01 Lacho (Facundo Rivero e Juan Pablo Miranda) 
02 Menino Grande (Antonio Maria) 
03 Nana para un suspiro (Pedro Luis Ferrer) 
04 Poema LXIV (Dulce María Loynaz), Palabras (Marta Valdes), Palavras (Gonzaguinha)
05 Talvez (Juan Formell)
06 Você (Hekel Tavares e Nair Mesquita)
07 Arrependimento (Dolores Duran e Fernando Cesar)
08 Mil Congojas (Juan Pablo Miranda)
09 Só vendo que beleza (Rubens Campos e Henricão)
10 Para cantarle a mi amor (Orlando De La Rosa)
11 Caipira de fato (Adauto Santos), El amor de mi Bohio (Júlio Brito)

An interesting collaboration between two great singers from Latin America: Brazil's Maria Bethania (born in 1946) and Cuba's Omara Portuondo (born in 1930). I'm more familiar with Bethania's work than with Portuondo: Bethania seems to me a bit more innovative and diverse in her career than Portuondo, who seems to belong to the more traditional bolero genre (though her style is very dignified, far from the more commercial artists in this genre). Most of the songs are a bit slow, with spare orchestration, letting this two women's great voices come to the forefront. Some songs are in Spanish, some in Portuguese and some, like the last track, the best in the album, Caipira de Fato/El Amor de Mi Bohio is actually a medley: Bethania starts with a Brazilian song and Portuondo finishes with a Cuban song: the blending of both is almost seamless. Bethania sometimes sings in Spanish (flawlessly); Portuondo sometimes also sings in Portuguese, but I can't vouch for her pronounciation. Other great songs here are the beautiful Nana para un Suspiro, Tal Vez, So Vendo que Beleza and Para Cantarle al Amor. ---Andres C. Salama, amazon.com

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1	La Sitiera
2	He Perdido Contigo
3	Donde Estabas Tu
4	Mariposita De Primavera
5	Canta Lo Sentimental
6	Ella Y Yo
7	No Me Vayas A Engaсar
8	No Me Llores Mas
9	Veinte Aсos
10	El Hombre Que Yo Ame - (The Man I Love)
11	Siempre En Mi Corazon

ORQUESTA BUENA VISTA SOCIAL CLUB

Omara Portuondo, Lead Vocal
Eliades Ochoa, Guitar and Vocals
Jesus Aguaje Ramos, MD, Trombone, Vocals
Guajiro Mirabal, Trumpet
Barbarito Torres, Laud
Papi Oviedo, Tres
Pedro Pablo, Double Bass
Rolando Luna, Piano
Idania Valdés, Vocals and Minor Percussion
Carlos Calunga, Vocals
Alberto La Noche, Bongos
Filiberto Sanchéz, Timbales
Coayo, Congas
Luis Alemany, Trumpet
Guajirito Mirabal, Trumpet

A beautifully executed and produced album by Omara Portuando, the only woman to appear on the original Buena Vista Social Club recordings. Portuando, who is one of Cuba's most acclaimed musicians and a featured performer at the Tropicana, has shown here that, at 70, she still possesses the qualities that helped develop her stardom on her native island. This recording, which covers a variety of traditional musical styles, from son to guajira to bolero, makes it easy to see why critics have called her the Edith Piaf of Cuba and "The Fiancée of Feeling." The style, especially on the second track, "He Perdido Contigo," evokes a nostalgic, old-fashioned sentiment, and the songwriting is classic. Featured performers include Rubén González on piano, Eliades Ochoa and Compay Segundo on guitar, and a full string section including Angel and Arelis Zaldivar. The performances are lively and tight, creating an album that feels nearly perfect. A full set of liner notes, including English translations of all of the lyrics, makes the album even more accessible. ---Stacia Proefrock, Rovi

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01. Tres Palabras
02. Quizás, Quizás, Quizás
03. Cómo Es Posible
04. Veinte Años
05. Increible.mp3
06. Quiero Hablar Contigo
07. Campanitas De Cristal
08. Nosotros
09. Lágrimas Negras
10. La Rosa Oriental
11. Este Son Homenaje
12. Deja Que Suba La Marea
13. La Cumbancha
14. Ay, Caramba
15. La Última Noche
16. Me Faltabas Tú
17. Te Dije Quédate
18. Grtacias A La Vida
19. Hasta Siempre
20. Polvo De Nuevo Amor

Omara Portuonda is the grand old lady of Cuban music. While her early recordings made her a star in Cuba, her participation in the 1996 album and video documentary, The Buena Vista Social Club, brought her to international attention. Her solo album, The Buena Vista Social Club Presents Omara Portuondo, released in 2000, reinforced her status as one of Cuba's greatest musical ambassadors.

