Dimmed lights. Four microphones. Two double basses, a cello and an eye-catching array of viola strings paired with an electronic setup. This was the scene at Von Krahl at 6 pm. As the doors closed on a packed room, the audience prepared for a remarkable journey.
Mingo Rajandi, the renowned composer and double bass player, has created something transformative with her new piece “Lady Sapiens.” The work transports listeners back to the Paleolithic time, where we see the life of a woman. The performance resets our modern understanding of historical gender roles.
The Jazzkaar performance of “Lady Sapiens” was an Estonian premier, and as four women dressed in black with vibrant robes walked on stage, the room was filled with a sense of suspense. That is the best part of a premier – stepping into the beauty of the unknown.
From the first low notes on the double basses, every eye was fixed on the stage. Everything seemed to flow organically – the musicians even turned the sound of rubbing hands together into a well-fit addition for the instruments.
The symbiosis of strings and electronics filled the room, echoing, holding and sending the message of different misunderstandings about the role of women flying around the room. The heavy and critical-sounding chords seemed to mark suffering and heaviness of the ages, until all of a sudden, a loud scream came from the depths of the stage. As the electronics took over, Rajandi seemed lost in the music, but in a good way – eyes closed, hugging her double bass and humming along quietly.
I found myself in a sort of trance during the performance. It took the cry of a baby to snap me back to reality. Looking around, I realised i wasn`t alone: people, were nodding their heads to the rhythm, the lady next to me seemed to be holding her breath and a man in the front row was tapping his foot in sync with the music. We were all under the spell of a good performance.
The singing and instrumental was twice covered with Rajandi’s spoken-word poetry. It filled in the gaps and carried on the storyline:
“Prehistory as a discipline was founded in the 1960s. And it was written, cultivated and interpreted by men… from their own perspective, their own interests. The archaeologist’s language was the language of men.”
Eugénie Defraigne started mocking the poetry, but more importantly the meaning behind the words. It was bittersweet. And it was memorable.
Not only was the concert a musical masterpiece, but so were the visuals. The lightning design was top-tier. When you felt the notes get more tense, the whole room would wash over with blinding red or white background spotlights. It made an eerie impression, but it worked together so well. It felt as if I was the one suffering from the abnormalities of the societal expectations of women firsthand.
The storyline was intense yet remarkably easy to follow. I felt the weight, the “untold” roles and stories of women throughout the thousands of years. And most importantly – the sheer power of musicians controlling the room. It was verything all together, all at once.
Mingo Rajandi “Lady Sapiens” (Estonia-Belgium)
Saturday, April 25th, Von Krahl
The band:
Mingo Rajandi – double bass, vocals
Regina Udod – double bass, vocals
Eugénie Defraigne – cello, vocals
Maarja Nuut – viola, electronics, vocals
Photo: Liis Reiman