LAMC At Summerstage: Nathy Peluso and Ile

By Ernest Barteldes

Latin Alternative Music Conference

At Summerstage in Central Park

Nathy Peluso and Ile

New York, NY

July 10th, 2019

 

The heat and intense humidity in the air did not stop fans from flocking to Central Park for the first round of free shows scheduled at part of the 20th Anniversary of the Latin Alternative Music Conference in New York City, which featured Argentinean singer/rapper Nathy Peluso, Puerto Rican singer-songwriter Ile and Mexican pop singer-songwriter Ximena Sariñana.

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Nathy Peluso/Karlo X. Ramos

Peluso came on stage with a small backing band featuring a mix of soul, rock and hip-hop – featuring the latter during most of the set. She had great energy on stage, dancing along with the instrumental sections of every tune. One of the highlights came with a rap based on the chorus of the Cher hit “Bang (My Baby Shot Me Down),” whose English verses she sang herself.

The set also featured an instrumental mambo which she described as “the wonderful sound” showcasing her backup band, to whom she gyrated throughout, finally confessing that she is “a mambo killer” as a (probable) excuse for not singing it.

After a brief break, Puerto Rican singer (and former Calle 13 member) Ile took to the stage backed by a large band featuring trombones, percussion, bass, electric and acoustic guitars and drums featuring songs with strong Afro-Caribbean influence quite distant from what she did with her previous group. Her opening song had a strong political message, pointing fingers at those who oppress and try to silence the voice of her native land. She followed that with “Invenclble,” a tune with a pop-meets-Latin beat that she described as something she wrote to embrace her hormones and the realities of being a woman.

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Ile/Ernest Barteldes

She followed that with “Temes,” a bolero “against that patriarchy with the clear intention of destroying it,” with lyrics that repeatedly asked “why do you fear me?” in Spanish. Next came “Côncavo,” a bolero which descriptive lyrics that would probably be labeled “explicit” if it had been recorded in English, with subtle references to specific body parts and passions involving them.

Among the highlights was a tune that featured nothing but drums played by the entire group that highlighted the problems faced by Puerto Rico – she mentioned the recent arrests of top Puerto Rico officials over corruption charges, and ended the tune urging the audience to “stop voting for stupid people” without naming anyone in particular.

She closed the set with “Dejame Decirte,” a straight salsa written in collaboration with Eddie Palmeri – it was a great closing that highlighted Ile’s range, which goes from more folk-driven music to pop and pretty much every other Latin influence.

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Ile/Ernest Barteldes

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LAMC Showcase at BRIC Celebrate Brooklyn

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Girl Ultra

LAMC Showcase at BRIC

Celebrate Brooklyn

Mala Rodriguez, Ana Tijoux & Girl Ultra

July 13, 2018

by Ernest Barteldes

On the Celebrate Brooklyn night of the 2018 edition of the Latin Alternative Music Conference, the audience was presented with three very different female voices with very distinctive styles that gave us a glimpse of what is going on in the Latin music scene.

Mexican R&B singer Girl Ultra (Mariana de Miguel) opened the proceedings backed by a simple band that featured keyboards, bass and drums, and she sang mostly original material. Early on the set, there were some technical problems with the keyboards, and instead of interrupting the set, she just began to improvise with the bassist and the drummer for about five minutes, creating music on the spot to the delight of the crowd, who got the chance to see the artist in an unfiltered format, just being creative with whatever she had in her mind at the moment.

Girl Ultra’s music is clearly inspired by contemporary R&B with a retro feel – she clearly draws from the likes of Mariah Carey and Whitney Houston but does not have their vocal power. She does, however, have tons of creativity with her vocals, and uses her limitations to her advantage. I believe what we heard was a diamond in the rough – she has great potential as an R&B singer, and I’m hoping to hear her more down the road.

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Ana Tijoux

She was followed by Chile’s Ana Tijoux, who has evolved incredibly from the first time I saw her at an earlier showcase at Central Park Summerstage. She started out with a Spanish-language song written in the 1970s that she said was “relevant to our times,” and was very vocal against the current U.S. administration. During the set she alternated between her earlier rap hits (which included her signature hit “1977”) and more melodic material. At one point, she brought in a violin trio for a tango-inflected tune called “Asaltemos a Un Banco” (“Let’s Rob a Bank”) which was followed by a “Somos Sur,” socially conscious number which she described (in Spanish) that “is about what Latin America is – it’s not a postcard, it’s about where we live. Our culture comes from the streets – to be Latin is all about the places.” Another tune talked about how the rich put the poor down by denying them access to education and dignity, inviting the listener to “join the fight” against racism and blind capitalism.

