Reviews about “Love Dance – The Ballad Album”
|
Although Ithamara Koorax is a major star in Brazil and has more than a few albums available in that country, Love Dance: The Ballad Album is only her second U.S. release (and her second album for Milestone/Fantasy). The Brazilian singer has no problem handling uptempo material, but she favors a totally romantic setting on the ballad-oriented Love Dance. The interesting thing is that Koorax manages to maintain a torchy mood while being unpredictable; in terms of material, she is impressively far-reaching. Koorax sings in three different languages (Portuguese, English and Spanish), and her choices range from Brazilian songs (including Ivan Lins' "Love Dance" and Antonio Carlos Jobim's "Amparo") to an American standard ("April in Paris") to a well known Spanish-language bolero (Luis Demetrio's "La Puerta"). It should be noted that Koorax's husband Arnaldo DeSouteiro produced this CD in 2000 and 2002 in five countries: Brazil, the U.S., Germany, England and Monaco. And by doing so, he gives Koorax a chance to interact with a variety of musicians, who range from the late Brazilian icon Luiz Bonfá (acoustic guitar) on "April in Paris" to German pianist Jürgen Friedrich on Claus Ogerman's "I Loved You" to Cuban pianist Gonzalo Rubalcaba on "Amparo" and "La Puerta". Meanwhile, British fusion heavyweight John McLaughlin plays electric guitar on Bonfá's "Man Alone," and his encounter with Koorax is historic because he had never backed a vocalist before. Some people will complain about the absence of uptempo
performances, but then, Love Dance is exactly what it's meant to be: a
torch/mood CD. And even though romantic albums of jazz or jazz-influenced
pop can easily become predictable—especially when the artist records
overdone Tin Pan Alley standards exclusively—Koorax and DeSouteiro
manage to keep us guessing on this fine addition to her catalog. Alex Henderson - All Music Guide (April, 2003) |
Lift Every Voice Ithamara Koorax: Love Dance: The Ballad Album (Milestone) Koorax has released several albums in Brazil and Japan,
but Love Dance is only the second US album for this star from Rio, the
follow-up to her debut Serenade in Blue. Koorax sings in an unmistakable
voice English, Portuguese, and Spanish love songs composed by such masters
as Antonio Carlos Jobim, Luiz Bonfá, Marcos Valle and Ivan Lins,
plus songs by Claus Ogerman and Jurgen Friedrich. Her voice manifests
this diversity to its advantage: Koorax does not sound like a Brazilian
singer or an American singer or a jazz singer or a pop or Latin singer.
She sounds like she can sing just about anything. Chris M. Slawecki, Senior Editor |
The Cool Temperance
of Ithamara Koorax: Ithamara Koorax is often likened to Astrud Gilberto. On the surface, it's a fair comparison. Koorax, though, is gutsier. There's a fire in her belly that melts those icy Gilberto edges. Four years ago she teamed with 16 of Brazil's finest players (Marcos Valle and Gonzalo Rubalcaba among them) to deliver the purposefully accessible Serenade in Blue, filled with such familiar favorites as "Mas Que Nada," "Summer Samba," "The Shadow of Your Smile" and "Brazil." Though gorgeous, it rarely swam too far from the mainstream. Now she's back with the decidedly more challenging Love Dance (Milestone). Singing in English, Portuguese, Spanish and German, Koorax tackles an international playlist that extends from the misty splendor of Jobim's "Ligia" (dedicated to Stanley Turrentine) to the moody iridescence of "April in Paris." Valle and Rubalcaba both return for blazing solos, but the most distinguished guest of honor is Luiz Bonfá. Legendary guitarist John McLaughlin (in his first ever recording with a vocalist) enables Koorax to transform the contemplative majesty of his "Man Alone" (dedicated to tireless scrapper Jimmy Scott) into 10 minutes that redefine Brazilian beauty. Christopher Loudon - JazzTimes (September 2003, page 131) |
Vozes
femininas continuam a afinar o tom da MPB Em plena voga do fenômeno Maria Rita, as vozes femininas continuam dando as cartas na MPB. Sejam elas voltadas para o mercado externo, como Love dance - the ballad album (JSR/Som Livre), de Ithamara Koorax, onde as canções brasileiras estão mescladas à american song, ou o extremo oposto, Brasileirinho (Quitanda/Biscoito Fino), em que Maria Bethânia inaugura selo e visita raízes afro, indígenas e européias da MPB. Convivas ilustres pontilham o disco de Ithamara Koorax,
como o pianista de jazz cubano Gonzalo Rubalcaba (numa versão reflexiva
do bolerão La puerta e gotejada da jobiniana Olha Maria), o compositor
Marcos Valle (teclados na revisão lânguida de O amor é
chama) e o violonista Luiz Bonfá, que, numa de suas últimas
performances, costura April in Paris e reforça a ala dos violões
acústicos de Man alone, alinhavada pela guitarra de John Mc Laughlin.
