Alma y Luna

Vocalist Sofia Tosello has lived in Argentina, Cuba, and New York City, which to a great degree explains her music, drenched with the melting pot of South American and Spanish tones. All of these selections — including three songs Tosello wrote or co-write — are sung with lyrics inspired by chacarera, zamba, and tango music, emphasizing the range of emotions Tosello has experienced in her young life. Physically she's cute as a button, but vocally she's more expressive than her demure facade indicates, never whispering or using breathy charm. Instead Tosello is for the most part a pronounced singer along the lines of a young Celia Cruz or Flora Purim, giving the listener a performance energetic and wise beyond her years. There's no set band on every track, as she uses an array of her international compadres, New York jazz friends including Yosvanny and Yunior Terry, Jorge Roeder, Pedro Giraudo, and various players from recording studios located in N.Y.C., Miami, Madrid, Spain, and Cordoba, Argentina. Because this recording was done in as many as ten studios over a full year's time, and the groups vary in size from vocal/guitar duets to a large ensemble, you get to hear the wide variety of musics lingering in Tosello's head. While fond of the 3/4 time signature, the collective emphasizes differing styles, in the case of "La Clarosa Cruz" a simple, sweet, and spare flamenco, with "La Seca" a Parisian-type love song with accordion, and on Alberto Rojo's "Que Bonito," a spirited plea accented by the clarinet of Anat Cohen. There's a legit Afro-Cuban jazz feel to "Sentirme Libre Contigo" fired up by a three-piece horn section, while the hip and happy "La Verdadera Llama" leaps and lopes in a 4/4 strut inspired by the lead trombone work of Dyan Abad. Throughout the date, Tosello's singing adapts beautifully to the varying adaptations of songs, and is as pitch perfect as any vocalist could dream of. Her comfort zone may lie in the three duets she performs with acoustic guitarist Miguel Rivaynera, whether on the basic "Sin Piel," the traditional sounding "Nacida en Agua De Guerra," or the slow, purely romantic "Nada." Yosvanny Terry's lilting soprano sax gets two feature showcases; on the patient cha/bolero "Me Falta la Imaginacion," and the dark, moonlit, and mysterious title track, as he and accordionist Rob Curros offer sound musical advice to the lovelorn Tosello. The singer, also as capable of breaking hearts as having hers be shattered, echoes those pensive sentiments during "Zambita Pa Mi Coyita" with bandoneon player Hector De Curto echoing wistful refrains. An intriguing and alluring vocalist, it will be interesting to see where Sofia Tosello's music will take her, whether into the hearts of North Americans, or further into the realm of international and popular culture. ~ Michael G. Nastos, Rovi