Alynda Segarra from Hurray for the Riff Raff
1215 U Street NW
Washington, DC, 20009
Doors 6:00 PM
Jim James has spent the better part of almost two decades as the lead singer, songwriter and multi-instrumentalist of My Morning Jacket. Through seven studio albums, My Morning Jacket has grown into one of the most acclaimed rock and roll bands in the world. The New York Times heralded the band as, “…the new kings of expand-your-mind, religious-experience rock…” Their last three albums, 2008's Evil Urges, 2011's Circuital and 2015’s The Waterfall, each received Grammy nominations for Best Alternative Album -- the latter debuting at number 5 on the Billboard 200 chart. Alongside the band's recording and touring, James has maintained a steady, bordering on voracious, flow of work.
In 2013, James released his debut solo record, Regions of Light and Sound of God. James wrote, produced and played all instruments himself (except for strings and some percussion) for the record, which was inspired by life and the 1929 novel (written in woodcuts), ‘God’s Man’ by Lynd Ward. It was named one of the best albums of the year by PASTE, MTV and FUSE and was “the year’s first great record” (GQ). A performance of track “A New Life” on the then-hosted Late Night earned high praise from the now-Tonight Show host, Jimmy Fallon just this year: “"…to this day my favorite musical performance was 'A New Life' on Late Night that we did...He [Jim James] is fantastic. I love him”.
In 2016 James released the politically charged solo record, Eternally Even. Rolling Stone described as, “nine flamboyantly spiritual songs wrapped in creamy electronics and set to funk and hip hop beats...an eccentric, gently compelling pleasure. [Jim James] renders his change gospel with conversational grace, Bill Withers warmth, Sly Stone optimism and Neil Young conviction”. The album’s release saw him embark on a national tour with appearances on the Tonight Show, The Late Late Show with James Corden and a debut at #1 on Billboard Alternative chart. The album topped many year-end ‘best’ lists, with NPR praising the record’s “arresting, soulful … transcendent tunes”.
James’ third solo album, Uniform Distortion, which arrives June 29th 2018, was received with immediate acclaim upon its announce. “James mixes heavy glam riffs with a lo-fi rock aesthetic,” wrote Rolling Stone, adding some unexpected texture with MMJ-style backing harmonies.” The album was heralded with intimate sold out performances in New York City and Los Angeles, as well as a visit to The Late Show with Stephen Colbert for a live performance of the LP’s first single, “Just A Fool.”
Although splitting his time between LA and Kentucky, James has little plan to remain in one place. James has continued expanding on his zealous lists of credits, lending his voice to albums by the likes of the Roots, David Lynch, Brandi Carlile and John Fogerty and partnering with other artists on numerous side projects such as New Multitudes, Monsters of Folk, and T-Bone Burnett’s The New Basement Tapes. Known for his live performances, James has found himself in the touring company of those like Neil Young, Pearl Jam, and Bob Dylan – even appearing in the Dylan-inspired film, I’m Not There – and My Morning Jacket supported Roger Waters as his surprise backing band during famed Newport Folk Festival in 2015. He has embedded himself in the world of film and television, be it through the use of his music in various projects or his long-running relationships with those in the field. James has also established himself as a producer in his own right, producing records by Preservation Hall Jazz Band, Dean Wareham, Basia Bulat, Cornelia Murr, Amo Amo, and Ray Lamontagne’s Ouroboros (2016), the same year in which he collaborated with NASA for the launch of their Juno Mission and Sundance Film Festival and their “Freedom of Expression” event. In the fall of 2018, James will embark on an intimate, career-spanning solo acoustic tour, which will see him tour through historic theatres and performing arts centers across the United States.
Alynda Segarra from Hurray for the Riff Raff
It had been a successful, if tumultuous, ride for Alynda Segarra, who’s been spreading a new kind of roots-conscious folk music across the country from her adopted hometown of New Orleans. But as far as the Bronx native had come with her band, Hurray for the Riff Raff, there was still a missing link to her story. “The more I toured, ending up in the middle of nowhere bars from Texas to Tennessee,” said Segarra, “I just started feeling more and more like, I don’t belong here, I gotta get back to my people, you know?”
