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

IMG_4861

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.

FullSizeRender

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.

FullSizeRender (1)

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.

Advertisements

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

By Ernest Barteldes

3yndyouri_lanquette2011-1302643204_780x520

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)

What to hear in June – Summerstage and Celebrate Brooklyn 2017

by Ernest Barteldes

 

Bilal

I don’t think I need to tell you how much I love attending outdoor concerts. As much as I appreciate our various indoor venues and how some of them go above and beyond to bring diverse voices to their stages, my one musical love is to stand under the hot sun – or the stars  – and enjoy some music without drink minimums or any other restriction regularly imposed by club managers.

For this reason, it is with great expectation that I look forward to the summer months when music comes outdoors, because these musicians have a chance to reach audiences they might never reach out to otherwise –  things would be segregated among the ‘jazz,’ ‘world’ or whatever pocket genre your next tastemaker might come up with.

Among the various events I love to attend are Summertage (once limited to Central Park but now a citywide event) and Celebrate Brooklyn – they are both works of love for all those involved, including this writer –   there is no price to pay for the many memories created by each of the shows I have attended over the years.

Which brings me to my selections for the month of June for both venues – but let me note that I am only commenting on the non-benefit shows – the others get plenty of coverage on their own without my help.

Summerstage gets things running on June 3rd with an opening event featuring the great Mavis Staples (remember “I’ll Take You There?” ), who I wrote about when she played at the same stage in 2008, generating one of the best quotes I have ever heard on stage in my life: “Mississippi is a great place to come from, but it is even a better place to get away from” following a rendition of “Down in Mississippi,” a tune that reminded us of the pain so many went through during the Jim Crow era, which she helped – at least legally – get rid of.

 

Over at Celebrate Brooklyn things begin to get interesting with some soul that brings together Alice Smith, Bilal and Kris Bowers (June 10th) ,all fantastic artists in their own right. Bilal is one of my personal favorites of the three due to his ability to bridge between genres, often contributing with jazz, Latin and rock artists and sounding comfortable among all of them.

Another legend – one of the engineers of funk – is George Clinton, who will be playing with his longtime band Parliament Funkadelic on June 11th  as part of the Only in Queens Festival (associated with Summerstage). It should be a magical night at Flushing Meadows Park in Queens, and will certainly be worth the ride on the 7 train.

Fête de La Musique (June 26th)  brings some new French music to the foreground – my personal highlight is German-born Ayo, whose 2006 debut single “Down on My Knees” has stayed with me and has also become attached to memories of a 2014 trip to Europe, when the song played at a restaurant in Krakow  – whenever I hear the tune it takes me back to that unlikely place in my life. It is a song in which the narrator pleads for her lover not to go away and reminds him (her?) of the things they have shared.

My great appreciation for Robert Glasper (June 25, Central Park)  is not a secret – I have reviewed his albums and live performances over the years. His approach to jazz is quite unique as he blends elements of jazz and contemporary music (hip-hop, soul) with a political edge – he collaborates with folks you don’t usually associate with jazz, such as Erikah Badu and Bilal, to name a few – and is humble enough to go on the road as a supporting musician for Maxwell – one of the pioneers of the contemporary sould movement.

lila-downs_mar2017-1

Lila Downs

June closes with Lila Downs (Celebrate Brooklyn, June 29) , who is one of my top 10 favorite female singers. She is one of the few musicians I know who can tackle pretty much any genre while staying true to her Mexican roots. I have been following her music since I saw her at a downtown concert in which she shared the bill with Brazil’s Luciana Souza – I was immediately hooked by her expressive voice and stage presence. I must have seen her live at least ten times since and am surely looking forward for this one.

Angelique Kidjo’s Celia Cruz Tribute + Yosvany Terry Quintet at Celebrate Brooklyn

 

DSC_1992

Angelique Kidjo 

Yosvany Terry Quintet +

Angelique Kidjo

Celebrate Brooklyn

Prospect Park Bandshell

July 29, 2016

article and pictures by Ernest Barteldes

On an evening dedicated to the memory of the late salsa queen Celia Cruz, the Yosvany Terry quintet (Terry: saxes and chekeré; Yunior Terry: bass; Michael Rodriguez: trumpet; Manuel Valera: piano, Obed Calvaire: drums) came on with an energetic set of original music starting with an uptempo number with a strong Brazilian groove. The band played quite loosely, allowing for lots of free improvisation throughout. Following that vocalist Yanelle McPherson for a Irakere cover with very focused Afro-Cuban roots.

