01. Povo que Lavas no Rio (Pedro Homem de Mello/Joaquim Campos)
02. Solidao (Brito/Trindade/Ferreira)					play
03. Estranha Forma de Vida (Amalia Rodrigues/Alfredo Duarte "Marceneiro")
04. Libertacao (David Mourao-Ferreira/Santos Moreira)
05. Cansaco (Fado Tango) (Luis Macedo/Joaquim Campos)
06. Rua do Capelao (Frederico de Freitas/Joao Alves Coelho)
07. Ai Mouraria (Amadeu do Vale/Frederico Valerio)
08. Nao e Desgraca ser Pobre (Norberto Araujo/Jose Alfredo Santos Moreira)
09. Coimbra (Jose Galhardo/Raul Ferrao)					play
10. Lisboa Antiga (Jose Galhardo/Raul Portela)
11. Ha Festa na Mouraria (Antonio Amargo/Alfredo Duarte "Marceneiro")
12. Maldicao (Armando Vieira Pinto/Alfredo Duarte "Marceneiro")

Personnel:
Amalia Rodrigues – Vocal
Don Byas – Sax
Jose Fontes Rocha – Guitar
Carlos Gonsalves – Guitar
Pedro Leal – Viola
Joel Pina – Bass viola

An excellent intersection between fado and jazz. The greatest fadista of the century meets US jazz sax player Don Byas. The meeting took place at 1968 in Lisbon but the LP didn't appear but after 5 years, at 1973. The reason? Biding fado to jazz might seem pretentious and confusing to the public. So that was the first and last trial. It is this fact that makes this album a "samplo uniquo".

This 1968 recording o'f some of Amália's best known songs is somewhat different from her usual records, allthough from the beginning of her career she accustomed us to innovate, above all else in the seemingly restricted area of fado. In fact, she was the first to sing classical portuguese fado songs accompanied by an orchestra (thus introducing the so-called fado-canção-fado-song), and later would innovate by singing folklore also accompanied by an orchestra, which she took, among other countries, to The USA in 1966 and 1968, at the Lincoln Center and the Hollywood Bowl. She would later innovate even more, singing more extensive melodies, different kinds of poems, and different arrangements from the classical portuguese fado accompaniments.

Thus this "Encontro" record was born when American saxophonist Don Byas came to Portugal to play at Lisbon's Jazz Festival, and since several connoisseurs felt there were similarities between jazz and the art of Amália and even Fado, it was arranged for them both to record together. So, Don Byas, so the story goes, listened to some of her songs, and they recorded them. Though, critically the result wasn't as expected, (the saxophone, as it was recorded, doesn't seem to add much to the usual arrangements), Amália's voice was supreme, going from her more famous songs (Povo Que Lavas No Rio, Solidão, Maldição, Ai Mouraria, Estranha Forma de Vida-Strange Way of Life-the latter written by herself-to the more joyous Coimbra-April In Portugal- and Lisboa Antiga).

The record was only released in 1973, because Amália was convinced critics would not like the mingling of fado and jazz, but she was persuaded, as she herself said, to let it be distributed. Strangely, this recording comes through as a sort of lullaby from beginning to end, with Amália's rendition of her songs among some of the best (un unforgettable Povo..., Estranha Forma...Cansaço, Ai Mouraria and Maldição). It was a once in a lifetime recording and a once in a lifetime unforgettable record! --- Fernando Forte

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CD 1
1. Triste Sina                      play
2. Ceu Da Minha Rua
3. O Namorico Da Rita
4. Conta Errada
5. Fadista Louco
6. As Rosas Do Meu Caminho
7. Fado Marujo
8. Fado Das Tamanquinhas
9. Fado Da Adica
10. Raizes
11. Bailaricos
12. Fado Alfacinha                  play
13. Job
14. Anjo Inutil
15. Quando Os Outros Te Batem, Beijo-Te Eu
16. Fado Final

CD 2
1. Esquina Do Pecado
2. A Chave Da Minha Porta
3. Tentacao
4. Sem Razão
5. Fria Claridade
6. Campinos Do Ribatejo
7. La Porque Tens Cinco Pedras
8. Ave Maria Fadista
9. A Minha Cancao E Saudade
10. Disse Mal De Ti
11. Fado Amalia                     play
12. Fado Do Ciume
13. Cansaco
14. Que Deus Me Perdoe
15. Aquela Rua
16. Fado Lisboeta                    play

