In the realm of jazz, where the language is often spoken through the improvisational notes of instruments, Margot Sergent emerges as a unique storyteller, using her voice and harp to narrate tales that transcend linguistic barriers. With a vocal style that exudes warmth and a harp technique that dances delicately across complex harmonies, Margot has carved a niche for herself in the jazz scene, leaving an indelible mark on those fortunate enough to experience her performances.
Margot Sergent is not just a jazz singer; she is a superior storyteller who guides her audience through a spectrum of emotions. Her ability to take hold of the imagination, making the listener an integral part of her narratives, is a testament to her artistry. Margot's music transcends the boundaries of language and culture, creating a universal language of emotions that resonates with audiences worldwide. In her harmonies, we find not just notes and words but a profound connection to the human experience—an experience beautifully encapsulated in the magical world of Margot Sergent's jazz. - actualjazz.blogspot.com
[…] Mademoiselle Sergent’s ensemble is unique in the annals of French, American, or any other kind of jazz; the overall group sound is light and floating, as if suspended in midair and not tethered to the ground in any palpable way, but nonetheless swinging. As the pivot point of the group, her harp sounds like a guitar and a piano both at the same time, as the primary melodic and harmonic, not to mention rhythmic nexus. She is almost a one-woman show, especially on the many songs that she wrote here.
Of Margot’s other originals, “Dans Tes Bras Mon Ange,” is a yearning, probing ballad that, she explains, is about the transformative power of love, how it creates a safe space and can heal all wounds. Silent Steps is a jubilant, cautiously upbeat number, which stresses Patrick Brennan’s guitar and Alec Safy’s bass, for “celebrating little achievements, victories that make us feel successful, whatever that means to us.” Little Miracle incorporates a suggestion of African rhythmic patterns and was inspired by a jazz griot from the Republic of Guinea; it’s about finding the magical in the everyday. The album ends with a touching original, the Brazilian-inspired Saudade, a solo for harp that, as the Portuguese title infers, is both happy and sad at the same time. – Will Friedwald