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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July Preview: What to Listen and Watch in the Midsummer

By Ernest Barteldes

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Aterciopelados, LAMC at Summerstage, July 11

July comes with even hotter temperatures but also brings a full calendar of outdoor shows in many locations. Again, as we did on previous months, we will focus on shows that are either free of charge or with a suggested donation, as is the case with most performances at the BRIC Celebrate Brooklyn and at Summerstage.

At Bryant Park, the Summer movie series continues with a program that includes classics like Carrie (the Original 1976 with Sissy Spacek and a very young John Travolta), Coming to America and Goodfellas among some lesser-known titles. Films begin at sunset, but you should come early, since space in the grass is occupied as early as 6:00 PM.

The month of July marks the celebration of the 20th Anniversary of The Latin Alternative Music Conference, a citywide event that includes various showcases, panel discussions and other goodies, but for the general public there are free shows around the city. These performances include an opening show at Central Park Summerstage headlined by Mexico’s Ximena Sariñana  (Wednesday, July 10th at 5 PM), one of the most respected young pop artists in her native country. Her style brings to mind girl-power singers like Avril Lavigne and (if you think of the 90s) Alanis Morrissette. Also on the bill are iLe and Nathy Peluso. The following day, LAMC will host a showcase in Queensbridge Park (July 11th) featuring legendary Colombian band Aterciopelados, Diamante Electrico and DJ Dayansita

Later in the weekend the conference moves to Celebrate Brooklyn, where Guatemala’s Gaby Moreno (Prospect Park, July 12th) a bilingual artist that mixes pop and traditional sounds  will be sharing the bill with Mexico’s Enhambre and El David Aguilar, and then things move back to Central Park (Saturday, July 13th) with tith a big 20th anniversary party featuring Vicente Garcia, ChocQuibTown, Macaco & Guaynaa. On the same evening, Malian living legend Salif Keita will headline at Prospect Park – making it one heck of a busy weekend if you plan on attending every show.

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I’m With Her, Celebrate Brooklyn July 18

Sara Watkins, Sarah Jarosz, and Aoife O’Donovan are three artists with respectable careers in their own right, but when they get together for their “Supergroup” I’m With Her things get far more interesting, as they use more harmonies and musical textures that go beyond their solo works. Opening the evening is Darlingside, a four-piece group from Boston that takes inspiration from 60s groups like Crosby, Stills, Nash & Young and Simon & Garfunkel but put their own personal imprint, being both retro and contemporary at the same time. (BRIC Celebrate Brooklyn, July 18).

I’ve heard Chilean-French rapper Ana Tijoux multiple times over the years, going from her rather raw debut appearance at LAMC almost a decade ago to her more evolved, social justice-conscious phase, where her angrier raps became more melodically intricate.  She continues to evolve, so don’t expect her to simply rap to the beats in her breakout hit “1977.” She has a deeper, more powerful message these days. (Summerstage at Corporal Thomas Park, July 20)

One of the biggest hits on Broadway in recent years, Fela! The Concert celebrates the times and music of iconic Afrobeat founder Fela Kuti with a ten-piece band, dancers and singers – some who were part of the original production – a great opportunity to watch the show again or for those who missed it to actually watch it for free. (Summerstage at Coney Island, July 26 and July 31 at Central Park)

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Alceu Valença, July 27 Brazil Summerfest at Summerstage

Brazil Summerfest is a two-week long festival that celebrates everything Brazilian, kicking off with a free street fair featuring traditional music, food and even some artisanal works. There are several ticketed shows, panel discussions and movie screenings throughout the event, including a free show at Central Park Summerstage featuring Alceu Valença (July 27), a legendary singer-songwriter in Brazil but who hardly ever performs in the US (at least from memory, I cannot recall ever hearing of him performing Stateside in the two decades I’ve been here). His music is a blend of traditional Northeastern beats with theatrics and rock. He is a consummate perfectionist in spite of his eccentric stage persona – I once saw him stop a show because the sound was not of his liking, but he did apologize to the audience for that, and later gave a stellar performance after the problems were solved.

August is also promising as Celebrate Brooklyn, Summerstage and Lincoln Center Out of Doors continue their free programs – tune back in at the end of July for some cool recommendations.