Fado (Portuguese:destiny, fate) is a music genre which can be traced from the 1820s in Portugal, but probably with much earlier origins. In popular belief, fado is a form of music characterized by mournful tunes and lyrics, often about the sea or the life of the poor. However, in reality fado is simply a form of song which can be about anything, but must follow a certain structure. Fado is indescribably sad, full of "saudade," that elusive Portuguese concept rich in memory, longing and the feeling that the past will always keep some essential part of us. Some of that feeling is captured in North American country music, especially the work of Hank Snow; some folk tunes, notably the music of Tom Rush, also embody saudade. But Rodrigues' work is in a class by itself. She communicates a sadness, a longing that fills her soul as she sings fado numbers like "Coimbra." The Portuguese guitar -- sometimes accompanied by zither -- adds to the melancholy. It's lovely music that can stir an amazing mix of emotions, and even if you don't speak a work of Portuguese, with Rodrigues' crystal clear interpretations, you'll get the point.

Fado (oznacza los, przeznaczenie) – gatunek muzyczny powstały w XIX wieku w biednych dzielnicach portowych miast Portugalii, głównie w lizbońskich kwartałach Alfama i Mouraria. Fado to melancholijna pieśń, wykonywana przez jednego wokalistę przy akompaniamencie dwóch gitar. Nazywane jest czasami portugalskim bluesem.

Amália da Piedade Rodrigues (ur. 1 lipca (?) 1920, Lizbona – zm. 6 października 1999, Lizbona), portugalska śpiewaczka fado, powszechnie uważana za najwybitniejszą reprezentantkę tego gatunku. Dała się poznać na całym świecie, jako Królowa fado i ze względu na rangę przypisywaną temu gatunkowi muzyki w kulturze portugalskiej, została uznana przez wielu za ambasadora Portugalii. Wielokrotnie występowała za granicą. Do najważniejszych jej kocertów zalicza się występy w Paryżu, Londynie i Rzymie. Równie ważny był dla jej popularności na świecie udział w 1950 roku w koncertach związanych z planem Marshalla, gdzie z każdego kraju będącego jego beneficjentem wystąpił jeden artysta, artystka lub zespół. Chętnie występowała wspólnie ze śpiewakami operowymi (Rzym, Teatro Argentina). Lubiła słuchać muzyki poważnej. Została pochowana na cmentarzu Prazeres w Lizbonie, a następnie jej prochy przeniesiono do Narodowego Panteonu w Lizbonie.Po jej śmierci w Portugalii ogłoszono trzydniową żałobę narodową.W pogrzebie uczestniczyło ponad sto tysięcy osób.

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01. Barco Negro
02. Nao Digas Mal Dele
03. Uma Casa Portuguesa
04. Novo fado da Severa
05. Perseguicao
06. Duas luzes
07. Faz hoje um ano
08. Passei Por Vocк
09. Fado do ciume
10. Sei finalmente
11. As penas
12. A tendinha
13. Fado Amalia

When Amalia Rodrigues died October 6th, 1999 (aged 79) the government of Portugal declared three days of national morning. Political activity in the country's general election campaign came to a halt. The president was the chief mourner at the singer's state funeral. It was a singular expression of national grief and in some ways a peculiar one.

Entertainers, however famous, rarely, if ever, depart in such ceremony. It did not happen to Maria Callas, perhaps the most celebrated opera singer of recent times, when she died in 1977; or to Frank Sinatra, who died in 1998. There was some sadness, certainly; a lot of reminiscences, of course; but life went on largely uninterrupted in Greece and America. The sanctifying of Amalia Rodrigues may say something about the nature of the Portuguese as well as about what the prime minister called “the voice of the country's soul”.