Mesmo direcionado para o público externo, já que ela ficou
em quarto lugar entre as cantoras de jazz do referendo da revista Down
Beat no ano passado, Love dance traz no mínimo um clássico
para as hostes da MPB, a releitura soberba de Lígia com teclados
monumentais de José Roberto Bertrami. Tárik de Souza - Jornal do Brasil (24/SET/2003) |
“Brazilian vocalist Ithamara Koorax’s album “Love Dance” (Milestone 9327) is subtitled “The Ballad Album”, and she pulls out the stops with an impressive list of musicians. Koorax’s digitally enhanced dreamy vocals drip with an emotional intensity that only occasionally sounds forced. The slick production impresses with the level of detail, and the pop elements add to the commercial appeal even as they detract from the purity of the songs. The well-connected Koorax, who manages to attract a who’s who of Brazilian Jazz, seems best suited to the intimacy of the duo where she is accompanied only by piano or guitar. The two tracks with pianists Gonzalo Rublacaba (“La Puerta” and “Amparo”) and Jurgen Friedrich (“Blauauge” and “I Loved You”), and one each with keyboardist Marcos Valle (“Flame”) and guitarist Luiz Bonfá (“April In Paris”) present Koorax at her best, exposed and sometimes shaky, but never complacent and often sensuous and sultry”. Steven Loewy - Cadence magazine, USA |
Aaah, romance. Ithamara Koorax, the splendid Brazilian jazz vocalist just becoming known in the United States despite a long and successful career everywhere else, has a goosebump-inducing voice that is doubly effective when she works in the ballad format. Which is what Love Dance is all about. These aren't run of the mill ballads, of course; there's an exotic flavor throughout, as she performs songs in English, Spanish and Portuguese and offers selections from composers like Antonio Carlos Jobim ("Amparo" and "Absolut Lee"), Luiz Bonfa ("Man Alone") and Ivan Lins ("Love Dance"). Koorax gives these songs such an irresistible aura even an admitted ballad cynic like me turns to putty. And what she does with the classic, "April In Paris," is pure magic. The musical backing is wonderful, but the sounds do vary because the tracks were recorded over a three year period (2000 to 2002) and in five different countries with as many musicians as you'd expect such an undertaking to require. This is never an issue, however, since the focus is always the incredibly talented Ithamara Koorax. Her second U.S. album, like her first, is a triumph and a pure joy. © 2004 - DJ Johnson
|
Já lançado no exterior,
este sétimo disco de Ithamara Koorax sai este mês no mercado
brasileiro, confirmando o redirecionamento da carreira da cantora brasileira
rumo ao jazz. O time de músicos é estelar e inclui desde
o falecido violonista Luiz Bonfá, a quem o CD é dedicado,
até o guitarrista John McLaughlin. Para quem gosta de virtuosismo
vocal, Ithamara esbanja técnica em músicas de Tom Jobim
(Ligia), Ivan Lins (a faixa-título) e em boleros como La Puerta. Mauro Ferreira - Jornal "O Dia" (26/AGO/2003) |
HMV-JAPAN EDITORIAL RATING: 9 http://www.hmv.co.jp/product/detail.asp?LANG=ja&sku=1966322 I felt deeply moved the first time I listened to this album. Some years ago I was fortunate to attend a live concert by Ithamara. She was good but now she is marvelous, truly a jazz diva. She has developed a lot. My favorite tracks are the piano duos with Gonzalo Rubalcaba. Takeshi Kato - Kyoto - 2003-05-09, Rating: 10 Sorry to say, but there is a big mistake when you labeled it as a Brazilian/World Music album.Actually it’s a marvelous jazz album, influenced by European classical music. Ithamara Koorax reached the pick of her career. Teruo Nakamichi - Tokyo, Japan - 2003-05-06, Rating: 9 A masterpiece! Koorax’s best album ever. Haunting vocal performances and sublime contributions by John McLaughlin,Luiz Bonfa (the way they play together on Man Alone is transcendental), Marcos Valle, Jurgen Friedrich,Azymuth,Claus Ogerman, Joao Palma and Dom Um Romao. Jim Keltner - New York, NY - 2003-04-27, Rating: 10 |
“One of the best Jazz-Fusion albums of the month.” CD Journal Magazine – Japan (September 2003, page 71) |
