Now in spite of my one quarter Portuguese heritage I can't make any claims to being a fado aficionado. However, I am quite capable of listening to a voice and recognizing genuine passion when I hear it, no matter what language it is singing in. From the opening bars of Ana Moura's Leva-Me Aos Fados (Take Me To A Fado House), released in April on the World Village Music label, I knew at once she was the genuine article. Maybe hers isn't the type of voice to sing blues as we know it, but there can be no mistaking feeling and passion when they are so obviously present. The 17 songs on the disc are in a variety of musical styles and show quite a number of different influences that she brings to the music, but no matter the tempo or the style her voice is without fail believable at all times.
Moura exhibits not only wonderful range as a singer, but control as well. There is no strain to be heard when she holds a note or as she goes up and down the scale. Unlike so many popular singers who attempt to make what they are doing sound difficult in order to impress us, there is a glorious ease in the way she moves through a song. Even better, as far as I'm concerned, she's not one of the school who think the louder and more piercingly I sing the more emotional I'm being. While it may result in you receiving a million dollars a gig in Las Vegas, try it in a fado house and you'd be booed off stage. (During the reign of the dictator Salazar in Portugal fado performers were forced off the streets and brothels and confined to "fado houses" and in these "houses" tradition still holds sway.)
Aside from the variety of musical styles on the disc distinguishing her from more traditional fado performers, Moura also changes things up somewhat by increasing the number of her accompanying musicians and utilizing a wider assortment of instruments than is usual. While the sound is still guitar-dominated, the inclusion of bass and acoustic bass on some of the tracks not only gives the music added texture, but gives some of them a jazz feel. While there's an obvious appeal to the starkness of the original sound as she performs it, by adding the bass to the mix, Moura and her arranger/producer/composer Jorge Fernando have found a way to complement it without changing the overall intent of the music.