Haydée Mercedes Sosa (9 July 1935 – 4 October 2009), known as La Negra (literally: The Black One), was an Argentine singer who was popular throughout Latin America and many countries outside the continent. With her roots in Argentine folk music, Sosa became one of the preeminent exponents of nueva canción. She gave voice to songs written by both Brazilians and Cubans. She was best known as the "voice of the voiceless ones".
Sosa performed in venues such as the Lincoln Center in New York City, the Théâtre Mogador in Paris and the Sistine Chapel in Vatican City, as well as sell-out shows in New York's Carnegie Hall and the Roman Coliseum during her final decade of life. Her career spanned four decades and she has been the recipient of several Grammy awards and nominations, including three nominations which will be decided posthumously. She served as an ambassador for UNICEF.
Sosa was born on 9 July 1935, in San Miguel de Tucumán, in the northwestern Argentine province of Tucumán, of mestizo, French, and Quechua Amerindian ancestry. In 1950, at age fifteen, she won a singing competition organized by a local radio station and was given a contract to perform for two months. She recorded her first album, La Voz de la Zafra, in 1959. A performance at the 1965 Cosquín National Folklore Festival — where she was introduced and brought to the scene while sitting among the public by fellow folk singer Jorge Cafrune-, brought her to the attention of her native countrypeople.
Sosa and her first husband, Manuel Óscar Matus, with whom she had one son, were key players in the mid-60s nueva canción movement (which was called nuevo cancionero in Argentina). Her second record was Canciones con Fundamento, a collection of Argentine folk songs.
In 1967, Sosa toured the United States and Europe with great success. In later years, she performed and recorded extensively, broadening her repertoire to include material from throughout Latin America.
In the early 1970s, Sosa released two concept albums in collaboration with composer Ariel Ramírez and lyricist Félix Luna: Cantata Sudamericana and Mujeres Argentinas (Argentine Women). She also recorded a tribute to Chilean poet Violeta Parra in 1971, including what was to become one of Sosa's signature songs, Gracias a la Vida. She also improved the popularity of songs written by Milton Nascimento of Brazil and Pablo Milanés and Silvio Rodríguez both from Cuba.
After the military junta of Jorge Videla came to power in 1976, the atmosphere in Argentina grew increasingly oppressive. At a concert in La Plata in 1979, Sosa was searched and arrested on stage, along with the attending crowd.[6] Their release came about through international intervention. Banned in her own country, she moved to Paris and then to Madrid.[4][6] Her second husband died in 1978. (by wikipwedia)
This is one of her beautful albums from the mid70´s. What a voice, what a power !
Sosa performed in venues such as the Lincoln Center in New York City, the Théâtre Mogador in Paris and the Sistine Chapel in Vatican City, as well as sell-out shows in New York's Carnegie Hall and the Roman Coliseum during her final decade of life. Her career spanned four decades and she has been the recipient of several Grammy awards and nominations, including three nominations which will be decided posthumously. She served as an ambassador for UNICEF.
Sosa was born on 9 July 1935, in San Miguel de Tucumán, in the northwestern Argentine province of Tucumán, of mestizo, French, and Quechua Amerindian ancestry. In 1950, at age fifteen, she won a singing competition organized by a local radio station and was given a contract to perform for two months. She recorded her first album, La Voz de la Zafra, in 1959. A performance at the 1965 Cosquín National Folklore Festival — where she was introduced and brought to the scene while sitting among the public by fellow folk singer Jorge Cafrune-, brought her to the attention of her native countrypeople.
Sosa and her first husband, Manuel Óscar Matus, with whom she had one son, were key players in the mid-60s nueva canción movement (which was called nuevo cancionero in Argentina). Her second record was Canciones con Fundamento, a collection of Argentine folk songs.
In 1967, Sosa toured the United States and Europe with great success. In later years, she performed and recorded extensively, broadening her repertoire to include material from throughout Latin America.
In the early 1970s, Sosa released two concept albums in collaboration with composer Ariel Ramírez and lyricist Félix Luna: Cantata Sudamericana and Mujeres Argentinas (Argentine Women). She also recorded a tribute to Chilean poet Violeta Parra in 1971, including what was to become one of Sosa's signature songs, Gracias a la Vida. She also improved the popularity of songs written by Milton Nascimento of Brazil and Pablo Milanés and Silvio Rodríguez both from Cuba.
After the military junta of Jorge Videla came to power in 1976, the atmosphere in Argentina grew increasingly oppressive. At a concert in La Plata in 1979, Sosa was searched and arrested on stage, along with the attending crowd.[6] Their release came about through international intervention. Banned in her own country, she moved to Paris and then to Madrid.[4][6] Her second husband died in 1978. (by wikipwedia)
This is one of her beautful albums from the mid70´s. What a voice, what a power !
Personnel:
Santiago Bertiz (guitar, vocals)
Louis Gonzales (guitar)
Mercedes Sos (vocals, guitar)
Musical director: Oscar Cardozo Ocampo
Tracklist:
01. La Mamancy (Isella/Gomez) 2.16
02. Poema 15 (Traditional) 3.14
03. La trunca norte (Além/Mercado) 2.05
04. Las estatuas (Walsh) 3.43
05. Drume negrita (de Nieve) 2.30
06. Cantor de oficio (Morelli) 3.00
07. Los Pueblos De Gesto Antiguo (Quintana/Lazarte) 2.58
08. La cuna de tu hijo (Traditional) 2.33
09. Peoncito de estancia (Cardozo) 2.55
10. Muchacho pelador (Gostello) 3.43
11. Cuando voy al trabajo (Jara) 2.57
12. Indio (Maguina) 3.33
+
13. Me gustan los estudiantes (bonus track) (Parra) 2.56
14. Te recuedro amanda (bonus track) (Jara) 2.49