“Rating: 4 stars” Swing Journal magazine, Japan (September 2003, page 173) |
Reviews about "Serenade in Blue" |
“The worldwide debut of the Brazilian jazz chanteuse is like cool and creamy, dreamy and summer sherbet, an impressive coming-out party... ”Bonita” is languid, elegant and lovely... The title track glides with elegance and sophistication like a young Sophia Loren gracing a ballroom dancefloor... ”Moon River” is a stunning stroke of cool genius, beautiful and neo-classic... Koorax’s whispered yet urgent voice in “Un Homme et Une Femme” oozes and dribbles down over the instrumentation like honey down a lover’s soft neck and shoulders and... oh! Nevermind...”. Chris Slawecki – All About Jazz |
“With her smart, mostly medium-tempo CD “Serenade in Blue”, where she revitalizes some nearly overperformed classics, she shows her class: the flexible, warm, four-octave voice fascinates in each register with the typical cat-likem smooth Koorax-sound. Excellent musicians like Rubalcaba, Deodato and the group Azymuth provide up-to-date elegance.” Stereoplay (Germany) |
“Koorax has a beautiful, supple, four-octave voice that she winds around the different moods of each tune sounding alternately (and often simultaneously) strong, sweet and sensuous. Her interpretations are full of feeling and daring, and she has a jazz singer’s sense of time and phrasing... She may come to the edge, but never goes over. Her intensity and freedom are just two of her many textures. This is an artist in complete control – and an original one, at that... Koorax’s voice is passionate and swinging, playing with the time... she gets maximum sensuality... like a mantilla brushing the skin... Ithamara is no wispy Astrud Gilberto. She’s imaginative, versatile, and very distinctive...”. Judith Schlesinger – Jazz 52nd Street |
“Uma brasileira desafia na matriz as divas do jazz... Depois de agregar de forma pioneira bossa nova e drum & bass, Ithamara salta à frente de novo em Serenade in Blue, o CD que introduz o estilo lounge no cenário local... O clássico “Aranjuez” flutua entre o bordado espanholado das cordas de Jay Berliner e os tecaldos suspensos de Eumir Deodato, que dá um show de balanço em “Aquarela do Brasil”...”. Tárik de Souza – Jornal do Brasil |
“This woman can carry a tune. Wheter it’s in Portuguese or in English with an accent (which is very sexy by the way), she makes every note count with a perfected delivery that adds body and flavor to each selection... Classic jazz tunes are so timeless and beautiful. Koorax gives them their due by making each one come alive again with a most efervescent style and approach... she gradually developed into the diva you will now hear on this superb CD. This is no smoky nightclub singer, it’s Ithamara Koorax. The lady has class and a real sense of how to deliver the idiosyncrasies of a jazz number... One listen is not enough for such an incredible accomplishment... outstanding performance...”. MuzikMan – MusicDish Industry e-Journal |
The third issue of Brazilian jazz singer Ithamara Koorax's lovely and tempestuous Serenade in Blue: My Favorite Songs is a mark of just what kind of authority she carries as a vocalist and an interpreter of classic material. The album was produced by Arnaldo DeSouteiro and Deodato, and features a venerable — even legendary — cast of players, including countrymen Dom Um Romao, Airto, Nelson Ângelo, Marcos Valle, Azymuth, Cuban pianist Gonzalo Rubalcaba, and guitarist Jay Berliner, among others. Koorax's selection of material is as stunning as it is challenging. Here is one of the finest, most innovative reads of "Ma Que Nada" ever committed to tape, and her version of Valle's "Samba de Verão" does the composer proud. Also, her beautifully sultry take on Ary Baroso's "Aquarela Do Brasil" is a sleek and sexy party anthem. Likewise, the standards, such as her deeply moving version of Henry Mancini's "Moon River," featuring the glorious harp of Cristina Braga, places the tune in an entirely new context. The contemporary performance of Johnny Mercer's "Shadow of Your Smile" moves the song into another dimension. While Love Dance extended Koorax's reputation to Anglo audiences, Serenade in Blue is no less important. Rating: Thom Jurek - All Music Guide |
