Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Concert Review: Depedro at SOB’s, NYC 10/28/09

Ex-Amparanoia guitarist Jairo Zavala AKA Depedro impressed with an acoustic set that managed to hold an impatient crowd attentive for an all-too-brief half hour. Having just recorded his debut solo cd (very favorably reviewed here) with Joey Burns and John Convertino of Calexico, it would have been awfully nice to have had them onstage with him, especially since Calexico’s covered him and he’s shared a stage with them on multiple occasions. But it was not to be. To his credit, Zavala’s songs still resonate even without the album’s mansions of echo and ominous tremolo guitar arrangements. His shtick seems to be to take pretty much every style he knows and transform them into southwestern gothic; watching his solo show was more of an excursion through those particular styles rather than the dusky, otherw0rldly trip that is the album. The straight-up feel was enhanced by Zavala’s casual stage presence – he didn’t let what seemed at least early on to be a tough audience phase him a bit.

Minus all the Mexican and latinisms of the cd, Zavala’s guitar playing stood out as distinctively Spanish. He took one number deep into flamenco territory, rapping on the body of his guitar while essentially playing bass and rhythm simultaneously (he’s an excellent electric player, as well). The best song of the night was a powerful take of his Mexican liberation anthem La Memoria, galloping along with a gorgeously resounding clang. Done acoustically, the old Amparanoia song Como El Viento (Like the Wind) took on a sunny Mediterranean ballad feel; his reworking of a Mexican folk song, La Llorona (The Weeping Woman) was stark and rustic in contrast with the album’s twangy, ghostly version. His strong command of English helped carry the noir, slightly Orbison-esque ballad Don’t Leave Me Now; he closed the set with a singalong on a new one, then the lullaby that closes the album and a funky take of the bouncy number Comanche that could have been mistaken for G. Love if G. Love had soul and a feel for latin rhythm. Zavala promised a return trip here; hopefully he’ll have a crew behind him next time to flesh out those captivating songs.

Argentinian tango nuevo/pop sensation Federico Aubele was next on the bill, but at this point the show was running an hour and a half behind schedule and there were more captivating things to see, for cheaper (namely, Cliff Lee shutting down the Yankees in Game One of the World Series).

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October 30, 2009 Posted by | Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , | Leave a comment

CD Review: Depedro

Spanish rocker Jairo Zavala has been cutting across genres since his days with Amparanoia back in the 90s. On this solo disc, the debut release for the new label Nat Geo Music, he takes the name Depedro with the intention of  blending latin and Mediterranean influences. What he essentially achieves here is to take a bunch of different styles and make southwestern gothic out of them, and considering he’s working with two of the foremost SW goth stylists in the business, Joey Burns and John Convertino of Calexico, the album is enormously successful. Dusky, glimmering, otherworldly and drenched in reverb, with mostly Spanish-language lyrics that range from the thoughtful and aphroristic to the neither-here-nor-there, the songs jangle, clang and often linger with a haunting intensity.

The opening track, Como el Viento (Like the Wind), takes an old Amparanoia tune and gives it a swinging, Caifanes-esque Mexican sundown rock feel. The single best cut on the album is Don’t Leave Me Now, its ominous horns evoking a ghostly bordertown of the mind circa 1940. La Memoria, which follows is a feast of spiky string textures, banjo and acoustic guitar backed by the eerie, watery strains of a guitar phased through a Leslie organ speaker. Otherwise, Zavala takes Weimar blues to Santa Fe, adds Norteno agression to a darkly lilting border ballad, takes a couple of detours into latin funk (one such an evocation of War that it’s practically camp) and then Mexicanizes a big 90s style guitar rock anthem. Burns and especially Convertino add the requisite, deliciously ringing, clanging, reverberating guitar and bass effects (the latter often played with a bow for a dark cello tone), and Zavala does a marvelously soaring evocation of the Friends of Dean Martinez‘ Bill Elm on lapsteel on one of the cuts. If southwestern gothic, David Lynch soundtracks, Chris Isaak, Steve Wynn, Calexico or just about any recent rock en Espanol is your thing, get this album, it’s a stylized masterpiece. New York listeners can see Depedro tonight, October 28 at SOB’s in the West Village at 8 on an intriguing doublebill opening for Argentinian tango nuevo star Federico Aubele.

October 28, 2009 Posted by | Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment