Yolanda Duke, Riverdale, NY
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On Tour In 2015 Award Winner The Sensational Singer Yolanda Duke and The Latin Jazz All Stars Ensemble
Veteran Group Of Master Musicians Which Have Performed In More Than 40 Countries
guest artist of Tito Puente, and for her album tribute to La Lupe.
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Please feel free to let us know your venue and budget. |
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Routed Avails / Winter-Spring-Summer-Fall Tour Avails Isolated dates also available. |
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Reviews about Yolanda and her music. ...music from these standards are presented in a Latin jazz style and voiced in Spanish. The result of course, is a rare treatas The Great American Songbook goes Latino transforming recognizable melodies from familiar songs into gyrating Latin rhythms delivered by the booming vocals from a sensational singer.
crisp vocals reaches on a terrific interpretation of the classic Errol Garner standard "La Neblina De Tu Amor" (Misty), then turns soulful and spicy on the Cole Porter title track "Te Llevo Bajo La Piel." The Latin beat remains strong and percussive on the other Porter standard, "Eso Que Llaman Amor (What Is This Thing Called Love)" Eddward Blanco All About Jazz. http://www.allaboutjazz.com/php/profile.php?id=3305
- THE GREAT AMERICAN SONGBOOK GOES LATINO, with the big band orchestra of Tito "El Rey" Puente, featuring special guest artist, nine-time Grammy-award winning trumpet virtuoso, Arturo Sandoval, is a dream come true.
Dreams can be mysterious, as well as rich, and compelling. It is the latter of these elements that inhabit 'esta latina que canta el estilo de las estrellas.' Add her luxuriant, deep voice, with its extraordinary tonal, and emotional range, plus vocal power, and it becomes clear why fans world-wide have given her the name, "La Duke.
and Duke's Spanish, and Italian interpretation of Domenico Modugno's (Dios, Como Te Amo!), and George & Ira Gershwin's ode to 'unavailable' love.
(Nadie Me Lo Podra Quitar) "They Can't Take That Away From Me" place her squarely in her salsa element. But beware, she'll dance you out from under your skin; put you under the spell of "Salsa Queen" Celia Cruz, and in close touch with the Latin Soul of the esteemed La Lupe. http://www.jazmuzic.com/2014/05/yolanda-duke-te-llevo-
times when she enters the lyric in the upper register, beginning her flight as if she were leaping off a far off promontory high up on a hillside. Then she appears to— as if she were a condor—catch a thermal, which is usually her own high C, and soar in the azure beyond.
Ms. Duke is simply unafraid of leaping off the proverbial musical ledge and letting her lyric free fall, filled of course, by the powerful warm burst of air from her infinitely expandable lungs. She gets her power, of course from the bottom of her soul where the music and lyrics meet and churn a mighty wheel, mixing them for Ms. Duke to inhabit as if she were the protagonist of each song; as if the song were written for her.
The trumpeter informs the song with a glow that only he can, from a burnished horn that seems to come alive at his touch. Yolanda Duke, for her part matches the trumpeter tone for tone and creates her own palette of colours so that the song floats on a diaphanous tapestry that swathes the rest of the album in colours and tones that continue haunting the listener long after the last notes of the Italian version of “Dio, Como Ti Amo!” die down. http://latinjazznet.com/2014/04/14/features/album-of- the-week/yolanda-duke-te-llevo-bajo-la-piel/
perspective, and a close examination of her repertoire reveals the value that Duke places upon tradition and personalization. There are songs from Gershwin, Porter, Arlen, and more, as Duke integrates the cornerstone songs of jazz, the Great American Songbook. While jazz musicians and fans alike would recognize these songs in an instant, they may not be immediately apparent through a quick glance at the titles; remember, this is about Duke's perspective. Through her eyes, ”They Can't Take That Away From Me” becomes ”Nadie Me Lo Podra Quitar” and ”What Is This Thing Called Love” becomes ”Eso Que Llaman Amor.”
Singing these songs in Spanish connects Duke to the history and culture of Latin Jazz in a powerful way that speaks volumes about her place in the music. This whole process was done in a show of respect for the original lyricists; in most cases, instead of writing divergent Spanish text, she took the time to directly translate the original lyrics.
Of course, Duke realizes that there's more to the Great American Songbook than the United States and she has wisely included songs from Puerto Rican musicians Rafael Hernandez and Myrta Silva. This album resonates with Duke's big picture of the Great American Songbook and she's taken great care to shape it in her own way. /2014/02/09/the-great-american-songbook-goes-latino-for
Yolanda Duke has a strong confident voice and, when she wants to, can belt it out like Shirley Bassey. Nor does she lack an ounce of passion, as the takes on Sedaka's The Hungry Years (Extrano Aquellos Años) and an Italian re-do of Dios, Como te Amo! (Dio, Come Ti Amo!) demonstrate, the latter of which will have Fellini applauding from the grave.
My favorite cut? The cha-cha-cha version of Blue Moon, although the Myrta Silva medley is awfully attractive with it's foxtrotty tango-esque back beat and lurid foregrounds…but no! Ya hafta love cha-cha-cha (it's in the Bible somewhere, I think) and so Blue Moon is my choice.
… … Yolanda Duke came in and took the stage shimmying and singing. She was the central source of energy fueling the Latin Jazz-Salsa craze that took the Belvoir by storm. WHAT A SINGER... WHAT A BAND! WHAT A CONCERT. The audience was responding to Yolanda with a flock of hands, dancing and screaming... Laca of Australia |
Songbook Goes Latino".
Winner Best Latin Song
Jose Madera and Chief Arranger
THE TITO PUENTE All strings orchestration Strings: Robert Chauson, SOLOS: Recorded at
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For bookings, press kits and any other info, please contact: Andy Grullon USA (646) 201-2442 Amigos Music Riverdale NY andyg@yolandaduke.com |
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