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.

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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

At The NYPL Exhibit “You Say You Want A Revolution”

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The “Free Love” Section

Text and photos by Ernest Barteldes (except where noted)

“You Say You Want A Revolution” 

Stephen A. Schwarzman Building through Sept. 01, 2018 

Free 

 Although I did not live through the era, the 60s have always fascinated me: it was the time of The Beatles, The Rolling Stones, The Summer of Love, Woodstock and many other transformative movements, going from the Civil Rights Movement, Women’s Liberation, the early days of the LGBTQ movement (which my late friend Jack Nichols was an integral part. 

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Patty Hearst 

The era, of course, had its dark side with the escalation of the war in Vietnam, the assassinations of Dr. Martin Luther King, Jr, President Kennedy and his brother Robert and the election of President Nixon, which would turn out to be one of the most polarizing presidential figures in recent history and of course the military coup that ousted a democratically elected president in Brazil and began a cruel military regime that would remain in power for twenty years. In music, a free concert in Altamont ended in tragedy when a man was murdered by a member of the Hell’s Angels, who were providing security at the event. 

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A Portrait of Bob Dylan, with original lyrics below it (E. Barteldes)

One of the most turbulent years of that decade was 1968, the year I came into this world. That was when student protests erupted around the globe that almost cancelled the Olympic Games in Mexico City and also, when Dr. King and Robert Kennedy, as mentioned before, met the end of their lives by an assassin’s bullet.  

To commemorate that year, the New York Public Library is holding a multimedia exhibit that highlights the many events of the decade (and also some of the consequences that spilled into the 70s) that looks into all its nuances – the music, the politics, the films and much more.  

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Walter Bredel, Woodstock Music and Arts Fair, Bethel, NY, 1969. NYPL, Music Division.

As you enter the Gottesman Exhibition Hall at the  Stephen A. Schwarzman Building on 42nd Street and 5th Avenue, a sign warns that some of the material might “not be appropriate” for viewers. They’re not kidding. One of the first exhibits deals with the Summer of Love and its many branches – the Hippies that came together at San Francisco’s Haight-Ashbury with a graphic photo of the members of the Cockettes – an underground theater group that often performed in the nude – with uncensored pictures to prove it.  

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Exhinit (photo by NYPL)

Further down are examples of the several underground anti-government groups that formed during the era, including a detailed record of the abduction and conversion of heiress Patty Hearst to a participant of the Symbionese Liberation Army (recently made into a documentary film on CNN). On two screens there are looping videos of the 1969 Woodstock Concert (again uncensored) and moments from the musicals Hair and Jesus Christ Superstar.  

Each section is divided by names of popular songs from the era – the name of the exhibit itself is taken from The Beatles’ Revolution (single from 1968), and other tunes include Stephen Stills’ “Love The One You’re With,” Bob Dylan’s “The Times Are A-Changing” and others. In two listening booths decorated with album covers you can listen to tunes from the era divided into the categories of love, political change and sexual liberation.  

I visited the exhibit accompanied by four students from one of my classes at the college where I teach English as a second language, and it was interesting to see the reactions on the faces of these twenty-somethings that had little or no idea about those times. One student was shocked by a random picture taken at Woodstock of a young lady dancing completely in the nude (I think the title was “Nude Girl at Concert”), while others seemed surprised at how things were different five decades ago.  

We later sat at the café inside the library and chatted about it. Many expressed surprise at what they saw and heard, and the conversation then went into a different era – the mid-80s and 90s, when AIDS brought a counter-revolution of sorts as a more conservative attitude about general behavior seemed to take hold even as many today enjoy the benefits brought on by the changes the came during the 60s.  

But that’s another story.  

People’s Champs + Musiq Soulchild at BRIC Celebrate Brooklyn

Musiq Soulchild

With People’s Champs

BRIC Celebrate Brooklyn

July 7, 2017

Article and photos by Ernest Barteldes

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Musiq Soulchild

A near-capacity crowd filled the Prospect Park Bandshell as Brooklyn-based People’s Champs took to the stage with a selection of Afrobeat-inspired, funk-driven original material that blended organic tunes with electronic elements – several of the bandmembers switched instruments while the two vocalists alternated tunes. At one point during their set they delved into contemporary soul and reggae, moving the crowd that was mostly there for the evening’s top-billed artist.

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People’s  Champs

I was surprised to see that Musiq Soulchild came on with a very small backup band – just bass, guitar and drums (even though the bassist often went into the keyboards).  Soulchild seemed proud to keep things simple, and early in the set he mentioned that he had “no backup singers,” and told the audience that they would be handling those vocals instead.

Early into the set heavy rain began pouring but the audience – some with no umbrellas – did not move as they were already involved with the music. He alternated the songs between more mellow neo-soul material to more uptempo tunes. One of the audience favorites was “Don’t Change,” a gentle ballad about the unchanging feelings of a man towards his lover as time goes by.

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The backing band was solid – the rhythm section kept the sound solid, allowing the guitarist to slightly improvise around the melodies. Soulchild had great command of the stage, and got the audience to sing along with his hits – especially the ballads.

It was a highly enjoyable set, which was only dampened by the heavy rain and the fact that he did not return for an encore – something almost unheard of at Celebrate Brooklyn.

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Live Review: Anuhea at The Highline Ballroom, March 18, 2017

 

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article and photos by Ernest Barteldes

Anuhea

March 18, 2017

Highline Ballroom

New York, NY

I discovered the music of Maui-born Anuhea quite by accident. Shortly before Renata and I traveled to Hawaii, I started listening to a Hawaiian 105 KINE, a Honolulu radio station to get the place’s vibe, and one song made me smile whenever it was on their playlist. The song’s name was “Forever Summer,” a duet between Anuhea and Justin Young in which they sang about how it was always warm in the company of their significant other even if the weather was less than formidable.

