Antonio Zambujo
Outro Sentido
© 2007 Ocarina (5600315820246)
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“This third release is bound to propel him further into the international limelight that his talents deserve.” -Daniel Brown - Mondomix (France) – Nov.2007
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António Zambujo was born in Beja, Alentejo (South of Portugal) in 1975. He grew up listening to the traditional male chant called ‘Cante Alentejano’ that became one of his strongest influences.
Around the age of 8, Zambujo started studying clarinet but soon he fell in love with Fado when listening to Amália Rodrigues, Alfredo Marceneiro, Maria Teresa de Noronha and João Ferreira Rosa. And it was singing, when he was 16 years old, that he won a regional Fado contest.
His professional career started when Mário Pacheco, the renowned Portuguese guitarist and composer, invited him to sing in his Clube de Fado, in Lisbon. Not for a long time though… After an audition, António was chosen to take the role of Francisco da Cruz, Amalia’s first husband, in the blockbuster Musical ‘Amália’. He performed continuously during 4 years in Lisbon and after that he toured all around Portugal achieving enormous success. ‘It was a unique experience that taught me the stage «feeling» plus the strict working discipline of a theatre company’.
In 2002 his first record ‘O mesmo Fado’ was released. Though you can find in it, as in all Zambujo’s records, some influences of ´Cante Alentejano’, the record achieved great recognition in the “Fado world’. Several songs were chosen to be part of major Fado anthologies and António Zambujo won the prestigious ‘Radio Nova FM’ prize for the ‘Best new Fado voice’ that was previously addressed to Mariza, Camané and Mafalda Arnauth.
The 2004’s ‘Por meu cante’ gave us some clues about Zambujo’s future artistic path. His homeland influences were clearer, the merge between ‘Cante Alentejano’ and Fado was always present and, though it happened to be somehow controversial, no impeachment was called. António Zambujo won the Amália Rodrigues Foundation’s prize for the Best Fado Male Singer.
2007 is a significant year in Zambujo’s career. His third record ‘Outro sentido’ is a statement from a mature artist that has found his own particular way. Also the remarkable Lisbon’s festival closing concert and the duet with Luís Represas, a top pop singer, have shown that Zambujo and his music are really difficult to label.
OUTRO SENTIDO
Press release
After ‘O mesmo Fado’ and ‘Por meu cante’, António Zambujo presents his third record, ‘Outro Sentido’.
And what does it mean ‘Outro Sentido’? ‘Another felt one’ is a possible translation but ‘Other sense’ or ‘Other direction’ would possibly fit better into the concept of this record, where he shows us his influences beyond Fado: the Portuguese Traditional Music, Brazilian Popular Music and even his keen on Jazz, particularly on Chet Baker. ‘I have included some of the songs mainly because - though I love the way they were sung before by other singers - I wanted to give my personal point of view on them’ says Zambujo ‘ My wish was to recreate and to update them’.
To build this up António Zambujo chose his all time record producer / bass player Ricardo Cruz and the guitarist Carlos Manuel Proença to make the arrangements.
According to the record producer, the songs grew out of the voice/acoustic guitar relationship. ‘After that ground was established, I have tried to input some chaos into the system using instruments that one cannot often find in the Fado universe such as the cello, electric guitar and French horn’ , says Ricardo Cruz.
Daniela de Brito, Mário Delgado and Paulo Guerreiro were invited for those particular roles. You will also find José Manuel Neto and Paulo Parreira playing the unique Portuguese guitar and the outstanding Bulgarian Voices, the Angelite Choir, on a total a capella theme.
In this 13-songs-record, you will uncover some Fado classics like ‘Amor de Mel, Amor de Fel’, an Amália Rodrigues’ lyric and one of the favourites of Zambujo, or ‘Fado Menor’, one of the oldest known Fados. His passion for Max (a Fado Crooner from the sixties), that was also present in Zambujo’s previous record, appears in ‘Nem às paredes confesso’. If in ‘Fadista Louco’, ‘Foi Deus’ and ‘Eu já não sei’ he deliberately walks away from the traditional path, in ‘A nossa contradição’ António Zambujo shows us how he still masters the pure Fado tradition.
‘Quando tu passas por mim’ and ‘Lábios que beijei’, two major pieces from the Brazilian songbook, were adapted to the Portuguese rhythmic approach. Both are played like Fados and Zambujo sings them with Portuguese accent – if not an original deed, it certainly is an uncommon one.
Is this another sense / direction to Fado? It is played by Fado Musicians and António Zambujo is definitely one of the top Fado singers in Portugal.
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Outro Sentido
author: Jane VandeventerAntonio Zambujo is a joy to listen to! I recommend all three of his marvelous CDs.