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Mala Rodriguez

Closing the evening was Spain’s Mala Rodriguez, who came accompanied by a DJ and two female dancers in very skimpy white outfits, delivering a set of dance-inspired music that seemed a bit out of step with the more acoustic nature of the previous sets, but audiences seemed to dig it – like in every LAMC night, it was an opportunity to hear diverse voices and get a feel for the direction of pop, rock and other genres within the umbrella of Latin Music.

Final Concert for 2017 at BRIC Celebrate Brooklyn: Yacouba Sissoko + Youssou N’ Dour

By Ernest Barteldes

Youssou N’ Dour/ Yacouba Sissoko

BRIC Celebrate Brooklyn Festival

Brooklyn, NY

August 12, 2017

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Yacouba Sissoko

West African music was the focus of the final night for the 2017 season of BRIC Celebrate Brooklyn, and audiences were toasted with two great performances, starting with New York-based Malian kora master Yacouba Sissoko, who came accompanied by a simple trio with the N’goni (a guitar-like instrument) and the djembe.

The trio played a selection of songs that were very mournful and peaceful with lyrics (sung  in his native language) that carried messages of empowerment while also touching on political issues – including the civil war taking place in Sissoko’s native Mali at the time of this writing. All the musicians on the trio were very proficient, often taking long improvised solos on each tune.

At one point, the bandleader upped the tempo for one of the songs and encouraged the audience to get up and dance, claiming that New Yorkers were ‘the best dancers in this nation.” The number featured the percussionist, who played with great energy, motivating the audience to move.

The set closed with “All Things Must Come to an End,” a slower tempo melody that featured improvised moments from all three musicians.

Following a short break, Senegal’s Youssou N’ Dour took to the stage with a 20-piece backing band (guitars, keys, percussion, 2 backing vocalists, bass and saxophone). Taking the lead from the late James Brown, he had one of the percussionists MC the concert, constantly calling out the bandleader’s name.

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Youssou N’ Dour

I have rarely seen the degree of enthusiasm that I witnessed at this concert – as I walked from the press seats towards the photo pit, I encountered a mass of fans, all with big smiles on their faces moving enthusiastically and singing along to every song.  The music was highly energetic, and the 57-year-old N’Dour moved like a teenager, dancing and jumping to the rhythm of the music.

He had a band filled with master players who had great chemistry together – the quality of the sound was perfect, and we could hear every instrument and vocal with great clarity.  During some numbers, a male dancer joined the band and did traditional moves inspired by the percussion and the direction of the music.

Towards the end of the set, most of the band left the stage and N’Dour performed a tune dedicated to his native continent – it was a sweet melody accompanied solely by keyboards and drums. He then briefly left the stage for a false finale, and then the full band returned for an extended encore that included an up-tempo multilingual song (French, English and other languages) and a handful of dance-oriented numbers. As the show came to an end, each musician left the stage one by one until N’Dour found himself alone on stage thanked the audience and then the lights came on.

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Youssou N’ Dour

It was a great closing for what turned out to be one of the best seasons at Celebrate Brooklyn – it’s just a shame they have to end so soon – but we still have quite a few shows at Summerstage in the next couple of weeks.

What to Hear in August: BRIC Celebrate Brooklyn, Bryant Park, Brasil Summerfest, SummerStage and Charlie Parker Jazz Festival

By Ernest Barteldes

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I kind of hate the month of August, because that is when most of the outdoor events begin winding down – Celebrate Brooklyn wraps halfway through the month, while SummerStage continues hosting free shows until pretty much the end of the month, capping the program with the Charlie Parker Jazz Festival in Harlem and the East Village, the locales of reference for the annual event in honor of one of the heroes of the bebop era.

For those who missed it in theaters (and still haven’t watched it at home), Creed tells the story of Donnie Johnson – the illegitimate son of Apollo Creed – who goes after his own dream of becoming a champion boxer. To help him on his quest, he seeks the help of an aging Rocky Balboa to become his coach –  possibly closing the Rocky saga. The movie will be screened with a live score performed by The Wordless Music Orchestra conducted by its composer Ludwig Gorannson. Opening the evening is a selection of Gospel music by Frank Haye & The Interdenominational Choir – should be a good one and I will certainly be in attendance (Celebrate Brooklyn, Aug. 4)

Things take a Brazilian flavor at Summerstage with the kickoff of Brazil Summerfest, a weeklong event that showcases various  talents from my other country: legendary singer Elza Soares – still unstoppable at 80 – headlines an afternoon at Central Park that also features Youtube-discovered Linkner e os Caramelows and a DJ set by Teleseen. During the following week there will be concerts in various venues featuring Forro in the Dark (Brooklyn Public Library, August 9).  Aline Muniz (Joe’s Pub, August 10), Zabele ( The Django, August 13) and many others, ending with a massive Brazilian-inspired street fair  (Hester Street Fair, August 14) .