A native of Havana, Portuondo was one of three daughters born to a baseball player on the Cuban national team and a woman of Spanish heritage who left the comfort and support of her wealthy family home to marry the man she loved. Her parents' singing provided the soundtrack for her early life. As a youngster, she sang in school choirs and music classes.

Heavily influenced by an older sister, Haydee, a dancer at the Tropicana cabaret, Portuondo attended many of the troupe's rehearsals. When the ensemble found itself short one dancer, in 1945, she was recruited to fill the vacancy. The experience launched her on a career as a dancer and she formed a successful partnership with Rolando Espinosa. Portuondo balanced her dancing with singing engagements with friends, including Cesar Portillo De La Luz, Jose Antonio Mendez, and pianist Frank Emilio Flynn, calling themselves Loquimbambla Swing. The group helped to pioneer the filin style of music that blended bossa nova and American jazz. For a while, she also performed with Orquestra Anaconda.

In 1952, Portuondo joined with her sister and Elena Burke to form a vocal group, Cuarteto d'Aida. The group's sound was established with the addition of pianist and director Aida Diestro and female vocalist Moraima Secada. Although she released her debut solo album, Magia Negra, in 1959, Portuondo continued to work with the group.

Cuarteto d'Aida's fortunes were drastically effected by the Bay of Pigs crisis in 1961. Although they had become frequent performers in Miami, FL, they were prevented from returning as the relationship between Cuba and the United States collapsed. While Portuondo returned to her homeland, continuing to perform with Cuarteto d'Aida until 1967, her sister elected to remain in the United States. Although she performed with Orquestra Aragon in the 1970s, Portuondo had settled into semi-retirement by the mid-'90s. Her plans to slow down her career were altered after Ry Cooder, who was in Cuba recording with the Chieftains, heard her sing in 1995. When he returned, the following year, to produce The Buena Vista Social Club, Portuondo was invited to become a featured vocalist with the all-star group. In 1998, Portuondo recorded a duo album, Desafios, with Cucho Valdes. ---Craig Harris, Rovi

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1.Omara Portuondo – Noche Cubana (3:30)
2.Omara Portuondo – El Hombre Que Se Fue (2:25)
3.Omara Portuondo – Nocturno Antillano (3:29)
4.Omara Portuondo – Caravan (2:21)
5.Omara Portuondo – Yenyere Cumae (3:08)
6.Omara Portuondo – Oguere (3:03)
7.Omara Portuondo – Te Dije Quédate (3:13)
8.Omara Portuondo – Matilda (2:43)
9.Omara Portuondo – Ya No Me Quieres (3:17)

Omara Portuonda is the grand old lady of Cuban music. While her early recordings made her a star in Cuba, her participation in the 1996 album and video documentary, The Buena Vista Social Club, brought her to international attention. Her solo album, The Buena Vista Social Club Presents Omara Portuondo, released in 2000, reinforced her status as one of Cuba's greatest musical ambassadors.

A native of Havana, Portuondo was one of three daughters born to a baseball player on the Cuban national team and a woman of Spanish heritage who left the comfort and support of her wealthy family home to marry the man she loved. Her parents' singing provided the soundtrack for her early life. As a youngster, she sang in school choirs and music classes.

Heavily influenced by an older sister, Haydee, a dancer at the Tropicana cabaret, Portuondo attended many of the troupe's rehearsals. When the ensemble found itself short one dancer, in 1945, she was recruited to fill the vacancy. The experience launched her on a career as a dancer and she formed a successful partnership with Rolando Espinosa. Portuondo balanced her dancing with singing engagements with friends, including Cesar Portillo De La Luz, Jose Antonio Mendez, and pianist Frank Emilio Flynn, calling themselves Loquimbambla Swing. The group helped to pioneer the filin style of music that blended bossa nova and American jazz. For a while, she also performed with Orquestra Anaconda.

In 1952, Portuondo joined with her sister and Elena Burke to form a vocal group, Cuarteto d'Aida. The group's sound was established with the addition of pianist and director Aida Diestro and female vocalist Moraima Secada. Although she released her debut solo album, Magia Negra, in 1959, Portuondo continued to work with the group.

