She comes from jazz, got into rock, but at time time of composing, borders fall
to pieces (…) Amed doesn’t merge, she takes command of the genres and works
with them in a very personal way.” DISCOS: Limbo – ROXANA AMED / EMI.
CLARÍN, October 13th 2004, Espectáculos, “Melancholic and personal” by
Gabriela Saidón
Roxana Amed’s is as unclassifiable as the most jazzistic works by Joni Mitchell. In
her second album, produced by Pedro Aznar, she shines as a Performer and
songwriter.” Considered one of the best 5 Jazz albums of the year, Claudio
Kleiman – ROLLING STONE, anuario 2006.
Argentine Roxana Amed is a delight, with a rich voice that has both great
flexibility and emotion. She conducted some master classes on singing during
the festival. (Classes were also led by Hersch, Waits, Penman and Cardenas
during the festival). But she was not part of the 2009 concert schedule. She did,
however, appear at one of the jam sessions led by trumpeter Gillespi, where she
did a killer version of Monk’s “Ask Me Now,” backed only by festival director Iaies
on piano. She has a great way of playing with the melody, using her voice like an
instrument. She and Iaies both have great fervor in their performance and the
duet was exquisite. Overall, Amed can be just as likely to sing a Joni Mitchell
song, an original composition, jazz or pop—all with equal joy and excitement.“
RJ DELUKE, January, 2010, All about jazz
On one side, some beautiful songs and two excellent musicians, one pianist, the
other one, singer. On the other side, an idea. The resources are minimal. And the
results belongs to an endangered breed: the great albums one.” PÁGINA 12
Wednesday August 11th, 2010 Cultura & Espectáculos > Discos / by Diego
Fischerman
About Roxana Amed, she is one of the most personal and attractive singers in
actual jazz, with this feature that makes her different from her collegues because
–as the recently disappeared Abbey Lincoln- she is a talented composer. (…) One
of those albums that grow with the listenings and it will be difficult to remove it
from the top positions of the albums released this year.” EL AMANTE.com
Septiembre 2010 Críticas by Jorge García
Roxana Amed has built a remarkable place in the Argentine musical map because
she is responsible for the whole creative process, composition, arrangements,
production and, of course, the fine art of performing. What is interesting is that
this place is not conceived as a safe place to rest, for example, on the virtues of
her magnificent voice, but as a platform from which risks are taken.” Nicolás
Russo, from Roxana Amed’s originality: Risk
“Her dark voice, with interesting folds and open phrasing, is the thread to join
past and present, songs by her own and made her own. With no need to alterate
melodic lines or to remove rhythmic roots, Amed’s jazz conception reflects in a
real mastering of the swing and the silence; in a restrained way that leads you to
a retrospective intensity, that when it explodes it doesn’t splatter, and that knows
how to lean back in the art of dialogue with excellent musicians (…) If you listen
to it from the past till here or from here all the way back to the past, Inocencia is
an excellent album.” “Tiempos de ida y vuelta”, La voz del interior, June 19th,
2011 by Santiago Giordano
“Her voice is prodigious, she has a huge range and never falls in the
demagoguery: on the contrary, Amed’s last albums demand almost an absolute
concentration.” “The voice that implodes”, Página 12, August 14th, 2011, by
Mariano del Mazo
“With the recent release of “La sombra de su sombra”, the talented singer
decided to leave aside her facet as a songwriter and joined the american Frank
Carlberg. (…) There are some musical encounters that are difficult to foresee, as
it happened with Roxana Amed’s voice, Frank Carlberg’s piano and Alejandra
Pizarnik’s poems. Today, after the brand new release of this album, La sombra de
su sombra, with ten poems set to music in an emotional and high quality way,
avoiding any common place and being closer to an experimental and conceptual
style.” Piano and voice for Pizarnik, Tiempo argentino, July 30th, 2013, by
Marcelo Fernández Bitar
“Interesting, different, daring”, An audacious bet by Roxana Amed, Ámbito
financiero, July 22nd, by Ricardo Saltón
Roxana Amed can be distinguished by thinking each album with a unique
concept. In this extraordinary La sombra de su sombra, in a duo with the great
american pianist Frank Carlberg (and as a guest, singer Christine Correa, old
friend and collaborator with the likes of Steve Lacy and Ran Blake), Amed
performs original pieces written by him on poems by Alejandra Pizarnik. The
originality of the project, but -not less important- the beauty of the result, turns
this CD into one of the events of the year. Lanzamientos, Espectáculos, PÁGINA
12 , July 24th 2013, by Diego Fisherman
“(…)Another native of Buenos Aires (now living in Coconut Grove), vocalist
Roxana Amed collaborated with Finnish pianist Frank Carlberg (now of New York)
on La Sombra de su Sombra, an album of Argentine poet Alejandra Pizarnik’s
verse set to Carlberg’s unusual but highly singable original compositions. These
delicate, elegant vignettes showcase Amed’s passionate yet subdued readings (on
four of ten tracks she is closely harmonized by vocalist Christine Correa), as well
as Carlberg’s impeccable accompaniment and improvisational interludes. “Luego”
recalls the seductive pulse of the tango, featuring a scatted melody doubled by
voice and piano. Other high points include the title cut, “Más Allá” and “Como un
Poema Enterado”, all of which meld verse, voice and piano into a unique and
highly satisfying aural artwork”. NYC Jazz Record, November 2014, by Tom
Greenland
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