“Badi Assad belongs to the most talented Brazilian songwriters and can look back upon a carrier that’s been lasting for 20 years. On “Hatched”, the singer and guitarist demonstrates her distinctive love of experimentation by mixing southern American rhythms with Pop and Rock, making her 12th record one of the best in her carrier.”
“Skrillex and Badi Assad, that’s a convergence of two worlds. Driving electronic beats on the one side, a jazz musician with an acoustic guitar on the other. But “Stranger” is one of the most successful approaches on “Hatched”. […] It honours both, as Skrillex’ compositional strength becomes clear and Assad can show that she won’t be fooled by his electronic gadgets. With “Little Lion Man” by Mumford & Sons, Assad reduces a mainstream pop song to its very basics and even uses the song’s four-letter-words with more charm and irony.”
“Assad delighted her audience right from the start. […] From the first song on, the rich, soft and complex sound of her guitar met her versatile and lively voice. […] The listeners gave a thunderous applause for this enthralling concert.”
Neue Westfälische (live in Bielefeld/GE)
“Badi Assad, we learned, is pronounced Badji Assage, which is fantastically cool and it’s not lost on us that her name literally spells out badass. What confidence she brought to the stage, striding proudly while playing both delicately and powerfully on her nylon string electro-acoustic guitar. She sang through a head mic which gave her mobility and she used it, even doing a borderline samba while playing. She sang mostly in Portuguese, but one could follow the story of songs like “Voce Nao Entendeu Nada” though her drama and dynamics. She did a couple of covers of recent pop songs, as per her new album, including a bossa nova take on Mumford & Sons “Little Lion Man.” Beyond the organic polyrhythms of her right hand on the guitar and her vocal phrasing, she’s also gifted at scat and mouth percussion, around which she built her entire final number. She sang tones and made drum sounds at the same time. She popped her cheeks and throat and conjured a deeply corporeal groove. What came through mostly however was Assad’s charm and lifelong love of an audience and a good collaborative feeling.”
by Craig Havighurst (Music City Roots Concert, Nashville)
Badi Assad/HATCHED: “How many albums have you encountered in Salvation Army bargain bins in which a jazzbo tries to do the pop standards of the day and it comes out jive? There’s always a few artists that know how to find the meat at the core of things that shouldn’t appeal to their audience but they do due to the players skill. Assad’s new pop standards album brings Skrillex, Hozier, Lorde and more to her Brazilian acoustic guitar audience who will probably be none the wiser until they read the liner notes. An album you certainly won’t find in a Salvation Army bargain bin unless the album’s owner died and his kids just want to clear out the house ASAP, Assad uses her skills to open the ears delightfully. Check it out.”
“Brazilian nylon-string guitarist Badi Assad (pronounced bah-gee ah-sah-j) is regarded for her musical fearlessness and experimentation, and her third project, Hatched, continues in this fashion, with nine tracks that cover recent American pop songs. The results are diverse and satisfying”.
By Ryan B. Patrick (Exclaim!)
Perhaps the most outstanding of the selections from the new disc, however, was a pulsing rendition of Skrillex’s “Stranger.” Assad cleverly arranged the composition as a fast-paced, Brazilian dance piece, enhanced by some electronics-mimicking vocal effects.
‘Assad has the ability to expand on simple melodies to her advantage—she often uses the guitar as percussion, hitting against the pickup to create an extra beat that creates a backdrop to what she is doing with her left hand. She uses no effects of loops—her guitar is plugged into a direct box and nothing else, so it is pretty amazing to witness what she is able to do with no embellishments.’
by ERNEST BARTELDES, (Badi Assad At Iridium Jazz Club)
“She kicks off with Mumford & Sons’ ‘Little Lion Man’ with a bossa-nova vibe that contrasts to the much faster paced original. She transforms ‘The Hanging Tree’ (from the Hunger Games soundtrack) into an acoustic funk that showcases her guitar and vocal chops, leaving the original recording as floundered Joe Cocker did to The Beatles on “With a Little Help From My Friends.”
“Badi Assad “arrived with a headset microphone and an electric guitar (which could simulate acoustic-guitar tones) that had a drumstick under the strings, lifting them away from the frets. The first sounds she played… were sliding pitches suggesting a koto; soon she was plucking and tapping ethereal chords on both sides of the drumstick and then cooing, in a voice like affectionate baby talk, about innocence and mysticism… She continued with Brazilian pop songs transformed by her imaginative virtuosity, moving from gauzy delicacy to vigorous propulsion, from dreaming to dancing and back.”
Jon Pareles, New York Times
“(…)But now Assad is back, ready once again to challenge listeners with new songs and soundscapes. Like her 2005 and 2006 albums Verde and Wonderland, Between Love and Luck primarily consists of ensemble tracks. Pulsing with lively Brazilian rhythms, the gorgeous arrangements feature cello, violin, horns, and keys, and Assad’s voice, which has matured into a warm, mellow instrument, and has all the pitch-perfect, nimble accuracy of her early work. She sings in Portuguese and English—sometimes both in the same song—and deftly weaves her nylon- and steel-string acoustic parts through the tracks. Sensual and satisfying, this music will take you to exotic, unexpected places”.
