Irene Farrera

Irene's new release, "Soy de Ti" is a

fiery, fascinating album that perfectly

showcases her unique, percussive

style of singing and playing the guitar.

Her infectious rhythms and deep, rich

voice first capture one's attention, the

poetry of Irene's music demands that

you linger. Featuring Afro-latin

percussion, steel drums, cuatro,

accordion and violin. Produced by

Andy Narell.

Music was Irene Farerra's first language. Her earliest memories of Venezuela are full of

song and dancing feet. "Music is part of every celebration and social occasion," says the

Oregon-based vocalist. By the time she was six she could sing dozens of aguinaldos, or

holiday songs. She loved the rhythm of Venezuela's gaita music, too, so much that she

insisted on organizing her brother and three sisters into a band to perform for the family.

Impressed by their fervor, their father bought a drum for the brother, maracas for the

sisters, and presented Irene with a cuatro, a Venezuelan four-stringed guitar. The

instrument became her constant companion.

What began as a childhood diversion has become a deep commitment to the universal

language of music. Farrera's latest album, Soy de Ti (Indigena Records) is a testament to

her mastery of the guitar---which she wields as both melodic and percussive

accompaniment---and her skill in translating emotion and observation into poetic lyrics.

Accompanied by steel drum master Andy Narell (who produced the album) and Afro-Latin

percussionists Michael Spiro, Jesus Diaz and Jackeline Rago, Farrera weaves her silky

voice through verses of caressing tenderness, urgency and hope.

"These are songs about being in love, being on fire," she says. "Some are songs to

embrace the world, to bring people together in the dance. Ideally, I would like my music to

reinforce the sense of positive activism and power that each of us carries within."

All but one of the 11 tracks are originals that Farrera penned over the last ten years. The

arrangements, with lyrics in Spanish and English, cover a range of styles: the

samba-reggae rallying cry of "For the World;" a romantic rumba-flamenca for "I'll be There;"

and the title track, a bossa nova performed with Brazilian guitarist Carlos Oliveira and

violinist Darol Anger of The Turtle Island String Quartet.

Farrera's siblings indulged her every Christmas season by crooning the choruses to the

aguinaldos that quickly became a family tradition. By the time she was a teenager, Farrera

was lead singer and the family band---with the addition of her sisters' boyfriends---were

playing paid gigs at holiday parties. "They were having fun, but I was serious," she recalls. "I

was certain that this is what I needed to do. Something in me could not separate from the

music. I went everywhere with my guitar."

Still, a musical career seemed unrealistic. After high school, she packed up her guitar and

moved to New York to study architecture. She returned to Venezuela to work, but grew

restless; a scholarship offer eventually brought her to Oregon, where she completed a

degree in humanities. At one point, short of cash and encouraged by a voice teacher, she

auditioned at a jazz club in Ashland. "I played 'The Girl from Ipanema' and they hired me for

the weekend!" she says. "I had no formal training and was thrilled to get paid. The audience

was supportive and wonderful. Word spread, the gigs got bigger and better. I didn't think I

would stay, but the music has kept me here."

The club gave her the opportunity to play with Charlie Byrd; since then she has toured

extensively and opened for the likes of Cesaria Evora, Tish Hinojosa and Susana Baca.

Critics lauded her first two albums, "Walking in the Jungle" (Same Sea Music, 1993) and

"Alma Latina" (Redwood Records, 1995), comparing her voice to fine chocolate. Sing Out!

magazine said: "Farrera's voice haunts with power and passion, yet is no stranger to

vulnerability. It's a voice you won't forget."

Her live sets continue to pay homage to the Venezuela of her childhood. "The cuatro makes

you want to play joropo, the folk music that goes with that instrument. The way I strum the

six-string guitar now is as a percussive instrument---charrasqueado, with all the fingernails

together. The gaita also is very percussive. The two styles are very strong. Of course, I

have now traveled the world and been exposed to many musical styles. Most important to

me are the music of Cuba and Brazil with their rich and compelling rhythms and melodies.

"

Much of Farrera's repertoire has a message, a plea for enlightenment, action or

redemption. Beyond the words, however, rings her dedication to a universal and non-verbal

language of rhythm and expression. "Many people tell me that my music is passionate. I like

to think it's from the heart, that it awakens those places in you that feel strongly about life

and love. I want to move people with my music. Often when I play, some of the audience

doesn't understand the words, whether they're in Spanish or English. But they feel the

meaning in every cell of their bodies.

"It's not that music breaks geographic borders," she adds. "It simply demonstrates that they

don't exist; they're imaginary lines drawn to divide us. I need to perform my music as a

Latina and as a woman, to represent my culture con pasion---to bring us all together. I think

we are ready for it."

Yes, I play live all over the US. I love performing and collaborating with other musicians. Recent performance highlights include playing with Jackeline Rago and the Venezuelan Music Project and opening for Barbarito Torres from Buena Vista Social Club.

Antonio Carlos Jobim, Soledad Bravo, Joan Armatrading, Venezuelan traditional music, joropo, gaita, Cuban music, Brazilians such as Caetano Veloso, Milton Nascimento