Cuarteto d'Aida's fortunes were drastically effected by the Bay of Pigs crisis in 1961. Although they had become frequent performers in Miami, FL, they were prevented from returning as the relationship between Cuba and the United States collapsed. While Portuondo returned to her homeland, continuing to perform with Cuarteto d'Aida until 1967, her sister elected to remain in the United States.

Although she performed with Orquestra Aragon in the 1970s, Portuondo had settled into semi-retirement by the mid-'90s. Her plans to slow down her career were altered after Ry Cooder, who was in Cuba recording with the Chieftains, heard her sing in 1995. When he returned, the following year, to produce The Buena Vista Social Club, Portuondo was invited to become a featured vocalist with the all-star group. In 1998, Portuondo recorded a duo album, Desafios, with Cucho Valdes. ---Craig Harris, allmusic.com

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01. Campanitas de cristal
02. El amor de mi bohio
03. La dije a una rosa
04. Bajo un palmar
05. Confidencia de amor
06. Toda una vida
07. Cómo es posible
08. Increible
09. No te quejes
10. Y tú que has hecho
11. Quiero hablar contigo
12. Nosotros
13. Libre de pecado
14. Te quería
15. Piensa en mí
16. Verdad amarga
17. Vieja Luna
18. Quizás, quizás, quizás
19. La Cumbancha
20. La última noche

Omara Portuondo  Vocals
Enriqueta Almanza Piano
Ahmed Barroso 	Requinto
Hernan Cortes 	Tumba
Richard Egües 	Flute
Roberto García 	Bongos, Guiro, Maracas
Rubén González 	Piano
Raul Gutierrez 	Sax (Alto)
Orlando "Cachaito" Lopez 	Bass
Juan Martinez 	Piano
Jesús Ramos 	Trombone
Efraín Ríos 	Tres
Pedro Rivero 	Vocals (Background)
Osvaldo Rodriguez 	Tumba
Amadito Valdés 	Timbaleiro
Raquel Zozaya 	Vocals (Background) 

This is a fantastic compilation of boleros.Omara is on her best and the orchestation is pure harmony. A perfect combination for your soul: this CD, rum, a cigar. The rest comes by its own. --- Harlem Eupierre, amazon.com

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01.Tabu 
02.Amor De Mis Amores 
03.Alma De Roca 
04.Mueve La Cintura, Mulato 
05.Junto A Un Canaveral 
06.Hermosa Habana 
07.El Madrugador 
08.Amorosa Guajira 
09.Habanera Ven 
10.Si Llego A Besarte 
11.Flor De Amor 
12.Juramento 
13.He Venido A Decirte 
14.Casa Calor

Flor de Amor is the second World Circuit outing for Cuban diva Omara Portuondo, whose debut for the label topped the world music charts in 2000. This time out, Portuondo and producers Nick Gold, Jerry Boys, and Alé Siqueira assemble a sultry, steamy, and extremely elegant collection of love songs that are steeped in the popular Cuban bolero, rhumba, ritmo, guajira, and mambo traditions, but there is also the airiness of Brazilian pop music in the tunes produced by Siqueira. The players are from three generations of Cuban studio musicians, and include Barbarito Torres, Orlando "Cachaito" Lopez, Manuel Galbán, Roberto Fonseca, Carlos Emilio, and dozens of others, with a few Anglo players and singers as well. This is one of the most elegant recordings to come from the Buena Vista Social Club set. The album opens with the ethereal "Tabú." It is a song of longing for Africa with a gorgeous clarinet line played by Javier Zalba and a wispy backing chorus that winds around Portuondo; she blends in a Yoruban spiritual chant without breaking stride or upsetting the nocturnal balance of the tune. Jorge Chicoy's trademark electric guitar sound graces many of these tunes, with none so beautiful as "Amor de Mis Amores" ("Love of my life/Lifeblood of my veins/Give me the bloom of hope/Let me tell you the bittersweet truth/Of my suffering..."), with its chorus and entwining guitars and percussion. The classic "Amorosa Guajira" is haunting and tender; it features the singer accompanied only by Papi Oviedo's 12-string. The closing cut is written in Portuguese by Brazilian pop star Carlinhos Brown along with Junior Costa. Portuondo rises to the occasion, and sings this samba-inspired ballad with aplomb -- there is even a subtle theremin line by producer Siqueira! Flor de Amor is a wonderfully seamless, sensually charged, slow burn of an album that is nothing short of a work of art. ---Thom Jurek, Rovi

