Fado Curvo, the second album of the quickly rising Fadista, Mariza, is powerful, elegant, soothing, and captivating. This record, produced by Times Square Records, consists of twelve tracks which range from the familiar Fado style, to new material pushing the boundaries of the art form. In its entirety, the album is excellent. One particular masterful aspect of Fado Curvo is the choice of song order. From beginning to end the songs flow into each other seamlessly. The listener is rooted in a lamenting feeling, but each song allows for free mobility within the mood. Each piece is beautifully composed or arranged, allowing Mariza (pronounced Mar`ee`sah) to display her great vocal versatility. The young singer, at age 29, posseses a rare tandem of pure power, and elegant maturity. With her powerful, rich voice, impeccable rhythmic placement and acute sense of pitch, she is capable of deeply touching her listeners.

Fado Curvo is an intimate album, evoking a sense that one could be in Lisbon, listening to a night of singing at a Fado House, (a pub where this particular style of Fado originated.) No doubt, however, this music is also well suited for large stages and audiences. In light of the Fado tradition, Mariza confidently ventures into new territory while easily retaining a universal appeal, raw feeling and vitality. For any type of music lover, Fado Curvo is a true gem worth adding to the record collection.

The arrangements Mariza uses expand beyond the customary accompaniment of the 12 stringed "Portugese Guitar" and 6 stringed acoustic guitar. Complimenting the two guitars and bass are: piano, cello, trumpet, and percussion. The selective use of these additional instruments provides a clear and full sound which compliments the fullness of her voice. The supporting musicians give inspired performances. The first track, 'O silencio da guitarra', immediately makes a majestic statement which sets the tone for the album's duration. "O silencio da guitarra, Que a minha alma se agarra…" which means "The silence of the guitar, That clings to my soul, Like fire it was, And lasts in my bosom, For the happiness also weeps, And washes away the grief." The song is short, playful, and bouncy enticing the listener to stay tuned.

One of the most unique pieces, "O deserto" (The desert) uses the piano, guitars, and muted jazz trumpet to create a distant, contemplative feeling. After Mariza sings the poem which begins, "Desert, Empire of the sun, So near, Empire of the sun, A test to solitude…", the trumpet enters with haunting commentary on her line. It has a flavor of modern urban sophistication which no doubt reflects a taste for jazz, an area which Mariza has explored earlier in her career. In "Retrato" ("Portrait" in English) the piano and cello are utilized with a classical feel, she displays her subtlety and power to create a feeling joyful, yet mournful at the same time.

In an exuberant interview with Afropop's Sean Barlow in July of 2002, Mariza talked about her dedication to Fado, and her desire to express her own personality. "You know, I have this kind of pop look that's not normal for a Fado singer, a Fadista. It's like, I'm here, I belong to Fado, it is a kind of living and I love it. When I enter to the stage and say "Sou de Fado", it's a feeling and I don't have doubts about it because I belong to this culture, and I'm here to show you. Normally, [other fado singers] use black hair, not short, long with a bun, and they use black clothes, and they don't wear necklaces like me. I'm crazy, I use stripe socks, I wear necklaces, I love colors, I use what makes me feel good… I know that I don't sing with my clothes, I sing with my soul."

When it comes to soul and feeling, Mariza has it and she holds back nothing. Look for her North American tour following the release of her album in May. She is receiving much acclaim for being an exciting performer. Fado Curvo will convince you that it is true. for www.afropop.org