Diary of a French Girl
by Margot Sergent
Margot Sergent is the star of The Piaf Experience, a Parisian Cabaret Revival featuring the best of Piaf, Aznavour, and Trenet. She will be performing at the legendary Birdland Jazz Club in NYC next month, on November 22nd and 23rd. Consider this your chance to get acquainted with a talented French-born, classically trained, jazz musician who sees herself as a citizen of the world surrounded by beauty.
Margot is passionate about music. Her training, education and performance experiences paint an interesting musical and life journey. Although proud of her French heritage and in love with the Brazilian sounds, Margo is captivated by the magic of New York City for everything The Big Apple has to offer. She is in touch with her emotions. She enjoys connecting with amazing people every step of the way. Margo Sergent is the type of stunning performer who leaves an impression on everyone. So much to see, hear and experience in the memorable performances she prepares meticulously from start to finish. Buy tickets to Margot’s shows and get a head start by reading her interview here. Enjoy!
Margot is passionate about music. Her training, education and performance experiences paint an interesting musical and life journey. Although proud of her French heritage and in love with the Brazilian sounds, Margo is captivated by the magic of New York City for everything The Big Apple has to offer. She is in touch with her emotions. She enjoys connecting with amazing people every step of the way. Margo Sergent is the type of stunning performer who leaves an impression on everyone. So much to see, hear and experience in the memorable performances she prepares meticulously from start to finish. Buy tickets to Margot’s shows and get a head start by reading her interview here. Enjoy!
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Dear Margot,
What are the essential traits of Margot Sergent, the artist? French born, classically trained, I feel like a traveler both in time and in music. I feel like a world citizen. I am passionate about music and see it as an emotional door opener. Songwriting is the most poetical storytelling tool. Improvising offers a limitless playground full of possibilities expressing one’s inner voice. Cabaret is a tradition I found to be a wonderful meeting space of different influences: French songs, American standards, Brazilian MPB. It belongs to well-known and less known poets/songwriters and of course jazz from the most traditional swing to free style. It so happens that I have a classical harp background and a jazz education for both voice and harp. That has brought me to shows such as “The Piaf Experience” where |
photo credit: Francois Mallet |
I invite the audience to the core of Piaf essentials. And there are also Trenet and Aznavour timeless songs like, “From Paris with Love” oriented on the historical bound between French and American jazz using my own artistic journey as a storytelling tool. There’s also the “Audrey’s Hepburn day dream” where I fantasize about a soundtrack of Audrey’s quotes and testimonies. I incorporate the magical sound of the harp in it. It may seem an unexpected choice but it is the most accurate instrument I could have imagined for this set.
You’ve said that a musician’s life requires no less work than running a start-up. How so?
Yes, indeed. The time when artists (and their talents) were discovered and developed in the music business is over. I don’t see it as a bad thing as it lets the Artist experience a more organic growth.
There are more and more artists who make the decision to choose a slower, more sustainable development process. They do so to protect their creativity. It takes time to develop which includes meeting others musicians, building a repertoire, giving it shape on stage….
I try to keep a routine, fitting all non-artistic duties early in the morning. It’s a practice that takes a minimum of four hours. Then I have one or two hours for connecting with my audience through a newsletter, or sending free mp3s, updating the website, posting new pictures, videos etc.. I have to find ways for more media exposure such as this medium. I also have to search for funds for the next content: new songs, new live recordings, new covers and more. Finally, I have to book the next venue/tour. I have to rush to make-up and dress up sessions. I have to coordinate with my musicians and go on stage for the sound check. Transport is kind of tricky with the harp…
Finally, I get to enjoy my show and meet new people who are passionate about French, American and other chansons!
As you mentioned above, you are the star of The Piaf Experience, a Parisian Cabaret Revival featuring the best of Piaf, Aznavour, and Trenet. Tell us about the process of making this show a reality.
