A couple of years ago, Bolivian vocalist Gian-Carla Tisera released her debut album Nora La Bella that impressed me so much that I actually wrote in the review “When is she coming to LA?”. Well, she finally arrived here, and while only a few of the songs from her debut album were performed and she had a different collection of musicians, the essence of her passion and original mix of opera and Latin folk was even more mesmerizing in concert than on record, and that’s saying something.
Dressed in a neo-traditional outfit, and teamed with a simpatico group with Tony Ybarra/g, Guillermo Cuzman/b, Christian Moraga/dr , Daniel Martinez/ag and backup vocalist Kristin Reed, Tisera’s voice was like an earthy clarion call as the folk guitar strums from the village mixed with modern pulsating rhythms on pieces like the relentless “Llamado al Sol.” The two voices volleyed back and forth like a heated discussion in a café’ while on the reggae’ infused “Cara de Latino” the conflicting rhythms of past and present worlds created a whirlwind of rhythm and melody.
With Ybarra’s lilting guitar as an intro, Tisera’s hands moved more freely than a 3rd base coach as she delivered a bel canto aria on “Malaguna Salerosa” while the song changed moods more often than a girl’s high school softball team.
While singing in Spanish her voiced was able to evoke emotions of regret, defiance, celebration, ecstasy and rage with a delivery that transcended language. When Reed would join in, the two vocalists were able to weave in and out at different intervals and speeds, coalesce in sync and then veer away as if they were cruising through the Angel of Independence roundabout in Mexico City. Meanwhile, Ybarra’s guitar work on both electric and acoustic guitars was like a one man Roberto y Gabriela as he delivered a table dance with the strings on “La Tirana.”
During her occasional foray with English lyrics, she had a Joplin-esque growl without the self-destruction on the shadowy “South North Blues” as she shifted between continents in both language and mood. Martinez used both the folk charanga and classical guitar to team with Ybarra to create a serenade with Tisera as her haunting voice hovered like a firefly on ”The Rapture.”
And what would Latin music be without depression? Cuzman’s deep and stark bass coalesced with Tisera to introduce “Alfonsina y el Mar” with a stomping bolero digging into dark visceral emotions before closing the evening as the percussion sizzled like grilled onions on “Senor Chichera.”Tisera’s declaratory voice was like a wild Appaloosa as she galloped with the band to the volcanic climax.
As she encored with (what else?) “Besame Mucho” Tisera demonstrated that while stories such as love, loneliness, faith, betrayal and fidelity are timeless themes, they can be presented in moods of a gypsy caravan and opera house simultaneously, as this tightrope walker from Bolivia proved, and without a net!
By the way, the Boston Court is a hip little theatre that it reminiscent of the old Jazz Bakery. The acoustics are amazing, and the place begs to be a regular spot for jazz gigs. Joe La Barbera was there recently, and Josh Nelson is coming July 16.