She was known simply as Amalia. The diminution of her name was itself a reflection of her fame (as was Britain's Diana, or Di, whose death in 1997 also briefly interrupted the life of her country). Her style of singing is called fado, the Portuguese word for fate. “I have so much sadness in me,” Amalia said. “I am a pessimist, a nihilist. Everything that fado demands in a singer I have in me.” Amalia's message of fatalism seems to have echoed a mood among her admirers. Portugal is still among the least modern of European countries, though it has been modernising rapidly of late. It expects its economy to grow by about 3% this year, compared with an average of only 1.9% growth for the rest of the euro area. But GDP does not change a country's sentiment overnight. Portugal was the first European country in modern times to carve out a great trading empire. Go almost anywhere in the world and you find traces of Portuguese architecture, language and genes. Generation by generation, the once-rich Portuguese have seen their empire slowly vanish, and not very gracefully. East Timor is still formally Portuguese. “I sing of tragedy,” Amalia said, “of things past.”

Amalia Rodrigues was never sure of her exact birthday. Her grandmother said it was in the cherry season, so she assumed she was born in early summer. Other details of her childhood were also obscure. Some accounts said her father was a shoemaker; others that he was a musician. The story that as a teenager she sold fruit on the docks of Lisbon, capturing the hearts of her customers with her singing, was willingly believed by those who adored her. The adoration was put to the test in 1974 when Portugal emerged from half a century of dictatorship. Amalia's critics said she had benefited from the patronage of the most enduring of Europe's fascist regimes.

“I always sang fado without thinking of politics,” Amalia responded angrily. It was a claim impossible to contradict. Yet fado, with its melancholy fatalism, was an appropriate accompaniment to the thinking of the Portuguese leader, António de Oliveira Salazar. Not for him the ruthless urgency of Hitler. Rather, in his corporate state he wanted to preserve Portugal as a rural and religious society where industrialisation and other modernising influences would be excluded. He kept Portugal out of the second world war. It was too wearisome.

Fado was the music of Portuguese tradition. If it had any foreign ingredients they were from Africa, but these were acceptable: huge areas of Africa had been Portuguese. And here was Amalia, the queen of fado, clad all in black, her throbbing voice accompanied by two guitarists, her head thrown back, her eyes closed. She was the essence of sadness, bearing the memories of two marriages; both unhappy. When Salazar heard “O Grito” (“The Cry”) he allowed himself a tear.

Unsurprisingly, the Portugal that followed the dictatorship wanted cheering up, as well as modernising. The question of whether Amalia had been a supporter of the old regime became irrelevant. Fado itself fell out of fashion. Rock was the music of democracy.

Amalia, however, had built up other audiences abroad. The Brazilians, whose language is Portuguese, flocked to see her dozen or so films. A six-week tour to Rio and other cities had to be expanded to three months. In the United States record collectors said that her songs, with their four-line stanzas, were like the blues, and she did indeed make some recordings with a jazz saxophonist, Don Byas. Italians claimed to see links between fado and opera. The French said Amalia reminded them of Edith Piaf, who sang nostalgically of the tragedies in her life. A fado song given the English title “April in Portugal” became a hit in several countries.

In Portugal fado and Amalia gradually made a comeback. Amalia showed that she was really a democrat at heart by recording “Grandola Vila Morena”, the song that had swept the country when the dictatorship ended. The socialist government presented her with the country's highest decoration, the Order of Santiago. She was giving concerts up to a year ago, and every one was sold out. “The sadder the song, the more the Portuguese like it,” she said. In this new time of change, pessimism was back in fashion. For Amalia, it was the happiest of endings. --- economist.com

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01. Medo
02. Primavera				play
03. As mãos que trago
04. Longe daqui
05. Minha boca não se atreve
06. Amor sem casa			play
07. Verde pino, verde mastro
08. Não é desgraca ser pobre
09. É da torre mais alta
10. Abril
11. Procura
12. Cansaço

A Stunning Collection of Previously Unreleased Material Recorded in the 10-year Period Between 1967 and 1975, 'segredo' Ranks High Among Am»lia's Recording Output. The Album Brings Together a Number of Recordings that for Some Reason Or Other Ended Up Not Being Released at the Time. In Retrospect, One Can Wonder Why These Extraordinary Recordings Never Saw the Light of Day Until 1997, at which Time the Album Shot to #2 in the Sales Charts.

"Segredo" é o último grande álbum de gravações inéditas de Amália Rodrigues, se bem que realizadas 20 a 30 anos antes, quando a sua voz estava no apogeu de sublimidade.

