Sherita Bring Their Haunting, Intense Balkan-Inspired Sounds to the East Village
Sherita play a mix of their own haunting, slinky arrangements of otherworldly Balkan and Turkish folk songs. along with pensively expansive, often hypnotic original material. With the off-the-cuff electricity of a first-class jamband, sizzling chops and the purist attention to detail of serious musicologists, they’re one of New York’s best bands. Their name is not Middle Eastern but Brooklynese: Sherita is the pink dinosaur on the billboard over the garage at the corner of Atlantic and Classon Avenues in Bed-Stuy. The group’s most recent Barbes show was one of the most riveting performances by any band in this city this year: you’ll see it here on the list of New York City’s best concerts in a couple of days. The band’s next gig is Saturday night, January 3 at around 11:30 at Drom, followed by the more explosive and similarly improvisational New York Gypsy All-Stars. Cover is a measly ten bucks.
At their Barbes gig a few weeks back, percussionist Renée Renata Bergan sang many of the songs in a cool, richly modulated, sometimes wounded alto as she tapped out beats that ranged from skeletally tricky to sepulchrally boomy. Clarinetist Greg Squared saves his pyrotechnics for his other project, the considerably louder Raya Brass Band: this group gives him the chance to explore more pensive, lower-register terrain. Throughout the set, his lines intertwined or echoed alongside Rima Fand’s alternately stark and kinetic violin while oudist Adam Good added similarly thoughtful, often brooding solos when he wasn’t holding the songs together with his intricate picking.
Bergan sang their eerily dancing, chromatically bristling, Bulgarian-tinged opening number, Fand firing off a gorgeously spiraling solo before the clarinet took the song in a more carefree, laid-back direction. Good opened the second number with a somber improvisation; Bergan led them through a couple of stately verses before a long, moody, atmospheric jam, violin and clarinet trading echoes a la Philip Glass. They followed a bouncy uptempo dance with a suspenseful All Tomorrow’s Parties-style dirge featuring a long misterioso oud solo. The rest of the set featured a slinky Greek vocal duet; a longingly soaring nocturne sung by Fand; a gently enveloping waltz; and a sardonically biting Greg Squared original, Surrounded by Sarahs (a New York phenomenon if there ever was one) that made a long launching pad for searing clarinet riffage. They wound up with an energetic anthem by Fand that blended elements of flamenco and the Middle East; she explained that it was inspired by her mom, who has a habit of getting up in the middle of the night to write down poetry that she’s literally dreamed up.