Three Exceptional Female Musicians at Strathmore

Over the past month, I've had the privilege of attending performances by three remarkable female artists who graced the stage at the Music Center at Strathmore, situated in North Bethesda, Maryland. What made these experiences even more delightful was that each artist brought her unique cultural background to the forefront, adding depth and diversity to the music they shared.

The first of these performances, on September 29, featured the Paris-based Malian singer-guitarist, Fatoumata Diawara. Her show was a masterpiece, beginning with subtle, nuanced songs, transitioning into hauntingly beautiful melodies, and culminating in a spirited, unforgettable finale. What stood out was the international composition of her band, with members hailing from different corners of the globe – keyboards, guitar, bass, drums – each contributing their exceptional talents. In particular, the rapport between the bassist and the drummer was remarkable. Regrettably, I wasn't able to catch the names of all the band members, nor could I locate them afterward. The sole African in the group was the Cameroonian drummer; the rest were of different backgrounds, adding a unique flavor to the performance. Fatoumata herself showcased her guitar skills during about half of the set, delivering skillful solos in the Afropop style, which contrasted distinctly with the band's Brazilian guitarist. Notably, Fatoumata has proudly declared herself as the "first female solo electric guitar player in Mali," although I suspect she could expand that distinction beyond the geographical boundaries of her native country.

Most of Fatoumata's lyrics are sung in Bambara, her native language. While I couldn't grasp the meaning of her words, I've learned that her songs draw from her region's tradition of "songs of advice" and tackle various social and political issues, from female circumcision to the rise of fundamentalist Islam in the Sahel. Her powerful yet beautiful voice was captivating. Moreover, it was refreshing to hear her speak between songs, touching on African themes and the challenges faced by women, without venturing into the realms of intersectionality or gender fluidity that are so common topics in today's discourse.

The performance reached its climax as the leader donned a traditional Malian mask and engaged in exuberant, controlled movements, presumably rooted in Malian tradition. The show's conclusion transformed into a dance celebration, with several women invited to join the band on stage. The entire audience couldn't help but join in the festivities.

On October 6, the Music Center once again attracted a large crowd, this time for Anoushka Shankar's performance. While Fatoumata Diawara had drawn a significant African presence, this evening witnessed a substantial South Asian audience. The pre-show atmosphere was enriched by an art exhibition featuring works by local Indian artists. As always, the bars on two levels of the concert hall were bustling, creating a lively ambiance. On the orchestra level, a DJ played soft Asian-influenced music, accompanied by a lone white woman confidently dancing to the rhythm.

Anoushka's music, while equally emotionally charged, had a more subdued quality compared to her African counterpart. The musicians performed seated on stage, bathed in a soft ellipse of light within the otherwise dim concert hall. The Music Center is known for its exceptional acoustics, which enhanced this highly nuanced performance. Anoushka, daughter of the legendary sitar virtuoso Ravi Shankar (and half-sister of Norah Jones), who also mentored her in her formative years, proved herself as a phenomenal sitar player. Her repertoire extended beyond the boundaries of classic Indian music, revealing clear influences of jazz, all while maintaining its foundation in Indian classical music.

The London-based ensemble, featuring Arun Ghosh on clarinet, Sarathy Korwar on Western drums, Pirashanna Tevarajah on Indian percussion, and Tom Farmer on double bass, showcased their mastery of both musical traditions. This quintet had premiered in India in December 2022 and received acclaim as one of Anoushka Shankar's most exceptional lineups over her nearly three-decade-long career. Each member displayed virtuosity, creating exquisite moods in intense jams as well as in meditative pieces. I do have to highlight Arun Ghosh, whoes clarinet performance was particularly outstanding—perhaps the best I’ve ever heard live—with moments of soaring brilliance and mournful resonance.

Anecdotes and insights provided by the leader added a personal touch to the evening. Anoushka mentioned that it was Sarathy Korwar's birthday, and, interestingly, he had been born in Bethesda but had never returned since infancy. Throughout the performance, the camaraderie among the musicians was palpable, and Anoushka's brief remarks between tunes conveyed her genuine warmth.

Although there was no dancing during this concert, it culminated in a standing ovation, indicating the audience's appreciation. I had hoped to greet the star and purchase a signed copy of her new mini-album, but by the time I reached the lobby, the line had grown so long that I decided to forgo it and head straight to the subway.

Nearly two weeks later, on October 19, it was time to experience Hiromi's Sonicwonder. The Grammy-winning Japanese pianist and composer was on tour to promote her recently released album, which shared the same name. In Japan, she goes by her full name, Hiromi Uehara, but in the West, her first name is sufficient, making her distinct from other artists. The band she led was another tight-knit ensemble of four incredible musicians, with the bassist Hadrien Feraud occupying a central role. The Frenchman's skillful play on the 5-string bass guitar seamlessly complemented Hiromi's performance. The drummer, Gene Coye, played a pivotal role in maintaining the rhythm. His marked the third performance by an exceptional drummer in this series of concerts, all of whom were previously unfamiliar to me.

What stood out for me was the trumpeter, Adam O'Farrill, whose melodic and expressive playing brought a calming element to the energetic repertoire. His broad sound and judicious phrasing added depth to the performance.

Hiromi showcased her incredible piano skills during the concert, alternating between the grand piano and two smaller electronic keyboards, sometimes playing them simultaneously. Her technical prowess as a pianist is truly remarkable. The majority of the pieces played were up-tempo, with frantic bursts and lightning-speed runs by the piano-bass-drums trio, which at times left me somewhat exhausted. Consequently for me, the highlight of the evening was the solo piano rendition of the Beatles' "Blackbird" that Hiromi performed as the first encore. This was no ordinary folk interpretation; Hiromi, a highly physical player, used both hands to expand the harmonies into new dimensions. It was a nuanced and sensitive rendition of the classic pop song. The band returned for a final performance, leaving the audience in awe. Sonic wonder, indeed!

These three concerts unequivocally demonstrated that creative music is alive and well around the world. The performances by these three incredible women, from Mali, India, and Japan, brought together extraordinary international ensembles, uniting musicians of diverse backgrounds and talents to create music firmly rooted in tradition, yet offering a fresh and unprecedented musical experience.