"Segredo" é um disco com doze gravações de estúdio inéditas de Amália no auge absoluto da sua carreira e na plenitude da sua maturidade artística, entre 1965 e 1975. Dito isto, a presente edição não necessitaria certamente de qualquer outra justificação. Mas dito isto, também, surgem desde logo perguntas inevitáveis, a começar, naturalmente, pela mais óbvia de todas elas: de onde vem – e como é possível que só agora, vinte ou trinta anos mais tarde, nos surja – aquele que passa a constituir, em minha opinião, um dos grandes discos de Amália? A resposta está, antes de mais, no verdadeiro ritual que eram, nos anos 60 e 70, as sessões de gravação de Amália nos estúdios de Paço d’Arcos da Valentim de Carvalho, experiência que até hoje ficou marcada na memória de todos os que tiveram o privilégio de nelas estarem presentes e cujas descrições tantas vezes ouvi, fascinado.

A própria Amália explica essas sessões no seu estilo pragmático inconfundível: "havia um ambiente de grande amizade. Eu levava o jantar de casa, com carnes minhas, carapaus meus, havia amigos à volta, comíamos e quando começava a gravar estava completamente à vontade e gravava noite fora". E, de facto, quando as gravações começavam estava já criada uma atmosfera de empatia profunda entre ela e esse seu público de amigos fiéis, para quem começava então a cantar com a mesma entrega com que poderia estar em palco, como se os microfones não fossem senão ouvidos de mais um espectador atento.

Amália, como é bem sabido, sempre foi visceralmente incapaz de cantar duas vezes seguidas da mesma maneira o mesmo fado. Por conseguinte, a noção de take, no sentido hoje corrente, da recolha de sucessivas execuções da cada número, susceptíveis de uma posterior operação de retalho e montagem, às mãos de produtores e engenheiros de som, até se chegar à colagem final de uma versão melhorada era, claro está, não só inexistente como impossível.

De um modo geral, ensaiava pouco (ou muitas vezes nada) antes de passar à gravação, como se não quisesse desperdiçar a energia da sua entrega sempre total e precisasse da tensão do tempo real de fita para se concentrar integralmente. Por isso mesmo, cada execução registada era uma versão absolutamente autónoma, longe de ser programada como uma aproximação progressiva a um resultado racionalmente pré-estabalecido, e muito menos como material bruto para posteriores manipulações de estúdio.

Assim se explica que das muitas sessões de gravação realizadas tenha resultado um repertório muito mais extenso do que aquele que acabou por vir a público nos seus discos, abrangendo tantas versões alternativas dos fados neles editados quer, inclusive, obras experimentadas em estúdio e depois deixadas de fora da escolha final de cada álbum. [...] "Segredo" contém, portanto, um pouco de tudo isto, constituindo de algum modo uma espécie de antologia transversal do repertório típico de Amália da década a que se reporta».

É também pertinente citar um belo texto do pianista Nuno Vieira de Almeida, propositadamente escrito para esta edição: «Na história da interpretação musical do nosso século, o nome de Amália Rodrigues é incontornável. Os fados e canções que canta deixam, graças à força da sua interpretação, de pertencer apenas ao domínio da música popular para se transformarem em testemunhos universais dos nossos sentimentos mais profundos. De todas as intérpretes que conheço, Amália é a única que consegue esta proeza. Analisar o porquê deste facto é difícil, já que o génio não se analisa, e Amália "diz" sempre o que não é possível exprimir senão através da música. Aproveitando o aparecimento deste inadjectivável disco de inéditos, arrisco, mesmo assim, duas ou três pistas. Amália tem, como nenhuma outra, um sentido infalível de "rubato".

O tempo musical para ela nunca é inflexível, e se a sua voz se adianta neste ou naquele momento, de modo a fazer sobressair alguma palavra ou frase musical, tal gesto é imediatamente compensado com um ligeiro "ritardando", de modo a manter orgânico o discurso musical. Conseguir fazer isto sem alterar de forma abrupta o tempo global, sentindo-se apenas o realce pretendido, leva, muitas vezes, a qualquer músico menos dotado, o tempo de uma vida inteira; para Amália, isso é uma evidência. Uma capacidade única de variar as cores da voz, de acordo com o sentido do poema, é outro atributo de Amália. Colorir as palavras de modo a que mesmo quem não perceba a língua em que se canta possa intuir o seu significado, era uma qualidade fundamental e exclusiva dos grandes cantores de "Lied". Amália chama-a a si, com rara felicidade, chegando mesmo ao ponto de se notar uma diferença de aproximação vocal de fado para fado; veja-se, neste disco, a diferença de atitude entre "Minha Boca Não Se Atreve" e "Amor em Casa".

