Gaby Moreno
Postales

Danny The fuckin' Kid and Central America, quite a fortunate combination, I'd say. Another wonderful discovery, the third, to be precise, and with a bit more methodical and in-depth research, I could find many others, I'm sure. There will be time and opportunity; for now, let's focus on Gaby Moreno, who introduced me to a slightly different facet of that diverse, fascinating, and too-often misunderstood universe called Latin-pop. Compared to her Mexican colleagues Julieta Venegas and Natalia Lafourcade, Guatemalan Gaby Moreno has a different artistic path, starting from soul-blues roots rather than folk, which makes her music a very captivating mix. After two "bilingual" but predominantly English-speaking albums, "Postales" from 2012 is her first album entirely sung in Spanish, and it displays a long, impressive series of qualities: versatility, brilliance, good taste, inspiration, with no noteworthy structural flaws. To put it briefly, I might come out with a cliché perhaps not particularly elegant but true: this woman has class to spare.

The tracklist of this little gem is rich in absolutely sumptuous episodes, both in terms of impact and the richness of sounds and arrangements. A growing soul-ballad like "No Estoy Tan Mal" demonstrates this right from the start, and in the best way; elegance, momentum, and the right amount of theatricality, an intense but never over-the-top vocalism. But the song that more than any other represents the most scenic side of "Postales" is undoubtedly the epic "El Sombrerón", inspired by Central American folklore, with its imposing orchestrations alternating with fascinating acoustic tapestries. Then there's "Blues De Mar", pure retro-swing class with impeccable 60's orchestrations and gospel vocalizations, the episode that best conveys the intent to unite Latin sounds and black music with a vintage approach; "Nostalgia" adds an adorable cabaret-big band touch, which is always welcome, "Valle De Magnolias" brings rhythm and energy, in a very classic but not mannered way: Electric R'n'B enriched by a typically 70's Hammond organ, engaging and interpreted with the usual liveliness.

There are also episodes more strictly Latin-folk; we've already mentioned "El Somberón", but it's "just" a remarkable exception: generally the approach is more calm and composed, "Tranvía", "Ave Que Emigra", enchanting fragments of simple and clear vitality, "Luz Y Sombra", lazy, bittersweet, "Juegos Y Miedos", languid and refined ballad. Many components, many influences, many nuances, a perfect amalgam, with an additional bonus: "Quizás, Quizás, Quizás", an evergreen from 1948 perfectly re-adapted and polished. Gaby Moreno's reinterpretation is absolutely masterful, while staying true to the original melody (and it couldn't be otherwise), she reworks it in a modern and refined way, adding a soft bass line, and demonstrating impeccable understanding and interpretative sensitivity. That's it, all that's left is to listen and be captivated by the charm and charisma of Maria Gabriela Moreno Bonilla from Guatemala City, a remarkable talent further honed by many years of hard work. Approved? Oh, absolutely yes.