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1. Yo vi 
2. Adiós felicidad 
3. O que será (con Chico Buarque) 
4. Vuela pena 
5. Cuento para un nino 
6. Ámame como soy (con Pablo Milanés) 
7.Tú mi desengano 
8. Cachita 
9. Rabo de nube 
10. Gracias (con Jorge Drexler) 
11. Nuestro gran amor (con Cachaíto López y Chucho Valdés) 
12. Lo que me queda por vivir 
13. Drume negrita (con Richard Bona)

Who says you can't teach an old diva new tricks? At 78, Omara Portuondo, the Cuban vocalist who had nearly settled into retirement before the advent of the Buena Vista Social Club in the late '90s gave her international recognition, makes a bold move with Gracias. Although Portuondo's Cuban roots are evident throughout -- as if she could ever lose them -- the singer looks toward Brazilian forms, into jazz and beyond for this collection, produced by Brazilians Alé Siqueira and Swami Jr. And if Portuondo sounds closer to 48 than her actual age, it's easy to imagine that was part of the plan: there is a barely contained youthful spryness to her delivery of this material, an implicit statement that Portuondo is thrilled to be stepping out of the proverbial box in which she's lived -- metaphorically speaking -- for the better part of a half-century. To drive the point home, the producers have recruited an all-star support team boasting wide credentials: Israeli-born jazz double-bassist Avishai Cohen and Cameroonian bassist Richard Bona, Indian percussionist Trilok Gurtu, and vocalists Chico Buarque (from Brazil) and Jorge Drexler (Uruguay) are among the contributors, as are Cubans Pablo Milanés (vocals), Chucho Valdés (piano), Roberto Fonseca (keyboards), percussionist Andres Coayo and producer Swami Jr., who provides the rich acoustic seven-string guitar on several tracks. A string section adds sweetening here and there, and Rossio Jiménez shares vocals with her grandmother on one track, the quasi a cappella "Cachita" -- the album's only true clunker. From the sparingly orchestrated lead track, Henri Salvador's ballad "Yo Vi," and its successor, "Adiós Felicidad," which allows Cohen a generous solo spot, it becomes apparent that Portuondo is looking to spread her wings here. On "Rabo de Nube," amidst Cohen's bass bowing, Fonseca's broad sweeps of piano and Fender Rhodes, the seven-string, and Gurtu's tablas, Portuondo emotes with gusto but not in an over the top manner. Rather she eases into her vocal, before letting herself drift along with the cresting wave that the song becomes. On the sprightly "Ámame Como Soy," Portuondo rides atop the rhythm, presenting the Spanish lyrics -- in a duet with Milanés -- in a singsongy voice that manages to avoid the melodramatic flourishes another, less experienced singer might have injected. A variety of moods and sonic approaches lend the album its diverse flavors -- stark drumming here, a rush of strings there -- and while Portuondo does at times lapse into the saccharine, those lapses are forgivable in a set that recharges the career of a singer who could easily have coasted for the rest of her life. ---Jeff Tamarkin, Rovi

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1.Omara Portuondo – La Era Esta Pariendo un Corazón (3:39)
2.Omara Portuondo – Magia Negra (2:45)
3.Omara Portuondo – Ya No Me Quieres (2:35)
4.Omara Portuondo – No Hagas Caso (2:52)
5.Omara Portuondo – Cachita (2:29)
6.Omara Portuondo – Las Mulatas del Cha Cha Cha (2:42)
7.Omara Portuondo – Oye Mi Ritmo (2:20)
8.Omara Portuondo – Andalucía (4:03)
9.Omara Portuondo – Tobaco Verde (3:01)
10.Omara Portuondo – Cariñito Azucarado (2:20)

Danilo Lozano, a music professor at Whittier College who specializes in Cuban music, says that the 1997 album was Portuondo's re-introduction to international and American audiences. "And that was great," Lozano says, "because what she brought to it was, what can I say ... It was magic." ---npr.org

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1.Omara Portuondo – Que Emoción (2:03)
2.Omara Portuondo – Profecía (3:02)
3.Omara Portuondo – Cuanto Me Alegro (2:21)
4.Omara Portuondo – No Se Que Voy a Hacer (2:46)
5.Omara Portuondo – Quiéreme Mucho (2:21)
6.Omara Portuondo – No Puedo Ser Feliz (1:54)
7.Omara Portuondo – No Se Que Voy a Hacer. (3:07)
8.Omara Portuondo – Totiri Mundachi (2:14)
9.Omara Portuondo – Llanto de Luna (2:41)
10.Omara Portuondo – Adiós (2:16)

