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It's the first full show presented at the Whitney by Edwards, who originated it (with another curator, Danielle Jackson) last year at the Walker Art Center in Minneapolis. The answers can be found, if not entirely resolved, somewhere in Jason Moran, a pathfinding exhibition that opens this Friday. "And I kept going, 'What is it about this musician doing things that are much broader than music? What is it about him that they are drawn to?' " "I have really good friends who are artists - whether it's Adam Pendleton, or Julie Mehretu, or Kara Walker, or Ryan Trecartin and Lizzie Fitch - that were all saying, 'I want to work with Jason,' " Edwards reflected this week.
For Adrienne Edwards, curator of performance at the Whitney Museum of American Art, his name first circulated more recently, as a kind of rumor.
Now their peers will have to learn to catch up - or be consigned to a lifetime of making watered-down reggaeton.Farzad Owrang/Courtesy of Jason Moran and Luhring Augustineįor many observers of modern jazz, pianist Jason Moran became a known entity 20 years ago, with the release of his debut album.
With his collaborators and beatmakers, he has drawn a blueprint for the freakier possibilities of Spanish-language pop. But the valleys of “Vice Versa” are few and far between. For the most part, Alejandro sidesteps that pitfall by drawing from a more eclectic palette.Īlejandro’s experimentation isn’t always successful, though: “Nubes” is saccharine pop-reggaeton engineered to be a radio hit, while “Tengo un pal” is anodyne trap-pop that leans a little too heavily on facsimiles of Travis Scott ad-libs. Much of the mainstream music topping the Billboard Latin charts today falls into predictable templates, diluting the most dynamic elements of reggaeton into a pop format - a reality that has produced much-needed critiques surrounding the genre’s whitewashing. Taken together, these maneuvers are signs of a necessary expansion of potential for Alejandro and Spanish-language pop at large. Anitta peppers the track with a coy dance-floor command that demands to be yelled at full volume at the club after 15 months of confinement. “Brazilera,” which features the Rio de Janeiro-born superstar Anitta, is a delicious romp into baile funk, the familiar boom-cha-cha-cha-cha of the genre slowing to a reggaeton tempo about halfway through, only to accelerate back into its original lightning speed seconds later. Though electronic music is the protagonist of Alejandro’s innovation on “Vice Versa,” he ventures into other worlds too. “Let me tell you something,” Alejandro warns in English. NaisGai, El Zorro, Kenobi and Caleb Calloway - opens as a not-quite-dancehall elegy for a former flame, but transforms into vengeful deep house, pierced by eerie sirens and the liquid groove of a four-on-the-floor rhythm. Alejandro draws on elements of club culture on the album’s other songs, too: “Cosa guapa” - produced by Eydren Con El Ritmo, Mr. “Vice Versa” expands on those experimental endeavors, partially bolstered by the work of Tainy, the mad scientist behind some of Bad Bunny’s most virtuosic, boundary-pushing tracks.
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