EL RADAR CULTURAL
Jazz, fusión y novedosas propuestas en el Británico y el Gran Teatro Nacional
Luego de una exitosa gira en Europa, la cantautora, música y percusionista peruana Corina Bartra regresa a Lima para ofrecer una serie de conciertos en tres locales del Británico y otro en el foyer del Gran Teatro Nacional con dos propuestas musicales distintas, lo que demuestra la gran versatilidad de la artista. La carrera innovadora y pionera de Corina Bartra, es reconocida internacionalmente. Luego de haber cantado en el 2015, en los Latin Grammy sesiones acústicas que tuvo lugar en Nueva York en el 2015, el más valioso evento auxiliar del Grammy.
https://www.elradarcultural.pe/2022/11/cantautora-peruana-corina-bartra.html
JAZZ SEMANAL
PHILSPICKS – FEBRUARY 13, 2022
Amber Light, the recently released new album from jazz artist Corina Barta, is a presentation that jazz fans will find is worth hearing at least once. That is due in part to its featured musical arrangements. The arrangements in question do an admirable job of blending Barta’s jazz leanings and her interest in Peruvian music. One of the most notable points in which those influences come together comes in the form of ‘Samba Que Le Da.’ Roughly translated, it means ‘Samba That Gives You.’ One can only assume that is a reference to the feeling that a samba gives a person. The use of the guitar and percussion here is a direct link to classic Peruvian music. The incorporation of the saxophone line and rums alongside the more traditional South American instrumentation makes for even more interest, as does the balance of those influences. It in itself is reason enough for audiences to hear this song and is just one example of the importance of the album’s musical arrangements. ‘Azure Sky,’ which comes later in the album’s run, it another notable example of the role of the album’s arrangements.
‘Azure Sky’ is a more pure South American musical presentation. The guitar and what sounds like a cajon drum are on full display here alongside the western influence of the drums. The pairing of the Latin style guitar performance alongside the whole (including Bartra’s vocal delivery) makes the song lean far more in the direction of those Afro Peruvian sounds and styles. What is so interesting here is that the arrangement is so simple in its instrumentation, but even in that simplicity there is so much going on throughout the song. Even as much happens throughout the song, it is all well-balanced, ensuring audiences’ engagement and entertainment even more. To that end, the whole of this song is just one more example of what makes ‘Azure Sky’ another important example of the importance of the album’s musical content. ‘Carambi Si’ is yet another way in which the album’s musical content proves its importance.
The musical arrangement featured in ‘Caramba Si’ stands out from the rest of the album’s works because even with its clear Latin leanings, it comes across as a more Mexican style composition than Peruvian. That is evidenced through the combination of Bartra’s vocals, the saxophone line and guitar. The guitar line alone hints at not only a Mexican sound but also sort of an Afro-Cuban sound, interestingly enough. The saxophone line and the use of the cajon drum and drums meanwhile direct the song more in the noted Mexican direction. The whole ensures audiences’ enjoyment just as much as the other arrangements examined here and the rest of the album’s compositions. When the album’s musical arrangements are considered collectively, they leave no question about the importance thereof and in turn form a strong foundation for the record’s presentation.
While the musical content featured in Amber Light does much to make it worth hearing, the record is not perfect. Of the record’s 10 total songs, only two – ‘Wave’ and Bartra’s cover of the famed Frank Sinatra hit, ‘Send In The Clowns’—are sung in English. All of the others are sung in Bartra’s native tongue. There are no lyrics provided in English or otherwise in the album’s packaging. The result is that unless audiences speak Spanish or one of its “sub-languages” they are not going to be able to understand what Bartra is singing, save for in the two noted songs. This is not enough to doom the record, but it certainly does not help the record, either. It may seem like it is not much, but if people who only speak English cannot understand what the performer is singing, then they are going to be less inclined to listen to the album in the first place. So again, this concern with the album is very real and important.
