Roxana Amed

She comes from jazz, got into rock, but at time time of composing, borders fall to pieces (…) Amed doesn’t merge, she takes command of the genres and works with them in a very personal way.” DISCOS: Limbo – ROXANA AMED / EMI. CLARÍN, October 13th 2004, Espectáculos, “Melancholic and personal” by Gabriela Saidón

Roxana Amed’s is as unclassifiable as the most jazzistic works by Joni Mitchell. In her second album, produced by Pedro Aznar, she shines as a Performer and songwriter.” Considered one of the best 5 Jazz albums of the year, Claudio Kleiman – ROLLING STONE, anuario 2006.

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She comes from jazz, got into rock, but at time time of composing, borders fall to pieces (…) Amed doesn’t merge, she takes command of the genres and works with them in a very personal way.” DISCOS: Limbo – ROXANA AMED / EMI. CLARÍN, October 13th 2004, Espectáculos, “Melancholic and personal” by Gabriela Saidón

Roxana Amed’s is as unclassifiable as the most jazzistic works by Joni Mitchell. In her second album, produced by Pedro Aznar, she shines as a Performer and songwriter.” Considered one of the best 5 Jazz albums of the year, Claudio Kleiman – ROLLING STONE, anuario 2006.

Argentine Roxana Amed is a delight, with a rich voice that has both great flexibility and emotion. She conducted some master classes on singing during the festival. (Classes were also led by Hersch, Waits, Penman and Cardenas during the festival). But she was not part of the 2009 concert schedule. She did, however, appear at one of the jam sessions led by trumpeter Gillespi, where she did a killer version of Monk’s “Ask Me Now,” backed only by festival director Iaies on piano. She has a great way of playing with the melody, using her voice like an instrument. She and Iaies both have great fervor in their performance and the duet was exquisite. Overall, Amed can be just as likely to sing a Joni Mitchell song, an original composition, jazz or pop—all with equal joy and excitement.“ RJ DELUKE, January, 2010, All about jazz

On one side, some beautiful songs and two excellent musicians, one pianist, the other one, singer. On the other side, an idea. The resources are minimal. And the results belongs to an endangered breed: the great albums one.” PÁGINA 12 Wednesday August 11th, 2010 Cultura & Espectáculos > Discos / by Diego Fischerman

About Roxana Amed, she is one of the most personal and attractive singers in actual jazz, with this feature that makes her different from her collegues because –as the recently disappeared Abbey Lincoln- she is a talented composer. (…) One of those albums that grow with the listenings and it will be difficult to remove it from the top positions of the albums released this year.” EL AMANTE.com Septiembre 2010 Críticas by Jorge García

Roxana Amed has built a remarkable place in the Argentine musical map because she is responsible for the whole creative process, composition, arrangements, production and, of course, the fine art of performing. What is interesting is that this place is not conceived as a safe place to rest, for example, on the virtues of her magnificent voice, but as a platform from which risks are taken.” Nicolás Russo, from Roxana Amed’s originality: Risk  “Her dark voice, with interesting folds and open phrasing, is the thread to join past and present, songs by her own and made her own. With no need to alterate melodic lines or to remove rhythmic roots, Amed’s jazz conception reflects in a real mastering of the swing and the silence; in a restrained way that leads you to a retrospective intensity, that when it explodes it doesn’t splatter, and that knows how to lean back in the art of dialogue with excellent musicians (…) If you listen to it from the past till here or from here all the way back to the past, Inocencia is an excellent album.” “Tiempos de ida y vuelta”, La voz del interior, June 19th, 2011 by Santiago Giordano

“Her voice is prodigious, she has a huge range and never falls in the demagoguery: on the contrary, Amed’s last albums demand almost an absolute concentration.” “The voice that implodes”, Página 12, August 14th, 2011, by Mariano del Mazo

“With the recent release of “La sombra de su sombra”, the talented singer decided to leave aside her facet as a songwriter and joined the american Frank Carlberg. (…) There are some musical encounters that are difficult to foresee, as it happened with Roxana Amed’s voice, Frank Carlberg’s piano and Alejandra Pizarnik’s poems. Today, after the brand new release of this album, La sombra de su sombra, with ten poems set to music in an emotional and high quality way, avoiding any common place and being closer to an experimental and conceptual style.” Piano and voice for Pizarnik, Tiempo argentino, July 30th, 2013, by Marcelo Fernández Bitar

“Interesting, different, daring”, An audacious bet by Roxana Amed, Ámbito financiero, July 22nd, by Ricardo Saltón

Roxana Amed can be distinguished by thinking each album with a unique concept. In this extraordinary La sombra de su sombra, in a duo with the great american pianist Frank Carlberg (and as a guest, singer Christine Correa, old friend and collaborator with the likes of Steve Lacy and Ran Blake), Amed performs original pieces written by him on poems by Alejandra Pizarnik. The originality of the project, but -not less important- the beauty of the result, turns this CD into one of the events of the year. Lanzamientos, Espectáculos, PÁGINA 12 , July 24th 2013, by Diego Fisherman

“(…)Another native of Buenos Aires (now living in Coconut Grove), vocalist Roxana Amed collaborated with Finnish pianist Frank Carlberg (now of New York) on La Sombra de su Sombra, an album of Argentine poet Alejandra Pizarnik’s verse set to Carlberg’s unusual but highly singable original compositions. These delicate, elegant vignettes showcase Amed’s passionate yet subdued readings (on four of ten tracks she is closely harmonized by vocalist Christine Correa), as well as Carlberg’s impeccable accompaniment and improvisational interludes. “Luego” recalls the seductive pulse of the tango, featuring a scatted melody doubled by voice and piano. Other high points include the title cut, “Más Allá” and “Como un Poema Enterado”, all of which meld verse, voice and piano into a unique and highly satisfying aural artwork”. NYC Jazz Record, November 2014, by Tom Greenland

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