Date: December 5, 2013
Venue: Silvana (NY)
Silvana, a new venue in Harlem owned by the same people who own The Shrine is becoming the new scene for fine music in Harlem. One can hear some marvelous music every night. One such night happened when Mem Nahadr and her band performed.
Mem Nahadr – (also known as M. Nahadr, “Madwoman” and simply “M”. The name NAHADR meaning “Divine LIght’) – is an internationally acclaimed singer, songwriter, performance artist film composer, author, independent filmmaker and multidisciplinary video/sonic visionary. Some of her work includes the performance of Butterfly (by Yoko Kanno and Chris Mosdell) for the soundtrack to Cowboy Bebop , a musical compilation entitled: Eclectic Is M, her Off-Broadway performance art piece Madwoman: A Contemporary Opera, and her new Modern Opera entitled: Femme Fractale: An Opera of Reflection.
The band (CJ Wright, drums; Christopher S. Hall, bass; Aron Marchak, guitar; Alex Violette, keys & flute, and Mem, vocals & keys) began with an instrumental jazz excursion that had no definable beginning. Then Mem began to sing a lush, smoky melody. The band would respond with unexpected harmonies that shined out of the must like light reflecting off precious gems. This morphed into another piece that extended the vibe of the previous one. It was funk, it was jazz, it was soul; and it was all of them and neither.
After a brief moment, a beat that almost suggested an unusual time signature eased its way into a soul piece. . They weaved liquid sounds around the solid groove. Everything they played had a rock solid groove upon which a dreamy, sensuous vibe flowed like incense smoke, leaving its perfume in its wake.
After several songs, they concluded their set with what Mem said was a free jazz thing called Underground, which featured Dalisha Thomas on bass. It started with a groove not unlike what they’d been playing in their set. However, apart from some “out” things the keys played, there was nothing that could be described as free jazz. It was brilliantly done, though.
As an encore, they did a freestyle jam. It was nice.
The band was brilliant, and communicated easily. The guitarist played a very active role in providing ornaments that counterpointed what everyone else did. The keyboardist (who also played flute) complimented and augmented Mem’s sparse playing. The drummer was solid and lyrical at the same time.. His ride cymbal work was fascinating; and his fills were quite original. The bass player glided through the lower frequencies with poetic fluidity.
Mem’ss voice is extraordinary. There seems nothing she can’t sing. At times delicate and soft, and other times powerful and indomitable. And always beautiful.
Many years ago, I saw Mem perform. She employed quite a buy of theatrics. There was none of this in the performance (probably due in no small part to the small stage and low ceiling). She stayed behind her keyboard. And it wasn’t necessary: the music itself was more than sufficient to transport the audience to Mem’s world of joy, love, and dancing in an ethereal dimension.
