"Big Mama Montse made vibrate the public joined in Fadura (Getxo-Spain) that really applauded her performance."
EGIN JULY 91
"The night revolution began with Big Mama and The Blues Messengers... When they started the performance people drove crazy. To vibrate, they vibrated until the supports of the microphones... Many people sent themselves to a wild dance. At the end of the gig all the public in Fadura was shouting: `one more!, one more!´... "
DEIA 4 JULY 91
"... Big Mama appeared on stage and she was a close torrent of sensations and bluesy convictions ... the vocal energy of her singing elevated the temperature of the theater (San Juan Evangelista in Madrid)"
ABC 3 DECEMBER 91
"The first session of this Blues Festival in Barcelona was opened by a Big Mama full of voice, whose function was rather further on that the one of playing before The Fabulous Thunderbirds... Big Mama marked an excellent concert."
EL OBSERVADOR 6 APRIL 92
"Big Mama offered a good fresh blues session with Mediterranean perfume. She put what there is to put upon a scene. Good professional."
LA VANGUARDIA 6 APRIL 92
"Big Mama is the new musical queen of the blues in Barcelona. The special feeling that envolve her interpretations makes her into a great singer... Big Mama put the tenderness and Johnny Adams the fire. "
EL PERIÓDICO 24 MAY 92
"Big Mama appeared in scene by singing classic blues with impeccable form. After the last song, the public asked her for more, unusual thing in a first on performance. Big Mama sang another blues before Luther Johnson´s show."
EL DIARI DE TERRASSA 13 MARCH 93
"Week after week and during some years, Big Mama and The Blues Messengers have been present in the most important clubs of Barcelona, creating a faithful liking to the blues and giving credibility to it, influencing in many groups and contributing to create a blues tradition in Catalonia."
GUÍA DEL OCIO Nº 802 APRIL 93
"Montse Pratdesaba (Big Mama) is a singer overturned totally to the blues. Leading a sober band and singing night after night, she obtains that La Boîte, the club that she helped to make popular in Barcelona, records her a Live album. The CD gathers with reliability the sweat, the tears, the smoke, the glasses and the energy that she gives and receives from the public."
24 THURSDAY NOVEMBER 93
"How can it be possible that a girl that´s been born in Catalonia sings the blues as if she has lived in the Mississippi area? It´s an inscrutable mystery to me and it was too for the North American artist Spanky Wilson that after listening to Big Mama exclaimed subjugated: ` Man, what a voice!´. If you pay attention to some of the Big Mama´s recordings, they can suggest to you that she is a brilliant inheritress of the Empress of the Blues. Her powerful voice and her feeling reminds us to the great Bessie Smith.
In these three or four years we´ve listened to Big Mama accompanied by small sets, singing ferocious blues with a black touch. She has traveled by Spanish geography and also in France, and everywhere she goes she has received a fervent welcome. It is really fascinating that, in a moment that pop-rock stars prevail, somebody that sings the blues obtains the applause of nourished groups of young people who are not used to hear that kind of music.
Big Mama does not have bad taste, she adores Elmore James and Bessie Smith. She also loves the great black orchestras just like Count Basie´s one. And she wishes to deepen her knowledge of the blues arcanes, to improve her singing and to continue by giving the blues message everywhere. Big Mama is all freshness, Big Mama is all force, with a powerful swing. Believe me, she´s a great artist."
ALFREDO PAPO
CUADERNOS DE JAZZ JANUARY-FEBRUARY 94
"Big Mama & The Blues Messengers is a Spanish outfit who have a penchant for classic American blues and soul. Mama´s influences are many but her vocal style stems from the Bessie Smith school, brought up to date with echoes of Koko taylor. Big Mama manages to put the right emphasis on the lyrics with a suitable emotional strain. Although I´m not generally an advocate of the white blues scene, Big Mama and her boys offer an acceptable interpretation of the genre."
DAVID LANDS
JAZZ JOURNAL SEPTEMBER 94
"The vocal qualities of Big Mama are a positive surprise because of her feeling and her bluesy legitimacy."
ALBERT MALLOFRÉ
LA VANGUARDIA 25 FEBRUARY 95
"When Big Mama sings Bessie Smith´s repertoire, something shakes from her throat with an uncontrollable strength that cuts the atmosphere; ` Me and my gin´ and ` There ain´t nobody´s bizness if I do´ are two examples with which Big Mama captivated the place, rendering the audience on her feet."
JAZZOLOGY Nº 7 JANUARY 95
"The audience were thrilled by Big Mama's powerful voice and the sure touch of her two accompanists right up to the last of the encores. How Long Blues completed a recital full of well-known classics which the public really knew how to appreciate."
GARA 26 NOVEMBER 99
"Big Mama is famed as one of the greatest voices you can hear in these latitudes."