Cuban singer Omara Portuondo has been compared to Billie Holliday and Edith Piaf. A legend in Cuba, she gained U.S. attention with her vocals on the album Buena Vista Social Club. Singer Omara Portuondo was born in 1930, in Havana, Cuba. She performed with her sister, Haydee, in Havana clubs. They formed the group Cuarteto las d'Aida and toured the U.S. and Europe. Omara returned to Cuba after the revolution and continued to perform. She sang on the hit album Buena Vista Social Club in 1997, helping Cuban music gain attention. Omara Portuondo was born on October 29, 1930 in Cuba. The daughter of a baseball player, Portuondo began her career as a dancer at a famed Havana nightspot called the Tropicana. She started a duo with her sister Haydee, singing in clubs. The two later formed the group Cuarteto las d'Aida, which toured the United States and Europe, beginning in 1957.

In Miami at the time of the revolution, Portuondo decided to return to Cuba while her sister decided to stay in the United States. Under Fidel Castro, she continued to make music and tour in many countries except the United States. Portuondo is considered one of the most famous singers in Cuba. Known especially for her boleros, or ballads, she has been compared to American jazz artist Billie Holiday and French vocalist Edith Piaf. A living legend, Portuondo has been the subject of a documentary, Omara, which won an award at the 1986 Cannes Film Festival.

Portuondo happened to be recording at the same Havana studios at the same time as the Buena Vista Social Club, an ensemble of Cuban musicians. Producer Ry Cooder asked her to lend her legendary voice to the project. As a result, she sang her lead vocals on "Veinte Aos" on Buena Vista Social Club (1997). The album sold more than 1.5 million copies and stirred interest in Cuban music around the world. Unlike many of the other performers on the album, Portuondo already had a thriving career. But Buena Vista Social Club raised her profile in the United States and won her even more fans. ---biography.com

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2 CDs

1. Increible
2. Quiero Hablar Contigo
3. Te Queria
4. Libre De Pecado
5. Campanitas De Cristal
6. Nosotros
7. Como Es Posible
8. Vieja Luna
9. Confidencia De Amor
10. No Te Quejes
11. Le Dije A Una Rosa
12. Y Tu Que Has Hecho
13. La Ultima Noche
14. Obertura
15. Hasta Siempre
16. Veinte Anos
17. Interludio
18. Es Lo Que Me Queda Por Vivir
19. Lagrimas Negras
20. Y Solo Tu Y Yo
21. Alli
22. Vuela Pena
23. Me Acostumbre A Estar Sin Ti
24. Cancion De Un Festival
25. Gracias A La Vida
26. Porque Dudas
27. Y Tal Vez
28. Un Ratico Mas No Importa

Omara Portuondo (vocals);
Teresa Garcia, Pedro Rivero, Raquel Zozaya (vocals); 
Juan Martinez (guitar, piano); 
Martín Rojas, Juan Marinez, Miguel Martínez Rojas (guitar); 
Efraín Ríos (tres); 
Richard Egües (flute); 
Raul Gutierrez (alto saxophone); 
Enriqueta Almanza, Rubén González (piano); 
Orlando "Cachaito" Lopez (bass instrument); 
Amadito Valdés (timbales); 
Hernan Cortes, Roberto Garcia , Roberto García, Osvaldo Rodriguez (percussion).

2008 reissue of 2005 double CD set featuring recordings from 1997-2000 when Omara Portunondo started recording with the Buena Vista Social Club. She was nominated for a Grammy in 2004. This double CD, L grimas Negras (Black Tears), Canciones y Boleros, is the result of an interpretive creation full of feeling, intimacy, and naturalness. She returned to the Latin American popular classics -to Violeta Parra, to Virgilio Gonz lez, to Alberto Vera, to Eusebio Delf¡n- with a fabulous ensemble consisting of the great Ruben Gonzalez and Enriqueta Almanza's piano, Richard Eges's flute, Martin Rojas's magnificent guitar, the bass of Cacha¡to, Mirabal's art in unraveling the mysteries of the brass instruments, Amadito Vald‚s's paila with AfroCuban rhythms and the tasty percussion of Hern n Cort‚s, Roberto Garc¡a, and Osvaldo Rodriguez. ---Editorial Reviews, amazon.com

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