Maria Puga Lareo – My Universe (ENG review)

My Keter records – Street date : October 18th, 2024
World Jazz
Maria Puga Lareo – My Universe

We approach a small series of albums, less engaging than usual. This one, while benefiting from an excellent interpretation, leans too heavily on the classical side to evoke more than a pleasant listen. It will, however, be particularly recommended to classical music enthusiasts, who appreciate exquisitely refined voices and have the privilege of collaborating with top-tier musicians. In fact, this album would be perfect as the soundtrack for a Hollywood production—slightly melodramatic and sentimental. Within such a strict framework, it would make an ideal score.

Looking at the artist’s trajectory, we are closer to showbiz than jazz, and this is evident in the production, which, while flawlessly executed, lacks originality and leaves one wanting more. Born and raised in Buenos Aires, Argentina, she began her professional career in her early twenties, performing in the jazz clubs, theaters, and festivals of this culturally vibrant city. In 2000, the popular Fox Sports television show Limite 4×4, broadcast in more than 25 countries, asked Maria to co-write and sing their theme song. In 2005, she released her self-produced debut album Body and Soul, followed in 2011 by Facetas, recorded in New York and Buenos Aires with arrangements by multi-GRAMMY-winning pianist-arranger-conductor Carlos Franzetti, and featuring legendary bassist Eddie Gómez, jazz producer Fernando Gelbard on flute, Ed Uribe on drums, Latin GRAMMY-winning guitarist Quique Sinesi, and pianist Frank Collett. Celebrated in Argentina and particularly well received in Japan, Facetas also garnered praise from Arturo Sandoval, Lalo Schifrin, and Jorge Calandrelli, among others.

To accompany this artist, there’s an orchestra, or almost one, with violins, cellos, double bass, and piano. The standout song is probably the one she sings in her native language, “Depois De Tanto Tempo,” as well as the album’s closing track, “Eu Sei Que Vou Te Mar.” In these, the artist truly surpasses herself, revealing her vulnerability and delivering some of the most interesting vocal performances. I sincerely regret that this album wasn’t entirely in Spanish, as this language, sung with such a distinctive accent, lends elegance and depth to her interpretations.

Thus, it is a mixed album. Certainly not bad, but from my perspective, the issue lies in the production.

In trying to appeal primarily to an English-speaking audience, the essence is missed. There is a significant number of Spanish speakers in the U.S. who would be satisfied with a Spanish album, and here we lose all the vocal qualities of this artist, who in English becomes too technical, but in Spanish, a magnificent interpreter. Nowadays, when one has mastery of Spanish, there is little point in trying to please everyone. I know this artist could truly surprise us if she returned to what she does best, which is why I still consider this album a “favorite.” As it stands, it could make a lovely gift for family members who enjoy a very polished form of jazz, especially during the holiday season.

Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News

PARIS-MOVE, October 15th 2024

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