In fall 2017, bassist Lucy Clifford got the chance to record and tour with Portuguese fado sensation Mariza. Clifford reflects on the experience in the following selections from a travel journal she kept. You can also read the full version.
By Lucy Clifford ’16
I was fortunate enough to accompany Mariza on her latest tour of the U.S., and in doing so, learned about the world of fado, a music in which Mariza can easily be described as the world’s reigning artist of today. I quickly gathered that no one has embraced fado with greater charisma than Mariza, and was amazed at how her, and the brilliant players that accompany her, have been reinventing its traditions. It was an opportunity that I am forever grateful for, and can sincerely say that not one concert went by on this tour where I didn’t learn something new about fine musicianship, fado, and its charming home – Lisbon, Portugal.
This U.S. tour consisted of intimate venues, allowing her audience to experience an up close and personal show, an opportunity that has never been offered in the past. The tour name, Raizes, meaning “Roots” depicts the music presented throughout the concerts. As Mariza described it, the purpose was really to play music “that we know and love, that is a part of us.” Not a traditional fado concert, the set lists are comprised of a real mix of traditional fados, songs from Mariza’s past albums, along with hints of her Mozambican heritage as well as her jazz, soul, and Brazilian influences.
Mariza’s upcoming album for 2018 also takes on this real fusion of genres, of which I had the beautiful opportunity to record bass on. And who better to treat this new album than long time friend and producer of Mariza, and Berklee’s very own Javier Limón, flamenco guitarist, artistic director of the Mediterranean Music Institute, and Grammy-winning producer. With such an extensive resume and passion for discovering new music, Limón really has been making waves in the industry and paving the way for new artists he passionately believes in. Javier Limón has been a constant source of support and guidance for me as a bass player, and I owe a lot to him for pushing me in new directions and presenting me with opportunities that I wouldn’t otherwise take due to my own inner fears. It was Limón who that introduced me to Mariza, and for that I am forever grateful.
With the first show of the tour at Stanford University’s Bing Concert Hall studio, I was directed to meet Mariza and her team in San Francisco to rehearse the day before. To say I wasn’t nervous would be totally and completely a lie. I was about to venture into a territory of music that I wasn’t entirely versed in. That, along with being told by Limón that Mariza has never shared the stage with another woman, sent all kinds of vibrations throughout my body, both good and bad! However, those shaky thoughts and feelings were quickly put to rest when meeting Mariza’s amazing team of musicians and crew, all of whom were genuinely welcoming, kind, professional, and good-humored.
The concerts on this tour were particularly special for me, not only because I got to stand beside these musicians, but also because I got to listen to Mariza’s many stories. And while the traditions of fado stem from an aching palette of themes such as heartbreak, loss, and melancholic nostalgia (known in Portuguese as saudade), I was constantly fascinated with how she was able to convey this music’s past along with dashes of other influences. She undeniably knows fado’s roots, and that can be so easily heard throughout her performances. When Mariza told me that fado is “music from the streets” and that was essentially how she learned it, I knew that this had so much to do with why her voice is so captivating – that passion is more about feeling and experiencing than about being mechanically taught.
With around 17 shows at various locations around the U.S., this series of concerts was such a source of knowledge in learning about fado, bettering myself as an accompanist and was truly inspiring to be working with such remarkably versatile musicians. I deeply appreciate working with women who are continually evolving their craft, and Mariza is an example of exactly that: a strong female force in music that continues to inspire many, from all corners of the globe.
Big thanks also to Nuno Cruz, Mario Capucho, Paula Carmo, and Yusuf Gandhi for being such an incredible team.
Lucy Clifford is a bassist, composer, and educator from Wollongong, Australia. Since receiving her B.A. in jazz performance from Sydney Conservatorium of Music in 2012 and her diploma in contemporary writing and production from Berklee in 2016, Lucy’s multigenre bass playing has contributed to her extensive body of work, having performed across the globe with countless artists. She now resides in New York City.
- An International Vision for Music Education - July 13, 2022
- Applying a Scientific Approach to Discover Why Music Sounds the Way It Does - June 24, 2022
- Congratulate Boston Conservatory at Berklee’s Class of 2022 - April 14, 2022