Sanity Savers 19: Hope

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I’ve been having a hard time taking pictures… Paris is gray and cold, there’s a national psychodrama going on due to the presidential elections, the atmosphere is very heavy.

I look for openings in the clouds. No matter who is elected on Sunday, we will have to keep hope alive, as we are doing in the US, by every means possible.

Some lightness from Emily Dickinson:

“Hope” is the thing with feathers –
That perches in the soul –
And sings the tune without the words –
And never stops – at all –
And sweetest – in the Gale – is heard –
And sore must be the storm –
That could abash the little Bird
That kept so many warm –
I’ve heard it in the chillest land –
And on the strangest Sea –
Yet – never – in Extremity,
It asked a crumb – of me.”
And what if we are extra kind to everyone we meet every day? Can that open the clouds, even a little bit?

To be continued xxxxx Aliss

Sanity Savers 13: Real Music (updated 30/3)

Omar Sosa (Cuban pianist), Seckou Keita (Sengalese Kora), Gustavo Ovalles (Venezuelan percussionist), Meiko Miyazaki (Japanese Koto), and Ana Carla Maza (South American cellist, singer), recent concert at Café de la Danse…DSC03309

Perfect concerts are very rare. If you want to experience one, catch this ensemble on tour to promote Sosa and Keita’s latest collaboration, Transparent Water. Would you call it World Jazz? There seem to be different guest stars depending on the evening, bringing unique influences and styles. On March 16th, the line-up was Afro-Cuban, Asian, Afro-Arabic, and Latin American, beginning with Ana Carla Maza’s spirited singing in English, Spanish, and French, accompanying herself on electric cello. Her version of Serge Gainsbourg’s “La Javanaise” was a show-stopper. She was followed by the three men, who were later joined  by the Japanese virtuoso. Everything was gorgeous and surprising: sound quality, lighting, variety and intricacy of instruments, non-verbal communication between musicians, their delight in each other’s skill and playfulness, vocal solos, and harmonies. It all blended together in a pulsating sensual caress. Especially fascinating: the huge Kora looked like an extraterrestrial antelope’s head with dozens of strings stretching from its horns down its back and the Koto like a giant sea-creature carcass with many ivory bridges supporting its thread-like “bones.” Among the percussionist’s accessories was a wooden tube that released a subtle curtain of water and sparkling  treble notes into a miked bassin.  Enjoy! xxxxx Aliss

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