Bryant Park continues its summer program with a concert by the Asian Cultural Symphony to the US – an ensemble of more than 60 musicians, followed by Shoko Nagal’s TOKALA, which explores sonic influences from classic and contemporary Asian sounds (August 11, Bryant Park)

Most people know about Senegalese singer-songwriter Youssou N’ Dour from his iconic tune “7 Seconds,” but  he is beloved among World Music lovers – he has a long career that includes many records and countless collaborations with artists from across the globe – a fitting closing to what has been a stellar run at Celebrate Brooklyn (August 12, Celebrate Brooklyn)

Taj Mahal and Keb’ Mo’ are blues legends in their own right, and I cannot wait to hear how they sound as they join forces – it is sure going to be a meeting of generations and it is a show I am sure not to miss under any circumstance – just imagine how much great music will come from those two together on stage. (Central Park, August 13)

I have heard Anat Cohen in various formats both as a side player with Duduka Da Fonseca with her two brothers in their Three Cohens ensemble  and also leading her own chorinho-inspired group. She is a phenomenal clarinetist and at The Charlie Parker Jazz Festival she will be leading her Tenet in a program that will include her many influences, going from Brazilian to Middle Eastern and some New Orleans material in between (Marcus Garvey Park, August 25)

We wrap up the list with quite a stellar line-up of saxophonists: Joshua Redman, Lou Donaldson and Tia Fuller will close the Charlie Parker Jazz Festival – one can’t help but wonder if they will get together at the end of the day for an improvisational threesome. It might be unlikely, but one can only hope — and then we go over to Labor Day with a nice taste of great music (August 27, Tompkins Square Park)

The Weekend in Music: Accordion Festival at Bryant Park & Evelyn “Champagne” King at SummerStage at Corporal Thompson Park

Accordion Festival

Bryant Park

July 21, 2017

New York, NY

 

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Accordion Festival:  Osnelda

We arrived at Midtown Manhattan as Queens-based Sunnyside Social Club took to the stage doing a collection of New Orleans-inspired music that went in several directions, going from street band to funk, with the bass sounds performed by their tuba player.  The music was very up-tempo, and got the audience moving to its sound… until Brazil’s Osnelda came on with their celebration of  Forro, the syncopated Northeastern Brazilian dance music.

The band started off with a mostly instrumental piece called “Chora Sanfona,” which set the tone for their set – immediately many in attendance got to their feet and began dancing as dust clouds rose into the warm evening air. They followed the tune with a mid-tempo take on Caetano Veloso’s “Cajuina,” a song originally recorded in the 1970s in a much slower tempo.

The musicians had very good chemistry together, and the music flowed effortlessly.  They blended newer music – Including an original by bandleader Felipe Hostins – with classics that included Dominginhos’ “Forro No Escuro” and Jackson do Pandeiro’s “A-E-I-O-U-Y,” the latter being a tune that is included in pretty much every classic forro set in Brazil.

In between sets, host accordionist Rachelle Gamez, who would offer tidbits on the history of the instrument being celebrated that evening. She sometimes went a bit long with the talking and playing, but it was effective and entertaining.

Osnelda was followed by  Zlatni Balkan Zvuk, a group that played Balkan-style music in a lineup that included violin, percussion, keyboards and accordions. While they were obviously good musicians, the band sounded unrehearsed at times, since they didn’t seem to lock in very well. A guest vocalist was brought in and they started to sound better – I guess they were more comfortable with backing a singer than doing instrumentals.

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Accordion Festival: Gregorio Uribe

The evening concluded with Colombian musician Gregorio Uribe, who took the stage backed by a three-piece band (bass, percussion, keys).  He was well-received by the large Latin audience (many in Colombia soccer jerseys) who got up and danced along with his mix of Latin beats, including cumbia and salsa.  He sang with a firm voice and many of his tunes carried a social message – including one clearly aimed at the current American president.

The group sounded great, especially when guest singer Carolina Oliveros joined in – she has a strong, emotional voice and brought much soul to the group. The set ended with a great homage to their native Colombia, whose Independence Day was being celebrated at the event.