Those who are able to overlook the very real concern raised by the lack of lyrics in any language in the record’s packaging will appreciate the record’s sequencing. Throughout the course of the album’s 62 minute run time, the sequencing keeps the energy stable. The highs and lows of the energy come at just the right points. Case in point is the transition between the album’s first two mid-tempo songs to the more relaxed ‘Waves.’ That song is so gentle and flowing, by comparison. That relaxed energy gradually builds back in ‘Samba De Le Da’ before the album gets back to that mid-tempo feel again in ‘Latino Blues.’ That energy carries on even through Bartra’s cover of ‘Send In The Clowns,’ which in its original iteration is quite reserved by comparison. The only other relaxed point in this record comes in its penultimate entry, ‘Puente De Los Suspiros.’ From there, the album’s energy gets back to that mid-tempo feel again in the record’s finale, Magenta Moon.’ The overall feel is, again, a presentation whose energy remains stable and balanced from beginning to end. Keeping that in mind along with the importance of the album’s content itself, the two items join to make Amber Light worth hearing at least once.
Corina Bartra’s new album, Amber Light, is an interesting addition to this year’s field of new jazz albums and world music albums. It succeeds in its musical arrangements, which do well to blend North and South American musical influences. Each arrangement is unique from its counterparts, ensuring listeners’ engagement and entertainment. The sequencing of that content adds to the album’s appeal. That is because it ensures the record’s energy remains stable throughout its hour-plus run time. The one negative to this record is its lack of lyrics and even translated lyrics. It does not doom the album, but definitely does detract from the record’s presentation. Each item noted is important in its own way to the whole of the album’s presentation. All things considered, they make Amber Light a jazz (and World Music) album worth hearing at least once.
MIDWEST RECORD
http://midwestrecord.com/MWR1859.html
CORINA BARTRA/Amber Light: A Peruvian that’s been making her bones in New York, Bartina is a delightful world beater that creates her own fusion, all of it sprightly and buoyant. A tasty trip around the spheres, she’s quite engaging and knows how to engage. A sure cure for stateside, winter time blues.
(Blue Spiral 16)
CONTEMPORARY FUSION REVIEWS – MARCH 32, 2022
TAKE EFFECT – June 4, 2022
https://takeeffectreviews.com/june-2022/2022/6/4/corina-bartra
An extremely accomplished vocalist who doesn’t sit in one place too long, Corina Bartra brings a long list of musicians to this very diverse listen, where folk, Afro-Peruvian, jazz, world music and fusion ideas are all present and appreciated.
“Ebano Sky” starts the listen with crisp drumming, bright alto sax and Bartra’s elegant, cultured vocals, and “Carambas Sí” follows with intricate guitar and a very warm spirit as Bartra’s cozy voice draws us in.
“Latino Blues” occupies the middle spot and indeed brings a blues spirit to the acrobatic drumming and backing vocals from Clare Cooper, while “Send In The Clowns” benefits much from the precise bass as Pedro Perico Diaz handles Cajon on the vocally stunning album highlight.
Arriving near the end, “Puente de los Suspiros” soars with a charming folk demeanor that recruits Rufino Ortiz on guitar, and “Magenta Moon” exits the listen with Dave Morgan’s tenor sax guiding the frisky drums and diverse singing.
A very colorful affair that’s as unpredictable as it is eclectic, the attention to rhythm here is superb, and the company Bartra keeps certainly to justice to her worldly vision.
Jazz Zone – Saturday September 7
Another Reason To Celebrate by Elzy Kolb – International inspiration
Singer Corina Bartra feels right at home dividing her time between Peru, Europe and New York, and she draws her musical influences from an even broader spectrum. She’s immersed herself in Brazilian, Cuban and African rhythms, and studied instruments including harmonium, tambura, and drums such as dumbeck and djembe. Her musical training, interests and inspirations range from contemporary classical composers like Stockhausen to North Indian classical and devotional music to Peruvian criollo. And, of course, jazz. Across the genres, “There’s a lot of improvisation—that’s the part I liked, and also the part I like about jazz.”
Corina discovered jazz as a child when she visited her grandfather who lived in the Peruvian rainforest. She recalls him relaxing in a hammock or playing poker, while blasting beloved records by Count Basie, Charlie Parker, John Coltrane and Thelonious Monk. Her first experience was performing with local musicians in Peru; later she studied in New York at Queens College, Long Island University and Mannes School of Music, and outside the classroom with pianist Kirk Lightsey, bassist Santi Debriano and drummers Cliff Barbaro and Steve Berrios.
“I have been lucky to work with and learn from masters,” Corina says. “Music is something you don’t stop learning. You discover new things, make new discoveries in things you’ve performed for a while—sometimes getting a full sense of the meaning of the words. Music is full of discovery and challenges.”