I have been a classical harp player for a long time. Not my decision, really. But that's what my parents chose to do when faced with a super active energy bomb which is what I was at 4 years old. So, I grew up surrounded by classical music and I was not really exposed to other genres. I love classical music and apparently I was pretty good at it and I could make a living from it.
Meanwhile I have always sung as a natural expression of joy. It took me time to consider voice as an instrument. Now, I truly believe that it’s the most complex and fragile one. I have been hocked by theater, and I am trained as an actor. I have met a lot of people in Paris, and especially two singers were an amazing inspiration. They are both cabaret singers: Agnès Frejabue and Edwige Bourdy. They opened the door for me to get started with Piaf. Before Piaf, there was Marie Dubas.
I have been part of two wonderful tours. One was with Monica Passosm, the Brazilian Diva, who is one of the most breathtaking ambassadors of the French Brazilian musical connection in the last 30 years. The other tour was with the number one selling pop singer Nolwen Leroy who included the classical harp in a fairy acoustic project on Alice In Wonderland.
I met Archie Shepp, for whom John Coltrane's admiration led to recordings for Impulse! Records. His first recording was Four for Trane in 1964, an album of mainly Coltrane compositions. He was joined by trombonist Roswell Rudd, bassist Reggie Workman and alto player John Tchicai.
Pierre Boussaguet, Michel Legrand bass player, some of the most prolific French songs writer and some Berklee Alumni influenced me in getting a jazz education at Berklee College of Music.
I started my jazz education in Paris. One of my teachers, Antoine Larcher, has a familial history of Cabaret, as his grandparents where the owners of the Cabaret des Familles, meaning the most traditional Cabaret in Paris. I went to Berklee College of Music thanks to a significant scholarship that I received. Some of my professors have had a deep impact on my artistic approach that is core to any jazz musician’s education. My biggest influences include Ed Tomassi, William Silvio and of course Maggie Scott, who also taught Diana Krall and Esperenza Spalding.
The Berklee experience was life changing. I started songwriting at this time. It was a magic addition to my life. After that, I moved to NY. I started singing, as Edith did in Paris, in French restaurants that hosted live music. I felt appreciated for my Cabaret background while I was also meeting the finest jazz musician in town. This is how I came to apply all that I learned at Berklee while also building my American/French repertoire. I proposed arrangements on covers and I tested my original music on stage.
I presented an EPK to the owner of Bonafide Jazz Club who gave me the huge opportunity of a residency. On every level, all elements of my background that may have seemed to be separate or unorganized in earlier stages of my career began to blend in and help me create the shows I am performing now. All this fusion makes complete sense. I finally got the big picture and understood the “why” of having so many influences/directions in my artistic path. It made sense that my journey, my obsession about storytelling, acting, songwriting will be in the continuity of the French Cabaret of the 20’s-40’s.
You’ve said that a musician’s life requires no less work than running a start-up. How so?
Yes, indeed. The time when artists (and their talents) were discovered and developed in the music business is over. I don’t see it as a bad thing as it lets the Artist experience a more organic growth.
There are more and more artists who make the decision to choose a slower, more sustainable development process. They do so to protect their creativity. It takes time to develop which includes meeting others musicians, building a repertoire, giving it shape on stage….
I try to keep a routine, fitting all non-artistic duties early in the morning. It’s a practice that takes a minimum of four hours. Then I have one or two hours for connecting with my audience through a newsletter, or sending free mp3s, updating the website, posting new pictures, videos etc.. I have to find ways for more media exposure such as this medium. I also have to search for funds for the next content: new songs, new live recordings, new covers and more. Finally, I have to book the next venue/tour. I have to rush to make-up and dress up sessions. I have to coordinate with my musicians and go on stage for the sound check. Transport is kind of tricky with the harp…
Finally, I get to enjoy my show and meet new people who are passionate about French, American and other chansons!
As you mentioned above, you are the star of The Piaf Experience, a Parisian Cabaret Revival featuring the best of Piaf, Aznavour, and Trenet. Tell us about the process of making this show a reality.