“Ithamara Koorax fez um disco definitivamente internacional, para o mundo inteiro ouvir, entender e adorar! A Milestone Records, uma das mais importantes gravadoras de jazz de toda a história, só tinha lançado uma brasileira antes, a Flora Purim, e Ithamara, que sempre teve talento internacional, agora ganha o mundo...” Hildegard Angel – O Globo |
“Almost all albums are low-toned, and only Serenade in Blue shines... It’s so well organized. The sound deals the vocal and the instruments equally, but the vocal is never buried. No special effects on the tone... There’s a very nice contrast of rhythm and vocal. It shall comes from the well constructed arrangements... Just cool strings accompany the charm of the sound... It’s very interesting to recording engineers, and recommended to audio fans. One of the best CD sounds of the year”. Shinji Otsuka – Swing Journal (Japan)l |
“The woman with the well sounding name and the 4-octave voice has support of noted musicians... a cool mix of samba, bossa, funk, jazz and lounge... In Portuguese, English and French, Ithamara finds new ways of doing classic songs. Rating: 5 stars”. Berthold Klostermann – Stereo Magazine (Germany) |
“Com a preguiça decadente das divas baianas, a irregularidade das jovens e a incompetência dos lançamentos, o título de melhor cantora do Brasil virou uma briga muito boa entre Zizi Possi e Ithamara Koorax... A Segunda, virou um caso à parte na música brasileira. É talento de exportação e tem um mercado fora do Brasil de dar inveja a muita gasguita enganadora que se rotula pop star da MPB”. Gustavo Victorino – Backstage |
“Koorax is from Rio de Janeiro, and her Rio upbringing is evident throughout this excellent pop-jazz effort... Wheter she’s turning her attention to “Mas Que Nada”, “Brazil” or the French pop classic “Un Homme et Une Femme”, Rio’s sensuous, caressing influence asserts itself. Koorax, to her credit, has no problem singing convincingly in three languages: Portuguese, English and French... Her English is excellent – if anything, her accent is a major asset because it’s quite charming... ”Serenade in Blue” makes one hope that a lot more Koorax albums will become available in North America. Rating: 4 stars”. Alex Henderson – All Music Guide |
“Ithamara Koorax communicates the soul of every song in any language. She can sing it straight or bend the tune with an improvisational spirit that’s completely natural yet startingly original... and with her first US release, she promises to be one of the States’ top vocal stars... No matter who’s in support, the voice that’s out front is totally in charge and totally satisfying...”. Shaun Dale – Cosmik |
“A wealth of gentle strenght and good taste is to be found in this release. Ms. Koorax has a good range, power to spare, and can produce a pleasantly light timbre. The nine arrangements are well-formed and nicely-balanced... sensuous, appealing, rich and warm... ”Serenade in Blue” is the CD Pick of the Week”. Johnny Adams – The Monterey County Post |
“Ithamara desembarca na terra do cinema com um disco cinematográfico... Ao lado da estrela, músicos mais que reluzentes... Nove canções em 45 minutos de poesia e magia...”. Renato Guima – Tribuna da Imprensa |
“O repertório é rico em referências cinematográficas... Ithamara mostra toda a sua versatilidade, cantando em francês e em inglês sem sotaque... Um CD instigante”. Roberto Muggiati – Manchete |
“O disco revela a maturidade artística da cantora, que além de explorar variadas sonoridades utiliza o silêncio...”. Sany Medeiros – O Fluminense |
“Primeira brasileira a ser votada entre os melhores intérpretes de jazz pela Down Beat desde Flora Purim, nos anos 70, Ithamara Koorax caminha segura pela trilha da contemporaneidade.” Ubiratan Brasil – O Estado de São Paulo |
“One of the best jazz albums of the year, along with the new releases by McCoy Tyner, John McLaughlin and Brad Mehldau”. Doobop Jazz Magazine (Korea) |
