Leni Stern

  • Providence, RI
  • 08/22/2013
9491-lenijelellcover
  • 9491-lenijelellcover
  • 3563-leni-stern12
  • 3564-leni-stern8
  • 9489-dakar13-119
  • 0
  • 9490-lenihmtcoverblock2

Jelell

09/30/2013

Bio

Over the course of her career, Leni Stern has established her guitar and vocal  abilities in jazz, rock, and folk while more recently drawing upon studies and collaborations from her international travels to such places as Kenya, India, Mali, Madagascar and Senegal.  Having been awarded the Gibson Guitar’s Female Jazz Guitarist of the Year for five consecutive years, Ms. Stern has also been acknowledged for her songwriting talents by the International Songwriting Competition with an Honorable Mention in the world music category in 2009 and 2012. 

In 2005 Ms. Stern traveled to northern Mali to participate in the Festival in the Desert.  It was here that she was introduced to master musicians Bassekou Kouyate and his wife singer Ami Sacko who later joined Ms. Stern in an UNESCO Global Alliance project at Salif Keita’s Bamako Studio, Moffou.  Immediately falling in love with the music, the people and the country, Ms. Stern would return to Mali for the better part of two years, fully immersing herself in the griot tradition.  Her 2007 EP “Alu Maye”, 2007 full-length “Africa”, and 2009 EP “Spirit in the Water” feature the collaborations she established during her studies and explorations to West Africa.  Critics embraced 'Africa' as "a significant new chapter in a career marked by bold changes,” and ALLMUSIC described it as "one of the finest CDs of the...year, in any genre." ‘Spirit In the Water’ was praised as “a glorious triumph,” and, in its wake, critics remarked that Stern’s eclectic career had emerged as “one of modern music’s great adventures.”  2010’s “Sa Belle Belle Ba”, recorded entirely on analog tape, is a complex, hard- hitting, funky, global rocker. Stripped of the past large-scale production and heavy overdubs, 2011’s 'Sabani' offered a musical journey into her more authentic acoustic African experience. In 2012, She found herself in Mali recording with her friends as Bamako froze in chaos and tension amidst a coup d’etat. “Smoke, No Fire” was the result.

Born in Munich, Germany Ms. Stern came to the States to attend Berklee College of Music where she studied film scoring and composition.  It was there that she began to hone her guitar skills, ultimately moving to New York City to start her first band with Paul Motian and Bill Frisell.  It was not long after that she established her own label Leni Stern Recordings, ensuring that she would retain full artistic control of her diverse projects.

Some of Leni Stern’s many collaborators over the years include: Baaba Maal, Michael Brecker, Salif Keita, John Mclaughlin, Esperanza Spaulding, Zakir Hussain, Dennis Chambers, Toumani Diabate, and Prince among countless others.
----------------------------------------------------------------------------------- 

The Los Angeles Times: “Leni Stern’s geographic journey yields spiritual fruit.”


The Washington Post: “Stern doesn't collaborate with the West Africans so much as commune with them, she never sounds out of her element, even when her pop and jazz sensibilities are most apparent.”

Downbeat Magazine: “The integration between Stern's music and the Mali musicians' mastery is nearly seamless.”

+ Show full Bio

World Music/Traditional | World Music/Contemporary

Links

Source

Garrett Baker
812-339-1816

Malian Blues; Leni Stern in Providence 08/22

Earlier this spring, a call came out of the blue: There would be no sound check for veteran jazz player Leni Stern’s next performance in Mali’s capital of Bamako. What seemed like a minor, if typical glitch heralded something altogether different: The city was in lockdown. A coup had begun.

The recent upheaval in Mali left its mark on Smoke No Fire (release: November 13, 2012), the latest release from guitarist and ngoni (Malian traditional lute) player Leni Stern. Stern, long-time collaborator with some of Mali’s most creative musicians and a masterful blueswoman, found herself recording with her friends as Bamako froze in chaos and tension.

“It added some urgency to the whole album,” Stern reflects. “We were in a different state of mind when we finished it than when we started. Initially, I was happy to delve deeper into folk songs of Mali, and I wrote lyrics in English to these folks songs. Though Bamako is free, it’s still a tough time now, and you can hear it in the way we all play, which is more aggressive.”

This heat, this intensity is palpable on tracks like the brassy, funky “Behi Mounounou (Big Head)” and “Smoke No Fire,” written by Stern and her frequent collaborator, singer and griot Ami Sacko in a hotel room during the unrest. Though sparked and tempered by Mali’s music and recent trials, the album embraces sounds from Stern’s home base in New York (including a bass cameo by Esperanza Spalding) and from elsewhere in West Africa (the Senegalese trio on “So Far, So Fast”), for a sound as wide-ranging, energetic, and thoughtful as Stern herself.

{full story below}

Respected as a jazz and blues guitarist, Stern has a long history of close contact and meaningful dialogue with Mali’s music and distinctive musicians, from pop icons to griots to gritty MCs. Stern played with Salif Keita’s band, touring and jamming with his talented musicians. She studied ngoni, the ancestor of the banjo, with the Kouyates, some of the most innovative, masterful players of the deceptively simple instrument.

This dialogue—with local percussionists, griots, and wildly talented vocalists like the velvet-voiced Sacko—has borne striking fruit. Stern can play electic guitar with an aplomb that echoes desert blues legend Ali Farka Toure. Her voice intertwining with Sacko’s, Stern can render traditional songs, with their tales of love and friendship, fluently in English and Bambara (as she does on “Djarabi (My Love)”).

Stern’s work on the songs that eventually became Smoke No Fire began with a spirited engagement with Mali’s folk traditions, as Stern learned tunes and lyrics from her close musical collaborators and found English words to express their complex sentiments, as she does on “Yiriba (Tall Tree).” These recasting in a new language often broaden the songs’ meanings, making their message relevent beyond their original cultural context.

“In Mali, every house has a tree in the yard, and that’s where you eat, discuss, give people in marriage. You’re born and you die under the tree,” Stern notes. “The song talks about how the tall tree has fallen and asks, ‘What are we going to do now?’ I thought it was appropriate because of the destruction of the rainforest, of the suicidal way we are destroying our home.”

While playing with traditional forms, Stern was inspired by her friendships with a crew of Bamako MCs. Their voices and visions spoke to her, and even inspired her to rap in Bambara herself (“Djilama (Water)”). “They really speak the language in a particular, happening way,” Stern says. “They are very politically and socially conscious and have a message. Starting three records ago, I enjoy their contribution rhythmically, but it’s also the voice of the yonger generation. It’s poetry, a new kind of poetry.”

This new kind of poetry, along with blazing blues solos, hard-hitting Malian funk, and gorgeous viola and traditional percussion, was the right fit for the tough times Stern encountered as she was finishing up the album as part of a short tour in Mali. She and her collaborators ducked into the studio, avoiding drunken soldiers and early curfews, writing songs like “Smoke No Fire,” inspired by a Malian saying that means that even if it looks like trouble is brewing, it may not be a full-blown disaster.

“My last album before this one, Sabani, was a really happy album. Times were good in Mali,” Stern explains. “I hope they’ll be good again. Right now they are not. There’s a big problem. Harmony and stability can’t exist in a vacuum.” But friendly dialogue and meaningful exchange can happen, even in the worst of times, as Stern and her fellow musicians’ work proves.

Dispatch Details

Concert Start Time: 9:00 PM
Venue: Roots Cultural Center
Venue St. Address: 276 Westminster Street
Venue City, State: Providence, RI
Venue Link: Click here
Ticket Phone: 401-272-7422
Ticket Price(s): $7.00
Dispatch_footer