EL PUNT (GIRONA) 15 APRIL 2000
"Blues on CD interpreted by one of the great voices of the speciality on our peninsular. Big Mama, superbly supported by the guitar of Miguel Talavera and the harmonica of Joan Pau Cumellas, has achieved a stunning recording."
EL PAÍS 30 NOVEMBER 2000
"Last Sunday evening I witnessed an exceptional concert at Vilanova del Camí by Tableau de Blues, a trio with Joan Pau Cumellas playing harmonicas, Miguel Talavera guitars, and Big Mama singing and playing guitar as well. Just the name of this importance is enough to attract her loyal public. And evidently last Sunday's concert wasn't an exception."
LA VEU DE L'ANOIA 20 OCTOBER 2000
"I was present during the live recording of this disc (TABLEAU DE BLUES) at Cova del Drac. Without doubt it is a great disc, but I loved the live experience even more. All fans of electric and urban blues will be tempted to buy the CD. Big Mama's voice reaches its hottest point with the suggestive and intense backing of Joan Pau's harmonica and Miguel Talavera's guitar. With total security I can say that this trio represents the most important blues show and recording in Catalonia."
ONADA DE CULTURES JUNE 2001
"The classic Georgia stood out in the performance, a magnificent version which highlighted Big Mama's vocal qualities. Also memorable were their versions of Mystery Train, featuring Joan Pau Cumellas, and especially the song Johnny, Jim o Jack, written and interpreted by Big Mama. In this she demonstrates her creative capacity, with lyrics in Catalan full of feeling and irony. It is poetry turned into music."
BAIX PENEDÈS 10 AUGUST 2001
"Montserrat Pratdesaba said she was surprised by the warm welcome of the public at the concert which the blues singer, guitar in hand, together with Joan Pau Cumellas and his harmonicas, gave in the Iglesia de Pont last Saturday night. Hundreds of people crammed the seats and aisles of the church. Big Mama and Joan Pau, in front of the altar, filled the space with good music, virtuosity and feeling. The public did not stop singing, clapping and whistling to encourage them. They were rewarded with three encores."
LA MAÑANA (LLEIDA) 21 AUGUST 2001
"Big Mama and the blues are an indestructible partnership. `I didn't know what my next step would be until Joan Pau Cumellas gave me some lyrics written by his English friend Andrew "Growling Bear" Neilson. Many people send me lyrics but very few move me. These quickly inspired me to compose music and work on them.' To ten songs written with Neilson, Big mama has added an original composition in Catalan and two versions of classic blues. STIR THE POT, released by DiscMedi, is full of blues feeling, but Big Mama says ` it's more correct to say that my music is inspired by the blues.'"
ENDERROCK NOVEMBER 2001
"On this CD the excellent blues singer Big Mama is in a duo with Joan Pau Cumellas on harmonica, and she herself keeps rhythm on the guitar. All the compositions except two are by Big Mama and the lyrics (except three) by the English poet A. Neilson. Armes per gana, entirely by Big Mama, is sung in Catalan. The two famous numbers not by Big Mama or Neilson are Nobody knows you when you're down and out, and Make me a pallet on the floor. Big Mama proves herself to be an excellent composer especially in Stir the pot, and Beat up Woman. She sings superbly and Joan Pau Cumellas is inspired on harmonica. A recommended disc."
HOT CLUB MAGAZINE nº 516/OCTOBER 2002
"BIG MAMA CONTINUES INVESTIGATING IN THE ROOTS OF THE BLUES IN HER NEW ALBUM. `Blues Rooted´ is the title of Big Mama´s new album. The artist continues investigating in the roots of the blues and delights to her many fans with 15 exquisite songs. In the constant search of an aesthetic emotion, Big Mama has been able to thread a series of agile texts that pierce deep in the listener. Don´t miss the opportunity to savor the songs that breathe freshness and calmness in this Blues Rooted that soon will sound live in territories of Lleida."
LA MAÑANA 17 OCTOBER 2005
"By presenting "Rooted Blues" like a kaleidoscopic album, Big Mama found the term exact to describe it! To taste without moderation from evening till morning and vice versa…"
FRED DELFORGE
WWW.ZICAZIC.COM November 3, 2005
BLUES AGAIN nº 4
"Blues Rooted, last CD, I have just flown over it…! At the first listening, I am very pleased to find a hot voice that suits with the blues feelings. The red pocket… Olé…! With a beautiful photograph of Big Mama, a beautiful small booklet with the words of the lyrics… Super…! I go back in listening: that´s so much good!"
