{"id":8507,"date":"2015-09-07T19:01:47","date_gmt":"2015-09-08T02:01:47","guid":{"rendered":"http:\/\/jazzusa.com\/?p=8507"},"modified":"2012-09-07T19:53:14","modified_gmt":"2012-09-08T02:53:14","slug":"anna-estrada-volanda","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=8507","title":{"rendered":"Anna Estrada – Volanda"},"content":{"rendered":"

Volando \u2013 the cover of which features a bird, the lilac-breasted roller \u2013 includes a famous number with the line \u201cwe\u2019re creatures of the wind,\u201d which also fits the album\u2019s flying motif. That song, in a distinctly relaxed rendition, is \u201cWild Is the Wind,\u201d which Estrada grew to love in both David Bowie\u2019s more dramatic version and the interpretation by her key early teacher, West Coast jazz singer Madeline Eastman. An aficionado of Brazilian music, co-producer Ray Scott suggested doing \u201cE Preciso Perdoar\u201d (Forgiveness Is Necessecary) \u2013 a song Estrada knew via Brazilian jazz singer Flora Purim \u2013 as a reverse partido alto, a variation on the samba rhythm. Estrada first heard \u201cMais Que Nada\u201d (More Than Anything) as a teen living in Mexico City and listening to LPs by Sergio Mendes and Brasil \u201966. \u201cIt\u2019s a song about wanting to get on the dance floor,\u201d she explains. \u201cWe do it as a samba-reggae \u2013 it\u2019s one of the most popular songs at my live shows.\u201d<\/p>\n

Estrada adapted the original Portuguese lyrics for the album\u2019s Spanish-language version of Lenine\u2019s \u201cPaci\u00eancia\u201d (Patience), and for her friend Shannon Bryant\u2019s song \u201cDue\u00f1o de mi Coraz\u00f3n,\u201d Estrada wrote her own Spanish lyrics. \u201cI grew up crossing borders culturally and geographically, having lived in Tijuana and Mexico City when I was young,\u201d Estrada says. \u201cIt\u2019s interesting: English has a larger vocabulary than Spanish, which allows you to be incredibly specific. Ironically, the smaller vocabulary makes Spanish richer. Words sometimes change meaning based on their context, giving the language an ambiguity that often imbues the simplest phrases with double meaning. There can be an appealing mystery in that.\u201d As for the Spanish translation of \u201cBegin the Beguine\u201d as \u201cAl Empezar el Beguin,\u201d Estrada chose the rendition by Berkeley professor Coby Lubliner. \u201cThere was a Spanish version that Julio Iglesias had a hit with, but I prefer Coby\u2019s so much more,\u201d she insists. \u201cIt\u2019s closer to Cole Porter\u2019s original, much like the Gene Lees version of `Desafinado\u2019.\u201d<\/p>\n

One of the album\u2019s highlights is Grever\u2019s \u201cCuando Vuelva a Tu Lado\u201d (When I Return to You). Estrada says, \u201cThe English lyrics for `What a Diff\u2019rence a Day Makes\u2019 fit the phrasing of this melody better, but they don\u2019t have the same romantic intensity as the original Spanish words, which ring very true about love and sex, the vulnerability of intimacy.\u201c<\/p>\n

Estrada started out her career in performing as an actress in theater and television, and that informs her approach to music-making, she says: \u201cI\u2019m always trying to connect with an audience and tell a story, convey an emotional message \u2013 and the way a melody changes in a song builds tension and release in a dramatic way. As for doing the songs in several different languages, I want the songs and their stories to speak to as many different types of listeners as possible.\u201d<\/p>\n

1. Wild Is the Wind (Tiomkin & Washington) 4:30
\n2. Cuando Vuelva a Tu Lado (Grever) 5:46
\n3. Happiness Is a Warm Gun\/I Want You (Lennon & McCartney) 6:18
\n4. Mais Que Nada (Ben) 3:37
\n5. Paciencia (Lenine & Falc\u00e3o) 4:12
\n6. Due\u00f1o de mi Coraz\u00f3n (Bryant & Estrada) 4:34
\n7. Al Empezar el Beguin (Porter) 5:30
\n8. Everybody\u2019s Talking (Neil) 4:19
\n9. Pure Imagination (Bricusse & Newley) 6:31
\n10. E Preciso Perdoar (Torre\u00e3o de Costa & Luz) 6:40<\/p>\n

Bonus Tracls
\n11. Paci\u00eancia (Portuguese version) 4:13
\n12. Due\u00f1o de mi Coraz\u00f3n (acoustic version) 3:31<\/p>\n","protected":false},"excerpt":{"rendered":"

Volando \u2013 the cover of which features a bird, the<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-8507","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/8507","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8507"}],"version-history":[{"count":2,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/8507\/revisions"}],"predecessor-version":[{"id":8510,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/8507\/revisions\/8510"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8507"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8507"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8507"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}