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It is the first day of EDP CoolJazz 2018, the panorama of Cascais sweeps the chance, in the late afternoon of a warm Wednesday. In the festival that brings together the new jazz expressions soul and R & B the mood and visitors, from a more advanced age group, clear offset from other summer events.
Indeed, it seems to me that it is light years from the youthful ecstasy of the typical summer schedule. Perhaps the name " cool " is not just a current and attractive marketing, but the suggestion of a pragmatic indolence of the target audience: one only seeks to witness a good concert, without hysteria or fan rites
] It generalizes the languor in the public that can access to Hippodrome Manuel Possolo – an hour after the "opening of doors" announced, that related apparently only at the initial door and those who opt for the restaurant area, packed with the moderate but expressive rhythms of the trumpet player Jessica Pina .
This posture extends to the reception of Sara Tavares who commissioned the first official part of a day led by David Byrne the iconoclast of 80s that moves the masses to the enclosure. That's Tavares, a Cape Verdean singer who admits to being inexperienced in the "first games", who is lucky enough to find a half-public gas, despite a competent and generous performance.
Published in 2017, the nerve center of the presentation is his eighth record, where he reconciles his Cape Verdean roots with current electronics. Fitxadu a collection of organic tracks that fits your " African Lisboas ", brilliantly translated live, with highlights in Bunita Stuff and ] Float .
The Brain and the Physical Utopia of David Byrne
In Stop Making Sense The Iconic Movie -concert of Talking Heads The Most Memorable Artifact is the fact of exaggerated proportions that David Byrne uses on stage. What is the point? To emphasize that " music is something very physical, often perceived by the body in front of the head ". The words are Byrne himself, the disturbing and awesome figure of Talking Heads, a group whose momentum and unique identity have contributed to the construction of a unique sound in the 70s and 80s.
After 30 years, Byrne continues to solo a record of originals and a goal that mediates art and politics, in a subtle friction, but it is there. The tour in which inserts the CoolJazz concert is the consubstantiation of the material of American Utopia an album less committed to building an indestructible paradise than in the dissection of. a disturbing sociological situation
. intransigence of the artistic mission of Byrne, intense preparation, the forces that articulated in the creation of a show that is defined as performance in which it is completed by a troupe of musicians and singers with which he is in total harmony
The fact is reduced today to the normal size, in favor of another important accessory. On a gravelly stage, painted in gray, with an artistic installation – as will be the case for the rest of the night – Byrne holds a brain, as a playful illustration of Here whose verses compare him in areas of great confusion or small detail; disparate and complementary like the sections of the two phenomenal hours that follow.
The 11 individuals on stage constitute a human machine of high precision, without sacrificing the emotional connection in the operation. It works from the opulence that pop has trivialized: all the resources are used in the expressive economy, concentrating the action solely on the links between the musicians, an elaborate choreography without fail.
Byrne alternates the dramatic penance of or Once in a lifetime – two tracks of Talking Heads that find a monumental reception of the or Bullet with the 39, hedonism of Burning Down the House or the public. I Dance Like This makes compatible the two strands, vulnerable in verses and abrasives in industrial sound choruses, in which the dance is catharsis and idiosyncrasy.
Given pure verve, tangible theatricality and agitation shows, the analogy with the concert documented by Stop Making Sense becomes imperative. It will not be sacrilege to say that in 2018, Byrne is able to compete with this 1985 landmark, like a sphinx and an unbearable force.
The evening ends with the double Still whose last song is a version of Janelle Monáe with Hell You Talmbout protest music that glorifies the names blacks victims of police violence. " Tell His Name ," Command the voices collectively. "
The public is falling to the rhythm, moving its tubes in full swing (there are things that all festivals have) This message may have been lost somewhere in the translation, but there is something left: # 39; s experience of a brilliant concert whose figurehead, at the age of 66, remains a master of performance .That all utopias are like this.
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Tags Byrne39s CoolJazz David EDP heat odyssey Sara Tavares
