| Jazz |
This is a truly original work and an intellectual journey that cannot easily be classified within the jazz category. In my view, it makes much more sense on stage than on CD. Sara Serpa, of Portuguese origin, shares with us her story as a migrant, one in which many of us will recognize ourselves at one point or another. It begins with the long journey of anyone wishing to migrate to the U.S., then moves on to relationships and the birth of a child. We traverse all the stages of life, told and sung, already acknowledged by part of the press:
“Serpa possesses a natural elegance, injecting sophistication and melodic grace into everything she touches.” – Peter Margasak, Chicago Reader.
“Sara Serpa is a singer wielding an instrument as pure and stripped-down as any other in jazz… literally, it seems like she’s singing every time she speaks.” – Phil DiPietro, All About Jazz.
Sara Serpa’s voice holds an innate intimacy, so subtle and graceful that it resembles a whispered confession, no matter the words, or even if there are none. Writing about *Night Birds*, the 2023 duo album from Serpa and her husband, guitarist André Matos, Nate Chinen stated that the music “feels like a glimpse into a private conversation; the depth of their musical interaction, an extension of their personal bond, has the feeling of something irreplaceable and precious.”
Despite this, Serpa has long avoided writing her own lyrics because, as she says, “they are so personal and reveal so much about you.” With her stunning new album *Encounters and Collisions*, she changes course, embracing the art of intimate revelation with the most autobiographical music of her career. The album, set to be released on November 15, 2024, via Biophilia, features Serpa’s longtime collaborators: Ingrid Laubrock on saxophone and Erik Friedlander on cello, joined by pianist Angelica Sanchez.
Here, we find ourselves in a form close to the literary essay, with the voice gracefully replacing the pen, unraveling questions and facts. There is much food for thought here, with no space for judgment of any kind. I can only compare this to literature, and it seems likely that Sara’s voice sets the tone for her emotions in each context explored in this work. It will no doubt be captivating to see this project performed live and to discuss it with fellow spectators. In the end, could this be considered a form of contemporary opera? Perhaps… Everyone will find their own interest in it and extract the elements that will nourish their intellect.
At first, Serpa did not intend to create such an autobiographical work. Her initial intention was to adapt the work of another writer, as she did in her acclaimed 2021 album and multimedia performance *Intimate Strangers*, a collaboration with Nigerian writer and critic Emmanuel Iduma. However, the new project proved frustrating, and she discovered that the ideas she resonated with in other authors’ work were those reflecting her own journey. The focus shifted immediately.
“The elements of the story that I connected with were things like migration, being in a new country, managing languages, missing home, losing a certain identity, and having to build a new one,” she explains. “Then, throughout this process, becoming a mother with all the victories and losses that come with it. I realized I was perhaps speaking about myself rather than someone else, and it began to make sense to write about my own story.”
I remain fascinated as I listen to this work, especially knowing that writing about one’s own story is incredibly delicate and difficult. I appreciate every nuance of this work and its particularly courageous approach. For all these reasons, this album has earned a place among our “Essential Albums.” And I will let Sara conclude: “The most humbling thing is to discover that, suddenly, it’s no longer about me,” she says. “It’s about all of us, and how we humans share so many experiences.”
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, October 25th 2024
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