Brandee Younger Trio At Summerstage in Central Park

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Brandee Younger (Ernest Barteldes)

Brandee Younger Trio

Central Park Summerstage

June 15, 2019

By Ernest Barteldes

Backed by Endea Owens (upright bass) and E.J. Strickland (drums), jazz harpist Brandee Younger kicked off her set with Alice Coltrane’s  “Rama-Rama,” a bright and uptempo theme that quickly transitioned to a more syncopated number centered on Owens’ dominant bassline. She followed that with “Hortence,” an original tune that allowed the bandleader to stretch and further explore the versatility of her instrument, and Owens took another mellifluous solo. She introduced herself and the band (cracking a joke at Strickland’s Gainsville, FL origins) and led the band with a more samba-influenced number.

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Central Park Summerstage

Halfway through the set, the trio was joined by saxophonist Chelsea Baratz for “Essence of Ruby,” whose melody centered on the saxophonist’s tenor sax. It was a tune with a simple structure close to smooth jazz but with more of a contemporary edge.

The four musicians navigated various styles, and included many creative elements – in “Respect the Destroyer,” Younger used effects that gave her harp an electronic-like sound that served as a backdrop for Baratz’s dexterous solo.

They closed their set with a tune by legendary Detroit-born Afro harp player Dorothy Ashby (there was another tune of hers earlier in) that swung much harder than other tunes that evening and gave the opportunity for Strickland to add his only solo of the evening, which he took in a laid-back manner, concentrating more on the drums than the cymbals.

Except for Colombia’s Edmar Castañeda,  who takes more of a Latin-jazz approach to his playing, I had never heard jazz played on a harp – and until recently I had no knowledge of the work of Dorothy Ashby. Younger’s set was enjoyable and also educational, since it made me do some research jazz harp.

The evening was rounded out by a set with a saxophone trio featuring  Jack

DeJohnette, Ravi Coltrane and Matthew Shepard.

 

 

Music to Listen to in June: Bryant Park, BRIC Celebrate Brooklyn and Summerstage

By Ernest Barteldes 

In spite of a few rainy days and chilly mornings, June is finally here and with it comes the much-awaited outdoor concert series throughout the city at venues such as BRIC Celebrate Brooklyn (which opened on June 4th with an appearance by the great Patti LaBelle, while at Summerstage in Central Park things kicked off that same night with a lineup headed by the also legendary George Clinton & Funkadelic – making this season a promising one.  

Here I have some recommendations for the month of June, highlighting the free concerts. There are several benefits, but they are mostly sold out and honesty they don’t need my input about them anyway. For more details, please refer to the hyperlinks. 

On Friday, June 7th the music of the Caribbean is celebrated at The Bryant Park Latin Festival with a dance party that will include bachata, merengue and salsa. Headlined by La Sonora Nuyorkina and several guests, the five-hour event should be quite interesting – especially for lovers of Latin Music 

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IBEYI

On June 9thBrooklyn receives Cuban-French twins Lisa-Kaindé and Naomi Díaz, who together form IBEYI. They are the daughters of late conguero Miguel “Anga” Diaz, a member of The Buena Vista Social Club. Their music is a blend of traditional and modern music, ranging from hip-hop to Yoruba and much more in between. The evening is rounded out by Philly-based one-woman band Orion Sun and Sudan Archives, the latter who also blends traditional and contemporary music into his music.  

The legacy of the great saxophonist John Coltrane is remembered with a concert in Central Park on June 15th featuring an all-star lineup of jazz musicians: The Coltrane – De Johnette – Garrison Trio, formed by Ravi Coltrane (John and Alice Coltrane’s son), veteran drummer Jack DeJohnette and bassist Matthew Garrison. The opener will be jazz cellist Brandee Younger, It is one of these concerts that is not to be missed. 

The Stonewall Riots that were seminal for the early days of the quest for LGBTQ rights in America (although there had been a solid movement going on for quite some time before that)  celebrates its 50th anniversary in 2019, and this is commemorated with multiple events – at Summerstage, the all-male comedy ballet company, Les Ballets Trockadero de Monte Carlo, perform classic works from their own perspective using great humor and class.  

