(Vocal Jazz, Cuban, Afro-Cuban, Latin) Mayra Caridad Valdes - La Diosa del Mar {Jazzheads Records JH1141, USA} - 2002, APE (image+.cue) lossless

"Cuban jazz vocalist Mayra Caridad Valdés devoted most of her musical career to live performance, singing as part of Irakere and also with her famous brother Chucho, before debuting as a recording artist in 2002. Born on April 20, 1956, to Bebo Valdés, a legendary Cuban jazz pianist, Mayra studied at the National Art School in Cuba and graduated in 1975 with a degree in choral music. She initially worked as a musicologist alongside Odilio Urfe but instead turned toward performing after Harry Belafonte invited her to perform with him in 1981 at his concerts in Cuba. Following this golden opportunity, Valdés never looked back. She toured Japan and Europe as a solo vocalist and as a member of numerous groups including Irakere, a group she permanently joined in 1994, and also her brother Chucho's quartet. In 2002 Jazzheads released her debut solo album, La Diosa del Mar, a ten-song collection of Afro-Cuban jazz standards, traditional folkloric songs, and boleros.
It must be in the genes. Mayra Caridad Valdés, the daughter of mambo-era pianist, arranger, and musical director Bebo Valdés, younger sister of Latin jazz Grammy winner Chucho Valdés, and lead singer of the Cuban group Irakere, now steps closer to the plate with her own album. A grouping of Afro-Cuban jazz, folklore, time-tested boleros, and standards, the play list of La Diosa del Mar is artfully designed to highlight Valdés' striking alto voice. There's an opportunity to sing with an infectious dance beat to her voice on 'Danzonete.' Complete with male chorus, this tune is guaranteed to pull those to the dance who love to move to an Afro-Cuban beat. Many of the songs on the play list are pitched toward the singer's ability to get the ultimate out of songs with a romantic theme. The well-known standard 'Bésame Mucho' is the vehicle for Valdés to use her smoky eroticism before seguing into wordless vocalizing that only adds to the torch feel she gives this song. 'Yemayá' and 'Para Que Vuelvas' also fall into this category. The former is especially engaging, with Valdés' lilting vocalizing riding over the mellow sax of Irving Acao. But Valdés owns a flexible voice, not limited one iota to slower-paced material. On her improvisational wordless vocalizing of 'Billie's Bounce,' she articulates rapid-fire repeated notes with incredible ease and aplomb. This piece, especially, calls for favorable comparison to the matchless scatting skills of Ella Fitzgerald. Despite the Latin theme, there's a hint of gospel fervor in 'Danza Ñáñiga.' For those who lean toward Latin jazz, Valdés is already a known commodity because of her work with Irakere and her brother. For everyone else, she will be a pleasant discovery."