Which brings us to this album. The music on it is a proof why it’s been worth waiting a while for the Mexican singer to arrive. The songs – a mixture of traditionals and Tamayo’s material – all have a feather-light touch, airy and full of colour. Most of the largely acoustic stuff is in a life-affirming up-tempo Latin style. The guitars are bright and shimmery, and the percussions, although trimmed down, are naturally rich and present.   It seems almost as if Tamayo and her band tried to create a sort of natural blend of different Latin American styles: there are of course plenty of Mexican songs - with their instantly recognizable mariachi guitar sound and ¾ beat – but there is also a bit of salsa, a pinch of Afro-Cuban sensuality and folksy “call and response” stuff. A haunting ballad and up tempo party music, too - the band even throw in the Paraguayan classic folk tune “Galopera” - it all blends perfectly with that key-ingredient of Cuban polyrhythms which appear unexpectedly from time to time.

With a voice that is as clear as a bell (to wit: listen to her a capella rendition of the “Parabienes”), accompanied by her hot band Tamayo brings with this record a lot of joyful music and some melancholy. It’s a sound that is impossible not to move to, or not to be moved by.



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When Edith Tamayo moved from Sinaloa, Mexico to Copenhagen some time ago, the continental music scene surely gained something valuable.   It’s been a long road though.    Edith Tamayo was born in 1972 in Culiacan Sinaloa, Mexico. Her father, a teacher from the highlands of Jalisco, and her homemaker mother from a peasant family in Sinaloa Badiraguato, both came from families with a strong sense of social and political justice. From the earliest childhood on, Edith heard the stories about the Mexican revolution, along with the innummerable and lively tales and legends of ghosts and lost souls - told to her by the grandmother Carlota who lived her whole life on the small ranch of El Beco, at the foot of the rocky mountains of Peñascote, where during the Revolution, the legend says, thirty mules loaded with silver and gold were thrown into the crevice. Those stories blended perfectly with the folk music Edith grew up with – the typical Sinaloa sound of trumpets, clarinets and tubas, the accordion dance music from the North of Mexico - the polkas and schottisches, and the long, story-telling songs, the so-called "Corridos".



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