The early years
Encouraged by her father, jazz enthusiast and amateur musician, Sara Indrio started playing the flute at the age of six. Soon she passed on to the drums and percussion instruments that allured from across the room at the music school she attended to. During her teens she left the classical training behind and already at 17 she was admitted to the Conservatory for contemporary music in Copenhagen with Latin American percussion as main instrument.
Her career was kick started short after when swedish pop/funk icon Eric Gadd decided to take this young Danish musician aboard his funky ship for a tour in Sweden in 1995. This was to be the first of many tours to come in Sweden for the sought after session musician.
The switch from back of stage to front of stage
After 5 years she graduated none the less and started working predominantly in Denmark. She played all major stages, shows, events, recordings etc. So where to go from such a high peak at such an early age? In 2004 Sara released her own album as a singer/songwriter. Transcending the craft of one particular instrument and seeking to combine poetry and lyrics with her music Sara sought challenges in composition and was well rewarded when her debut was released. Reviewers where thrilled and Denmark’s hippest magazine Soundvenue wrote:
“She is the kind of musician who understands how to fully implement what she’s best at and make the best possible use of her talent. With While We Dream, Sara Indrio establishes herself as one of the most interesting and promising singer/songwriters in Denmark at the moment”
The artistic development
There was no stopping this multi-talented artist from pursuing her artistry and in the following years Sara plays everything from organ to electric bass on her recordings. Musicianship turned into a form of expression instead of a craft. And so it happened that her career became focused on composing, producing, recording and being a bandleader. Transcending both genres and instruments she released four albums that vary a lot one from the other. But there is a red line, that collegue and friend Niels Lan Doky describes like this:
“Spite the fact that Sara is founded in the singer/songwriter tradition her music expresses a unique voice and atmosphere. Her lyrics are poetic, existential tales about life in modern society addressing all those challenges, emotions and question marks that we all can identify with. It’s always enriching to hear Sara sing her songs and you walk away with a sensation that you are a little bit wiser on life and that your soul was massaged by this beautiful music supplementing the lyrics in a well-balanced symbiosis.”
Coming home to the jazz
Recently the compositions show ever more elements of jazz and world, which shows in the most recent release, Sara Indrio & The Latin Collective Vol. 1, where she revives her rooting in Latin American music by giving the Filin’ genre a second life in a mix of interpretations and new compositions paying tribute to this bygone era in music. The album was nominated to a Danish Music Award in the World Music Category and points towards an even loser approach to genres and language boundaries. It seems that the world of jazz, that her father introduced her to since her early childhood, is drawing her closer to her artistic “home” and maybe is a genre wide enough to encompass the many facets of this artist.
Among the many artists Sara has played with here are a few:
European Youth Orkestra, The Savage Rose (DK), Dilba (SE), Gian Luigi Trovesi (IT), Sanne Salomonsen (DK), Alberte Winding (DK), Øystein Ruud (NO), Ivan Pedersen (DK), Tomas Di Leva (DK), Mpiri (FO), Martin Hall (DK), Nikolai Nørlund (DK), Meja (SE), Band Au Neon (IT), Rebecka Tornqvist (SE), Speaker Bite Me (DK), Eric Gadd (SE), Bo Kaspers Orkester (SE), Cecilie Norby (DK), Kaya Brüel (DK), Drori/Hansen Furniture (DK), Garbo (DK), Per Kristensen Band (DK), Aske Jakoby (DK).
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