I have been a classical harp player for a long time. Not my decision, really. But that's what my parents chose to do when faced with a super active energy bomb which is what I was at 4 years old. So, I grew up surrounded by classical music and I was not really exposed to other genres. I love classical music and apparently I was pretty good at it and I could make a living from it.
Meanwhile I have always sung as a natural expression of joy. It took me time to consider voice as an instrument. Now, I truly believe that it’s the most complex and fragile one. I have been hocked by theater, and I am trained as an actor. I have met a lot of people in Paris, and especially two singers were an amazing inspiration. They are both cabaret singers: Agnès Frejabue and Edwige Bourdy. They opened the door for me to get started with Piaf. Before Piaf, there was Marie Dubas.
I have been part of two wonderful tours. One was with Monica Passosm, the Brazilian Diva, who is one of the most breathtaking ambassadors of the French Brazilian musical connection in the last 30 years. The other tour was with the number one selling pop singer Nolwen Leroy who included the classical harp in a fairy acoustic project on Alice In Wonderland.
I met Archie Shepp, for whom John Coltrane's admiration led to recordings for Impulse! Records. His first recording was Four for Trane in 1964, an album of mainly Coltrane compositions. He was joined by trombonist Roswell Rudd, bassist Reggie Workman and alto player John Tchicai.
Pierre Boussaguet, Michel Legrand bass player, some of the most prolific French songs writer and some Berklee Alumni influenced me in getting a jazz education at Berklee College of Music.
I started my jazz education in Paris. One of my teachers, Antoine Larcher, has a familial history of Cabaret, as his grandparents where the owners of the Cabaret des Familles, meaning the most traditional Cabaret in Paris. I went to Berklee College of Music thanks to a significant scholarship that I received. Some of my professors have had a deep impact on my artistic approach that is core to any jazz musician’s education. My biggest influences include Ed Tomassi, William Silvio and of course Maggie Scott, who also taught Diana Krall and Esperenza Spalding.
The Berklee experience was life changing. I started songwriting at this time. It was a magic addition to my life. After that, I moved to NY. I started singing, as Edith did in Paris, in French restaurants that hosted live music. I felt appreciated for my Cabaret background while I was also meeting the finest jazz musician in town. This is how I came to apply all that I learned at Berklee while also building my American/French repertoire. I proposed arrangements on covers and I tested my original music on stage.
I presented an EPK to the owner of Bonafide Jazz Club who gave me the huge opportunity of a residency. On every level, all elements of my background that may have seemed to be separate or unorganized in earlier stages of my career began to blend in and help me create the shows I am performing now. All this fusion makes complete sense. I finally got the big picture and understood the “why” of having so many influences/directions in my artistic path. It made sense that my journey, my obsession about storytelling, acting, songwriting will be in the continuity of the French Cabaret of the 20’s-40’s.
From a French perspective, what are some priceless NY moments you’ve experienced so far?
I will never deny or underestimate my French heritage, even though I feel more of a world citizen now, than French. It seems that my heart beats in French, American and Brazilian. To give a parallel of sorts, the more kids you have, the more love is in your heart. I feel the same way about the cultures I grew up with musically and from a personal perspective.
What seems so New York to me is definitely the sense that everything is welcome. There’s positive starting point. I have always been lifted by people who welcomed and supported my projects and thoughts here.
In NYC, I also learned how to find a balance between basic physical needs like sleep and proper food while living 24/7 in the excitement of making my dreams come true. This city is a huge epicenter of limitless creativity. Sometimes it can have a dangerous effect such as neglecting what French people usually don’t compromise: family time, time to unwind, sleep, and steady meals for an overall “joie de vivre”.
New York has moved me a lot by the beauty of many communities leaving in harmony together, even in typical NY tiny spaces, even in the rush of the NYC lifestyle.
