Guitarist and composer Leni Stern is an unstoppable force of
energy, a beacon of inspiration and a nomadic virtuoso; spreading the beauty of
her music from her native Europe to her adopted home of NYC. Her devoted fans
know her from a successful jazz career that saw her touring the globe on the
stage of every major festival and legendary club with bands that included some
of the most revered heavyweights on the scene (Dennis Chambers, Paul Motian,
and Bill Frisell... to name just a few). Everything changed for Leni in 2005
when the guitarist was invited to perform at the Festival au Desert in
Timbuktu, Mali. It was there that she would meet Bassekou Kouyate and his wife
Ami Sacko. Embraced by their family and their bands, she dove headfirst into
the traditions of West African guitar and later the n'goni (African banjo). It
was a natural path into the music of West Africa. For Leni, a personal journey
began, a spiritual exploration coupled with devoted study and practice. Stern
followed her heart to Africa and her travels have harvested many rewards, not
the least of which is her brilliant new album, "3".
Over the past 13 years Leni has worked diligently, forging a
new sound that is all her own; composing, studying, practicing the rhythms and
tonalities of West Africa through the chops of a superlative jazz guitarist. It
is on "3" that her most authentic voice can be experienced. Joined by
her regular NYC-based band in a pure trio collaboration, featuring Mamadou Ba
on bass and Alioune Faye on percussion and vocals, Leni's compositions pay
humble homage to the drum patterns of traditional Senegalese folk songs. What
emerges is a new repertoire of cross-pollinated ideas with reverence to jazz,
blues, and Africa, woven into the music of NYC, creating a brilliant follow up
to the critically acclaimed Dakar Suite (2016).
More on the music on "3" with Leni Stern:
Side one of "3" opens with the infectious
Senegalese rhythm of mbalax, and that beautiful, sophisticated, worldly, NYC
guitar sound that could only belong to Leni Stern, on "Khavare"
("party"). Sabar (a Senegalese drum) parties typically start at
midnight and go all night until dawn, all over the world, even here in the U.S.
"Barambai", featuring guest Gil Goldstein on accordion, is the
Senegalese rhythm of the baby naming ceremony. "While studying n'goni and
voice in Bamako, Mali, Ami Sacko and Bassekou Kouyate's children took me to
play guitar at similar ceremonies, and I felt incredibly privileged to be part
of this. The baby naming and wedding ceremonies played a big part in how I
learned to play African music." Leni heard the scale she used to compose
"Wakhma" for the first time when checking out flamenco players from
Spain (The first two chords of the song are typical of that style. There is a n'goni
tuning in Mali that is used for the same scale.) "Wakhma" features
Leni's intimate, plaintive vocals - a wonderful treat, as if she's letting us,
just us, into her heart. Closing out side one of the album is
"Calabas", featuring a stunning solo from husband, the great Mike
Stern. "I have tried for years to learn a percussion instrument that would
not be detrimental to my guitar playing. Finally while in Mali I discovered the
calabas. It can take the place of the bass drum and the snare drum, if you look
at it from a western standpoint. Now I can be part of a percussion
ensemble!" On Calabas Leni sings: Coumba n'ge duggi marche, Leket chi
diggu bobbi (Coumba went to the market with a calabas on her head).
Side two of "3" begins with the magnetic groove
and interwoven melodies of "Spell." "I made friends with the
Vodoun community and got their blessing to teach the children. The Marabou
(sorcerers) of the Vodoun community told me many secret stories. One of them
that I liked in particular, because it found its way into the blues, was the
story of the spirits meeting at the crossroads at night. This is the reason why
people should stay away from there come dusk. In the light of day the Marabou
can leave gifts, gold mostly, and requests on people's behalf in a hole in the
ground. I can't tell you any more about it, because I promised I would keep the
secrets, but let me tell you this: there's a world behind the world we
see." "Colombiano" is for Samuel Torres, and features a lovely
lullaby-like melody. "We toured in South America last year and got to
witness firsthand the influences of African rhythms on the music of the
continent. On my return to NYC I asked my friend and composer/percussionist
extraordinaire Samuel Torres, who hails from Colombia, to explain all the new
rhythms I had learned. He also taught me the musical history of South America,
and how the complex and bloody history of Colonialization explains the
different musical influences. After Samuel left, I sat down and tried to
capture all the stories as I wrote this song." "Assiko" is the
Senegalese soccer/football rhythm. "I have always felt that all over the
world we have much more in common that what sets us apart. Soccer was the sport
of my childhood. I grew up in Munich, which made me very popular in Africa,
because Munich is the current world champion in soccer." "3"
closes with "Crocodile". In Senegal, similar to many states here in
America like Florida, cities and villages have expanded into the wildlife
habitat, encroaching on the animals whose very existence is threatened. The
animals sometimes fight back! The Walla Walla people are believed to be able to
speak with the crocodiles through rhythm and chants. They have done so since as
far back as anyone can remember. "We start our song with the chant of the
Walla Walla: diggi diggi m'baye diggi nata m'baye, atchoum nya nyama nya
momin."
In our current political climate, it is now even more
essential to celebrate the immigrant experience that brought Leni Stern to the
U.S. from Germany and her African band mates from Senegal and to revere the
diverse languages that she speaks and sings in. It is Leni's unique goal to
trace the interconnectedness of music, history, and our humanity.
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