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Folk.

Natascha Roger’s ‘Onaida’ is a laid-back and immensely satisfying album. She has created a personalised aural space reflecting motifs such as her Native American ancestry, spirituality, compassion, humanity, the natural world, and womanhood—one to savour.

Those who know the previous two full album releases from Natascha Rogers, Rise Your Soul from 2012 and 2017’s Your Face, will notice a change of emphasis regarding the musical direction between them and her latest offering, Onaida. Yes, the Latin rhythms and percussion still permeate the work, but gone are her band’s saxes, bass, drums and guitar contributing to the former, and the more intimate and rootsy acoustic work, which revolves around the wooden instruments of the second, as Onaida sees a renaissance, as she returns to her first instrument.

Born in The Netherlands to an Amerindian father and Dutch mother, she lived there until the age of 12, after which the family relocated often before settling in Bordeaux in 1996. For Natascha, one constant throughout this period was an upright piano, upon which she taught herself, seemingly influenced by the work of Jan Tiersen, amongst others.

The chance finding of a pair of congas left on the porch by her father led to her discovering, at 16, Afro-Cuban and Mandé percussion. In 2004 she attended the CIAM music school in Bordeaux, then the conservatory. Her learning of Afro-Cuban percussion was initially shaped by private lessons with Jean-Marc Pierna, who introduced her to rumba and Olivier Congar, who directed her first course in Cuba, in 2005. It was through repeated trips to the Caribbean island that her real education in the country’s musical traditions took place, as she studied alongside masters such as Albert Villareal, Maximo Duquesne and Ernesto “El Gato” Gatel.

Moving to Paris in 2010, she began working with a variety of musicians and collaborating with new bands, gradually building her reputation as a percussionist, but also enhancing her skills as a vocalist. 2014 saw her tour with Malian legend Fatoumata Diawara and, more recently, with Winston McAnuff.

Onaida, however, sees her “escape the noise, rush and fast information cycles of our modern world”, retreating on her own, accompanied only by her dog, Joy, and sound engineer, Joachim Olaya, to a studio in the small village of Pommerit-le-Vicompte in Brittany, northwest France, as she attempted to “get back to the centre of something authentic and simple, fragile and pure, something very intimate and personal.”

The result is a laid-back and immensely satisfying new album in which Natascha has created a personalised aural space reflecting motifs such as her Native American ancestry, spirituality, compassion, humanity, the natural world and womanhood.

Tracks:
01. See
02. The Wound
03. Aniafa
04. Sacred Night
05. O Baba
06. Sanza
07. Tambor
08. Ashes
09. Land
10. Move Etchéké
11. Run
12. The West

Staat er compleet op, 10% pars mee gepost. Met zeer veel dank aan de originele poster. Laat af en toe eens weten wat je van het album vindt. Altijd leuk, de mening van anderen. Oh ja, MP3 doe ik niet aan.

https://www.youtube.com/watch?v=ZOQMlMl-9Eg