With a new arrangement of “Mad” came one of the show’s finest moments, almost serving as a thesis of what the project hoped to accomplish by interpreting and adapting the album’s lyrics into an interdisciplinary performance piece. At times, the band would join, moving in unison with either each other or Solange as they held and played their instruments. Solange very rarely separated herself, creating one body with the two others. On the floor, they joined the six members of her band, who wore all-red, yellow, blue, black or brown ensembles.ĭiving into “Weary” and “Cranes in the Sky,” background vocalists Franchelle Lucas and Isadora Mendez-Scott not only showed off their incredibly powerful voices but never missed a beat as they moved as one. The neutral colors popping from the stark white felt futuristic and intimidating. The noise mixed with the emotionless, consistent pace of the women as they glided swiftly down the ramp made the room feel like the center of a campy Fifties sci-fi film. Descending from the top of the rotunda was a processional of black and brown women in all white, punctuated by Solange and her two back-up singers in matching brown outfits. The chatty, excited murmurs of fans were halted by the same loud riff of dissonant noise protruding from the speakers repeatedly. ![]() The punctuation was mostly skin and its various colors. Before the show even starts, the very image of a sea of matching outfits is something to behold, with the white clothes standing along the white, cylindrical ramps or sitting cross-legged on the white marble floor. But it's an independent outfit under very independent direction, and hopefully it can reconvene often enough to grow.Solange transformed one of the world’s best-known art institutions, New York’s Guggenheim Museum, into a personal gallery where her 2016 album A Seat at the Table could live, breathe and take up all the space it deserves.ĭraping the Frank Lloyd Wright-designed rotunda of were bodies clad in mostly white – she made the request that attendees come dressed in the color. He talked too much for a 90-minute set – a luggage-transit glitch had lost several instruments, and probably made a hole in this new group's planned repertoire. Mendez-Scott then returned for a patiently imploring R&B vocal embroidered by the soul-sax alto of Braxton Cook, and Ku-Klux Klan Police Department, with its tension between soft horn harmonies and urgent percussion, brought exhortatory fierceness and darkly insinuating low sounds from Scott. The reflectiveness of Thom Yorke's The Eraser brought a mix of windy swoops and flawlessly timed runs from Pinderhughes. The Latin-inflected twister Jihad Joe cruised for a while on the deft riffing of pianist Lawrence Fields, bassist Kris Funn and drummer Corey Fonville before the leader began swerving between flaring New Orleans-inspired outbursts and more cryptic, electric-Miles phrasing. ![]() An intro of staccato motifs and rumbling percussion developed into an Afro-Latin pulse with tight flute-brass dialogues, and a slow soul-anthem, mimicked by the crowd. He opened with New Orleanian Love Song – inspired by stories of early collaborations between Native Americans and black slaves. Miles Davis, early New Orleans brass exhortations, Latin music, neo-soul and Radiohead all influence Scott, and his Jazz Cafe set cannily balanced all these and more.
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