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As a co-founder of the Nile Project, which brings together musicians from across the vast Nile River region, Meklit can speak at length about the many ways the experience has filtered into her music. But the Oakland-based Ethiopian-American singer/songwriter can also sum up her essential Nile Project epiphany in a single word: “percussion.” Every track on her gorgeous new album “The People Move and the Music Moves Too” (Six Degrees Records) features the propulsive rhythm section tandem of Colin Douglas on drum kit and Marco Peris Coppola on the frame drum tupan.
The double-barreled unit was inspired directly by the drum-powered Nile Project ensemble, where “there were actually three percussionists, and that’s like a super-charged engine underneath you,” says Meklit, whose parents brought her to the United States as a child after fleeing political repression in essie ballet slippers kate middleton Ethiopia, Meklit Hadero will perform on Saturday, March 11, 2017, in the Bing Concert Hall Studio at Stanford, That instrument behind her is a krar, a traditional Ethiopian harp, She will play one, and a guitar, during her show, (Camille Seaman photo)She celebrates her new album’s release Saturday at the Rickshaw Stop, with rising Oakland soul singer Zakiya Harris playing the opening set..
“The other thing that really influenced me was seeing bodies of music being built from scratch over and over again,” she says, “seeing how to engage in hybridity while keeping the elements distinct.”. A manifesto of hybridity, the album evokes both revelations with its title, which refers both to Meklit’s dance-inducing grooves and the way in which culture packs up and moves with people from one country to another. She didn’t exactly build the sound from scratch, because she has developed the ideas over the past 15 years, but every track on “When the People Move” adds a distinct new cast of players to her core band, creating something startlingly new.
Over the course of an album recorded in Addis Ababa, New Orleans, Los Angeles and San Francisco, her quintet is joined on various tracks by the Preservation Hall Jazz Band horns, Andrew Bird, ace teams of Los Angeles and Bay Area studio players and a trio of traditional Ethiopian musicians, The result is a 21st-century iteration of Ethio-jazz by way of the Bay Area, a soul-steeped sound built on percussion, horns and Meklit’s unmistakably translucent, essie ballet slippers kate middleton fresh-water vocals, The album’s ambitious production comes courtesy of Los Angeles singer/songwriter Dan Wilson, who’s better known as a big-league producer who has won Grammy Awards for his collaboration with the Dixie Chicks (for the song “Not Ready to Make Nice”) and Adele (for the album “21”), He happened to hear one of Meklit’s TED Talks and thrilled by her sound and musical ideas, introduced himself after the conference presentation, They struck up a friendship that led to some fruitful songwriting sessions, including the album’s sensuously rippling opening track “This Was Made Here.”..
Wilson sees Meklit as part of a long line of American artists who turn their musical roots and experiences as immigrants into “a natural mixing of vibes and styles and sounds,” he says. “When we started working on the album, the things I liked best were her rowdiest and most over-the-top live ideas. A lot of that had to do with the unison horn lines that she writes. She’s really trying to develop horn section writing that doesn’t lean too much on harmony. Instead, the horn section becomes a voice shouting in response to the vocals.”.
Financially and logistically presenting the full cast from “When the People Move” isn’t feasible, For the tour that brings Meklit to the Rickshaw Stop, she’s been traveling with a combo, including percussionists Douglas and Coppola and saxophonist Howard Wiley, who’s also featured on the album, Aside from a tune she wrote with Wilson, Meklit arranged all of the originals with bassist Sam Bevan, and for the tour, she has reworked essie ballet slippers kate middleton the music to open up each song, relying on “jazz to give me guidelines,” she says, “The rhythms get opened up, It means we let the music breathe, and I can find spaces for vocal improvisation, I want the musicians to surprise me.”..
Meklit has kept the sound of surprise central to her music by recruiting some of the region’s most creative jazz musicians, like Wiley, who’s thrived on the challenge of learning Ethiopian rhythms and harmonic structures. A player with an affinity for sumptuously soulful vocalists (he’ll start Saturday night across the street from the Rickshaw Stop at the SFJazz Center playing with Bay Area jazz great Mary Stallings), he sees a deep connection between Meklit’s songs and African-American church music, as both are “cultural music” with specific sonic parameters.
“I got paid one of the funniest compliments after a gig in D.C, — an Ethiopian sister said, ‘You’re not Ethiopian, but you play our music very well,’” Wiley says, “It reminded me of old sisters who’d come up to me in church, saying ‘I heard that first verse, that was rough, but you recovered well.’ I’m just loving exploring Meklit’s music, It’s so deep and beautiful.”, Contact Andrew Gilbert at jazzscribe@aol.com, With Zakiya Harris, When: 9 essie ballet slippers kate middleton p.m, May 6, Where: Rickshaw Stop, 155 Fell St., San Francisco..