Evelyn “Champagne” King +

Fascination and DJ Joey Carvello

SummerStage at Corporal Thompson Park

Saturday, July 22nd

Staten Island, NY

 

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Fascination at SummerStage

Disco was the flavor of the evening at SummerStage on Staten Island’s Corporate Thompson Park – a large green area named after fallen Vietnam war marine Lawrence Thompson as DJ Joey Carvello, a pioneer of the disco area, spun tunes from the genre’s heyday, mixing hits from groups like Kool & The Gang and also deeper cuts I did not recognize.

The opener was 90s freestyle singer Fascination, a singer who has clearly seen better days: she sang not behind a backing track but by her actual tracks – her younger voice could clearly be heard as she screamed over them. At one point t was painful to watch her pretend to be a 20-year-old on stage with her mini-dress and utterly unconvincing sensual dance moves. Looking around me it was obvious the crowd was puzzled with what was going on.

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Evelyn “Champagne” King at SummerStage

After a brief break Evelyn “Champagne” King came on, with one of her earlier hits and then broke into an old-school rap. She greeted the audience warmly, and talked about her career beginnings as a teenager and then acknowledged her age by stating she was a “proud 57” and admitted she was “going through the sweats” at present.

King carried on with “Betcha She Don’t Love You,” a 1982 single in which the protagonist confronts a cheating lover and followed with “Love Come Down,” one of her best-known hits. She then brought out her guitarist husband Freddie Fox for a cut from her 2007 album “Open Book.” The tune had more of a contemporary R&B sound, far removed from the dance flavor of the other selections.

The evening closed with “Shame,” another of King’s major hits. Her voice is in incredible shape, and she was able to connect with the audience – many of whom probably hadn’t been born when most of the songs came out. It was a highly enjoyable set, which coincidentally ended as rain began to pour – refreshing all of us from the heat.

What to hear in July: Summerstage, BRIC Celebrate Brooklyn and Bryant Park

By Ernest Barteldes

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Esperanza Spalding – July 30 at Celebrate Brooklyn

July is one of the busiest months in the summer outdoor concert schedule here in New York, and I am one who fully enjoys this – First of all, the Latin Alternative Conference comes to town, bringing tons of Latin talent both to Celebrate Brooklyn and Summerstage (plus many other venues – it’s a music smorgasbord for sure), so things get even more interesting.  Not only that, the public pools are also open so there is a lot to do even if you want to spend the hot days in a lazier fashion.

As I did before, I am only highlighting the free shows, since the ticketed benefit concerts are either sold out or have their own publicity machine behind them – it’s not like they need the likes of me.  For detailed times and locations please refer to the hyperlinks included here.

Things kick off on July 1st in Central Park with a celebration of French and American jazz with a lineup that simply doesn’t feel enough for a single evening, including gypsy guitar virtuoso Stephane Wrembel,  upcoming jazz/pop singer Kat Edmonson and singer Catherine Russell alongside bandleader extraordinaire Vince Giordano. It should be one hell of the night which as usual I am missing because I have plans out of town.

Over at Celebrate Brooklyn Musiq Soulchild does free concert on July 7th – he is regarded as one of the best soul singers of his generation and deserves it – his delivery is fantastic and so is his performance – I expect it to be packed that night.

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Jimmy Heath

On July 8th jazz great Jimmy Heath heads to Queens with his big band – the man has played with the likes of John Coltrane, Dizzy Gillespie and Miles Davis (to name a few) and is still here to tell the tale. Look forward to lots of bebop but also contemporary and straight-ahead jazz.

Those not willing to head all the way to Queens that night might want to check out New York’s own Mariachi Flor de Toloache and cumbia queen Totó La Momposina in Central Park. I heard the former during an LAMC concert at Celebrate Brooklyn  few years back – from what I remember it was a lively concert that paid tribute to the traditions of the music of their native Mexico but also looked ahead, using  complex vocal arrangements a few tunes in English; some songs were played with the addition of the cajón and also the ukulele, which both enhanced the songs and gave them an intriguing, innovative sound.

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Mon Laferte

The LAMC kicks off on July 12 in Central Park with Puerto Rico’s ÌFÉ, New York’s own Princess Nokia (an interesting use for the virtually defunct cellphone brand, no?) and Chile’s Mon Laferte, a self-taught powerhouse of a musician who blends electronic, rock and R&B in her own unique manner – her video for “Amarrame” (feat, Juanez) is on heavy rotation on Latin music channels (I happened to catch it while vacationing in the Dominican Republic a few weeks ago), and I really want to see how this translates in a live format

The late Fela Kuti is celebrated in music and theater for his contribution to what became the Afrobeat movement, and his legacy is being memorialized on July 16 in a concert  that brings together his son Seun Kuti and Roy Ayers, one of the elder Kuti’s many collaborators during his career and beyond – Ayers is one of the godfathers of the neo-soul movement and a highly respected artist in his own right.