As a leader, Corina has released more than a dozen recordings, including her most recent CD, 2017’s Takunde. “The jazz that I do is blended with world music,” Corina points out, noting that her eclectic repertoire includes Jobim covers, originals, her own arrangements of classic compositions like Joe Henderson’s “Black Narcissus” and her Peruvian-rhythm version of Simon & Garfunkel’s “Bridge Over Troubled Water,” traditional Afro-Peruvian tunes, as well as a Peruvian style of dance music known as “la marinara.”
Corina, who has fronted ensembles from quartets to mini big bands, is in Manhattan May 19, appearing with her septet at Metro Baptist Church. She notes that she prefers performing in venues such as theaters, festivals and churches as an alternative to clubs. Her band for the occasion includes longtime collaborators saxophonist Dave Morgan, guitarist Tony Romano, drummer Diego Lopez, cajon player Perico Diaz, pianist Steve Sandberg and bassist Victor Murillo. Besides taking a deep dive into music from her CDs new and old, she’s likely to feature some new compositions and more.
Corina Bartra @ Azu Project
Afro Peruvian Jazz Celebration (Blue Spiral Music.) vocalist Corina Bartra achieves this and a lot more. Batra has a bold voice and commanding presence. She sings without sentimentality and often ends lines with a rising intensity and a slight quiver. This is characteristic of storytellers – griots – who often deliberately eschew concert hall finesse in favor of the high emotion of narrative and the brutal honestry of truth “You Don’t Know What Love Is” is so stunning that it takes the breath away. Bartra has also written two originals in English: “You Took Me By Surprise” and “I Don’t Regret A Moment.” These two tracks provide the best look at the personality of this wonderful singer. Latin Jazz Network- Raul da Gama, Oct 16, 2019.
Takunde
Takunde There are the famous Bridge over Troubled Waters by Paul Simon and Black Narcissus by Joe Henderson along with traditional Peruvian songs, the leader and El Tamalito that opens the album of Costarican composer Andres Soto. They are good technical performances that, with their Latin rhythms, are in a good mood. Music Zoom_ October 2017 By Vittorio Lo Conte.
Music that makes you want to move, dance and hum along with the melodies. Corina Bartra is a human bird whose phrasing and vocal gymnastics explore her wonderful vocal range and presentation. On her original composition, “Ecstasy Green” she shows off her minor chordal tones and lets her soprano notes dance atop the music, like flags waving in the breeze. This is followed by her rendition of “Bridge Over Trouble Waters” sung in English, but colored by unexpected Musical Memoirs Word Press, 2017 By Dee Dee Mc Neil. Contemporary Fusion Reviews.
Corina Bartra sultry Latin jazz vocals Corina Bartra – Takunde. superb arrangements and creativity. Corina sings this one with the kind of passion you’d expect from a top-caliber artist who is able to cover many genres through her animated style and knowledge of “how the music should sound”. Splendid solos from the other players as well! The 4:17 “Baila y Goza” will have you up with your dancin’ shoes on (even if they’re only sneakers, lol); which goes right with the translated title “Dance and Enjoy”… yet another superbly crafted original from Ms. Bartra… I just LOVE this piece, and have no doubt you will, too.
CORINA BARTRA / Takunde: Keeping it real, this Afro Peruvian jazz vocalist doesn’t go for the frippery when she can enchantingly keep you riveted to stuff that comes from her heart or close to it. Wily world beat sounds that are tailor made for the armchair traveler, when all the elements come together in such tasty fashion like they do here, you have a killer set for kicking back and enjoying as you slip into an aura of ease. A fun trip throughout. CHRIS SPECTOR, Editor and Publisher midwestrecord.com.