Andy Ellis – Premier Guitar
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“Last April 23, 2014, I reviewed and recommended an album by Badi Assad, the Brazilian singer, songwriter and acoustic guitarist. Today I am back a year-and-a-half later with a new one by her, Hatched(QuatroVentos). What changes in life we have experienced in that time disappear when listening to Badi, her songs, her depth, her playing, her voice. It’s Badi and her guitar in a small trio ensemble expanded at times with guests. The music has a post-samba groove to it that her nicely done guitar playing forwards, her voice affirms and the band reinforces. There is saudade to be felt in the music, surely, but a forward-moving hope, too. Her songs are a major strength that go hand-in-hand with their vocalization and the guitar foundation that is so much a part of her presence. This is music that makes you unhappy to be glad, glad to be unhappy, and happy to be happy, if I can get my feelings on her music across here. It is some really fine artistry and you should not miss it.”
Grego Applegate Edwards – Gapplegate Guitar and Bass blog
“BADI ASSAD/Between Love and Luck: One of the great guitarists of our times jumped off the treadmill and onto the mommy track the better part of a decade ago and virtually disappeared. Taking her bambino to the hinterlands, she found her chops all over again and began composing like crazy. Band pieces. Vocal pieces. Whatever–she really opened up. The comeback record result is a real bag breaker that gives us a reinvigorated, whole new Assad that will charm both old and new fans a like. It’s always a real treat when an old fave comes back from the wilderness stronger than before serving up a platter of hot stuff throughout where everyone is lifted to new realms. Check it out.”
Chris Spector – Midwest Record
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“The mix of sounds, though, along with some music that is progressive rock, earns this one that category at Music Street Journal. Some of the vocals on this disc are in English, but the bulk are not. This has a lot of world music built into it. However you slice the soundscape, though, this is a strong disc.”
G. W. Hill on Music Street Journal
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“Gone is a plate with a roller coaster of emotions, with so many facets, just as it holds the life, so far absolutely lively music of a different kind!”
Wolfgang Giese on Rocktimes.de
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“(…)I’m a wee bit unsure as to who Badi Assad is? I mean there is a lot of flamenco guitar on offer, even some nods to jazz, some straightforward pop and even some introspective acoustic singer / songwritery stuff. A bit like 1975 condensed into one album. But when it’s good, it’s very good. There’s no doubting that her voice is exceptionally listenable. All the music is self composed. The groove and spirit of the song carries you along”.
“While slightly left of the more traditional centers of form and function of both Brazilian and North American improvisational music, Assad establishes her own unique artistic voice that would seem to float in evocative fashion between the two continents.
Incredibly entertaining, a multi-cultural feast for the senses.
All compositions are Assad originals who is far more than a more than competent lyricist, she is an abstract lyrical poet working on a level that similar artists can only hope to one day reach.”
“It is clear that she is aiming this bilingual album in the U.S. market. There she also goes on tour this summer. But in 2005 she was already Brosella and meanwhile she has played at almost every major jazz festivals. This is unfortunate because this lady should definitely appeal with her beautiful, sunny, somewhat brave music a large audience. And the single, Pega no Coco, should be a radio hit!”
Roots Time – Belgium Review – Lisael
“Ms Assad takes the listener on a personal musical journey – diving deep in to fiery lusciousness….Assad’s astonishing guitar lines and voluptuous vocals abound throughout Between Love and Luck. Her Brazillian Jazzy Edges will have fans begging for more….”
TJ Nelson, World Music Central (for BETWEEN LOVE AND LUCK)
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“Badi Assad is a double threat on her recent release, Between Love and Luck. Her hold on world music is due to equal parts voice and guitar work. Her flamenco style guitar playing mixes with her vocals seamlessly, the two uniting to create an ethnic jazz that is seasonally inclusive…it is a breath of spring, the fine blue of a summer day, the inviting solitude of a homebound winter day and the constant change that fall brings to the world as hot becomes cold. Based in Sao Paulo, Brazil, Badi Assad supports the innovation she brings to her music with the passionate intuition of her playing. Live, Badi showcases her talents as a singer, guitar player and vocal percussionist. She complements her vocal percussion with percussive body moves that enhance the stage show and take it to another level”.
Written by Danny THE ALTERNATE ROOT (for BETWEEN LOVE AND LUCK)
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“This is the first all original album containing nothing but works written by and performed by her, in both English and Portuguese. Funk, Jazz, Pop, Indie, even some Cuban sounding elements. The fact that there is such a wide range found within every song gives the repeat listen aspects of the album some good weight.”
SHAKEFIRE.com – AJ Garcia (for BETWEEN LOVE AND LUCK)
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“Badi Assad redefines solo (guitar) performance! Revelatory, a brilliant display of innovation, imagination, and skill…almost hypnotically compelling!”
LOS ANGELES TIMES
“Assad’s propensity for Tori Amos – influenced vocals and word-beat rhythms reflect the mix Brazilians of her generation are bringing to their country’s music scene.”
“While receiving high accolades for her quick-fingered guitar work, Brazil’s Badi Assad is equally dangerous behind the microphone.”
“The talent of Badi Assad seems to know no bounds. Whichever direction she goes, she brings a trickster-like joyfulness that comes when musical mastery is child’s play. Each wrinkle of musical personality is simply another facet of her of her inner core. Indeed one imagines that this woman not only dreams in color, but also with a Technicolor soundtrack” – Tad Hendrickson
“Guitar greatness must be genetic. Want a proof?
Check out Badi Assad, kid sister of Sergio and Odair Assad. This is serious stuff, played with complete command and vibrating musicianship. Add her stunning, vocals and mouth percussion, and the result is musical magic.”