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Musiq Soulchild (Ernest Barteldes)

Sheila E. is probably best known for her association with Prince in the 80s, but she has had a long career of her own both as a bandleader and a sidewoman for the likes of Marvin Gaye, Ringo and His All-Starr Band and Beyonce, to name a few. For this night, dubbed “Only in Queens Festival,” she leads a band that includes contemporary soul singer Musiq Souchild and local Queens dancehall artist Kranium 

Les Negresses Vertes is a French alternative band with a long history dating back from the 80s. formed by a group of Parisian friends with no serious professional backgrounds, they were originally led by singer-songwriter Helno, but his time in the band was brief- he was a heroin addict and ultimately died from consequences of his drug abuse in 1993. After some lineup changes following his death, the band continued performing and adopted a more dub-influenced sound. They will be heading the lineup for Fete de la Musique on Sunday, June 24 in Central Park.

Chucho Valdés is undoubtedly one of the greatest Cuban pianists of his generation – following in the footsteps of his father, Bebo Valdés (1918-2013) and the father of Chuchito Valdés, he is one of the most respected musicians from his country, and one of the most innovative as well. Still active at 78, he recently released Jazz Bata 2, a sequel of sorts of his seminal 1972 album of the same name. Sharing the bill is Cuban-born, New York-based drummer Dafnis Prieto, another creative voice  that takes the music to the next generation. They appear at Celebrate Brooklyn on June 26.  

The month closes with Concha Buika, a fantastic Spanish singer with a dramatic voice that blends flamenco, jazz, Afro-fusion and R&B into her unique sound. She has collaborated over the years with the likes of Portuguese fado singer Mariza, Brazil’s Ivan Lins and many more. She is one of the few Afro-European flamenco singers out there, and she represents all of her heritage without losing her signature dramatic sound that is recognizable the moment you hear her voice. Buika appears at Celebrate Brooklyn on June 30 

Music Reviews: Two From Poland, One From Brazil

By Ernest Barteldes

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As I have written here before, Warsaw-based Monika Brodka has had an interesting trajectory over her career.  A winner of Poland’s version of Idol back in 2004, she started out her recording career with two very mainstream albums early on that got her a lot of radio play (the songs from those releases are still featured on pop radio to this day), but then she took a whole different direction: she went through a four-year hiatus and reemerged with Granda (2010, Sony Music), which took her music to a more alternative direction, and followed that up with the English-language EP Lax (Kayax,  2012) and more recently Clashes (Kayax, 2016), which took her music to even more experimental territory.

The last three releases are the focus of MTV Unplugged (Kayax, 2019), her first release captured live in the southeastern city of Lublin in 2018 in reimagined versions that depart dramatically from the studio versions of the same tunes, starting with “Can’t Wait for War,” which features what at first I thought was a Theremin but turned out to be a saw played with a bow – something that I have only heard before on the New York City subway. Her take on “Varsovie,” an ode to her adopted city is also surprising, with mostly acoustic elements replacing the mostly electronic feel of the studio recording.

Although it’s an “unplugged” album, there are several non-acoustic instruments on the record – Brodka plays a semi-acoustic guitar, and so does her lead guitarist. While her bass player performs with a ukulele bass for most of the set, an electric bass (probably a Fender P-bass) can be heard on some tracks.

Notable tracks include “Syberia,”which brings l guest Krszystof Zalewski on guitar and vocals – it’s quite an intimate setting, with Brodka playing a six-string banjo (tuned as a guitar).  The tune is not that different from the studio recording, which was also played on acoustic guitar, but the two-part harmonies and the banjo bring an extra texture to the song, which is mostly a filler on Granda, and also “Santa Muerte,” an English-language tune from Clashes that features fellow Idol alum Dawid Podsiało. The arrangement that is incredibly close to American bluegrass thanks to Brodka’s banjo, the strings and the wandering saw, which adds an eerie feel to the tune.

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Anna Maria Jopek has a history of collaborating with many respected musicians including Brazil’s Ivan Lins, France’s Mino Cinelu and others, but Ulotne (“Elusive,” Universal Music Polska, 2018) is only her third album done as a full collaboration with another artist (the others being Upojenie, her 2002 collaboration with Pat Metheny and Minione, her 2017 album with Gonzalo Rubalcaba), in this case being legendary saxophonist Branford Marsalis, with whom she recorded a couple of tracks with on 2008’s live Jo & Co (Universal Music Polska).