Corina Bartra @ Jazz Zone 29 August – 2017
“Corina Bartra, es ante todo una precursora.A mediados de los 80’s cuando apareció en Nueva York con sus partituras bajo el brazo, nadie creyó que pudiese existir un jazz peruano, pero ella logró convencer con tesón, esfuerzo, paciencia y persistencia, introducir en el clásico jazz norteamericano, el sonido y los ritmos provenientes del cajón peruano, de los punteos clásicos de la guitarra peruana y hermanar la cultura que aquí y allá tiene en el Africa como la fuente de su existencia”. Paginas Libres, 2013- Carlos Bernales
“Es considerada la voz peruana más importante del jazz latino contemporáneo, pues ha sido nominada a importantes premios internacionales como el Independant Music Award por su canción “El Dorado” en Manhattan (USA) el 2016. La pionera del jazz afroperuano ha llevado lo mejor de su repertorio a escenarios tan importantes de Europa como el Goldbeck House de Hamburgo y el Kunstfabrik de Berlín, en Alemania, y en el Saint Germain de Press de Paris, en Francia”.
Carmen Amado, Noviembre 2017 – Hispano, New Jersey
Corina Bartra @ La Estación de Barranco. Interview with Caretas Magazine
From New York, Jazz Fusion With Corina Bartra (Interviewed by Pierre Scordia and Annie Solomons)
You blend quite a few genres of music; is there one of these where you especially feel at home? One which is closest to your heart?
I love various genres and feel at home with several of them. I love world music, jazz, pop and new age. All these genres are close to my heart and I enjoy delving into all of them.
Do you find that your music is appreciated differently by audiences in Peru from those in say, New York or Europe?
Yes. I experienced my best audiences in Europe. I was deeply touched and felt so grateful performing in Hamburg since some of the audience went during the intermission to buy flowers for me and the musicians who accompanied me that evening.
Why did you choose New York as your home?
I came to New York to learn from the jazz luminaries. My first recording was with a wonderful pianist, Kirk Lightest who played for Sarah Vaughan, bassist Santi Debriano, drummer Clifford Barbaro and Pucho Salas on the Peruvian cajon. Clifford Barbaro for example was the drummer of Joe Hendricks, the father of vocals (scatting with the voice) and he also played for Betty Carter. They were all amazing and top notch musicians living in New York. I learned and expanded my singing, arranging and composing working with the greats and also going to magnificent schools such as Mannes College of Music, Long Island University in Brooklyn campus and Queens College where I obtained my masters degree in vocal performance with jazz studies.
Are others in your family musicians too?
Yes, my mother was a beautiful classical and Brazilian music pianist. She was also a great dancer; however my father didn’t approve of her following her calling and she stopped. Obviously this harmed her. She became a manic depressive. This was a lesson for me to escape such a destiny.
I see that you have studied North Indian classical music? Do you incorporate this into your Latin / Jazz / Afro-Peruvian fusions?
I incorporate this genre into another music project called “Corina Bartra & her Prisma Project.” North Indian classical music is not present in my Latin / Jazz/ Afro-Peruvian fusions.
At what stage of your life did you decide to make music your career?
Since I was in high school. I used to imitate great singers such as Sarah Vaughan and Janis Joplin among others.
Do you teach music as well as compose, arrange and of course perform?
Yes, I have taught music a lot. It is tough and at the same time rewarding in some cases. Sometimes you can get burned out teaching music so I don’t do it much now.
Is making a recording for a CD as enjoyable for you as live performance?
Yes. I love recording and polishing the music and performing in an intimate setting. It is a joy seeing, hearing, and sharing a tangible product. What I find awesome when performing is the interaction and connection with the performers and the audience. The aliveness of this experience is quite fascinating and nurturing.
What is your spiritual background? Does it affect your music?
I see and feel myself more as an intra-faith being. Life and Spirit is shared by all spiritual traditions and also in nature.
Do you have a particular musical ambition still to realise?
I just did an exciting recording where I wasn’t singing; it is all instrumental. One of my dreams was doing just that. Listening to my arrangements and compositions in an orchestral setting was a thrill. I want to continue challenging myself and to venture into uncharted horizons. I also want to do some traveling. Lately, I haven’t spent all the time in New York but I have been in Peru 4 months a year and also spent a month in Europe. I would like to play more percussion and write a book. Why not?
FORM Idea New York, 7th July 2016.
Entrevue avec la jazziste new-yorkaise Corina Bartra, précurseur d’un nouveau genre musical. Pierre Scordia & Nancy Solomons. http:form-idea.com
Lors d’une journée ensoleillée, chaude et moite comme souvent à New York, je vais à la rencontre de cette artiste typiquement new-yorkaise, quoiqu’elle soit née au Pérou, mais la Grosse Pomme se compose de tout ce melting-pot qui a si bien caractérisé la ville et la civilisation occidentale. Les empreintes irlandaises, juives, italiennes et latinos ont fait de cette ville une métropole trépidante, dévoreuse, étourdissante.
