With a background in the classical and jazz music, José join Madredeus in 1993. Since then, his own partecipation has been entirely characterized by two simple words: musical generosity. He made arrangements of astonishing complexity and refinement, always avoiding to interfere in the sonorous image of Madredeus, but instead improving its definition, its contrast, the intensity of the colors. He wrote beautiful songs that now all the fans remember and that signed for many the first approach to Madredeus; in all of these he always succeded in respecting the very delicate melodical and conceptual equilibriums of the group's music, though characterizing them with a distinctive trait: that rarefied and opalescent atmosphere which sign his style.
Now we are in the 2000 and José continues to carry on this work, but the most acclaimed critics always forget to mention his name, maybe looking at him as just a companion of Pedro and Teresa, often wrongly considered and the only "true" Madredeus.
But it has been just recently, thanks to the listening of the solo albums of José (many thanks to Sérgio for them), that the personal contribution of José in the music of Madredeus has become more evident, even if these projects show a quite different music.
In them we can listen to the most authentic atmosphere of Josè, which is also the one that we can listen in the arrangements and in his songs for Madredeus; though it appears pure and concentrate in these albums, without the "intervention" of the other instruments. It is a difficult music, sometimes almost experimental, but always maintain a great coherence. Sometimes it is harsh, not only for the unusual melodies, but also for its strange power of making you feel absolutely alone with yourself; and this sensation is often ostile.
It is as the solitude of the sound of the guitar, and the vast but discrete reverberation of the church in which it has been recorded, materialize a deep silence around us, putting us in front of our present being.
The emotions that we will feel by listening to this music will reflect, in a certain sense, the attitude we have in front of our own inconscious: in the beginning I found in it a terrible anguish, while now I see in it the quest for a interior peace, a tiring and suffered quest in the introspection.
And it is this last one that we found in his songs for Madredeus. It is that introspection one of the traits that emerge when we see him live on the stage; an introspection that doesn't impede, but instead lights up, and at the same time, hides, a volcanic emotionality.
As well as a restrained cry is much more painful than a screamed one, this silent music can resound more widely in us that the sonorous and open one that we are used to listen.
And for this reason I believe that José made possible in reality the musical execution of that guiding concept which would have been the soul of "O Espírito da Paz", of "Ainda" and of "O Paraíso".
from the site Madredeus - O Porto - http://go.to/madredeus