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As someone who used to live in a tropical land and now has to face the reality of snow storms and a very short summer, I got the meaning behind the words, and started paying attention to the artist. I eventually got to know other tunes in her repertoire and ‘liked’ her page on Facebook, making a mental note to catch her live if she ever came to town.

To open the evening was indie singer-songwriter Mahi, who is also the guitarist for Anuhea’s band. Accompanied by his own Fender strat and drummer Revelation, he did a few covers – including Roberta Flack’s “Killing Me Softly” and an original ballad called “Be Mine.” He engaged the crowd by cracking jokes and also getting the audience to sing along to some of the tunes.

After a brief break, Anuhea took to the stage with her band (Mahi, Revelation and a bassist), playing reggae-tinged original tunes. Among the highlights was “Big Deal,” the first of her tunes to catch the attention of radio stations in Hawaii, and “A Simple Love Song,” a recent single whose video was actually shot during her first appearance in New York.

Her band has great chemistry together, and feed off each other quite well. They had wonderful three and four-part harmonies on many of the tunes, and that made for a very enjoyable experience. While she played mostly original material, she included a cover of Chaka Khan’s “Sweet Thing” with an arrangement closer to her own style. To my personal delight she included the aforementioned “Forever Summer” with Mahi taking over Justin Young’s vocal parts. There was a joke around the recent Disney cartoon “Moana,” and the band played a snippet of “How Far I’ll Go” as part of it to great response.

The set was short but highly enjoyable – I hope I get another chance to hear her live again soon.

Preview: Mariza At Town Hall and NJPAC

Mariza

Saturday, October 15 at Town Hall

Sunday, October 16 at NJPAC (featuring Bebel Gilberto)

For more information visit Mariza.com

By Ernest Barteldes

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Back in 2009 I was fortunate to be in the audience at Carnegie Hall to hear Mariza sing in support of Terra, (2008) an album that was a bit of a crossover for her – in addition to the traditional fados that caused her to be called “the next Amalia Rodrigues,” she included songs like Charlie Chaplin’s “Smile” (backed by Gonzalo Rubalcaba) and The Beatles’ “Yesterday” with a jazz-inflected treatment that was quite different from what you hear on the streets of Alfama.

At the time I was not aware that she was about to embark into a half-decade hiatus to dedicate herself to starting a family . I was glad that to hear she was ready to go back on the road when I was assigned to write a preview of her Krakow debut earlier this year, and was eager to hear her in the US again.

I guess I am getting my wish.

Mariza returns with “Mundo” (Nonesuch, 2016), a disc that  takes her music to yet a further direction, embracing pop, jazz and other genres with a little help of several guest artists who sometimes take the spotlight entirely away from her.

Produced by Javier Limon, the album blends more traditional fados with more modern grooves – the first example being “Paixao,” a ballad that begins with a more classical feel then incorporates electric bass and percussion – something not very commonly heard In an album of this genre – the impression I had was as if Queen’s Brian May had decided to produce the tune then decided not to multi-track his legendary Red Special guitar into it. Another great moment is “Padoce de Ceu Azul,” a ballad with a laid-back feel that gives a chance to hear Mariza outside of the usual dramatic sound of fado.

Fans of Lisbon’s signature sound should not worry – most of the tunes keep into the format, but I agree that Mariza should go beyond their comfort zone as Cristina Branco, Ivete Sangalo and others have done before her. But she is not just expanding, but bringing fado to the 21st Century – “Sem Ti” is clearly inside the genre but cleverly brings other elements to it – without completely breaking away.

I am not sure how Mariza is going to bring all the music together on a live format, but am certainly curious. She always has the ability to surprise audiences with unexpected surprises – at Carnegie Hall she had all the mikes turned off and did a few songs acapella the way it is done back home.

I can assure everyone in the audience – wherever they were – heard every note.

Jon Batiste & Stay Human at Celebrate Brooklyn

Article and photos by Ernest Barteldes

 

Jon Batiste & Stay Human

Celebrate Brooklyn

Prospect Park Bandshell

Friday, July 22nd 2016

 

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Jon Baptiste

After two opening acts that included a brilliant saxophone trio formed by three very young musicians aged from 12 to 16 years of age, bandleader and evening curator Jon Batiste took to the stage on the melodica backed by an 8-piece band of multi-instrumentalists, kicking off the show with a marching band-style take on  the Christmas standard “My Favorite Things”  that was blended with  “Papa Was a Rolling Stone.” He then went to the piano for an instrumental version of blues standard “St. James’ Infirmary” where he showcased his dexterity on the piano.

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Jon Baptiste

Stay Human have great chemistry together, responding to the bandleader’s grooves with expertise, even when he went off with some improvised moment – I guess that tightness comes from performing on a nightly basis on the Late Show with Stephen Colbert on CBS (I compare with the last time I saw the band at The Charlie Parker Jazz Festival two or three years ago).

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Young Sax Trio

Batiste is open to many genres – at one moment, he is playing a boogie take on the “Star Spangled Banner” and the next going into a full rock mode and then drifting into a personal take on “Pour Elise,” which featured a bass solo. The set included covers of The Jackson Five’s “I Want You Back” with the bassline played on the tuba, which preceded included a tuba battle and a full French Quarter-style marching band tune in which the ensemble walked into the audience.

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Stay Human

It was a great opportunity to see Batiste outside of the constraints of a TV studio setting, where he stretched the music and improvised freely – I heard some folks in the audience hoping Colbert would make an appearance (considering his recent vocal performances) but that did not happen – instead, the audience was taken to an amazing musical journey under the direction of an amazingly talented bandleader who we all hope to hear again – on stage – soon.