Sweety Mod

On Tuesday, I went to The Burdock for a show in their annual Pianofest series. The baby grand installed on the small stage was a perfect vehicle for Mingjia. Given her previous shows, I thought it was likely to be a fun intersection between Jazz and experimental music. But Mingjia turned out to be an accomplished pianist too.

Her playing was as eclectic as her singing. There was off-kilter, syncopated bass lines; jazz chords that teetered between harmonious and atonal; and shimmering, cinematic runs. Often within the same song. Mingjia also displayed a variety of singing techniques: jazz scats, wordless soprano experimentation, and full-bodied pop and musical theatre. Her verses were likewise eclectic but carefully observant.

The quartet that played with her (Adrian Irvine, Meghan Cheng, Clara Nguyen Tran, Jill Sauerteig) added rich layers. They weren't there to play whole-note accompaniment but to provide complex counterpoint that also ranged widely from pizzicato noise to orchestral harmonies.

With a joyful demeanour despite being sick, Mingjia cheerfully led us through interesting arrangements (Lee Meadvin's Waking Up) and original compositions (Star Star, Floatwalking). Given the set-up, she might be categorized as chamber-pop. But as I sat there, enjoying this first show of 2020, I was thinking of Tori Amos meets Free jazz meets Sondheim.