Se atentarmos no modo como Amália "diz" a palavra "cheiinha" ("cheiinha de frio") do fado "Longe Daqui" – qualquer coisa entre a criança desprotegida e mimada – parece-me que fica clara a noção de colorir a voz. A intensidade dramática conferida a todas as interpretações é outra característica importante, e o final do fado "Primavera", quando Amália repete "ninguém fale em Primavera", é suficientemente explícito deste fenomenal talento. Mas acima de tudo há essa voz, essa voz de uma beleza única nos seus arremessos de paixão, ironia, tristeza ou ternura, que parece ter-nos habitado sempre, que nos parece ancestral, tal é a força telúrica que a habita. Essa voz que reúne todas as qualidades, sem nenhum defeito, e que, ao unir-se à personalidade artística de Amália Rodrigues constitui, para mim, a prova irrefutável da existência de Deus».

Oto kolejna oryginalna, zaliczana do najważniejszych płyta Amalii Rodrigues. Najsłynniejsza śpiewaczka fado, właściwie twórczyni gatunku, rozsławiła na świecie nie tylko muzykę wąskich uliczek Lizbony, ale całą Portugalię i jej kulturę.

Wieczorem 11 grudnia 1994 roku w Coliseu dos Recreios Amalia po raz ostatni zaśpiewała publicznie, czego nikt oczywście wtedy nie podejrzewał. Sama Amalia ciągle myślała, że powróci na scenę albo przynajmniej dokona nowych nagrań, ale tak się nie stało. Jednocześnie w 1997 miała szczęście ujrzeć świeżo wydaną swoją płytę prawie z samymi nowościami, płytę, której tak bardzo lubiła słuchać, szczególnie podczas przejażdżek samochodem. Płyta ta jest ważna głównie dlatego, że daje wyobrażenie o dotychczas niepublikowanym materiale, który znajduje się nadal w archiwach wytwórni Valentim de Carvalho i który winien być obowiązkowo udostępniony publiczności. Wśród nowych piosenek spotykamy "Medo", Reinaldo Farii z muzyką Alaina Oulmana, o intensywnym dramatyzmie, z bardzo subtelnym wykorzystaniem słowa medo, które głos zabarwia na tysiące kolorów. "Longe Daqui", autorów Fadinho Serrano, z folklorystycznym brzmieniem, ukazuje inne oblicze pełnego czułości głosu Amalii. Jest to głos zawierający w sobie jakby głębokie omdlenie tęsknoty, w tym rodzaju nowej średniowiecznej "cantiga de amigo", autorstwa O'Neilla i Oulmana - "Verde Pino", "Verde Mastro".

Jest tutaj też utwór Ary dos Santos, niezwykle zachwycający - "E Da Torre Mais Alta", a także dwie kolejne piosenki Alaina Oulmana, z nieznanymi autorami tekstów - dziwaczna "Amor Sem Casa" oraz bardzo niepokojąca "Procura". Wszystkie interpretacje najwyższej jakości, ale te dotyczące utworów już wcześniej nagrywanych odznaczają się niespotykaną wspaniałością - lament w "Abril", bolesny liryzm w "Primavera" czy pogłębione zespolenie z intencją wiersza w "Nao E Desgraca Ser Pobre". Na koniec największa uczta, "Consaco", o której można powiedzieć, że jest najczystszej próby odszyfrowaniem desperackiej samotności wiersza Luisa de Macedo, jakiego głos ludzki kiedykolwiek dokonał. Prawdopodobnie jest to wiersz, z którym Amalia najbardziej się identyfikowała. "Segredo" może być uważana za ostatnią płytę Amalii Rodrigues. Nagrania, które nie były wcześniej publikowane, zostały nagrane w latach 1965-1975 --- Vitor Pavao dos Santos

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