J’ai rendez-vous à deux heures, elle ne me voit pas, mais moi, je l’observe. Nous sommes au Flatiron Room au nord de Chelsea, à la 26e rue entre Broadway et l’avenue of the Americas. Elle arrive au bar, enlève sa casquette, transpire un peu, se passe la main sur les cheveux pour bien remettre sa frange, commande une pinte, mais, exigeante, demande des échantillons avant d’opter pour une bière rousse. Elle a l’air impatiente et regarde sa montre. Le temps est sans doute de l’argent à Manhattan. Je vais finalement à sa rencontre.
Elle me sourit brièvement, mais garde un petit air sévère, m’examine en deux coups d’œil prompts, mais précis afin de deviner ma personnalité. Oh, je l’imagine dure, à l’image des New Yorkais. Et voilà, je lui pose ma première question, elle commence à parler; je suis très vite envoûté par sa vivacité, sa facilité d’élocution, sa belle voix grave et la profondeur de ses réflexions. Elle m’est finalement très sympathique.
Très jeune, elle est fascinée par le jazz américain et quand ses parents lui tracent son avenir en lui payant des études de droit à Georgetown University, à peine admise, elle fait l’école buissonnière pour se réfugier à New York où elle peut vivre son rêve: étudier et chanter le jazz. À cette époque-là – Corina ne me donne aucune date – la ville monde était riche de promesses, bien que dangereuse.
Quand sa mère, furieuse des choix de sa fille, la traque dans Manhattan pour la ramener à la raison, elle se fait agresser à deux reprises: coups et revolver sur la tempe. Elle se promet de ne plus jamais remettre les pieds dans cette métropole trop dure et trop brutale; Lima, la tranquille à l’époque, est prête à l’accueillir… Mais petit à petit Corina trouve son public, adepte de son mélange de genres, jazz afro-latino-indigène. Au Pérou, sa musique n’aurait jamais été acceptée, car l’élite blanche qui seule fréquentait les spectacles, aurait hurlé à l’écoute de sons d’instruments autochtones, outils si primitifs…
Alors que New York, elle, restait ouverte sur le monde, avide de nouveauté, bouillonnante de culture et de brassages. Ces citadins sortaient constamment le soir dans les restaurants, les bars et les salles de Jazz. New York était la Rome moderne de l’après-guerre. Corina faisait de nombreuses représentations au Metronome, au Birdland lorsqu’il était dans le Village, au Jazz Mobile, et même au CBGB avec son groupe de rock, le CBGB où sa mère s’évanouit quand elle vit sa fille chanter dans un lieu où les gens portaient des chaines et fumaient des joints.
«New York a malheureusement changé me dit-elle. Aujourd’hui, cette ville est devenue très corporatiste et la composition de ses résidents n’est plus la même. Manhattan a été conquise par des gens extrêmement matérialistes en quête de gadgets de tout genre. Ils vivent dans leur bulle où leur iPhone dernier cri reste désormais leur seul compagnon. Ils travaillent pour la mondialisation, mais se coupent totalement des autres, voilà la contradiction que nous vivons. Les New Yorkais de nos jours ne sortent que très rarement.»
Depuis quelques années, Corina vit beaucoup de ses cours de musique, ce qui ne l’empêche pas de donner des spectacles en Europe où elle se rend au moins une fois par an. Elle adore le public allemand, ouvert et généreux, n’hésitant pas à sortir pendant l’entracte pour lui acheter des fleurs. Berlin et Hambourg sont ses lieux préférés. Elle aime aussi le public français, mais pense hélas que les Parisiens travaillant dans le monde du spectacle sont devenus des gens compliqués, conservateurs et trop orientés par le profit. Les valeurs américaines sont désormais à Paris, impossible aujourd’hui d’y organiser un spectacle sans laisser un dépôt, «une caution à nous artistes!». Dommage, car les spectateurs parisiens font partie de ses préférés! Quant à l’Espagne, la mère patrie, Corina a des sentiments ambivalents. Elle ne supporte plus le mépris des Espagnols envers les Latino-américains alors que les Madrilènes sont loin d’être les gens les plus raffinés. Ne sommes-nous pas tous égaux?