I live in a very Caribbean neighborhood. I often hang out in a French district, Park Slope, or Italian, Indian, Greek, East African neighborhood. I am pumped by hearing so many accents in the street. NYC offers the possibility of feeling understood by my fellow French born-New Yorkers so that I have a back-to-the-roots moment when needed. It also means I am a step away from another community that will always have a kind way of welcoming me.
And, as architecture was my first education in France, parallel to music, I can’t get enough of the landscape here. There are some superb rooftops and unbelievable views of the Hudson River that are to die for. There’s something truly magical about this city.
Last but not least, NYC seems to reunite the most passionate people. I can’t list half of the places, wine bars, speakeasy-s, restaurants, where I have had a great time. I have enjoyed some of the best international food ever right here in The Big Apple. Life here is living from one beautiful surprise to another….
Is there a specific set of feelings that make you realize you’re right where you belong artistically?
As I get the big picture of all the elements of my background, I know what are my inspirations, what kind of performances I want to nourish, what kind of messages I want to nurture in my songwriting. It’s a wonderful feeling when all the efforts and battles make sense. It’s great knowing why I have chosen to commit to an artistic life.
Who are you looking forward to sharing the stage with or recording with in the weeks and months ahead?
We are so thrilled to be at Birdland this coming November 22nd and 23rd (9:30pm)! It’s a dream come true. A big step forward. We are preparing a special program for it!
At this time 13 originals songs are about to be recorded really the way I want. I met a wonderful musician and songwriter, Eddy Pero. We have the same vision. I can’t wait to go in the studio with him. I also needed time to meet and connect with my now partners in crime, fellow musicians who have been another great source of inspiration through these years. I have the right team. It took time to get to this point. I am so excited to be surrounded by the right people for these songs. They are all so important to me.
As an artist, what can’t you live without?
I can’t feel complete without my family, my friends and without been frequently in contact with nature. These are my basics I need in order to feel whole and create.
Then, I need to be inspired by other artists non-musicians, visual artist, dancers etc., to open up to new possibilities and not to steal from other musicians.
I need to hear from people and listen to their life stories. I feel that artists should be a medium to help other people process, release pain and frustrations through songs. They can help grow some space in other people’s hearts for new experiences, new love stories. It’s what street poets did at the time of Edith Piaf when she was performing without a microphone, on the street.
What recent events have impressed you?
A few days ago, I was waiting for my sound check at Bonafide where I heard Joy Brown for the first time. It had been a while since the last time I felt that emotionally moved. She is PHENOMENAL!
Who are the groups you’d like to connect with?
Madeleine Peyroux. Norah Jones. Sting. Seu Jorge. Caetano Veloso. Zazie. I have met Seu Jorge last summer and shared a version I made of his Life on Mars with Portuguese lyrics. He is the nicest person I have ever met in the music business. I hope I write a song alongside these talented artists. I'd like to connect more than on a business level.
Can you share with us your definitions of success, happiness, and reality?
Success is making a step forward to deliver songs/covers that make people’s lives more bearable. There are too many people suffering for a small group of people to enjoy a level of comfort that is not even not sustainable.
We need a change in this world that is not related to politics or religion. For our own sake, we need to have more sense, more purpose, more sensitive connections between people. We have been driven to go after more and more distractions. It is a big misleading way of living. Some distractions drive us more towards emptiness than lightness.
We need to vibrate with strong feelings and solid life experiences. We need to find purpose and make a step forward towards it as often as possible. We need to be supported by love and compassion.
All the songs and songwriting I am advocating are on the side of listening attentively to what we are feeling, what we are experiencing, and finding ways to make sense of it all.
If I can bring a little light into someone’s life, even if for a moment, I would have accomplished my mission, and that would add to my natural state of happiness.
Reality is making a 40 hour work day fit in a 24 hour cycle… But reality is not what matters the most, in my opinion.
What is something that made you smile in recent days?
I connected with Joy Brown on Facebook.
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