Banda Magda Makes World Music for a New Generation

One of the Conservatory’s bright, neon-hued concert announcements read: “Magda Giannikou, Singer, Pianist, and Accordionist 9 p.m. at the Cat in the Cream Coffeehouse” — and by no stretch of the imagination was that sign kidding. In fact, it even forgot to mention that Giannikou is a composer (and semi upright bassist) too.

On Wednesday night, Magda Giannikou gave a performance alongside her band, Banda Magda, an intense compilation of vibraphone, guitar, bass, vocals, accordion, piano and a cataclysmic overload of percussion. Crowding the stage were every shape of frame drum imaginable, a conga drum, the quintessential triangle, an anklet of what looked like a string of layered hollowed-out shells and a Brazilian cajón (a box-shaped percussion instrument that produces a rattling sound).

Giannikou was raised in Greece, where she began to learn classical piano and music theory. She then graduated from the National Conservatory of Greece at the age of 20 and continued to study jazz piano at the Nakas Jazz School in Athens. In September 2003, she moved to Boston and enrolled at Berklee College of Music to study film scoring. Through her intense focus on this art form, she was also introduced to big band writing, concert music, songwriting, music production and engineering. In the midst of all that, Giannikou has also managed to perform as an accordionist and vocalist with a variety of music ensembles, such as jazz, tango, folk, Greek traditional and Brazilian groups.

If you know who Astrud Gilberto is, or rather, “the Girl from Ipanema,” then you know what the genres of bossa nova and samba are like. Combine that with the famous French chanson singers of the ’60s, like Serge Gainsbourg, and you’ve got a rough idea of what to expect from Giannikou and Banda Magda. It is mod, hip and ultimately fantastic.

Perched either at the piano or with an accordion in hand, Giannikou sang in Portuguese and French. Her voice is powerful, commanding and gritty while maintaining the clarity and sweetness of a true chanteuse. When bassist Petros Klampanis wanted to take a shot at playing the piano, Giannikou and Klampanis switched roles. What a surprise — Giannikou was playing the bass as well.

Along with covers such as “Agua de Beber” and a song by the band Oasis, Giannikou also performed a few of her originals. One, that had French lyrics, began in a chanson-like style. Then, after about two minutes, the band unleashed a driving samba beat. So, in trying to be serious with the smooth poetic sound of a chanteuse, she also reminded the audience to have fun.

Since the group had taught a master class earlier that day, several Conservatory jazz students played alongside Banda Magda for a few numbers. At one point, Giannikou noted that there were 12 players on stage, but everyone somehow played with tact and ease despite the impromptu nature of the performance. The result was a tremendous sound, well balanced and complementary.

I’m glad that those Conservatory concert announcement signs were so bright; otherwise I would have missed the opportunity to see Banda Magda. Sadly, though, there were only about 10 people in the audience at the Cat. But if you are ever in New York, where they play regularly, they are definitely worth braving city nightlife for a show. They are fun, cool and ever so classy.