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Batch. 1st concert of Souillac en Jazz with Ana Carla Maza femme fatale in the church of Calès

Ana Carla Maza femme fatale in the church of Calès (©CR)

It was not necessary to arrive late last Sunday to find a place in the small Calès church, with the precious sound. Probably 150 people well packed, to listen to the 1er concert of the 46e edition of Souillac in Jazz.

It is a young Cuban artist who presented herself to the public with only one companion: her cello, skillfully amplified. At first glance, we understood that something was going to happen. Bright eyes, an undisguised smile, she is a beast of the stage who stood in front of the public, an athlete ready to perform. And the temperature rose very quickly. With her suave voice, she immediately embarked her world on an improbable journey of Cuban tones with her singing and her cello which resisted the bowing well, the clapping of the hands on the body, the nimble fingers which hammered the strings. with an impressive number of harmonics and mastered effects.

Femme fatale for her audience

Ana Carla Maza in the church of Calès
Ana Carla Maza in the church of Calès (©CR)

Ana Carla Maza is a competitive artist, with a “strong” interior. Energy, she has it in spades and her music moves without ever breaking the melodies. Rich woman, probably fatal woman for her audience, her melodies enchant you, her permanent changes of rhythm, her fury, keep you awake. And she is an actress who knows how to tell you her stories perfectly, without cheating. Bahia, the name of his second album, is a jewel sublimated by the visual and sound performance, that only live performance can offer. And the public feasts on the true story of the little Frenchman, exults on the melody of “A tomar café”, and relaxes with “Astor Piazzolla”. The voice flirts with the public towards unknown shores with a touch of Latino accent when it is in French and without ever forgetting the sensuality of the Spanish language. It was very hot inside the little church in Calès; show in front and boiling behind.

Ana Carla Maza is a phenomenon. The former candidate of The Voice has found a style and a sense of composition that move to the delight of the tens of thousands of spectators who have already seen it. Hundreds of concerts at only 26 years old! Today at “Souillac en Jazz”, the next day in Toulouse, then a concert in Rome at the same time as other French jazzmen. She does not stop crunching life to full music.

A free woman in an enclosure too small for her talents. The world already belongs to him. No doubt we will see her again, in any case she is already desired.

For Souillac en Jazz, it was obviously a fanfare start, but a fanfare without hiccups. Talent and hard work, of course…

Next concerts of “Souillac en Jazz”

– Fidel Fourneyron “Bengue”: IThursday July 21, 2022 at 9:15 p.m., Place Pierre Betz. After the very remarkable project “Qué volá? » in total immersion with Afro-Cuban musicians Fidel Fourneyron (trombonist and composer), winner of the Jazz Migration 2016 program, creates with his new project «Bengue» (a word from West Africa which means Europe) a Jazz concert Pan-African on texts by authors from Pan-African literature that explore the issue of the Diaspora. Bengue carries different stories and gives voice to rich languages. The base of the septet rests on the percussions and the beautiful twinness of the balafons of the Hié sisters and the marimba of Vassilena Serafimova. For this creation, Fidel Fourneyron has commissioned texts from young authors (Penda Diouf, James Noël, Blick Bassy, ​​etc.) who resonate with the history and issues of the diaspora. In this songbook carried by the singer Emma Lamadji, each song, in French, Bassa, Sango, Wolof, Creole, Noushi, Lingala… makes the viewer discover a different light, a particular story. The inventiveness and finesse of Fidel’s orchestral writing weave invisible links between these texts to make a real polyphony of Afropeanity heard, echoing the richness of the timbres of the orchestra where voices, balafons, marimba, percussion, violin, double bass and trombone.

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– The Suzanne trio: vFriday July 22, 2022 at 9:15 p.m., Place Pierre Betz in Souillac. The Suzanne trio (2022 Jazz Migration Laureate) is a sometimes instrumental, sometimes chanted, sometimes torn voice that exudes an often poignant sweetness that unites three young artists around what seem to be imaginary folksongs from a future century. This trio assumes a singular instrumentation (viola, clarinet, guitar, voice) and proceeds with pointillist touches and fleeting movements, crossed by great romantic impulses.

“Thomas de Pourquery?” Supersonic: sSaturday July 23, 2022 at 9:15 p.m., Place Pierre Betz in Souillac. Thomas de Pourquery and his Supersonic will be on their 3rd visit to Souillac after 2015 for the “Play Sun Ra” program and 2018 for “Sons of Love”, each time they have left the public flabbergasted by their inventiveness, their originality, their sound presence. and scenic (we will note their charisma and in particular that affirmed and natural of Thomas de Pourquery accompanied by an unlimited generosity). The reunited group first developed around the music of Sun Ra and his “afrofuturism” to quickly evolve and considerably enrich its sound universe with very elaborate personal arrangements and compositions of its leader. Supersonic (name of a composition by Sun Ra) is a real dream team made up of musicians each considered as an instrumental and musical size in their field (seeing them together is a rare astral alignment). Their participation (despite very marked individualities) in a unique and unifying collective project produces intense, poetic music, with passages of a dreamlike and poignant sweetness, structured but nevertheless of a mad freedom in surprising collective improvisations which releases a uncommon power. The “Play Sun Ra” project was the impressive take-off of the rocket, “Sons of Love” a musical peak acclaimed everywhere. For “Back To The Moon” the rocket changed orbit to explore not only the moon but beyond, other distant lands of our galaxy while retaining its initial impulses. Note the increasingly frequent vocal lines of Thomas de Pourquery in a vocal register often in “head voice or falsetto voice” hitherto relatively little used in the field of jazz (rather known in pop or well before in early music) which contribute strongly to the dreamlike and cosmic scents which emanates obsessively from this music which has appropriated, in the spirit of Miles Davis, Sun Ra, the forms of jazz, pop and rock progressive and many other musics. Sun Ra has finally found true heirs! But in spirit not in letter.

More info: “Souillac en Jazz”

CLR

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