Featuring mostly original material penned by Jopek and her husband and main collaborator Marcin Kidryński, the album flows beautifully track by track – the musicians (rounded out by Cinelu, Maria Pomianowska, Robert Kubiszyn, Pedro Nazaruk, Marcin Wasilewski, and Atom String Quartet) have all worked together before either on a live format or in the studio, and the chemistry can immediately be felt throughout. Marsalis is featured on every track, while the supporting band gives a solid backup without getting in the way. As in most Jopek album, there are a plenty of multi-tracked vocals, but they are subtler than in earlier releases – the direction here seems to be make everything as organic as possible.

The deluxe version of the album features four extra tracks, one being Pożegnanie z Marią, a song beautifully recorded as a tribute to recently deceased trumpeter Tomaz Stanko, who wrote the tune.

 

Carnaval in Brazil is fast approaching, and given the election of extreme right-wing president Jair Bolsonaro, who was voted in with promises of restoring “traditional values” to the country, it is expected that some will not be too happy about it. One of the first songs to reflect this is “Proibido o Carnaval,” a single by openly gay singer Daniela Mercury and legendary singer-songwriter Caetano Veloso.

The song, which translates as “Forbidden Carnaval” wax against censorship and the anti-LGBT attitude of Bolsonaro and his cabinet, turning his own words against him and vowing not to allow the right spoil the party for those who don’t want to become stereotypes.

I am not sure how the tune has been received in Brazil, but after several plays on my phone I can say that some will frown upon the words – but it’s not like anyone who agrees with Veloso and Mercury will care.

Anoushka Shankar + My Brightest Diamond at BRIC Celebrate Brooklyn

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Anoushka Shankar

Anoushka Shankar + 

My Brightest Diamond 

BRIC Celebrate Brooklyn 

July 20, 2018 

By Ernest Barteldes 

 

On what turned out to be a seasonably mild night in Brooklyn, musical experimentalist Shara Nova, who goes by the “band” name of My Brightest Diamond came on backed by her own programmed keyboard and a drummer showed exactly what is wrong with the whole DYI movement: artists get zero feedback from other people and the room and become far too self-indulgent.  

Nova opened her set with the participation of the Brooklyn Youth Choir, doing two numbers that sounded brilliant and hopeful, but soon after that it was a collection of tunes with strong influence from 70s music, especially the B-52s, David Bowie and Yoko Ono (if that makes any sense). She did go into a quieter mode when she played – on guitar – a lullaby about her young son, but it was mostly electronic music with shrieked vocals and little else.  

After a brief break, sitarist Anoushka Shankar came on backed by bass, percussion and hand pans. The music, as she stated, was inspired by the refugee situation in Europe and also the political situation Stateside – she didn’t dwell on it as she described it, but one could feel the feeling in the melodies.  The jazz influences were tangible, but there was something intensely personal with the music.  

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My Brightest Diamond

Mariza at Summerstage/Central Park

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The Stage at Central Park

Summerstage at Central Park

June 23, 2018

New York, NY

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Mariza

On her debut Summerstage appearance,  Angolan-born and Portugal-based Mariza took to the stage backed by a five-piece band (accordion, percussion, Portuguese guitar, acoustic guitar and bass) to promote mostly material from her self-titled album (Warner Portugal, 2018), which of this writing was not yet available in the US market even though she mentioned it several times during the show.

The set opened with “Sou do Fado,” a traditional tune that has become a staple on her performances – it is a longing number in which she stretches her vocals, utilizing the melisma that are so common to the genre.  She then followed by a ballad  with few fado characteristics – something that has become more and more common on her records starting from 2008’s Terra, which included tunes by  Brazil’s Ivan Lins and also a cover of Charlie Chaplin’s “Smile,” which she performed during the tour in support of that album that year.

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Mariza

Among the highlights was an original tune named “Ja Passou,” a ballad dedicated to her young son. The expression is common in Portugal, and it means that the “pain is over” (the term was actually used on the Luso-Portuguese version of “Let It Go” from the soundtrack of the movie “Frozen”), and it is usually told to young children when they get hurt in some way.

Hearing Mariza in an outdoor setting was quite refreshing, because in previous U.S. stops she mostly performed in theaters, and was interesting to hear her outdoors, and wondered how the outside temperature would affect her singing.  The truth is, it didn’t, and she sang with the same potency and passion that she has delivered in previous shows.