. This recording is shaped by 12 pieces where Bermejo offers us
a ‘reinterpreattion’ of the concept of ‘love’. I should say that I
enjoyed all the songs but I am leaning specially towards “Pasarero”,
“Fuimos” and “Te amare”, three penetrating balladas with good dosage of
nostalgia, with Ray’s solo on “Fuimos”; “Noche”, a piece with a Jazz
arrangement and a flavor of intrigue, and where Greenspan executes a
superb bass solo; the energetic “Gringa Chaqueña” with aromas of tango
and Friesen shining in his cello, and “La luz de un føsforo”, a
powerful and irresistible tango. Bermejo sings also in Portuguese on
“Mais que a paixao” and in English on “I’ve never been in love before”. This is a work that feeds the soul and another success for
Mili Bermejo." "Mili Bermejo was born in Argentina but raised in Mexico, before journeying to Boston to study at the Berklee College of Music in 1980. So it seems logical that she would sing in Portuguese, Spanish, and English. Actually, her CDs have found her singing in English only sporadically, and she is somewhat less effective in that tongue, perhaps in part because the other two languages are innately more elegant, graceful, and sensual. On Love Songs of the Americas, Bermejo only sings "To Say Goodbye" and "I've Never Been in Love Before" in English. Regardless, she always sings with conviction, urgency, and genuine feeling. The 12 selections on Love Songs of the Americas cover the
gamut of the theme of love. The enclosed excerpts in English of the
lyrics reveal a focus on love of the natural world in "Paserero,"
"Noche," and "Gringa Chaqueña," lovers parting in "To Say Goodbye" and
"Te Abracé en la Noche," eternal love in "Te Amaré," spiritual love in
"Pura Belleza," positive love in "Tú," hurtful love in "Fuimos,"
fleeting love in "La Luz de un Fósforo," and the physical love of "Mais
Que a Paixao." Bermejo's vocals are much enhanced on certain tracks by the 10-piece Berklee World Strings, conducted and directed by Eugene Friesen, who also performs brilliantly throughout on cello and as a backup voice. Tim Ray's piano and Dan Greenspan's bass round out the supporting cast. Friesen, Ray, and Greenspan (Bermejo's husband) all prove to be formidable soloists during the course of the CD. Possibly Bermejo would have a wider audience if she sang
primarily in English, but it's unlikely that many would question the
easeful artistry with which she has long interpreted songs originally
written in Portuguese and Spanish. After all, these compositions
reflect her musical, societal, and cultural roots. Love Songs of the
Americas is just the latest worthwhile chapter in her odyssey." "....vocalist Mili Bermejo, long a fixture at Berklee,
beguiled the audience with her sublimely seasoned voice..." "Mili Bermejo continues to offer provocatively powerful vocal
music. You don’t have to know the language—Spanish—to be moved." "...a style that is part poetry-folk, part Sarah Vaughn
sophistication." "In one of her spoken introductions to these 10 songs—four
crafted by Bermejo, the remainder from such masters as Rubén Blades,
Rafael Mendoza and Marcial Alejandro—she says, 'We'll take care of the
earth, and discover its treasures.' Later, she sings what translates as
'Let me be your strength; I'll be your peace when the world hurts us.'
It is those two sentiments that underline this remarkable album [De
Tierra] and define its subtle yet immense power." "Bermejo possesses a burnished, expressive voice... [Casa
Corazón is] an album that truly adds something new and fresh to the
Latin jazz scene." "Mexico and Argentina are in her blood, Boston academia and
progressive jazz are on her resume, and the Latin tinge that is her
second nature is at its most compelling when she's surrounded by a
sizable ensemble of deft, daring players. The singer doesn’t come down
from New England often enough." "The beauty and elegance of the Argentine are thoughtfully and
melodically meshed with the passion of the Mexican song. Very intense
stuff." "Bermejo's passionate vocals provide the drama...unique Latin
jazz." "Mili Bermejo has always been a musical explorer, seeking out
new combinations and new concepts in her multi-hued career." "Listening to Mili Bermejo's voice is like basking
in a warm breeze under the stars without a care in the world. Her
music can literally take you away." "…flat out one of the best singers we've ever had on Mountain
Stage." "The Mili Bermejo/George Schuller Octet brings together the
worlds of jazz, Latin music, classical, and storytelling..." "The sparse arrangements allow the members of the trio to
fully interact and support each other, with pianist Bruce Barth and
double bassist Dan Greenspan consistently evolving with Bermejo, rather
than providing a mere foundation. Equally important, Bermejo's voice
fits ideally with the timbre of the instrumentation and there's a
legitimate sense she's putting her heart into many of the songs." "Mili Bermejo has long been one of the most creative artists
on the Boston scene. Her recent Tiempo de amar/A Time for Love
(Pentagrama) shows her at her best—her warm delivery, her feel for the
popular and folk idioms of all the Americas, her easy shifts between
English and Spanish, her unerring jazz swing. Bermejo has also penned
several touching originals for this elegiac cycle of songs, and working
with just pianist Bruce Barth and bassist Dan Greenspan, she's crafted
perhaps her most direct and intimate work." "Bermejo is not only one of Boston's most talented singers in
any genre, she’s also one of its most musical. Covering material from
Cuba, Mexico, Uraguay, Brazil, and Argentina, Bermejo took the approach
favored by the likes of Astrud Gilberto and Flora Punim one step
further; she not only combined Latin American music with jazz to
showcase the vocals, she made her richly shaded voice a seamless part
of the mix…an uncanny sense of rhythm and tempo to make her luxuriant
phrasing sound emotionally genuine…compelling listening." "A gentle warmth and beauty pervades in Mili Bermejo's throaty
singing and lilting songs that pushes the materials through any and all
language barriers." "Casa Corazón is an unqualified, impossibly beautiful
record! A sheer delight from start to finish." "… El contrabajo se extiende hasta los últimos rincones para
cubrir y descubrir, para improvisar sobre la luminosa voz de su
compañera, encima de ella, en un acto de fé y erotismo que no pretende
ser metáfora, sino algo tan real como sus sonidos y sus silencios. El
otrora ‘canto nuevo’ se ha fundido en los códigos de Jazz…." |