Les airs musicaux de Corina suivent l’évolution spirituelle de cette femme charismatique et aventurière. New-Yorkaise d’adoption, elle raffole des mouvements spirituels du New Age. Adepte à son arrivée d’un gourou russe, elle s’est détachée avec le temps par souci de liberté de pensée et par rébellion contre toute hiérarchie. Elle intègre à sa philosophie des idées des peuples amérindiens: de la Pachamama, Mère Nature, aux forces spirituelles des plantes, ces êtres que nous ignorons et maltraitons trop souvent en Occident.
Corina Bartra est une musicienne admirable qui refuse tout compromis, soucieuse de l’authenticité de sa créativité. Elle n’hésite pas parfois à improviser dans ses spectacles quand elle est inspirée ; elle crée ses propres mots au son de la musique jazz, le scatting.
Corina Bartra est la preuve que la mondialisation a des atouts et qu’elle peut être bénéfique si nous refusons l’uniformisation culturelle et si nous nous opposons à un matérialisme avide et insatiable.
VOIR AUSSI SUR LE HUFFPOST
Corina Bartra Press Quotes
Peruvian Jazz Legend Corina Bartra continues conquering the world.
El Comercio, Lima, Peru 2015
El Comercio, Lima, Peru 2015
Corina Bartra, pioneer & Afro Peruvian Jazz World Ambassador.
El Comercio, Lima, Peru 2009
«To her pioneering mixes of Jazz and Afro Peruvian Rhythms, Corina Bartra, adds sporadicaally, musical incursions impregnated with spirituality and a Cosmopolitan vibe. The most recent is an exploration of mystical traditions of cultures belonging to dicerse continents.»
El Peruano, Fidel Gutierrez, Lima Peru, April 2015.
«Corina Bartra, a pioneer in performing Afro-Peruvian music in jazz settings, pays tribute to Chabuca Granda on her intriguing new release. While she sings in Spanish throughout, her interpretations of the rich melodies and rhythms communicate well even to listeners who do not understand the lyrics»
L.A.Jazz Scene, Scott Yanow, 2015
“ listening to this album Corina Bartra has left me a huge sense of satisfaction to hear, that satisfaction when you find something real, something that you really like and brings you to play several times, almost compulsively, until arrangements will remain in the head”.
Carlos Olivera -waterbaby, Lima Peru 2015
“I believe, be of primary interest to those already familiar with Corina Bartra’s vocal artistry and/or Chabuca Granda’s song oeuvre.”
Cadence Magazine Alan Bargebuhr March 22, 2014.
“Corina Bartra, pioneer & Afro Peruvian Jazz World Ambassador “
-El Comercio, Lima, Peru 2009
“Bartra’s expressive voice flirts with avant-garde techniques while she fashions an adventurous program built on exotic, seldom heard Afro-Peruvian rhythms.” Latina Style magazine, Mark Holton, 2000.“Afro Peruvian Jazz Celebration CD gives you equal measures of Spanish and English to keep it interesting and an overall rich musical experience that will always intrigue you when you listen. The unusual thing about this CD is its appeal ar life itself. That is enough to carry any listener day or night.»
– Fox News Entertainment, Keith “MuzikMan” Hannaleck Thursday June 25, 2009. PICK OF THE WEEK CD
«Finding an Hispanic-American singer who is worthwhile in these apocalyptic times is like finding a needle in a haystack. This is why we are grateful for Corina Bartra, an exceptional singer from Peru.»
-Latin Beat, Luis Tavares, Augost, 2008
“On «Bambu Sun»: » Rhythmically and texturally speaking, each song is completely unique Bartra has much to be proud of with this new release. The arrangements are all intelligent, the players are top-notch and her six original compositions show her to be a mature musician with much to say. «
-Joe Knipes, Jazz Improv, 2006
“On «Bambu Sun»: «Corina Bartra is an expert at blending together Afro-Peruvian music and post-bop jazz. Actually when she sings,it does not sound like a mixture of idioms but a very natural style.»