After many years in New Orleans, Segarra found herself getting antsy. Hurray for the Riff Raff had four albums under its belt, with the last one, Small Town Heroes, featuring “The Body Electric,” a song that NPR’s Ann Powers called “The Political Song of the Year” in 2014. Yet even though her musical career had begun by running away from home at 17, busking for survival and honing her craft through dreams of Bessie Smith, Ma Rainey, Memphis Minnie, and Woody Guthrie, Segarra realized she is a Puerto Rican kid from the Bronx with a different story to tell.
To find her way back home, Segarra became the willing vessel for a character she calls “The Navigator,” from which her new album takes its name. She describes The Navigator, a/k/a Navita Milagros Negrón, as “this girl who grows up in a city that’s like New York, who’s a street kid, like me when I was little, that has a special place in the history of her people.” Through The Navigator, the listener hears an ambitiously interwoven, cinematic story of a wandering soul that finally realized she needed to connect with and honor her ancestors.
Segarra quickly went to work with producer Paul Butler, whose work with British soul singer Michael Kiwanuka she deeply admired, to capture the cinematic, old but new quality she wanted. It also meant assembling a core group of percussionists like Kansas City-based Juan-Carlos Chaurand and Devendra Banhart's drummer Gregory Rogove to play everything from Cuban to Puerto Rican to Brazilian backing beats. The result is an interconnected set of introspective songs, grounded in Segarra’s eclectic rustic root style, yet adorned by elements of son montuno, plena, and a kind of Mink De Ville retro-doowop rock.
Segarra drew early inspiration from cult favorite Rodriguez, a Mexican-American who translated working-class stories from Detroit into powerful rock ballads, and the Ghetto Brothers, an underground band from the 1970s South Bronx who stitched Puerto Rican nationalist messages into a rough-hewn fabric of Santana and Sly and the Family Stone Afro-Caribbean funk. She reached back to her cultural ancestors in the form of the radical political group the Young Lords and the salsa singer Héctor Lavoe. “I would just try to have the rhythm in my head and write the lyrics,” said Segarra. “Then I went back and added everything else, it was like poetry?”
Poetry permeates The Navigator, like when Segarra juxtaposes the feeling of growing up in a box in the sky on the 14th floor of an apartment building with the feeling her father had flying for what seemed like an eternity in a propeller plane from Puerto Rico to New York in the song “14th Floor.” Or when, in the elegiac piano-driven ballad “Pa’lante,” named after the Young Lords newspaper that showed the way forward, she inserts the sampled voice of legendary poet Pedro Pietri reading from his seminal opus “The Puerto Rican Obituary.” The Navigator is a restless observer, perched at the nexus of Allen Ginsberg’s East Village and the Nuyorican Poets Café, confessing the blues and dancing the punky salsa steps of a lonely girl, a hungry ghost.
Like a song-cycle from an imaginary Off-Broadway musical, The Navigator rises from the ashes of loneliness and striving, honky tonks and long walks by the river of urban dreams. From the wistful melancholy of “Life to Save,” to the stubborn resignation of “Nothing’s Gonna Change That Girl,” Segarra’s voice speaks with a husky weariness that coexists with a naïve curiosity. It’s the voice of a rebel who wanted everyone to think she was so tough, and nobody could take her down, but at the same time was yearning for love and magic, some kind of an awakening.Long-time Riff Raff fans should feel at home in The Navigator’s World. There’s always been a little bit of syncopated Caribbean strut to down home rock and roll, Appalachian rags share a similar root with Spanish troubadours and the blues is the same in any language. On The Navigator, Segarra’s voice has never been more soulful, whether she’s decrying urban gentrification on “Rican Beach” or mourning the lies people tell on “Halfway There.” Like the moment we’re living in, The Navigator is as much about the past as it is the future.
With its 12 tracks and its Travelers, Sages, and Sirens, The Navigator comes straight at you from the intersection of apocalypse and hope. This album rides Patti Smith’s high horse while straddling a thin line between love and hate. Segarra may lament the Trumpsters who want to “build a wall and keep them out,” but she knows that, like the outcasts she embraces, “Any day now/I will come along.” There’ll be no more hiding at the dimly lit intersections of class, race, and sexual identity—now we will all come into the light.
“I feel like my generation, through groups like Black Lives Matter, is really focusing on that type of intersectionality—if one of us is not free, then none of us are free,” said Segarra. “The Navigator’s role is to tell the story, tell it to the people who don’t know their own story, so they can be free.”
Show starts at 7:30 PM
$1 to Waterfall Project, powered by RPM