JEAN-MARCEL LAROY
BLUES MAGAZINE nº 39 WINTER 2006
" Big Mama dedicates this disc to everyone, but particularly to people who suffered, which lived tortures and ill-treatments. She would like that the music and the lyrics of these songs relieve their suffering. That´s Big Mama. "
ERIC DUMEIGE
BLUES & CO nº DECEMBER 34, 2005
"PUTUMAYO PRESENTS
BLUES AROUND THE WORLD
Putumayo world music
VERY FAVORITE
Why a "very favorite" for this album? Well, Putumayo World Music is an association which proposes all that concers with World Music. If you buy this CD, part of the sales will be transferred to the Music Maker foundation, a very well-known organization. But to return to this CD itself, it is very interesting, because there is a mixture of styles that gratefuly surprises the listener, and that includes artists coming from all the horizons. The Blues is proposed in all its forms, from many countries as different as Brazil, Argentine, Spain, Mauritania, and even Taiwan. And the most important thing is also to mention the artists who represent of the countries quoted before, such as: Big Mama from Spain, Amar Sundy from Tunisia, Longt-Ge from Taiwan, Botafogo from Argentine, Etílicos Blues from Brazil, or The Unseen Guest than comes from Ireland and India. A very good album which regrupe various influences of the Blues. Moreover, the booklet is very well made, in three languages (English, French and Spanish), which is a pledge of quality. Each artist appears there, with a mini biography. In fact a very good product."
ANDRÉ PERRONET
BLUES MAGAZINE nº50 (October - November - December 2008)
"Big Mama - Blues Rooted - Discmedi
TRES BON ****
Ce disque de la Diva espagnole a de quoi surprendre à plus d’un égard. Elle signe ou cosigne neuf des compositions du nouvel opus et, une fois de plus, elle rappelle tout d’abord le lien existant entre les blues de tous les continents et les racines de cette musique avec d’un côté le berceau originel au travers d’Africa, tout d’abord, puisque c’est là que tout a commencé, puis une reprise de Bob Marley, porte-paroles des exilés noirs dans les Caraïbes avant d’être reconnu comme symbole mondial, et de l’autre côté, la mise en musique d’un poème d’Arthur Rimbaud. Viennent ensuite un hommage à un classique du Blues en la personne de Brownie Mc Ghee suivi d’une reprise d’un classique du jazz signé Louis Armstrong. Le dénominateur commun de l’album est la musique, pourvu qu’elle soit bonne, serait-on tenté d’écrire. Un rythme brésilien vient également nous rappeler que là-bas aussi esclavagisme et misère furent monnaie courante. Car ce sont finalement les opprimés, d’où qu’ils viennent, qui attirent l’attention de la chanteuse ibérique. ‘Tibet Lliure’ comme ‘Free Tibet’ le laissent à penser, ‘Victor Jara’s blues’ le confirme et ‘Babylon System’ enfonce le clou. Une raison supplémentaire pour apprécier la galette. Esclaves noirs ou forçats blancs, la différence n’est ni quantifiable ni qualifiable, mais reste inacceptable! Il y avait eu le Free Jazz et ses messages subversifs, il semblerait qu’il y ait dorénavant le Thinking Blues avec une certaine dose de refus des chaînes et des oppressions. Celui qui évoque tous les endroits où l’on ne se résigne plus.
Finalement, malgré un aspect quelque peu hétéroclite, l’ensemble de cet opus est parfaitement cohérent et chacun des morceaux vient impeccablement s’intégrer dans un tout intitulé ‘Blues Rooted’."
DOMINIQUE BOULAY
PARIS-MOVE & BLUES MAGAZINE (NOVEMBRE 2010)
"Big Mama - Tableau de Blues Discmedi
TRES BON ****
Il n’y a pas que les Baléares, la Costa del Sol et j’en passe, de l’autre côté des Pyrénées. Il y a en Espagne de nombreux festivals de blues, d’encore plus nombreux amateurs de la musique bleue, et des artistes de très grande classe. La Big Mama dont je vous parle doit sans nul doute son surnom de scène davantage à son immense talent qu’à toutes autres sortes d’allusions, car du talent, elle en a, je peux vous l’assurer.
Treize morceaux vous sont proposés sur cet opus, dont dix reprises et un arrangement. Parmi les plus grands qui sont conviés à cette grande fête du blues, il y a Jimmy Rogers, Little Junior Parker, Willie Dixon, Muddy Waters, Robert Johnson, et j’en passe. La grande Dame nous offre, elle, deux compositions personnelles dont elle n’a pas à rougir au milieu de ce parterre de célébrités du blues dont elle interprète les titres.
