Good Night by Margarida Garcia

On January 11, 2010, I received a message from a woman who introduced herself as a friend of my good buddy Aki Onda. She was going to be part of a music night at a space in Williamsburg, Brooklyn, called Death by Audio. She asked if I’d be willing to do a solo set there as well. 
That’s how I came to be leaning against a doorframe, after having played my own set, listening to Margarida Garcia on her electric double bass.
Her music was original, soulful, thoughtful, and laden with mystery.
Upon hearing her opening notes, I beckoned to Suzanne.
“Listen to her,” I said. “She’s tremendous.”
After a moment, Suzanne whispered back, “This is someone you should play with.”
That evening led to a series of live duets, as well as a trio with Alan Licht. One of these events became “On Our Way,” on the Red Mars CD issued by Eric Weddle’s Family Vineyard label.
But it wasn’t long before she was crossing the ocean back to Lisbon, which was her home.
Her records have since been musical letters that keep us in touch. When I listen to her playing, I can’t think about anything else.
This is her newest recording, and every moment deserves your full absorption.
You’ll never hear another person who sounds like this.
It’s not just the technique, or the tone. It’s the subtle composition, like the dark depth of an unfathomable river.
She’s telling you a wordless story, as amorphous as a dream.
 
 Loren Connors, in Brooklyn, NY, July 2021

Margarida Garcia developed since the 90s a simple, melodious, slow and melancholic language for electric contrabass. She moves well beyond contemporary improv praxis with a coil that runs deep into the contemporary psychedelic underground. She worked and recorded with Loren Connors, Marcia Bassett, Thurston Moore, David Maranha, Gabriel Ferrandini, Mattin, Björn Schmelzer and Manuel Mota, et al.

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