“Uma das vozes marcantes que surgiram nos anos 90... ”Serenade in Blue” é um trabalho refinado que reflete a maturidade que Ithamara vem conquistando com a carreira no exterior“. Ricardo de Souza – O Estado de São Paulo |
“O tratamento musical que Ithamara dá ao repertório, um dos trunfos do seu trabalho, ultrapassa muitíssimo a mesmice que tem marcado os arranjos comumente utilizados pela chamada música pop... Ao recriar “Mas Que Nada’, por exemplo, Ithamara se mete conscientemente em casa de marimbondo – e dela sai lépida e fagueira...”. Roberto Moura – Tribuna da Imprensa |
“A voz universal de Ithamara não tem limites, muito menos preconceitos.” Eduardo Lamas – O Fluminense |
Reviews about
"Serenade in Blue" and Sur le premier CD, "Serenade in Blue", on dirait qu'elle a convoqué tout ce que le Bresil compte comme accompagnateurs de classe. Jugez-en: José Roberto Bertrami, Fabio Fonseca, Marcos Valle, Eumir Deodato. Sur le second, "Sings Luiz Bonfá", on trouve aussi Deodato, mais également Luiz Bonfá lui-mème, Ron Carter, Larry Coryell et Sadao Watanabe. Impossible de trancher, encore que ces derniers soient loin de faire de la figuration! Le répertoire sur chacun des deux CDs est voisin: sur le premier, des tubes comme "Un homme et une femme" du film de Lelouch (bien chanté en français, bravo), "Moon river" du film "petit-déjeneur chez Tiffany" ou "The Shadow of Your Smile" (en anglais), ou encore des airs de Jobim, de Valle, de Jorge Ben, en brésilien. Sur le second, tous les morceaux sont de Luiz Bonfá. D'immenses succès ("Manhã de Carnaval", "Samba de Orfeu" du film "Orfeu Negro"), mais aussi des airs moins connus et tous d'une délicatesse incroyable. La guitarre de Luiz Bonfá y est d'une douceur toute bossa-novesque et y ajoute un charme indéniable. C'est sans doute la raison pour laquelle, s'il me fallait
absolument ne choisir q'un album, c'est celui-ci qui aurait ma préference.
Qui plus est, le coffret, le livret (en anglais et en japonais) y sont
d'une grâce exquise. Rien ne vous empêche d'avoir les deux. Michel Bedin |
Reviews about "Rio Vermelho" ("Red River") A Voz Afiada de Ithamara Cantora une técnica a emoção
em disco com participações especiais Depois de décadas de vozes testemunhais e confidentes,
o bel canto está de volta, como comprova a transformação
de tenores e sopranos em megastars do podium pop... Dona de um raro registro
de soprano spinto, Ithamara Koorax humilha os contidos em seu segundo
disco, "Rio Vermelho" (selo Imagem), uma super-produção
nada modesta com participações especialíssimas de
Tom Jobim, Luiz Bonfá, Ron Carter, Sadao Watanabe, Marcos Valle
e um elenco de feras instrumentais, de Paulo Sergio Santos e Mauricio
Carrilho a Paulo Malaguti, Carlos Malta e Pascoal Meirelles. |
Diamantes à tona do rio vermelho Ithamara Koorax grava com Tom Jobim, Luiz Bonfá, Ron Carter e Sadao Watanabe e passa ao primeiro time da MPB Mauro Ferreira - O Globo - 7 de Março de 1995 |
Any American who is seriously into Brazilian music knows that he/she cannot rely on U.S. labels alone; it is important to look for CDs that come out on Brazilian labels but make it to the U.S. as imports. Ithamara Koorax is a perfect example of a Brazilian pop-jazz vocalist who was well-known in Brazil before she had any North American releases. Although she didn't have anything out in the U.S. until Fantasy licensed Serenade in Blue from Brazil's Jazz Station label in 2000, she had provided several excellent albums for Brazilian and Japanese labels in the '90s. One of them was 1995's Rio Vermelho, which came out on Imagem in Brazil and Paddle Wheel in Japan. Emphasizing ballads, this pop-jazz effort is a fine example of Brazilian torch singing — Rio Vermelho is mood music with a very Rio de Janeiro-ish sound. Rio de Janeiro, in fact, is where percussionist/arranger Arnaldo DeSouteiro produced this CD. Saying that Rio Vermelho is mood music isn't saying that Koorax's performances should fade into the background quietly — she brings so much soul, depth, and emotion to the lyrics (most of them in Portuguese) that listeners would be doing themselves a disservice if they didn't turn up the volume and pay very close attention. And all of the songs that Koorax picks are perfect for a torch album, including Antonio Carlos Jobim's "É Preciso Dizer Adeus," the title track (a Milton Nascimento gem), and Arthur Hamilton's "Cry Me a River." The latter is one of only two English-language performances on this CD; the other is Luiz Bonfá's "Empty Glass," which also appears on Koorax's superb Bonfá tribute, Almost in Love: Ithamara Koorax Sings Luiz Bonfá. But whether she is singing in Portuguese or English, Rio Vermelho is a first-rate torch album. Rating: Alex Henderson - All Music Guide |