Valera was featured with an extended piano solo that followed some Spanish-language spoken word by the bandleader, who took the checker (an African made of a dried gourd and beads strung on the outside) and did a piece mostly based on it until the band joined in. McPherson returned for the last number,  an uptempo rumba with an extended drum solo that got the audience moving.

DSC_1973

Yosvany Terry Quintet

After a short break Angelique Kidjo came to the stage at first accompanied solely by an acoustic guitar with a ballad in her native Fulani. The 12-piece band (which included Terry and guest percussionist Pedrito Martinez) then kicked in – Kidjo immediately embodied Cruz’s fiery style, singing one of her classic numbers  – including Cruz’s signature “Azucar” cry, and followed that with a joyous original tune she explained was inspired by hearing the singer performing in Benin when she was thirteen years old.

One of the set’s highlight’s was the inclusion of a Spanish language version of “Voce Abusou,” a tune originally penned in Portuguese by the duo of Antonio Carlos & Jocafi (the song was also covered by Ella Fitzgerald)  – here it was given a more Afro-Cuban treatment, with focus on the percussion. After the tune, Kidjo acknowledged the  various influences present on the set, and stated that Afro-Caribbean and Brazilian music “survives through pain”  and given the current political climate, “you fight hate with kindness.”

DSC_2020

Angelique Kidjo

During one of the numbers, Kidjo left the stage (followed by some of the musicians) and walked around the audience, singing with great gusto. She also invited some members of the crowd to come up and dance along with the music.

The set ended with Kidjo’s classic “Tumba,” a song with a lively beat that has become her signature number – the audience was on their feet dancing and singing along to the chorus  – the ending of what was one of the season’s most memorable shows.

Angelique Kidjo is probably one of the few singers today that can do justice to Celia Cruz’s music – she has the same spirit and a voice just as strong as the late diva – I happened to be at Cruz’ final performance at Central Park Summerstage, and I am sure that she was looking down from heaven with a smile. It was a wonderful tribute – which I hope Kidjo takes on the road. More people deserve to hear this again and again.

Krar Collective + Hakim at Celebrate Brooklyn

 

DSC_1850

Krar Collective

Article and photos by Ernest Barteldes

 

Krar Collective + Hakim

Celebrate Brooklyn

Prospect Park Bandshell

Brooklyn, NY

July 15, 2016

On what turned out to be a very warm night in Brooklyn, things kicked off with the England-based Ethyopian trio named after the harp-like instrument played by  bandleader Temesken Zeleke (the trio is rounded out by drummer Grum Begashaw and vocalist Genet Assefa)  playing a selection of uptempo tunes that showcased the band’s talent and also Zeleke’s skills They kept everything very uptempo except for a short period in which the bandleader switched to a more traditional acoustic version of the instrument.

Assefa has great energy and chemistry with the band and audience, dancing and singing the music with great feeling, being the ideal frontwoman for a trio with two musicians who are extremely focused on their instruments.  During the more uptempo moments, she led the crowd to clap and sing along with the chorus even if most couldn’t understand a word.

Though Krar Kollective’s music is deeply rooted into tradition, they clearly have strong pop influences – Tamesken uses a variety of pedals to create a full band effect with an intensely improvisational sound, while Begashaw’s drumming  has a strong, Ringo-like rock vibe.

There was a strong NYPD presence at the show – I spoke to one officer, who told me that they were there following the recent military coup attempt in Turkey  – He said that they didn’t expect any issues, but stated that city officials would rather be safe than sorry. I smiled when he said that, and he thanked me for understanding, considering the anti-cop attitude that has dominated the media in recent times. I shook his hand and went back to hearing the music – there was some great music to be heard.

DSC_1885

Hakim

After a brief intermission, Egypt’s Hakim came on backed by a 12-piece band that included two keyboardists, a  three-piece horn section, several percussionists and electric guitar and bass.

Hakim’s very tight band  kicked things off with a funky instrumental piece that preceded the singer’s entrance.  As he entered to thunderous applause wearing a t-shirt with the inscription “Visit Egypt” , the singer immediately engaged with the crowd, greeting them in Arabic and getting to the hits, which most of his fans sang along to.

I had never heard Hakim on a live setting before, and was impressed with his command of the stage. He seemed to look straight into the eyes of audience members and was friendly with the photographers on the pit, stopping to pose for them as he belted out the music.

The band was well rehearsed, but they allowed various spontaneous moments  – one of the guitarists played an extended solo, and an accordionist had many opportunities to  throw in a few improvised riffs.

 

DSC_1866

Hakin does his thing

I was a little disappointed that Hakim didn’t even bother to greet non-Arabic speaking fans in English, but you could see he was inside his comfort zone, with many of his compatriots waving Egyptian flags as they lost themselves into the music.