I can’t remember the last time I heard Mali’s Amadou & Mariam on stage – I recall it was at Summerstage about a decade ago when I was still writing for the now-defunct Global Rhythm and New York Press. They are a married blind duo who play their own brand of African blues, and have this magical sound to them. It will be good to catch them again after all this time in Brooklyn on July 21st

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Accordion Festival 

On the same day, The Accordion Festival – closing up the Accordions Around The World program happening in Bryant Park – takes place, with tens of players over a five-hour period. Something for those who want to hang in midtown Manhattan and have a good time.

During her tragically brief career, Amy Winehouse left us a memorable canon of songs over two albums (only one released in the US market) and (as far as I know) a single guest appearance – her last recording – on Tony Bennett’s Duets II album. Her music is certainly remembered, and will be the basis for the program developed by BalletX / YY Dance Company on July 26 in Central Park.

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Andrew Bird

The month closes in Brooklyn (July 30)  with two of my favorite young musicians: multi-instrumentalist, whistler and vocalist Andrew Bird, who I discovered in a completely unusual way: on the soundtrack of the 2011 Muppets movie, Towards the end of the movie, newcomer Walter did a surprise performance of “The Whistling Caruso” – which was actually played by Bird.

The other favorite is Esperanza Spalding, the genre-bending bassist who began her career doing avant-garde jazz and then went on to make extremely diverse albums that explored a variety of sounds, going from straight-ahead jazz, soul and more recently Emily’s D+Evolution (Concord), an experiment that blends musical theater, jazz, funk and much more – something that some fans heralded and others failed to fully comprehend (me being the latter) – when she first emerged, Spalding was a breath of fresh air in the jazz world, and continues to evolve throughout the years – I can only imagine what she is going to bring to the fore this time.

Album reviews: Nouvelle Vague’s “I Could Be Happy” and Laura Cheadle’s “Chill” EP

By Ernest Barteldes

I first discovered Nouvelle Vague about a decade ago, when someone handed me a copy of 2006’s Bande a Part, an album which contained very creative treatments of tunes like U2’s “Pride – In The Name of Love” in a a samba-bossa groove and Billy Idol’s “Dancing With Myself” in what could be described as a tongue-in-cheek dance feel.

I have followed them since even though I seem to miss them every time they perform Stateside, this year being no exception. I love the way they recreate the covers they record in a manner that is almost incomparable – tunes feel completely different than the original, and you don’t have that feeling of “why cover this one?” since they have that original feel even if the song is amazingly familiar.

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Such is the case of I Could Be Happy, the first to contain original material by Olivier Libaux and Marc Colin, the band’s longtime leaders. The Ramones’ “I Wanna Be Sedated” is played in sleepy down tempo beat reminiscent of the Beatles’ “I’m Only Sleeping” that gives the lyrics new meaning – gone is the rebellious feel of the original and instead is that feeling of someone who simply doesn’t want to get out of bed. Also notable is Richard Bell’s “Love Comes in Spurts,” reinvented here as an electronic ballad that deeply contrasts with the original’s punk arrangement.

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Among the independent artists that get our attention, New Jersey-based Laura Cheadle is one of the most frequent – basically because she has great passion on a live setting, is a gifted songwriter and also because she is fortunate enough have a live band mostly formed by her family members – all gifted musicians in her own right.

Cheadle’s new (download-only) EP entitled Chill kicks off with “Conversations in My Mind,” a soul-tinged tune whose lyrics question the narrator’s judgments about her own life. It has a simple but catchy melodic groove and a nice hook that stays in your head for quite some time. Also notable is “See The World With Me,” a gentle ballad about living life beyond the everyday grind.

I also enjoyed the treatment she gave to the cover of the Supremes’ “You Can’t Hurry Love.” While the original (which Phil Collins pretty much copies) was about warning young girls about falling in love too easily, her down-tempo version sends a different message: here is a love-worn woman who is about to give up on finding someone – anyone – but realizes that the best things in life take time even if it breaks your heart every single time.

Though I enjoy hear her on record, the best way to enjoy her music on a live format – those in New York can confirm what am talking about at Piano’s on April 15th – an awesome way to drown out those tax-day sorrows in anticipation of Easter Sunday – or Passover.  Or just another Sunday.