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If there has been an ambitious project in Jorge Celedón's career it has been the duets album 'Sin fronteras'.

The first idea of ​​this disc arose when the artist fulfilled his first decade like soloist, after his passage by the Binomio de Oro of America. And as he said 'Jorgito' when a year ago he presented the first part of this album, now a Latin Grammy nominee, almost reached the 15 years of career working on it.

The project of 'Sin fronteras' generated great expectations as the names of the invited artists began to be known, who accepted the challenge of singing some of their greatest hits, adapted to the sound of vallenato with accordion.

The CD came out exposed to tougher criticisms than a normal album. Because the danger of inviting so much international artist unfamiliar with the genre that is going to work is to wait a lot, very much. And in the end, as in similar cases in the world there were songs that came out very good and some in which you feel the lack of chemistry highlighting the "seams" of "marketing". An example: I dare say that the song that was recorded with Amaia Montero ('I want to be'). Another, the song by Reyly Barba ('Hit the wall').

Now, the work of adapting the songs, perhaps led to this album - of the five Latin Grammy nominees - being the one that most merged (or less vallenato) feels, without this being negative. I would like to point out that in the box of nominees in the vallenato / cumbia category there is a whole range of styles within the great commercial label of the genre (from the festive sound of the Juan Piña CD to this vallenato-fusion, going through the criollo and classic singing of Diomedes Díaz, among others).

The public, in any case, could hear many songs on the radio in a short time -something also particular. It began with 'And now you go', song of advance, a duet with Marco Antonio Solís, followed with 'La candela viva', version next to Totó La Momposina and shortly after 'Day after day', with Andrés Cepeda.

And yet, speculating a bit and asking among the people in the middle, along with Diomedes Díaz's album, Jorge Celedón's is one of those who have the most options when it comes to taking this Latin Grammy. Because in a decision that is taken by simple majority of votes, among a group of albums that have quality, the name of an artist weighs and Celedón, although he has been nominated many times and only has a statuette (2007), he is always the artist what must be overcome In addition, the presence of recognized figures for most of the voters of the Latin Recording Academy, could also tilt the balance, because it is an album whose expectation is heard.

As a conclusion, I reiterate that 'Sin fronteras 1' (and also 2) is an album that a few years ago would not have been possible within the closed circle that used to be the vallenato. That had the mission to give them a taste of a music that often ignore many international artists focused on other rhythms and, therefore, has had the merit of continuing to open doors for the genre. The expectation that was its weakness for local criticism, is also its strength when it comes to attracting people other than vallenato. Alejandro Palacio, whose CD is his competition for the statuette, expressed it this way: "It seems to me (an album) important for our folklore because he had the opportunity to share with very famous artists in other places. That puts the eyes of all those countries in their production and especially in Colombia, in our vallenato. I think it has great possibilities.

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