Sur cet album au titre fortement pictural, ‘Tableau de Blues’, Big Mama est accompagnée par un excellent harmoniciste, Joan Pau Cumellas, et par un guitariste aux capacités guitaristiques indéniables, Miguel Tacavera. Les deux musiciens réussissent parfaitement d’un bout à l’autre de l’opus à offrir des accompagnements musicaux qui sont autant d’écrins à la voix de la Señorita. Elle chante avec tellement de cœur que sa voix atteint d’ailleurs à elle toute seule la puissance de plusieurs instruments. Big Mama joue aussi de la guitare et on comprend instinctivement qu’elle vit intensément ce que sa voix exprime. Cet album a été enregistré ‘live’ à La Cova del Drac de Barcelone, en 2000, là où l’ambiance fut particulièrement propice pour que s’installe une chaude intimité entre le public et le trio installé sur scène. On salue, au passage, le courage de cette artiste qui préfère se ‘coltiner’ le direct, sans les artifices du studio. Choix difficile, car la tache est plus rude et n’autorise aucune erreur, mais cela permet, tout de suite, de ressentir l’artiste. Et dans le cas présent, une très grande Dame du Blues…!!! Et soixante dix minutes de pur bonheur…!"
DOMINIQUE BOULAY
PARIS-MOVE & BLUES MAGAZINE (NOVEMBRE 2010)
"Big Mama - Big Mama & The Blues Messengers - Mas I Mas Records
TRES BON ****
C’est accompagnée par un Big Band que Big Mama enregistre ‘live’ cet album intitulé Big Mama & The Blues Messengers. Cela se passait les 6, 7 et 8 avril 1993, à La Boite de Barcelone, avec Julian Vaughn à la batterie, Francesc Capella au piano et aux claviers, Santi Prat à la basse, Aljosa Mutic au sax ténor, Gilles Berthenet à la trompette, Pere Enguix au trombone et Amadeu Casas à la guitare. J’aime mieux vous dire que l’ambiance devait être torride dans l’endroit en question. Car le moins que l’on puisse écrire, c’est que cela pulse et joue comme on l’aime, tout le long de la galette, avec des musiciens irréprochables et une Dame dont la voix a le mérite d’aussi bien vous filer la chair de poule que de vous faire gesticuler comme un fondu sur votre chaise, si vous êtes encore assis…
La démarche de l’artiste est judicieuse puisqu’elle fait le choix de poursuivre sa jeune carrière discographique par un album de reprises de classiques, et joués en ‘live’. Jeune carrière, car rappelons que ce disque est le quatrième de l’artiste.
L’ensemble est parfaitement cohérent du premier au dernier morceau. Et pourtant, deux genres musicaux sont convoqués simultanément, car on oscille toujours entre blues et rhythm’n’blues. Et cela fait son effet, un bien bel effet, je vous l’assure.
De la même manière, on assiste, en permanence, à l’audition de deux groupes musicaux complémentaires: c’est tantôt une section cuivres qui vient admirablement compléter le travail effectué par l’ensemble guitare-guitare basse-batterie, ou tantôt le contraire, avec un groupe composé de guitare, basse et fûts que vient épauler une section d’instruments à vent. En tous cas, cela fonctionne impeccablement. La machine est parfaitement huilée et semble être toute dévouée à la nouvelle Diva du blues. Ils seront d’ailleurs nombreux à être surpris que ce soit de ce côté de l’océan qu’on l’ait trouvée…!
Des compositeurs connus, tels Floyd Dixon, W.C Handy, Watkings, Clarence Brown et Robert Johnson, ou d’autres, un peu moins connus, fournissent à la Dame et à sa fabuleuse voix de quoi ravir les spectateurs de ces trois soirées qui se sont déroulées le siècle dernier et les auditeurs de cette galette qui ont la possibilité de revivre toujours et toujours le grand moment que cela fut.
Je soulignerai simplement, pour finir, le talent de celle qui n’est pas qu’une chanteuse-interprète, car c’est sous son nom civil, Montserrat Pratdesaba, que l’artiste signe les paroles de deux des douze titres de l’album."
DOMINIQUE BOULAY
PARIS-MOVE & BLUES MAGAZINE (NOVEMBRE 2010)
LA SOIRÉE DU 18 SEPTEMBRE AU JAMBOREE DE BARCELONE
Pour conclure cette excellente semaine dans cette jolie ville de Barcelone, nous sommes allés au concert que donne Big Mama Montse au Jamboree, Place Reial. Elle y retrouve son groupe Big Mama & The Crazy Blues Band, composé de Víctor Puertas à l´harmonica et occasionnellement au piano, d´Isaac Coll à la basse et Olivier Rocque à la batterie. Exceptionnellement ce soir-là, ses amis, l´harmoniciste Joan Pau Cumellas, le guitariste Miguel Talavera, Pere Puertas, sont venus prêter main-forte pour honorer sa prestation. Nous avons pu assister à un duel amical des harmonicistes Victor et Joan Pau et quelques arpèges mélodieux de Miguel et Pere. Bravo à Big Mama qui rassemble tout ce beau monde pour que le Blues perdure à Barcelone. Merci à Ramon, son compagnon.
JEAN-MARCEL LAROY
BLUES MAGAZINE nº 63 JANVIER-FÉVRIER-MARS 2012