"Rio Vermelho" Sem febre eclética Jace Theodoro - A Gazeta - Vitória, Espírito Santo - 1 de Outubro de 1995 Depois do furacão Marisa Monte e sua rebarba
esperta, Adriana Calcanhoto, os anos 90 reservaram terreno para uma
intérprete de talento ímpar: Ithamara Koorax. Surgida
no vácuo de uma entresafra da MPB, a cantora despertou atenções
na trilha da minissérie "Riacho doce" interpretando
"Iluminada, inusitado caldo com o tempero poético de Aldir
Blanc e o sabor melódico de Chopin. Nada mal para quem estava
começando e já tinha o aval de uma divindade: Elizeth
Cardoso. |
Texto de Sergio Cabral para o CD "Rio Vermelho" - Fevereiro de 1995 Este é um disco de músicos. Quem é Ithamara Koorax,
senão uma cantora que faz de sua voz um instrumento musical tão
poderoso quanto repleto de sentimentos? Trata-se, portanto, de um disco
que, além da beleza de cada música e de cada interpretação,
oferece um diálogo de sons capaz de entusiasmar qualquer ser
humano dotado de um mínimo de musicalidade. |
Reviews about "Almost in love" (Ithamara Koorax Sings Luiz Bonfá) Luiz Bonfá revisitado CD lançado por Ithamara Koorax festeja um dos papas do violão moderno Tárik de Souza - Jornal do Brasil - 17 de Dezembro
de 1996 |
If Antonio Carlos Jobim was the George Gershwin of Brazil, the prolific Luiz Bonfá is the Brazilian equivalent of Cole Porter or Irving Berlin. An expressive interpreter of lyrics — both English and Portuguese — Ithamara Koorax pays tribute to the Brazilian icon on Almost in Love: Ithamara Koorax Sings Luiz Bonfá (which percussionist/arranger Arnaldo DeSouteiro produced in 1995 and 1996). This Brazilian release wasn't the first time that a singer — Brazilian or otherwise — paid homage to Bonfá, and it won't be the last. But Almost in Love isn't a run-of-the-mill, dime-a-dozen tribute album. Whether she is singing in Portuguese or English, Koorax invests a great deal of emotion into these gems — emotionally, she really goes that extra mile. Portuguese, which is Koorax's is primary language, is the language she embraces on memorable interpretations of "Vida," "Correnteza," "Amor Sem Adeus," "Menina Flor," and "Perdido de Amor." However, Koorax is equally convincing when she sings in English on "The Gentle Rain," "Almost in Love," "Non-Stop to Brazil," and "Say Goodbye." Some Bonfá treasures have both Portuguese and English lyrics; two examples are the haunting "Manhã de Carnaval" and the charming "Samba de Orfeu," both from the 1959 Brazilian film The Black Orpheus. Koorax probably would have excelled on "Happy Samba" (the English-language version of "Samba de Orfeu") or "A Day in the Life of a Fool" (the English-language version of "Manhã de Carnaval"), but she chooses the Portuguese lyrics instead and gives first-rate performances. Although many of these songs are standards, Koorax also unearths some treasures that haven't been heard as often — "Empty Glass," for example, is a lesser-known ballad that was written for Peggy Lee in the '60s. From well-known standards to overlooked gems, this superb CD is among Koorax's finest accomplishments. Rating: Alex Henderson - All Music Guide |
Luiz Bonfá é homenageado na voz de Ithamara Carlos Haag - O Estado de S. Paulo - 8 de Janeiro de
1997 |
Reviews about "Ithamara Koorax Ao Vivo" Exuberância no coração e no pé Tárik de Souza - Jornal do Brasil - 1994 |
Estréia de Ithamara
Koorax compensa a longa espera Mauro Dias - O Estado de S. Paulo - 17 de Maio de 1993 |
Uma voz passional briga pelo
estrelato Mauro Ferreira - O Globo - 13 de Setembro de 1991 |