He kept the energy level up during the entire set, and mostly stayed away from ballads except for one moment when he went into a more traditional direction with a 7/8 tempo tune. Apart from that it was party time as the singer got almost entire crowd to their feet to dance.

It was a very nice evening  – the energy was great and the music was highly inspiring, and it made for a fantastic musical discovery.

LAMC Shows at Summerstage and Celebrate Brooklyn

by Ernest Barteldes

I wish I had more time to attend everything that goes on at LAMC, but the truth is that this blog has not yet become profitable, and frankly I would rather not deal with some of the editors that have taken over some of the publications I used to write for (and the editors that were there before, they have all moved on to something else – as have I in a way).

So I did submit reviews of shows I attended at the venues above as part of the annual Latin Alternative Music Conference, but I’d like to share some of the more visual moments of those two evenings – stay tuned for actual reviews on All About Jazz soon.

DSC_1840

Hurray for The Riffraff played a very interesting World Music Set

DSC_1844

Hurray for the Riffraff at Celebrate Brooklyn

DSC_1829

More from Hurray to the Riffraff

DSC_1809

At Summerstage, Rodrigo Amarante… uh.. not really rocked anything. Just  navel-gazed for his entire set

DSC_1808

Tried to get what this dude was about, but he avoided anything anybody knew

DSC_1812

I tried to get it but… no

Outdoor Music: What to hear in July

by Ernest Barteldes

 

Last month I wrote about what to hear in June – since I was away in Poland for half of the month and thanks to the weekend glitches of the MTA, I was only able to hear one, which I recently reviewed for All About Jazz (I was going to run it in these pages, but I felt it would reach more readers there – I am not greedy). But now it’s time to look into July.

Please note that I am only writing about the free shows here – there are some interesting benefit concerts this month, but I chose to shine a light on the ones anyone can attend without shelling out.

king-sunny-ade

King Sunny Ade

I wouldn’t normally bother about shows during the Independence Day Weekend – everyone’s going to be somewhere else (myself included), but I do have some great recommendations for the next couple of weeks. But please note that the Nigerian legend King Sunny Ade will be at Summerstage on July 3 o what is his first North American tour since 2009  – so in case you will not be sunning yourself, don’t miss that show.

On  Thursday, July 7th,  a performance not to be missed is an evening of Indian-inspired music that begins with DJ Rekha (one of the leading Bangra MCs out there), and two of my personal favorite musicians: Karsh Kale, one of the most inventive songwriters I have ever heard.

About a decade ago, he joined forces with sitarist Anoushka Shankar (the daughter of Ravi Shankar and half sister of Norah Jones) for one of Breathing Under Water, one of the most brilliant World Music albums released in the 21st Century.  Closing the evening is the Sunny Jain-led Red Baraat, dubbed “one of the best party band around.”

I am sure to be there, even if I have an early start on Friday.

The second weekend in  July marks the highly anticipated (as far as I am concerned)  Latin Alternative Music Conference, an event that brings together media, musicians and labels for a smorgasbord of showcases, concerts and industry-related panel discussions – the most interesting for the general public being the free concerts they sponsor both at Summerstage and Celebrate Brooklyn.

On July 8, Rodrigo Amarante,  the co-founder of Brazilian rock band Los Hermanos and Orquestra Imperial (a samba supergroup that also features Moreno Veloso), takes the stage at Rumsey Playfield to showcase music from his debut solo album “Cavalo” (Horse). The evening also features Mexico’s Leon Carregui, one of this year’s breakthrough Latin artists. The next day, head over to Brooklyn to hear local Latin artists Buscabulla and Hurray for the Riff Raff and of course the headlining artist – Mexico’s Carla Morrison.

There aren’t many living jazz singers who I would say are among the greatest in history, but Diane Reeves (Queensbridge Park, July 27)  is surely among them.  Sex and The City fans will remember her belting out “Is That All There Is” on the season 5 finale, but I have paid attention to her for quite a while. She is incredibly versatile and tackles various genres without losing her signature style.  Opening for her is DJ Greg Caz, arguably the the most musically open-minded DJ in New York City – he not only loves music but has a deep knowledge of it that baffles me at times.

gregory20porter20liquid20spirit20photo2028129

Gregory Porter

Closing my recommendations for July is Gregory Porter (Celebrate Brooklyn, July 28) – his deep baritone and has you at hello, as I discovered when I first heard about him via the Starbucks app (gone are the days that they gave out music, thanks to their current partnership with Spotify). I heard him last year at Summerstage and was fascinated at his command of the stage and his captivating personality, and am eager to hear his music again in a live format.