-Scott Yanow,L.A. Jazz Scene, 2006
“On «Bambu Sun»,Corina aligns herself with those Blues and Country singers who prefer natural roots. Bartra sings wordless roles and interprests lyrics in Spanish and English. She is unique. ”
-Jim Santella, Cadence Magazine, 2006
“On» Bambu Sun» Mostly original repertoire that is based,for the most part, on the rarely utilization of Afro-Peruvian rhythms within a subtle «Latin jazz context. ”
-Luis Tamargo, Latin Beat, 2006
“Corina Bartra &Azu (Bambu Sun) Peruvian vocalist Bartra returns to her Latin jazz groove after a couple of meditation releases.She opens with «Guajira Son» a refreshed original that is timeless.The balance of the program includes a few covers like Wayne Shorter’s «Footprints» and several new originals.Whe also liked «Magia y Ritmo Ancestral».We welcome Bartra back. ”
-O’ Place Features, 2006
Vocalist/composer and current New Yorker Corina Bartra has successfully melded the bop sensibilities of jazz with the Afro/Peruvian tones and textures on Bambu Sun, her fifth release. Bartra’s earthy voice is succulent on the multi-layered “Afro Peruvian Folk Song,” which blends her voice with soprano saxophonist Jay Rodriquez to perfection. Her own composition “Guajira Son,” supported by Rufus Reid’s supple bass, has a lilting cha cha that is infectious. Another highlight on her wonderful record is Bartra’s “Peace Loving People Are On the Rise.” Indeed they are and they require theme music and Bartra’s ode to hope is as sound as any. Bartra’s also adept at taking disparate tunes like Wayne Shorter’s familiar “Footprints” and John Lennon/Paul McCartney’s “Black Bird” and giving them an Andean flavor. The Peruvian spice in these tunes is a flavor worth savoring, and Bartra’s voice is as soothing as coco tea. Bambu Sun works to fill the void in much of music these days, it is more hope than hype, more purity than pizzazz, and is one of the most original vocal recordings to be released in some time.
– All About Jazz Magazine, 2006
«Corina Bartra is a very intriguing singer. On Son Zumbon … the music utilizes tricky rhythms, the leader’s haunting voice, and plenty of short solos. There is no lack on intensity in this program.»
-Scott Yanow, L.A. Jazz Scene, 2002
«There is a slight resemblance to Flora Purim but Bartra’s work is tighter and has more melody. This is excellent Afro-Latin music.»
-Jerome Wilson, Cadence Magazine, 2000
“Bartra’s expressive voice flirts with avant-garde techniques while she fashions an adventurous program built on exotic, seldom heard Afro-Peruvian rhythms.”
– Latina Style magazine, Mark Holton, 2000
“Spanish and English, Latin and American, African and Peruvian with blues and jazz thrown in. These songs are a potent and poignant mix of heart and mind and soul.”
– Mark Fogarty, Editor and journalist, 2000
«Bartra is influenced by Afro-Peruvian music, American Jazz, and the scatting of Tania Maria»
– Marcela Breton, Jazz Times, July/Augost 1999
«Bartra’s expressive voice flirts with avant-garde techniques while she fashions an adventurous program built on exotic, seldom heard Afro-Peruvian rhythms.»
-Mark Holstein, Latina Style, 1999
» Travelog, Bartra’s most recent musical journey, is a valuable contribution.»
-El Diario, New York City, 1999
“Son Zumbon” that’s intellectually stimulating but still keeps the toes tapping most of the time”. “Her interpretation of Jimmy Hendrix’s Little Wing is celestial.”
– World discoveries.net, 1998
«This new album by singer Corina Bartra is far-out, even among jazz aficionados. Bartra seems to have captured virtually every avant-garde style imaginable and put them to the test … the music here has a commanding, cohesive sound … the cuts are noteworthy for their inventiveness. “
-New York Daily News, Hugh Wyatt
«Corina Bartra’s voice travels all over the map: sliding and gliding, skimming over shimmering surfaces; then diving deep down into the depths, bouncing and rolling, hesitating and galloping – at all kinds of speed … in all kinds of moods. ”Her voice quickens with an inner life and power.»
-Rob Baker, Editor of Parabola, 1989
«Ms Bartra’s voice is penetratingly vivid as she races down a roller coaster of rhythmic twists and surprises. Many of the songs shows decided influence from her Peruvian background. The standards receive new clothes but are never disguised beyond recognition.»
– Cadence Magazine vol.12 No 5 May, 1986
