Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Singer Sara Serpa’s New Multimedia Project Examines the Aftereffects of Imperialism

Sara Serpa is one of the most haunting singers in any style of music. She got her big break collaborating with iconic noir pianist Ran Blake – their  2010 album Camera Obscura is a masterpiece of menacing nocturnal music across all genres. Since then, her work has encompassed her own cinematic, often lush compositions, her role in John Zorn’s otherworldly Mycale chorale and an endless series of rewarding new projects and collaborations: there’s a restlessness in most everything she does. Her latest project was springboarded when she discovered a family archive of material relating to her native Portugal and its former colony, Angola, in the 1960s. You want uneasy? Serpa’s bringing that to a multimedia performance this Saturday night, Sept 16 at 7:30 PM in a trio show with harpist Zeena Parkins and tenor saxophonist Mark Turner at the Drawing Center at 35 Wooster St. in SoHo. This is one of the increasingly frequent series booked by Zorn around town; cover is $20.

Like every other major jazz artist, Serpa has to spend a lot of time on the road. Her most recent New York concert was a beguiling and unexpectedly amusing duo performance with her Mycale bandmate and longtime vocal sparring partner Sofia Rei in the West Village back in June. Completely a-cappella, the two made their way methodically through constant dynamic shifts, in a mix of originals, a handful of south-of-the-border folk tunes and several numbers from Rei’s album of radical reinventions of Violeta Parra classics. El Galivan.

It’s easy to see why Rei and Serpa are friends. Rei is a cutup and will go way outside the box without any prompting, to the remote fringes of extended vocal technique. And she can sing anything. Serpa is serious, focused, purposeful to the nth degree: she doesn’t waste notes and has an instantly recognizable sound. Yet she’s always pushing herself. “Welcome to our crazy project,” she told the crowd with a wry grin. And at one moment late in the set, while Rei swooped and dove and shifted into what could have been birdsong, Serpa rolled her eyes, echoing the melody further down the scale, as if to say, “I can’t believe I just sang that.”

Unlike what they do in Mycale, the two didn’t harmonize much. Instead, they took contrasting roles, often exchanging rhythmic blips and bounces, a funhouse mirror of gentle, emphatic, wordless notes. Without Marc Ribot’s guitar, the material from El Galivan often took on more gravitas: for example, a less rhythmic, more stately take of Casamiento de Negros, and a considerably condensed, airy version of the title track. And when there were harmonies, they were acerbic, and bracingly astringent, and warily rapturous. At the end of the set, another of Mycale’s brilliant voices, Aubrey Johnson joined them and added her signature lustre to the mix. Not having seen Johnson sing her own material in a long time, it would have been an awful lot of fun to stick around to see her lead her own band. But by then it was time to head to Brooklyn.

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September 12, 2017 Posted by | avant garde music, concert, jazz, latin music, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , | Leave a comment

Stunningly Eclectic Singer Sofia Rei Radically Reinvents Violeta Parra Classics

Conventional wisdom is that if you cover a song, you either want to do it better than the original, or make something completely different out of it. The latter usually makes more sense, considering that if a song is worth covering at all, the original is probably hard to beat. Merle Haggard as shambling free jazz; Gil Scott-Heron as hard bop; Pink Floyd as dub reggae – all of those unlikely reinterpretations ended up validating the outside-the-box creativity that went into them. On the brand-new album El Gavilan (The Hawk), streaming at Bandcamp, pan-latin singer Sofia Rei – who’s never met a style she was afraid to tackle – puts a brave new spin on the songs of Chilean icon Violeta Parra. The Argentine-born songstress is currently on tour; her next New York concert is this coming June 2 at 8 PM at the Neighborhood Church, 269 Bleecker St. at Morton St. in a duo with the incomparable, more atmospheric Sara Serpa, her bandmate in John Zorn’s Mycale a-cappella project. The show is free.

On one hand, artists from across the Americas have covered Parra. On the other, it takes a lot of nerve to reinvent her songs as radically as Rei does. The album’s opening number, Casamiento de Negros begins as a bouncy multitracked a-cappella number, like Laurie Anderson at her most light-footed; Ribot tosses off a tantalizingly brief, Hawaiian-tinged slide guitar solo. It’s a stark contrast with Parra’s allusive narrative of a lynching. 

Parra’s stark peasant’s lament Arriba Quemando El Sol is a march, Ribot opening with an ominous clang, then echoing and eventually scorching the underbrush beneath Rei’s resolute, emphatic delivery. It’s akin to Pink Floyd covering Parra, but with more unhinged guitars and more expressive vocals. She does Una Copla Me Ha Cantado as a starlit lullaby, killing softly with the song over Ribot’s spare deep-space accents.

Her wryly looped birdsong effects open a pulsing take of Maldigo Del Alto Cielo that rises to swoopy heights, spiced with wisps of backward masking, a curse in high-flying disguise. By contrast, the muted, bruised pairing of Rei’s vocals with Ribot’s spare chords gives La Lavandera the feel of a Marianne Dissard/Sergio Mendoza collaboration as it reaches toward a simmering ranchera-rock sway.

Rei makes a return to atmospheric art-rock with the lament Corazón Maldito, Ribot rising from shivery angst to menacing grey-sky grandeur, Rei parsing the lyrics with a dynamic, suspenseful, defiant delivery like Siouxsie Sioux without the microtones. 

The album’s epic title track clocks in at a whopping fourteen minutes plus, opening with atmospherics and Ribot taking a rare turn on acoustic, warily and airily. From there he switches to electric for cumulo-nimbus, Gilmouresque atmospherics behind Rei’s frantically clipped, carnatically-influenced delivery, following Parra’s anguished tale of abandonment.

The ambient Enya-like concluding cut is Run Run se Fue pa’l Norte, an apt song for our time if there ever was one, echoing with more Pink Floyd guitar from Los Tres‘ Angel Parra, Violeta Parra’s grandson. Whether you call this art-rock, jazz, or state-of-the-art remake of Chilean folksongs, it will leave you transfixed, especially if you know the originals.

It’s open to debate if the Trump administration would let an artist like Rei into the country these days, considering his commitment to kissing up to the non-Spanish speaking lunatic fringe.

May 8, 2017 Posted by | avant garde music, jazz, latin music, Music, music, concert, review, Reviews, rock music | , , , , , , , , , , , , , , , , , | 1 Comment